10

Shakespeare's Sonnet 73

- An Empsonian Approach -

KenjiGo(郷 健治)

In this paper I will examine Shakespeare's Sonnet paid too little a比ention to questions of autborial aim and

73 by means of verbalanalys】s in an attempt to arrive at literary and historical relevance.わ`3' The adverse

a fuller comprehension, and hence appreciation, of the criticisms against Ambiguib7 may be summarized by the

poem. For the followlng analysis I am indebted to two following quotation from Empson's own remarks:

analytical concep110nS propounded by W.G. Ingram and

William Empson: namely, the "movement" inside the The argument which seems to me strongest, in

sonnet fo∞ and "ambigulty". these literary critics who say that Empson is absurd,

W.G. lngram, who edited Shakespeare's Sofmeis is that they say the overall effect of a piece Of

wntlng, the genera一 intention of the autilOr, is what

(London, 1964) with T. Redpath, discusses the
"Shakespearean quality" of the Sonnets as follows:
decides what you make of a particular line. The critic

mustn't pick on one line and get astonishingly

In studies of the Sonnets we naturally find i汀elevant meanlngS Out Of it, because that isn't what

attention directed to their imagery; but the interest anybody does if he is reading properly･`4'

has been largely thematic. Its effect on structure and

on what I will calユ Hmovement" inside the sonnet This sort of criticism, I agree, might well be pertinent to

form - on the nature of the thought progression that some of Empson'Sanalyses in his Ambigui&. In my
modifies contenトpattem - has received but limited analysュs Of Sonnet 73, however, I will attempt to

notice. Yet this is one of the features that markedly demonstrate how an Empsofu'an verbalanalysIS and his
distinguish the "Shakespearean" feel of the Sonnets concept of ambiguity can be of great use and

from the generalrun of contemlnrary SOnneteenng･(ll importance in reading Shakespearean verse. Thoughthe
overall poetic feeling in Sonnet 73 is unmistakable, this

This characteristic "movement of the sonnet" is i】1deed sonnet contains quite a few cruxes that puzzle the

consplCuOuS in many of Shakespeare's sonnets, and reader'Smind. In order to unravel these enigmas and
Sonnet 73, a masterpiece Of Shakespeare's poetic explain the nature of the delightful poetic reverberations
technique, in particular, seems to embody such in this poem, I have found the Empsonian approach

welトexecuted "movements". I will tⅣ to show that one indispensable.

ought to pay due attention to such "movements" in the

three quatrains in order to appreciate fully the lavish * * * * *

and beautiful poetic complexities of Sonnet 73.

As for Empson, it is no difficult job to do the For the text and commentaⅣ of Shakespeare's

nitpicking in his Seven Types ofAmbigu妙.'2'No doubt Sonnets, I have looked into the original 1609 Quarto
many readers of the book would concur with ∫. text`5) as well as four other editions by the modem

Haffenden, editor of the posthumous coHection of scholars: i･e･ W･G･ 1ngram and TI Redpath'6', J･ Dover
Empson's essays Arguhing, when he says "tEmpson] Wilson'7', stephen Booth'S', and John Kerrigan`9'･ Let me
 11

reproduce the 1609 (〕uarto yersion first: 10mg.

Sonnet 73 Asaru1e, Iwill not repeat what hasalready been

1. That time ofyeeare thou maist in me behold, discussed by the above-mentioned modem commen-

2. When yellow 】eaues, or none, or few doe hange tators unlessthe point in question is relevanHo what I
3. Vpon those boughes which shake agalnSt the propose to discuss. (And when I do make a repetition, I
could, will always indicatethe source.) My analysis will focus
4. Ba托m'wd qulerS, Where late the sweet birds on the three quatrains. I will omit the last couplet from

Sang･ my discussion because I can make no contribution of

5. 1n me thou seest the twi-light of such day, my own to the previous scholarship.

