అనువాదలహరి

సానెట్ 24 … షేక్స్పియర్

నా నేత్రాలు చిత్రకారుడి పాత్ర ధరించి

నీరూపు రేఖవిలాసాన్ని నా గుండేలోకి దోచుకున్నాయి;

ఈ శరీరపు చట్రంలో దానిని బిగించాయి.

చిత్రకారుడి ఆలోకనంలో అది కళాత్మక సృష్టి.

నీ నిజమైన చిత్రం ఎక్కడ ఉందో

నువ్వు చూడాలని చిత్రకారుడు అభిలషిస్తునప్పటికీ;

నా మనో మందిరంలో ఇప్పటికీ వేలాడుతున్న చిత్రానికి

తలుపులు తెరిచేవి నీ మెరిసే కళ్ళే.

ఇప్పుడు చూడు కళ్ళు కళ్లకి ఏమి ఉపకారం చేశాయో:

నా కళ్ళు నీ చిత్రాన్ని గీసాయి; నీ కళ్ళు నాకు

నా హృదయాన్ని తెరిచే కవాటాలు; అక్కడ సూర్యుడిలా

ఇష్టంగా తొంగిచూడబోయి, అలా గుడ్లప్పగిస్తాయి.

ఈ కళ్ళకి తమ విద్యకి మరొక నేర్పు కోరుకుంటున్నాయి;

చూసినది గీయగలుగుతున్నాయి గాని హృదయాన్ని పట్టలేకున్నాయి.

.

షేక్స్పియర్

William Shakespeare

.

SONNET 24

Mine eye hath play’d the painter and hath stell’d
Thy beauty’s form in table of my heart;
My body is the frame wherein ’tis held,
And perspective it is the painter’s art.
For through the painter must you see his skill,
To find where your true image pictured lies;
Which in my bosom’s shop is hanging still,
That hath his windows glazed with thine eyes.
Now see what good turns eyes for eyes have done:
Mine eyes have drawn thy shape, and thine for me
Are windows to my breast, where-through the sun
Delights to peep, to gaze therein on thee;
Yet eyes this cunning want to grace their art;
They draw but what they see, know not the heart.

.

Shakespeare

NOTES

XXIV.

Instead of the figurative exchange of hearts in xxii., the poet’s breast is now a painter’s studio, and his heart a tablet on which his sight has portrayed the form of his friend. And the poet is so truthful and sincere that the windows of his breast are the eyes of his friend, to whom the poet’s heart is thus fully revealed. The concluding couplet would seem to indicate a doubt whether the friend’s heart has been revealed with equal clearness.
1. Stell’d. Q. “steeld,” the form of which maybe right. To “steel” is possibly, as I think the Rev. W. A. Harrison suggested, to write with a steel point or stylus; and so the word may come to have a more general sense of portraying or depicting. Cf. however, Lucrece, 1444, “To find a face where all distress is stell’d” (Q. “steld”), meaning evidently “portrayed” or “depicted.” We cannot, however, infer from “held,” line 3 in this Sonnet, that “stell’d” is the true form in line 1, pronunciation having so considerably changed.
3. The frame. That is, of the picture, or just possibly the painting-frame, or easel. Cf. T. Watson, Teares of Fancie (1593), Sonnet 46:

“My Mistris seeing her faire counterfet
So sweetelie framed in my bleeding brest:
On it her fancie shee so fermelie set,
Thinking her selfe for want of it distrest.”

  1. Perspective. As used here, the meaning of the word appears to be “capability of being looked through.” But though this may be the sense immediately intended, there is a reference also to the ordinary employment of the word in relation to pictorial art, whether with respect to the representation of distance, or of a picture so designed as to require to be looked at obliquely. Cf. Richard II., Act ii. sc. 2, line 18seq.:

“Like perspectives, which, rightly gazed upon,
Show nothing but confusion; ey’d awry
Distinguish form.”

  1. Through the painter, &c. In the sense mentioned above. But there is probably an allusion, also, to the general necessity of taking the position occupied by an artist in painting a picture, so as to see, as it were, with his eyes.

    11. Are windows — where-through the sun. Notice the additional proof of sincerity. Not only are the friend’s eyes windows to the poet’s breast, seeing everything within, but the sun himself can look through.

    14. Know not the heart. Intimating possibly a suspicion in accordance with the last lines of xxii.

Snnet and notes Courtesy:  http://www.shakespeare-online.com/sonnets/24.html

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