Nag -Mandala by Girish karnad

 Hello readers... Welcome to my blog

Today I'm going to write blog  about the play by Girish karnad named Naga-Mandala.(1988)Some points are here which are going to be discussed in this blog...

1. About the writer
2. About the play and character
3. Themes of the play
4. Myth in the play

1 About the writer

Girish karnad:

Background and Education

One of the foremost dramatists in India, Girish Karnad was born on May 19, 1938 in Matheran (Maharashtra). A multi-faceted personality, Kammad has earned international praise as a playwright, poet, actor, director, critic and translator. A Konkani by birth, his initial schooling was in Marathi. As a young man studying at Karnata University, Dharwar, where he earned a bachelor's degree in Mathematics and Statistics in 1958, Karnad dreamed of earning international literary fame, but he thought he would do so by writing in English.

Upon graduation, Karnad went to England and studied at Oxford where he earned a Rhodes Scholarship and went on to receive a Master's degree in Philosophy, Politics and Economics. He would eventually the international fame he had dreamed of, but not for his English poetry. Instead, Karnad would earn his reputation through decades of consistent literary output on his native soil.

Career

After his return to India, Karnad worked with the Oxford University Press at Chennai. He left the job in 1970 to become a full-time writer. Even before that, his very first play, Yayati (written in Kannada, and not his mother tongue Konkani), written in 1961, was a hit. The play, which chronicles the adventures of mythical characters from the Mahabharata, was an instant success and was immediately translated into several Indian languages.

Tughlaq, Karnad's second play, written in 1964, is perhaps his best known work. Hayavadana is based on Transposed Heads, a story by Thomas Mann. Among his other well-known works are Naga-Mandala,Taledanda and the latest Odakalu Bimba (A Heap of Broken Images), inspired from T.S. Eliot's poem, The Wasteland.

According to K.R.S. Iyengar, "In all his three plays (Yayati, Tughlaq and Hayawadana)-be the theme, historical, mythical or legendary-Karnad's approach is modern, and he deploys the conventions and motifs of folk art like masks and curtains to project a world of intentions, uncertainties and unpredictable denouements." And all his plays are conspicuous for the deft employment of irony and crisp dialogue.

2.About the play

This play is divided in two Acts and start with the prologue.

Character in prologue:

1. The man
2. Bagger
3. Flames
4. New flames
5. Story

Character in the Act 1 &2

1. Rani(means queen)
2. Appanna
3. Nag
4. Krudavva
5. Kappanna
6. Three village Elders
7. Crowd

Appanna and Naga are played by the same actors.

• Structure of the play

Prologue

This play  Nag-Mandala start with the prologue.In this prologue karnad start with dilogue of Man who is trying to awake the whole night. Perhaps tonight is his last night.He asked one begger about his fate and Begger replied him that "You have written plays and staged them.With these plays, you have made your trusting audience for asleep out of sheer bottom. They fell a sleep in their rickaty, wooden chair while watching your plays, and all that abused mass of sleep has turned against you and become the curse of death"

That's ehy he came to temple,which is nameless and empty.

After some time Falmes came to the temple and they all are there to gossiping about theri home, routine works and masters.The Man hide himself behaind the pillars of temple. Then New Flame join them in the temple and they all asked her about her and his home and master. Meanwhile the story came and she said all the flames that she will tell them a story if they will narrate it to someone else.But they have denyed. The Man was listening all the talk. The man jumped out from behind the pillar and grabbed the story.

He told her to tell him a story again story put a condition to him ,firstly he said yes then no then yes and after that story started to tell a story to all.

The Man,all the Flames were listening the story which is telling by story.

Act-1

The story of the play is about Rani, the central character of the story. She was married to a man named Appana. Alpana always locked Rani inside the room and he spends most of his time outside with a concubine. He comes home only once a day at lunchtime. Appana does not love her wife, even though he has no interest to talk with her. Whenever Rani tries to talk with Appana, he shuts her up by saying he has no interest in her talks.

