[ اللغة الانجليزية ] : New plan 2nd year level 4

[Gladiolus]

ماقول الا الله يعين

طيب عندك اجوبه الاسئله الي تقولين عنها ليه بايش شبه نفسه و...

اذا مافيها كلافه

[nooni-s]

What is the muse's advice to astrophel in the end of the poem " loving in truth " ?

the advice is look in your heart and write

[nooni-s]

المشاركة الأصلية كتبت بواسطة Gladiolus

ماقول الا الله يعين

طيب عندك اجوبه الاسئله الي تقولين عنها ليه بايش شبه نفسه و...

اذا مافيها كلافه

What does the speaker compare himself to?

•Sonnet 73 contains three distinct metaphors for the poet’s progressive aging.

1.The first of these is the implied comparison between his state and the time of year when a few yellow leaves, or none at all, remain on boughs shaking in the cold winds, deserted by the birds that usually inhabit them. One might be tempted to compare this directly with graying and loss of hair, but it is more probably to be taken generally as a reference to the aging process.
2.The second quatrain moves from the time of year to the time of day. Again there is a metaphor: The poet’s likeness is that of a day fading in the west after sunset. Instead of the yellow of the first quatrain, there is the black of night’s approach, a more sinister prospect. There follows a personification within the metaphor, naming night as death’s second self, in essence creating a new metaphor within the first as it envisions night, which “seals up all in rest.” The word “seals” suggests the permanent closing of a coffin lid, providing a finality that is only slightly relieved by the knowledge that the reader is actually seeing not death, but night.
3.The third metaphor involves a complex process rather than a simple period of time. The afterglow of a fire gradually being choked by the ashes of its earlier burning becomes the description of Shakespeare’s aging.
4.The concluding couplet moves from metaphor to direct statement, summarizing the purpose of the poet in revealing so frankly his approaching old age. After the richness of the preceding lines, it might appear almost anticlimactic, yet it is important to the structure of the form, lending finality to the whole.


هذا بقصيدة that time of the year
حاولت اختصرها بس مآش ماطلع معي شي

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بنات عرض البور بوينت للقرامتكل مو واضح يطلع جنب كل حرف مربع صغير

[nooni-s]

Sir Philip Sidney composed Astrophil and Stellabetween 1581 and 1583, most likely in the summer of 1582. A sequence of 108 sonnets and eleven songs, it is an important work in the history of English poetry for several reasons.:

•The work remains one of the best examples of its type. It plumbs the psychology of the lover, Astrophil (“star-lover”), as he contemplates the beautiful Stella (“star”), who marries another man and gives little encouragement to Astrophil because of her need to guard her reputation.
•Stella is, in a number of respects, the conventional heroine of medieval and Renaissance love poetry, but she boasts, in addition to her blonde hair, fair skin, and rosy cheeks, unconventional black eyes, as did Penelope. In several of the poems, Sidney makes pointed allusions to her “rich” husband.
•A memorable element of the Astrophil and Stella sonnets is the striking physical description of Stella. Not that description itself is unusual; the “vertical description” of the beloved, from head to toe, is a hallmark of the Petrarchan sonnet tradition. What is unusual is Sidney’s departure from the Petrarchan cliché of the blue-eyed blonde as the feminine ideal to that of a dark beauty.
•The sonnet sequence is not a novel and cannot be thought of as demonstrating a plot; rather, Sidney presents a series of emotional crises, internal—and occasionally external—conflicts, and solitary musings on the course of a love affair that is destined to remain unconsummated. Soon it occurs to Astrophil that he should be pursuing virtue and not mere earthly beauty, but he continues to concentrate, sometimes defiantly, on the latter, while at other times he justifies his course with logic-chopping mental exercises. He vows to revert to virtue, but the mere sight of Stella challenges his determination. Another problem is Stella’s coldness; her heart is a “citadel” [immune] against him, presumably because a rival already “enjoys” her. (Although Sidney may have known Penelope Devereux before her marriage, it appears unlikely that there was then any opportunity for intimacy between them.) Astrophilhesitates between regarding Stella as the essence of virtue and wondering whether her scorn should be interpreted as mere ungratefulness to a passionately devoted lover.
•Anxious to please Stella, the speaker decides to send her poetry but cannot decide how to go about writing any. “

[nooni-s]

don't forget the irony in o happy dames

the irony in the poem that altough the lady knows that her love will not come back

but she is still waiting him ,

[Gladiolus]

مشكووره نووني تعبتتك الله يوفقك ويوفقنا ياارب جميع قولو آمين

[nooni-s]

عسآني نفعتكم وماشتت معلوماتكم والله من العصر ودي اكتب اللي عندي بس مافضيت

[nooni-s]

فديتك مافيها تعب حفظت وانا اكتبها

[nooni-s]

آميييييييييييييين يآررب