6. As after Sun-set fadethin the West,

7. Which by and by blacke night doth take away, * * * * *

8. Deaths second selfe that seals vpallinrest.

9. ln me thou seesttheglowlng Of such fire, Stephen Booth had presented an analysis of Sonnet

10. That on the ashes of his youth doth lye, 73 in his earlier, Searching study Essay on

ll. As the death bed, whereon it must explre, Shakespeare's Sonnets (New Haven, 1969)'18'. First of
12. Consum'd wi払that which it was nu汀isht by. all, let me summarize some of the polntS in Booth's

13. This thou perceu'st, which makes thy loue more analysュs that a托 relevant to my discussion. Booth

StrOng, observes thatthe formalidentity of the three quatrains is

14. To lone that well, which thou must leaue ere reinforced substantially and syntactically. The three

long. quatrains compare the speaker to a tree, twilight, and

fire, respectively; each quatrain is a slngle sentence, and

In the course of my analysis, I will occasionally refer to the first lines of the second quatrain ("In me thou seest

this 1609 Quarto text for its originalspellings and ike iwilighi... ") and the third quatrain("In me thou

punctuations. As the main reading text, however, I will seesi ike glowing...") echo line 1. He also observes
choose the most recent edition of Kerrigan: several progressions which coexist in the quatrains.

Time is measured in progressively smal1erunits: first a

1. That time ofyearthou mayst in me behold season of a year, then a part of a day, and finally the last

2. When yellow leaves, or none, or few, do hang moments of the hour or so that a fire bums.(1】) These

3. Upon those boughs which sllake agalnSt the obseⅣations are all important. 1n other words, the three

cold, quatrains consist of three sentences that are parallel both

4. Bare ruined choirs where late the sweet birds syntactical】y and thematically, and each seems to

Sang･ present an image - i･e･ "few ye)low leaves", "fading

5. ln me thou seesHhe twilight of such day twilight", and "glow】ng of dying fire" - to symbolize

6. As after sunset fadeth in the west, things Just about to pass away.

7. Which by and by black night dothtake away,

l､了.:
8. Death's second self, that seals up all in rest. * * * * *

9. 1n me thou seesHhe g】owlng Of such fire

10. That on仇e aslleS Ofhis youth doth lie, The first quatrain comparesthe age of the poet to
ll. As the deathbed whereon it must explre, the season when few leaves are left on the boughs of a
12. Consumed with that which it was nourished by. tree. The visual imagery of the "few yellow leaves
13. This thou perceiv'st, which makes thy love more hanglng On the boughs which shake against the cold
strong, wind" offers tothe reader'Smind a plcture ofwinter's
14. To love that well which thou must leave ere arriValas well as one of autumn's end. The imagery of
 12

"winter" Operates he托aS a force of Nature that brings

syntax, or dubiety of feeling, 1n

death to things, and to the leaves on a tree in particular.

It is rather importanHo recallthat, in Shakespeare's Bareruined choirs, where late the sweet birds

Sonnets, "winter" is mentioned repeatedly to symbolize Sang,

the last years of human life and is closely associated

with the image of death. To quote a few other butthe comparison holds for many reasons; because
examples: ruined monastry choirs are places in which to sing,

becausethey Involve sitting ln a row, because they

For never-resting Time leads summer on are made of wood, are carved intoknots and so forth,
To hideous winter and confounds him there because they used to be surrounded by a sheltering

(Son 5ノ5- 6) building crystal1ised out of the likeness of a forest,

Against the stony gusts of winter's day and coloured withstained glass and painting like
And barren rage of death's etemalcold? nowers and leaves, becausethey are now abandoned

(Son. 13/ll - 12) byall butthe grey walls coloured like the skies of
winter, because the cold and Narcissistic charm

The imagery of "winter" in the Sonnets at large suggested by choir-boys suits well with Shakes-

evidently helps to highlight the designed pathos in the peare's feeling for the object of the Sonnets...;these
j.,:･
reader's mind. reasons, and many more relating the simile to its
The last line of the first quatrain "Baremined place in the Sommet, mustal1 combine to give line its
choirs where late the sweet birds sang" was adduced by beau軌and there is a sort of ambiguity in not

Empson in his discussion of the first type of knowlng Which of them to hold most clearly ln
"ambiguity" in Seven Types of Ambigu妙. (No other
mind･ (Ⅰbid., pp. 2- 3)

part of Sonnet 73 was cited or examined in Ambigu砂.)