One day an old blind woman, Kurudhawa comes near Appana’s home with her son Kappana. She talks to Rani and learns about her bad situation of living at home alone. Kurudhawa admires her beauty and informs her about Appana’s love affair. Kurudhawa decides to help Rani in getting her husband’s love by giving her magical roots. Rani was happy by hearing Kurudhawa’s plan. Kurudhawa gave her two magical roots. Rani first mixed the small root with milk and gave Appana to consume. But it was of no use. It does not work. Then she thought to give him the big root. She mixed the big magical root in curry. It changed the color of the curry. She was afraid to give him this red-colored curry so she pours it outside the home on an ant hill where a king cobra lives. The Cobra ( Naga) consumes the curry and as it was not a normal curry so the Naga falls in love with Rani and it starts to visit Rani every night in form of Appana.

Rani was happy because she thought that her husband has changed his mentality and now he does not scolds her and treated her like a queen. But during the day Appanna (her husband) treats her like his servant. Thus, Appanna’s behavior changes day and night because at night it was Naga in the form of Appanna and during the day real Appanna comes home. So Rani thinks that it was her dream that Appana visits her at night.

Act 2

But after a few months, Rani comes to know that she is pregnant, and then she realized that it was not only her dream but actually, really Appana visited her at night. When she informs her about it her husband Appana was frightened at Rani and dragged her to ‘Panchayat’. He accused Rani that she has extramarital affairs with some other person that’s why she is pregnant because he did not have marital relations with her. But Rani claims that the unborn infant’s father is Appana. Then, in the Panchayat the village elders suggest that Rani would have to pass through an ordeal to prove her innocence.

To prove her innocence Rani goes to the anthill and takes the Naga in her hand and says as Naga had suggested to her. The turned like a garland over her neck. Then, It slid through her shoulder and didn’t bite her. Thus her innocence was proved. Afterward, the villagers considered Rani a Goddess, and Appana had to accept her with the child. But Appana was still in confusion because he knew that he was not the father of that child but he had no choice except to accept her.

Some days later, one day Naga thought to see Rani so he went to the home where he found her with Appana. The Naga was very furious to see that so it decided to kill Rani but out of love, it stopped. And turn into a small cobra and hid in her long hair. In the morning when Rani combs her hair the dead Naga falls and the play ends. But the man (listener) was not satisfied with the sad ending so he provides a happy ending himself and that is … When Rani combs her hair the alive Naga falls, Appana tries to kill it but Rani hides it back in her hair. Here the play ends.

About the theme of play

1. Feminist
2. Petriachal & Masculine
3. Marriage
4. Love

Myth in the play

Myth of Nag

Myth of Roots

Myth of Rani

Myth of ordeal

Myth of Rat-Rani

Click here to read an article

Thank you 😊

Movie review Drushyam 2

 Hello readers

Welcome to my blog

This blog is about the movie Drushyam 2.

You might have watched the Drushyam but if you have not then even you will enjoy the movie.The starting of movie is also good, they first gave some glimpses of Drushyam after that start new part of it.

I observed that audience want masala and actions kind os movie more,but this is about suspense.so audiance felt boredom and left the cinema hall.But they have to wait for the twist.yes their are many questions related with movie that they haven't shown that and that events ,miss some points that we can feel while watching movie.

All over it's a good movie with suspense wo really liked this kind of movie for them its very interesting and enjoyable.The cast has played role  very well.Ajay devagan work is really appreciated.

Here are some glimpses of the movie..

At the end of movie the present got the Asthi of their son so his soul get peace.

 Hello readers

Here is the prasentation on General area paper 2part of  PhD Course work.

 Hello readers

Here is the prasentation on Machanics of writing.give. Your comments.

Thank you.

