Don’t go far off, not even for a day, because —
because — I don’t know how to say it: a day is long
and I will be waiting for you, as in an empty station
when the trains are parked off somewhere else, asleep.
I like the hesitation expressed in the repetition of “because,” as it seems the speaker seems unsure whether the reason he is going to give for asking the other person not to go too far even for a day, would be reasonable enough for the latter. And to me, he succeeded in sounding convincing with his use of the imagery of the empty train station – empty of not only people, but of the trains as well as they are “parked off somewhere else, asleep.” This last line of the first stanza emphasizes his feeling of emptiness – everyone and everything else has gone and they are asleep (not dead, just having a rest), which I think signals what the speaker himself is going through (revealed in the last line of the last stanza.)
Don’t leave me, even for an hour, because
then the little drops of anguish will all run together,
the smoke that roams looking for a home will drift
into me, choking my lost heart.
His demand not to be left alone becomes urgent as he argues even an hour would be too long. He knows himself and knows that slowly but surely anguish will come in full force. I think “smoke” here refers to fear that can overwhelm a person and make one’s heart rate grow faster thus “choking my lost heart.”
Oh, may your silhouette never dissolve on the beach;
may your eyelids never flutter into the empty distance.
Don’t leave me for a second, my dearest,
Whereas in the first and second stanzas, he gives reasons for not wanting the other to leave him (he will be waiting, feeling empty; he will be full of anguish and be heartbroken), in the third stanza, he reveals further that he is not only thinking of physical distance, but emotional as well – “may your eyelids never flutter into the empty distance.” These words show the total dependence of the speaker to the other person. He never wants to lose sight of this person (“Oh, may your silhouette never dissolve on the beach;”), nor to have this person not being in the present with him. From not being able to be without this person for a day, then for an hour, then for a second, the speaker obviously relies heavily on the other person for his existence.
because in that moment you’ll have gone so far
I’ll wander mazily over all the earth, asking,
Will you come back? Will you leave me here, dying?
Normally, I would be very cynical about people being too dependent on other people, emotionally. But I totally understand that certain people like the elderly and young children, and people with certain developmental disorders cannot help being so. And this is how I see the speaker of this poem. He is not a young and healthy man in the best years of his life. Rather he is old, and nearing his end and fears dying alone. This is not a man speaking to his lover, but a mere human being asking the one he trusts not to leave him, physically and emotionally.
This is not a love poem.
A couple of times, I have heard old men, who when they were young, were once brave soldiers and then, stern fathers; but, as they became old and frail, they became fearful of being left alone, begging their children not to leave them. This, I find extremely sad.
This is perhaps the saddest Neruda poem I have ever read.
Here’s the Spanish version (probably the original)
“No lejos de mí un solo día”
No estés lejos de mí un solo día, porque cómo,
porque, no sé decirlo, es largo el día,
y te estaré esperando como en las estaciones
cuando en alguna parte se durmieron los trenes.
No te vayas por una hora porque entonces
en esa hora se juntan las gotas del desvelo
y tal vez todo el humo que anda buscando casa
venga a matar aún mi corazón perdido.
Ay que no se quebrante tu silueta en la arena,
ay que no vuelen tus párpados en la ausencia:
no te vayas por un minuto, bienamada,
porque en ese minuto te habrás ido tan lejos
que yo cruzaré toda la tierra preguntando
si volverás o si me dejarás muriendo.