The purpose of this paper is not to repeat what Empson Ithink Empson isright when he makes a further
has already done, but to show how his concept of comment that "the machinations of ambiguity are
ambiguity can provide the keys to unlock other parts of amongthe very roots of poetry" (Ibid･, p. 3). Although
this sonnet･ It seems tedious to quote him aHhis polnt, the validity of the entire above-quoted list of reasons for
but Just tO be reminded of what Empson had to say on linking Shakespeare'S "boughs" withmined monas-
the line, I will sum up his argument and make some teries is questionable`12', the important facts are that
"baremined choirs" hangs sytactically ln apposition
quotations.

Empson provides a generaldefinition of the ten with "boughs" inthe previous line,and that "choirs"
"早mbiguity", atthe onset of AmbiguibT, aS "any Verbal
functions as a metaphor for "botlghS". Here, we must
mance, however slight, which gives room for stop to consider whether the relative clause "where late
altemative reactions tothe same piece Of language" the sweet birds sang" goeswith"choirs" in line 4 or
(Ambiguiy, p. 1). The first type of ambiguity isthen with"boughs" in line 3, or with both. The 1609 Quarto
broadly defined as "a word or a grammatical structure Text reads:

effective in severalways at once" (lbid., p. 2).Asan

archetype of this first ambiguity, Empson takes up the 4. Bare m'wd qulerS, Where late the sweet birds
"comparison of twothings which does not say ln Virtue
Sang･

of what they are to be compared." (lbid., p. 21). Line 4

of Sommet 73 is quoted as the first example of this身pe The linethus originally had a comma beforethe relative
of ambiguity: clause. When we delete the comma, as lngram &
Redpathand Kerrigan didP',the relative clause is more
To take a famous example, there is no pun, double directly connected withthe preceding word "choirs";
 13

when we leave it in, the conlleCtion becomes less direct the bleak rustling sounds of the "boughs shaking against
and, instead, it becomes easier to link the clause with the cold wind."
"boughs" in 也e p托Vious line･ The word "choir"
′ l
Kerrigan draws our attention to a possible pun on

(spelled "quiere" in those days) signifies "that part of a the word "quiers" (the originalQuarto spelling of
"choirs")･ 0･E･D･ registers "quier" forthe 16thcentury
clmrch appropriated tothe singers" (0.E.D., S.V., 2).
Therefore, when the clause "where late the sweet birds spelling of "quire", which could signi秒"a small

sang" takes "choirs" as the antecedent, the phrase pamphlet or book, consIStlng Of a slngle qul托; a Short
"sweet birds" metaphorically conjures uP a Vision of
poem, treatise, etc., which is ormight be contained in a
choristers slnglng ln Chorus in a church. On the other quire" (0.E.D., S.V. quire, 2). Kerrigan refers to Sonnet
hand, wilen the same clause takes "boughs" as its 17/9 ("So should my papers, yellowedwith their age,")
antecendent, the clause invokes the imagery of birds and arguesthat "quiers" in the Quarto Text "tlSually
warbling in the tree in summer Ithink it qulte Senseless alerts the reader, already (with hindsight) sensitized by
to try to decide here on one reading tothe exclusion of yellowleaves, to a punon 'quires'." (Kerrigan, p. 265).
the other. The ambiguity inthe syntacticalconnection Thus, "the poet finds his wntlngS, Once tunefuL oldand
of the relative clause is deliberate, so that it makes the barren." (Ibid" p. 265). Kerrigan proposesthis imagery
reader, in pondering overthe altemative readings, bear rather cautiously, describing this metaphoric connection

in mind allthe meanlngS it puts forward. Wewi1l as "less immediate". Did Shakespeare really intend this

obseⅣe the same ambiguities in the nexHwo quatrains. pun? Should this seemlngly far-fetched imagery Of
"quires" be admitted? Thoughwe cannot have a definite
t.■′一}

Thoughnot touched upon by the commentators, a

conirasi in sound imagery lS Clearly at workinthe first answer to this question, I think it quite possiblethatthis

quatrain. The "sensitiveness of Shakespeare's ear" or subdued pun on "qulerS" should have evoked, albeit

the poet'S "daintiness of ear" is well attested to in momentarily, an image of old, tattered "quires" of