 Literary Tendencies or Characteristics of The Victorian Literature

           The literary figures of the Victorian age were endowed with marked originality in outlook, character and style. “In Macaulay there was much of the energy and enterprise of the self-made man. Tension loved to sing the praises of sturdy independence. In Dickens’ book there are, perhaps, more originals than in those of any other novelist in the world. The Bronte sisters pursued their lonely path in life with the pride and endurance learnt at the Haworth parsonage. Carlyle and Browning cultivated manner full of eccentricity, and even Thackeray, thought more regular in style than his contemporaries, loved to follow a haphazard path in the conduct of his stories, indulging in unbounded license of comment and digression.”

The discoveries of science have particular effects upon the literature of the age. If we study all the great writers of the age, I will mark five general characteristics.

Literature

The Victorian age was essentially the age of prose and novel. We found development of prose and novels on this age. “Thought the age produced many poets, and two who deserve to rank among the greatest,” says W.J. Long, “nevertheless this is emphatically an age of prose and novel. The novel in this age fills a place which the drama held in the day of Elizabeth; and never before, in any age, or language, has the novel appeared in such numbers and in such perfection.”

           Literature of this age tends to come closer to daily life which reflects its practical problems and interests. It becomes a powerful instrument for human progress. Socially and economically, Industrialism was on the rise and various reform movements like emancipation, child labor, women’s rights, and evolution.

We found that there is no progress of ‘drama’ in the Victorian age. Victorian writer put weight only on prose and novel. We can see that many writer write novels and other but we rarely found a person write drama or play.

Moral Purpose

Victorian literature in its varied aspects was marked by a deep moral note. “the second marked characteristic of the age is that literature, both in prose and poetry, seems to depart from the purely artistic standard of art’s sake and to be actuated by a definite moral purpose.” Tennyson, Browning, Carlyle, Ruskin were primarily interested in their message to their countrymen. They were teacher of England and were inspired by a conscious moral purpose to uplift and instruct their fellow man. Behind the fun and sentiment of Dickens, the social miniatures of Thackeray, the psychological studies of George Eliot, lay hidden a definite moral purpose to sweep away error and to bring out vividly in unmistakable terms the underlying truth of human life. We found good example in ‘The Mill on the Floss’ by Eliot. We found many of the writers write about family and morality in their literary work.

           The Victorian literature seems to deviate from “art for art’s sake” and asserts its moral purpose. Many of the writer gives the moral message to the world.

Realism

The literature of the Victorian age was correlated to the social and political life of the age. The Victorian literary artists, living aside a few votaries of art for art’s sake represented by the Pre-Raphaelite school of poets, were inspired by a social zeal to represent the problem of their own age.

            Perhaps for this reason the Victorian literature is the literature of ‘realism’ rather than of romance, not the realism of Zola and Ibsen, but a deeper realism which strives to tell the whole truth, showing moral and physical diseases as they are, but holding up health and hope as the moral conditions of humanity. Literature became an instrument of social reform and social propaganda and it was marked with purposeful, propagandistic and didactic aims.

         The Victorian literature is full of realism. We can say that Oliver twist is a realistic character; in Victorian age we found there is child labor in workhouse. So it called realism, and in Frankenstein there is no real character like monster in real life, but we found character like Oliver in real life. So the Victorian literature represents realism. There is no imaginative character in the literature. In Victorian literature we found realistic character rather than romantic character.

Pessimism

A note of pessimism, doubt and despair runs through Victorian literature and is noticed especially in the poetry of Matthew Arnold and Arthur Hugh Clough. Though a note of pessimism runs through the literature of the age, it cannot be dubbed as a literature of bleak pessimism and dark despair. A note of idealism and optimism is also struck by poets like Browning and prose writers like Ruskin. Rabbi Ben Ezra brings out the courageous optimism of the age. Stedman’s Victorian Anthology is, on the whole, a most inspiring book of poetry. Great essayists like Macaulay, Carlyle, Ruskin, and great novelists like Dickens, Thackeray and George Eliot inspire us with their faith in humanity and uplift us by their buoyancy and large charity.

