Can you please tell me the alliteration from the poem wrinkles class 8th?
Answers
Answer:
the poet's strength exists only in contrast-- and a peculiarly hesitant contrast,
at that. The gist of "I may be straight though they themselves be bevel" is
that the world should not judge the poet by its own values, no matter how
similar to theirs his actions might appear; which is, in part, an acknowledgement that the poet's external behaviour is as typical of the society he
contemns as he claims his internal vision is untypical.
If this were the only point of reference by which to judge the poet's self
presentation in these last sonnets, then it would be tempting to see his
independence as a form of spiritual self-destruction. There are, however, a
number of sonnets which embody a change in the poet's attitude towards
time, and these provide a more positive and powerful internal vision than do
the sonnets which I looked at in the previous chapter. The relationship
between the poet and the young man remains time-bound to the end, so that
even the reversal of roles between the two fails to give the poet the freedom
to create a poetry which will transcend the vile world's values. Out of that
time, though - in the context of all time - the sterile contrasts of"straight"
and "bevel" disappear. The sonnets I shall discuss in this chapter act in
contrast to those which describe the end of the relationship, giving a broader,
more humane vision; and it is with this vision that the sequence reaches, if
not a triumphant, at least a positive end.
The first of the final sonnets on time is Sonnet 1 oo. I have discussed it
before, in chapter 9, as the first sonnet in a series of groups which describe the
change of roles between the two men, but there I had little to say about the
poet's attitude towards time as it appears in the sonnet:
195
196 The Reader and Shakespeare's Young Man Sonnets
Where art thou muse, that thou forget'st so long
To speak of that which gives thee all thy might?
Spend'st thou thy fury on some worthless song,
4 Darkening thy power to lend base subjects light?
Return, forgetful muse, and straight redeem
In gentle numbers time so idly spent;
Sing to the ear that doth thy lays esteem,
8 And gives thy pen both skill and argument.
Rise, resty muse; my love's sweet face survey
If time have any wrinkle graven there;
If any, be a satire to decay,
I 2 And make time's spoils despised everywhere.
Give my love fame faster than time wasted life;
So thou prevent's this scythe and crooked knife.
I described this earlier as a sonnet of deliberate predictability: it uses a series of
stock elements to lull the reader, in preparation for the subversive effects of
Sonnets 101 and 102. One of those elements is time, who, as many times
earlier in the sequence, is no sooner mentioned than he graves wrinkles and
takes spoils; and the merest wrinkle to be observed on the young man's face
is, in good Petrarchan fashion, the signal for a meditation on global
desolation. Without retreating from that view of the sonnet I would like to
modify it by pointing out that in one particular way, in its attitude to time, it
does contain a presentiment of something new in the sequence. In bald
summary I can describe this as the beginnings of an acceptance that while the
primary purpose of poetry is to give the young man eternal fame, this goal is
only attainable by describing the wrinkles on his face - and describing them
means accepting them.
Early in the sequence the wrinkled face had been only a threat, a state so far
removed from the present perfect fairness of the young man that even while
voicing it the poetry carried its implicit admission that the threat had little
power. Later the wrinkled face is more of a reality, but the poet detaches
himself and the reader from its pathos by using it for sarcastic or satiric effect.
the memento mori effect of the glass and dial to a mere commentary on the
young man's blinkered vision, and prevents the reader from feeling
sympathy for the man who sees his beauty beginning to fade:
Explanation:
HOPE THIS HELP