Spurgeon's work･`14) According to Spurgeon, when poems in theminds of the Elizabethan readers. To be
Shakespeare'S "imagination is heightened...he tends sure,this image cannot be a dominant one inthe
naturally to fall intothe analogy of music," (Image7y, P. quatrain, It could, however, indirectly throw in the

75) and that the "song of birds" seemed "specially to figure of the poet himself in his late years- throughthe
interest or affect Shakespeare." (lbid., p. 73). To quote medium of the image of his once-tuneful, Old and
a couple of other examples from the Sonnets: tattered collection of poems - amidst the seasonal
imagery of winter made up by "leaves", "boughs",
Haply I think on thee, andthen my state,
"choirs", and "birds". Tothe old poet'Smind the

Like to the lark at break of day anslng bygone days when his verses were delightfulin tune
From sullen earth, sings hymns at heaven's gate; may well seem, psychologically speaking, to be but
(Son. 29〃0- 12) now. Hence,the adverb "late" in "qulerS Where latethe
sweet birds sang" is not incongruous withthe line but
Yet nor the lays of birds, northe sweet smell functional: it could only help to increasethe intended
0f different f一owers in odourand in hue, pathosinthe clause.
Could make me any summer'S story tell, Ambiguity occasioned by a pun was extensively

(Son. 98/5- 7) discussed by Empson as his third type of ambiguity

(see Ambiguib7, Pp. 102- 132), andthe line we have

Hence, inthe first quatrain, we are able to perceive the been discusslngmight well be considered as an example
arrival of winter not only visually, through the imageⅣ of ambiguity througha pun which "may make a single
of a "few yellow leaves hanglng On the bare boughS'', statementand imply various situations to which it is

butalso audibly, throughthe conspICuOuS Silence left by relevant." (Ibid., pp. 111f.).

the absence of the singlng Of birds, as well asthrough

 14

羊 :≠ :事 ;f :メ
11･ As the deathbed whereon it must expl托,

Inthe second quatrain, We are presented with the (Note that the Quarto Text had a comma before the
image of nightfall. As we tend to admire the beauty of relative clauses in lines 4 and 1 1. Conversely, it did

the sunset and the evenlng glow, here Spurgeon's not have a comma in line 8.)

analysis Of Shakespeare's imagery lS also helpful. She

obseⅣes that while the spectacle of the rising sun seems Lines 4 and 8 seem to hang syntactically in apposition

ever pecu一iarly to insplre and delight Shakespeare, with "boughs" and "night", respectively. We have
already discussed the syntactical ambiguity in the

The sight of the settlng Sun, On the other hand, relative clause "where late the sweet birds sang" in line

depresses him: he sees in it, not the gloⅣ of its 4. This same ambiguity continues to function in lines 8
colour, or rest and qulet, Or the promise of another and ll. In the second quatrain, the relative clause "that
day, buHhe end of thirlgs, old age , storms to come, seals up all in rest" can take either "night" or "Death's
sorrow, dangers and approaching night. second selr' as its antecedent. Likewise, the clause
"whereon it must explre" can be linked either with
(Imagery, p. 63)
"ashes" or with "deathbed". Indeed, the reversal

The contrast in color between twilight (glowing red) placement and omission of commas preceding the
and night (black), or the change in the fading color of relative clauses in lines 4, 8, and ll between the 1609

twilight, is employed to heighten the poetic sentiment. Quallo Text and Kerrigan's text seem to substantiate the
Line 8 is, in a way, a poser. This I had always very ambiguityin the syntactical connections of the
found somewhat puzzlinguntil I read Empson･`15'The three relative clauses in question. This sort of
"ambiguity of syntax" belongs to Empson's second type
difficulty is twofold. One is the exact meanings of the
two phrases, namely, "Death's second selr'and "seals of ambiguity (Ambiguib,, pp. 481 101). I shouldthink it
up". The other is the syntactical connection of the even strange that Empson did not adduce these lines to

relative clause "that seals up all in rest". The two support his argument. For these are perfect examples, as

problems are closely mtertWined. we will further see in the following analysis, tO