                    The literature of the age is considerably modified by the impact of science. “It is the scientific spirit, and all that the scientific spirit  implied, its certain doubt, its care for minuteness and truth of observation, its growing interest in social processes, and the conditions under which life is lived that is the central fact in Victorian literature.”

           The questioning spirit in lough, the pessimism of James Thomson, the melancholy of Matthew Arnold, the fatalism of Fitzgerald, are all the outcome of the skeptical tendencies evoked by scientific research. Tennyson’s poetry is also considerably influenced by the advancement of science in the age, and the undertones of scientific researchers can be heard in ‘In Memoriam’.

Patriotism

A note of patriotism runs through Victorian literature. Tennyson, Dickens and Disraeli are inspired by a national pride and a sense of greatness in their country’s superiority over nations. Tennyson strikes the patriotic note in the following lines

                              It is the land that freemen till

                              That sober-suited freedom chose

                              A land of settled government,

                              A land of just and old renown,

                              Where freedom slowly broadens down

                              From precedent to precedent.

In one direction the literature of the Victorian age achieved a salient and momentous advance over the lecture of the Romantic Revival. The poets of the Romantic were interested in nature, in the past, and in a lesser degree in art, but they were not intensively interested in men and women.

           To Wordsworth the dalesmen of the lakes were a part of the scenery they moved in. He treated human being as natural objects and divested them of the complexities and passions of life as it is lived. The Victorian poets and novelists laid emphasis on men and women and imparted to them the same warmth and glow which the Romantic poets had given to nature. “The Victorian age extended to the complexities of human life, the imaginative sensibility which its predecessor had brought to bear on nature and history. The Victorian poets and novelists added humanity to nature and art as the subject matter of literature.”

                    We can say that in the literature the effect of patriotism. The writer focuses on national identity and patriotism in Victorian age.

Some other characteristics of this age

We found some other minor characteristics of Victorian age. A few literary artists of this age struck the note of revolt against

The Materialistic tendencies of the age, and sought to seek refuge in the overcharged atmosphere of the Middle age.an escapist note is also perceptible in the Victorian literature, and this is particularly noticed in the works of the pre-Raphaelite poets. Morris busied himself in its legends and sagas. “There were some minor reversions to classicism, but taken largely, literature of the age continued to be romantic, in the novelty and variety of it’s from, in its search after undiscovered springs of truth and beauty, in its emotional and imaginative intensity.”

           Idealism is often considered as an age of doubt and pessimism. The influence of science is felt here. The whole age seems to be caught in the conception of man in relation to the universe with the idea of evolution.

           Though, the age is characterized as practical and materialistic, most of the writers exalt a purely ideal life. It is an idealistic age where the great ideals like truth, justice, love, brotherhood, are emphasized by poets, essayists and novelists of the age.

Conclusion

           Thus, we can say that this is the age which is completely different than the age of Romanticism. It is the age of morality, realism, industrial development, patriotism, pessimism and development of prose and novels. That’s why the Victorian literature is the literature of realism rather than romance like Oliver Twist, Mill on the floss, Middlemarch, In Memoriam, etc. The literature of the Victorian age, in spite of its insistence on rationality, and an order born out of reason, could not completely cut off from the main springs of Romanticism. So after understanding these all characteristics we caneasily understand the Victorian age.

International women's day

 Hellooo.....Readers,

Happy International women's day to all.....

Today 8th March, this day we celebrate as international women's day.Now I'm working at Ssccm, Bhavnagar.That is the frist thing which gives me a kind of happiness. Another thing is that today I played the role of Anchor in the programme Jooi Melo.

Jooi-Melo is started by Usha Upadhyay ma'am before 4 years. This year it enters in 5th years She started this Jooi - Melo,so women can express their feelings and emotions. They all can write and expresse in various way so this kind of  start up give them platform. 

Never underestimate women because what they can do male can never do.

