• "defloratus" and "effloret": the original latin employs wordplay between these terms, creating a paradoxical image that conveys the transient nature of life and beauty. "defloratus" (to strip of flowers) contrasts with "effloret" (blossom), highlighting the fleeting essence of bloom and vitality.

• the original omits explicit verbs in several lines to create a stylistic and rhetorical effect.

  • "risum luctus" (grief [laughter])
  • "umbra diem" (shadow [day])
  • "portum fluctus" (wave [harbor])
• the order of nouns is so that each subsequent noun is overtaken by the former. this arrangement reflects not a simple cause-effect relationship, but rather an encroachment or an overcoming - where the darker, heavier elements inevitably prevail over the lighter, joyful ones. it embodies the theme of how each fleeting joy or light is eventually engulfed by its shadow, emphasizing the inevitability of decline and the cyclical nature of existence

• "spirans flos exspirat": this phrase uses a wordplay between "breathing" and "expires"
• "dum delirat": translated as "while it raves" or "is delirious," it adds a sense of chaos or loss of control to the imagery.

• "perorat": in the context of the poem, "perorat" metaphorically personifies beauty as something that speaks or makes a case before it fades, enhancing the theme of impermanence.

• "labor mortis histrio": toil is personified as "death's actor", emphasizing the relentless and performative nature of suffering.

• "supercilia": while literally referring to "eyebrows", it metaphorically means "haughtiness" or "pride", illustrating the subtlety of personal flaws.
• "motus fraena" and "factum frange": these phrases suggest both physical and emotional restraint ("restrained movements") and the disruption of actions ("break the deed"), respectively, highlighting the complexity of self-control.

• the poem originated in the middle ages, a period when the prevailing worldview was deeply influenced by christian theology. medieval scholars and poets often used allegory to convey spiritual or religious ideas, even when these were not overtly stated.
• in that era, it was a common belief that every element of the natural world symbolically reflected the divine order. thus, descriptions of nature were frequently interpreted through a theological lens, whether or not explicit references to god or the divine were made.

• the phrase "omnis mundi creatura" can be translated as "every creature of the world" or "every creation of the world". within the medieval mindset, the term creatura (creation/creature) implicitly pointed to a creator. therefore, the very act of contemplating creatura often carried an inherent recognition of divine craftsmanship.

• the poem juxtaposes contrasting elements (life and death, joy and grief, day and night) to reflect on the cyclical nature of existence. while this can be interpreted as purely existential or philosophical, in a medieval christian context, these cycles were often viewed as manifestations of a divinely ordained order.
• medieval scholars would have seen these natural cycles as reflections of god's design, even if the poem itself remains silent on this point. the absence of direct reference to a deity does not preclude an allegorical reading focused on the divine.

the poem can be appreciated in a secular or existential light, focusing purely on the inevitability of change and the transitory nature of life without invoking any supernatural framework. this perspective aligns well with a more modern or humanistic interpretation, where the focus is on the cycles of nature and the human experience rather than on divine symbolism.