Ingram & Redpatb pass over the phrase "Death's demonstrate that Shakespeare was able to create, usmg

second self" in silerlCe. Booth glosses it simply as "a

"severaldifferent metaphors at once"'I" throughthe
stock Renaissance epithet for sleep, here applied to ambiguity of syntax, an enriched multiple imageⅣ in a

night" (Boothe, SonneiS, P. 259). This comment is slngle sentence.

repeated almost verbatim and endorsed by Kerrigan･(16' Now, we proceed to tackle the phrase …Death's

There is, I believe, a need to elaborate on the second self". The first question must be: Isthis an
slgnification and function of the phrase. Let me begin epithet or a metaphor for "black night"? As we have

by drawlng attention to the neat syntactical parallelism seen, bothBooth and Kerrigan seem to think that it is an
among the three quatrains: epithet applied to "night". That is possible. It is

certainly one way of reading the quatrainwithout any

3‥‥ boughs … further ado. On the other hand, when we considerthe
4. Bare ruined choirs where late the sweet birds facts that "Death's second self" is a standard epithet for

Sang･ sleep (and not for night);that a neat parallelismruns

throughthree palrS Oflines, i.e. lines 3-4, 7-8, and 10-
7. …night… 11; and finally, thaHhe word "deathbed" in line ll
8. Death's second self, that seals up all in rest. functionsmetaphorically for "ashes" in the previous
line - whether the preposition "as" in the adverbial

10. …ashes… phrase "Asthe deathbed" signifies "in the function of"
 15

or "like" that introduces a simile- , it seems to me pnmary denotation of the phrase can simply be Hsleepり･

somewhat absurd to insist that HDeath's second self" In this case "black night..., Death's second self,that
can not be interpreted as a metaphor for "black night". seals up all in rest" would mean: 〃JtlSt aS Sleep seals up

Facing this enigmatic phrase, the reader'S mind all eyes into restful sleep, so does black night `seel up'flS'
inevitably swings back and forth between the two all eyes", or "･･･, so does black night sealup everything
altematives, When one reading cannot be chosen to the into da血ess in which all will be asleep." But, of

exclusion of the other, agaln aS befわre, it would be more cotlrSe, the phrase "Death's second self" is not exactly

natural, I think, to assume that Shakespeare is identical with "sleep" itself. For one thing, the word
"Death''at the outset of line 8 certainly leaves a strong
deliberately playing on ambiguity.

If we take the expression "Death's second self" as impression on the milld of any reader of Sonnet 73.

a metaphor, in the three palls Of lines extracted above, What is more, we ought to recallthe fact that, in
the words in the first lines of each group, 】.e. "boughs", Shakespeare's works, sleep was closely associated with
"night", and "ashes",all conjure uP metaphorical death. "Most constantly of all," Spurgeon observes, "he
images in the followlng lines. In the chart below, I have sees it (i･e･ death) as a sleep." (Spurgeon, Imagefy, P.
napped out the way ln Which the three different sets of 184) To cite a few of the best-known examples:
images operate in each quatrain:

Ham】et:
"To die-to sleep, / No more; …"
Quatrains (I, IHII)
(A) Things just about to pass away (Hamlet, Ill.1.60- 61)
(B) Things left behind Prospero:
"We are such stuff/ As dreams are made on;
(C) Things compared to (B)
and our little life / Is roundedwith a sleep."
Ⅰ･ (A) yellowleaves (The Tempest, IV･1･1561 8)
(B) boughs

(C) (bare ruined) choirs In fact, as we know, the association between death and

II. (A) twilight sleep goes all the way back to the Bible. For instance:

(B) night

(C) "Death's second self" For if we believe thaHesus died and rose agaln, even
ill. (A) glowing of(dying) fire so them also which sleep in Jesus will God bring with

(B) ashes bim. For this we say unto you by the word of the

(C) deathbed Lord, that we which are alive and remain unto the

comlng Of the Lord shall not prevent them which are

Thus, each of the three parallel quatrains stnngsthe asleep. (I Thess. 4: 14- 15)`19'

three images (A), (B), (C) in successionwith neat,

parallel relationships among one another. Hence, I contend that the two images of sleep and death

When we take this elegant parallelism - a nice overlap in the single expression "Death's second selr'.
example oHngram'S "movement… inside the sonnet- This overlapplng Of sleep and death, we should not fail

seriously, We can further observe that the two to observe, is bealltifully echoed in the succeeding word
へ･ .一丸

"rest…. "Rest''signifies not only "sleep" but also "the

metaphoric expressions "Bare ruined choirs" and
"Death's second self" may both be preceded by "As" in repose of deathor of the grave" (0.E.D. "rest" 6). Then

perfect accordancewiththe succeeding phrase "Asthe lines 7 and 8 could mean "Just as death seals upal1 eyes
deathbed". into etemal rest/Tor "Just as deathseals up everybody
Then, when we consider the phrase "Death's into a repose of death in a coffin, so does black night,
second selr' as a metaphor for "black night", the like a coffin, seal up everything lntO deadly darkness･〃`28'
 16

The last imagery compares, as it were, the darkening second quatrainJhen, if we changedthe word order of
sky at nightfall to the lid of a coffin, which is Just about line 5 to a more usualone, reading "Thou seest the

to be sealed up, leavlng the whole world in払e darkness twilight of such day ln me.･･, Which by and by black
of death. Even when we take the phrase "Death's night dothtake away," it would become easier to realize
second self" as an epithet for "black night", or when we that it is not inconceivable to takethe antecedent of
uWhichn in line 7 to be "me" of line 5 in the
readthe line as "As(i.e. inthe quality or function of)
Dea比's second self", the connection "black night, that Elizabethan poetic diction･'21) were this reading to be
seals up all in rest" could only mean one of the granted,the lines could mean: "You seethe last spark of
above一mentioned interpretations of the clause･ life in my old self, which Deathwi1l soon take away
Consequently, the two altemative interpretations of fromthis world." Thismight seem a bit too far-
"Death's second self"- i.e. One reading the phrase as a
fetched, yet it is a possibility. In any case, as "black

metaphor for "black night" and the other as its epithet- night" stands for an emblem of death inthis quatrain,
- are not in the least incompatiblらbut, instead, the
lines 51 7 may well mean: "You see in me the fading
more strained reading of the fomer could only help to vigor,the last spark of my life, which will presently be

enrich the imagery of "black night" as an emblem of taken away by the approaching deathjust asthe black
death, which is what the latter, more straightforward night takes away the twilight." Hence, when this

reading suggests･ subdued meanlnB Of the second quatrain is made clear,

the degree of personification inthe quatrain becomes

To conclude a rather lengthy discussion on the dramatically heightened to preparethe reader'Smind for
ambiguities in the significations of "Death's second the more directly personified third quatrain.

self" and "seals up" and those in the syntactical

connection of "that seals upall in rest", I would repeat * * * * i

my contentionthat, when we are facedwith those

puzzling ambigultleS, it is unwise as well as impossible Inthethird quatrain we find noriddle to peIPlex
to decide on a single reading of the text tothe exclusion ourmind. We ought to note that the degree of

of the others. Shakespeare's unsettling syntax and use personification fromthe firstthroughthe third quatrain
of expressions force our mind to react to the has progressively Increased. Inthe first qllatrain,the
ambiguities, which must be deliberate and serve to personification was, at best, indirectand momentary.
create richer poetic complexities･ I believe the Therethe reader wasallowed to catch only aglimpse of
following COmment Of Empson's may well be applied to the old poet, depending on a subdued pun of "qulerS".
our discussion here: 7n the second quatrain, as we have Just discussed, the

degree of personification is much heightenedwitha

All meanlngS tO be extracted from these arethe stnng of images. In the final third quatrain, the degree

immediate meaning Insisted upon bythe words, and of personificaiion climaxeswith a series of words that
yetthe whole charm of the poem is its extravagant, evidently pertain to humanbeings: namely, "ashes",
"youth", "lie", "deathbed", "expire", and "nomished".
its unreasonable simplicity. (Ambigu砂, p. 49)

("Ashes" could mean "That which remains of a human

Now, if, as we have just analyzed, "もlack night" is body after cremation" fO･E･D･, S･V･ 4])･ Here, the
draped withthe imagery of death,the grammatical imagery of the "last spark of life" in the poet, which

object of "take away" could also imply something other was not yet self-evident al the first reading inthe
than the mere "fading evening glow". To say that "night second quatrain, is unmistakably projected onto the
takes away twilight" is certainly poetic, but, at the same picture Ofthe "glowing Of dying fire".
time, this sounds slightly odd in ordinary diction. Any Furthermore, the last line ofthethird quatrain:
reader would no doubt feel this delicate oddity inthe
 17

12. Consumedwith that which it was nomished by. as "thought progressionthat modifies content-pattem"`22'
in the quatrains.

whose syntacticalsubject is "fire" i】l line 9 as well as 1) in the first two quatrains the reader's attention is
"it" in line ll, does manifest, Ithink, a strong degree of
naturally alerted to the contrast in sound and in color.

personification. To be sure, the pnmaⅣ sense of the Aswe have already discussed, the contrast inthe two
line is "(dying fire) choked by andalOng with the ashes sound images in the first quatrain was between the

of firewood whic壬l it had previously eaten up ln Order to image of the bleakrustling sound of "boughs which
bum." However, the idea that Time "nourishes" human shake against the cold" andthat of a past memory of
"the sweet birds" slnglng. Inthe second quatrain,the
life and then "consumes" and destroys it later is

recurrent in the Sonnets. To quote two examples: contrast in color between the "twilight" and "black

night" was cleaトCut. Now, in the third, the above two

Those hours that with gentle work did frame contrasts in sound and color both seem to be effectively

The lovely gaze where every eye dothdwell working as if two previous movements of the preceding

Will play the tyrants to the very same quatrains had converged into olle in the last. The
And that unfair which fairly doth excel; contrast in color between the "glowing fire" and "ashes"
For neverィesting Time leads summer on (or darkness after the extinction of fire) is obvious. In
To hideous winter and confounds him there, addition to this visual contrast, when the reader

∼
(Sonnet 5/1 - 6) visualizes a fireplace with firewood in f一ames, though

not overtly mentioned in the third quatrain, the

Nativity, once in the main of light, crackling sound of bumlng firewood, so wamlng and
Crawls to maturity, wherewith being crowned, cheering to the soul on a cold winter night, is sure to be
Crooked eclipses 'galnSt his gloIy fight, heard in his imaglnatiom In the third quatrain, this

And Time that gave doth now his gift confound. crackling or sputtenng sound is heard no more,

(Sonnet 60/5 - 8) Probably only a dying fan of the music is heard, and we

know that after the fire "explreS", a total hush will

Therefore, I would argue that Shakespeare is drawlng a envelope the scene. Thus, we cannot choose but notice

parallel relationship between fire vs. firewood and the contrast in sound between the wan crackling of

human life vs, Time in line 12. As we read on through bumlng firewood called forth to our imaglnation and

lines 9 to 12,the imagery of the poet's last spark of life the hush after it …explreS".

increaslngly catches up with that of dying fire. 2) In the first quatrain, we see the imageIy Of

autumn's end and the arriValof winterthrough"yellow

* * * * *
leaves" and "boughs which shake agalIISt the cold." h
the second, we obseⅣe another temporal transition:

Before concluding this analysts Of Sonnet 73, I namely, one from even】ng to night. Hence, since our

Ought to add some remarks on what lngram calls mind, as we read on, follows this sequential movement
"movement inside the sonnet fo∞." We have already
ヽ叫
in time- that is, "from autumn towiner" and "from

--(. I
discussed two such "movements" in this sonnet. The evening tO night", in the last quatrain, where no
first one was the neat parallelism thatruns throughthe temporal reference is made, the natural flow of the
Jも､{_ *

three quatrains, which reinforces the metaphorical poem allows us to assume the time to bethe result of
function of the phrase "Death's second self". The two temporal sequences converged into one, i.e. winter

second was the gradually increaslng degree in the night. What is important here is that the last quatrain, if
personification of "things Just about lo pass away" read by itself, would give us no clue as to its temporal

through the three quatrains. There are two other background; while, as it is in the sonnet, the time

examples of "movement" or whaHngram paraphrases reference …winter night" can easily be imagined in the
 18

reader'Smind to further enhance the poetic sentiment. (2) The first edition: 1930, London In this
The very first image invoked in Sonnet 73, that of paper, I quote from the revised third edition

yellow leaves hanging agalnSt a Wintry sky, which, (1953, London)･ Hereafter cited as Ambiguib7.
though certainly cheerless, was not altogether so (3) William Empson, Arguhing (U. of Iowa
disheartening, Seems thus to culminate in the final Press, 1987), p. 10.

quatrain, in the multiple threads of imagery of "night", (4) Ibid., p. 10. From his BBC broadcast on Oct.
"winter" and "dying fire", all of which are intimately
20, 1954.

associated with the idea of death. If we were to add the (5) The Reproduction of the 1609 Quarto Text.
image of the poet in the last moments of his life, which (New York: Payson & Clarke, 1927)･
is the theme oftbe sonnet as well as the image that the (6) Shakespeare's Sonnets, (ed･ W･G･ Ingram &
personified dying fire calls forth in the third quatrain, T. Redpath. London, 1964).

the cumulative poetic effect of the images would indeed (7) The Sonnets (The New Camもridge Shakes-

be overwhelmlngly filled with pathos. peare), (ed. John Dover Wilson･ Cambridge,
1966).
* * * 寺 *
(8) Shakespeare's Sonnets, (ed. Stephen Booth.
New Haven, 1977). Hereafter cited as "Booth,

Throughan analysis Of Sonnet 73, We have noted Sonnets".

how Shakespeare fits a whole bunch of imagery Into the (9) The Sonnets and A Lover's Complaint, (ed.
sonnet fom so aptly that, through the "movements" John Kerrigan. Penguin, 1986). Hereafter cited

inside the quatrains, the poetic sentiment of pathos as Kerrigarl.

progressively heightens as one reads om A peculiar (10) Hereaftercited as "Booth, Essay"･

characteristic of Sonnet 73 is that, although it consists (ll) Booth,Essay, pp･ 125-126･
of three syntactically and thematically parallel (12) I will not go into this controversy regarding
"the degree of co汀eSpOndence imagined or
sentences, if we were to pick up the final quatrain by

itself, it would immediately lose the cumulative poetic imaginable" between boughs and choirs. For
momentum that it has. Nor can we alter the sequence of this, see Kerrigan's commentary, pp. 265- 6.

the three quatrainswithout loslng the culmination of (13) Wilson and Booth retained the comma in their
poetic feelings in the third quatrain･ modemized editions.

We have also examined in some detail how (14) Caroline Spurgeon, Shakespeare's Imagery.
maste血lly Shakespeare wields ambigultleS tO Create (Cambridge Univ. Press, 1935). Hereafter cited
deeper poetic effects. I hope 1 have been successful in as Imagery.

showing that Empson was in the right when he (15) As I mentioned before, by the way, Empson
remarked on the criticisms against his Ambiguib7: did not discuss Sonnet 73, except for line 4.

(16) Kerrigan, p. 266: "A standard description of

I know I mademistakes, but you can't laughthe sleep, here applied to fu'ght."

whole method o打; it can still stand up even when the (17) Empson,Ambigu妙, p･ 49･

fashion changes ･(25) (18) cf. Macbeth Ill.2･46 I 47, "Come, seeling
Night,/ Scarf up the tender eye of pitiful Day"･
See Booth's Sonnets, p. 259, and Kerrigan, p･
Notes 266. (I quote Shakespeare's plays from the

Arden editions.)

(1) W. G. Ingram, "The Shakespearean (〕uality," (19) The quotation is from the Authorized Version･
in New Essays on Shakespeare'5 507metS. Ed. See also I Co一. 15:51-52.

Hilton Land町. (New York, 1976). p. 42. (20) A coffin image was Suggested by lngram 良
 19

Redpath, and repeated by both Booth and

Kerrigan.

(21) See Abbott's A Shakespearian Gratnmar, P.

165.

(22) See lngram'S statement quoted at the

beginnlng Of this paper.

(23) Arguhing,p. 11･