Here some glimpses of Today poetry recitation.In this session poetry recited by Titixa Pandya, Prakruti Bhatt, Kavisha Alagiya,Chavi Rathod and students, Hiral Pandya and Parmar Dhruv.

નારી તું નારાયણી

નારી તું મહાન

નારી તારી ગૌરવ ગાથા ગાયે વેદ પુરાણ 

Thank you....

Since there Is no help

SINCE THERE IS NO HELP

  BY MICHAEL DRAYTON

Since there’s no help, come let us kiss and part.

Nay, I have done, you get no more of me;

And I am glad, yea glad with all my heart,

That thus so cleanly I myself can free.

Shake hands for ever, cancel all our vows,

And when we meet at any time again,

Be it not seen in either of our brows

That we one jot of former love retain.

Now at the last gasp of Love’s latest breath,

When, his pulse failing, Passion speechless lies;

When Faith is kneeling by his bed of death,

And Innocence is closing up his eyes—

Now, if thou wouldst, when all have given him over,

From death to life thou might’st him yet recover!

As the opening line and valedictory tone suggest, ‘Since there’s no help’ comes towards the end of the cycle known as Idea’s Mirror, by which point Drayton has lost hope of ever winning his lady. This is clear from the argument in the sonnet, which we might summarise or paraphrase as follows: ‘It’s no good, so let’s split up. I’m glad, actually – no, really, I am – to be out of this relationship. Let’s shake hands and forget everything we once promised each other; and when we meet in the future, let’s agree not to show the other any sign that we still love one another. Now, as our love for each other dies for ever, as we realise that we cannot entertain any further hope that we can make this work – now, if you wanted to, you could reawaken my dying love for you, and bring it back to life.’

In other words, then, ‘Since there’s no help’ is a break-up poem that ends, in the final couplet, with a sudden turn – indeed, not just a turn (a common feature of the sonnet) but a turnaround, whereby Drayton effectively says that all of this could be reversed if the lover wished. But this shift has also begun with that ‘Now’ which begins the ninth line, ushering in the sestet or final six lines. And it is marked by the change from imperative mood (‘Shake hands’, ‘cancel’, ‘Be it not’) to the subjunctive (‘thou wouldst’, ‘thou might’st’).

This is what marks out Drayton’s sonnet as a memorable and striking poem: the way the poet goes from brash confidence that he is happy to be leaving the relationship behind to essentially saying, ‘Look, say the word and I’ll be back with you like a shot.’ One wonders if A. E. Housman had this poem in mind when he penned his ‘Shake hands’ poem about his hopeless love, for Moses Jackson.

But the other thing which makes ‘Since there’s no help’ such a memorable expression of hopeless love is the directness of the language: it’s bluff, virile, and to the point. This makes the poem easy to understand, but also makes the undermining of the poet’s over-confidence in the latter section of the sonnet all the more affecting.

Michael Drayton “Since there's no help, come let us kiss and part”

The sonnet “Since there's no help, come let us kiss and part”, written by Michael Drayton, consists of fourteen lines, which is typical for the form of a sonnet. Moreover this sonnet has three quatrains and one final couplet, which is the form of a Shakespearean sonnet (abab cdcd efef gg).

The three quatrains all have full rhymes at the end of the line. The couplet consists of an eye rhyme (over – recover). The rhyme scheme itself is an alternating one, which is due to the fact that it is (abab) instead of (abba).

The three quatrains all have ten syllables each, except for the couplet in the end which has first twelve and in the second line eleven syllables. That is a factor for the importance of the couplet in the Shakespearean sonnet forms, to which I'll come back later.

The metre in this sonnet is “unstressed - stressed”, which makes it an iamb, and because it has ten syllables it makes it an iambic pentameter, which means that there are five iambs in each line, except for the final couplet.

From line seven to line eight, right in the sonnet's middle, lies the only enjambment of the sonnet, which means that there is no full stop, semicolon or comma at the line's end and the meaning of the line is carried into the following one. That could implicate that the middle of the sonnet is as important as the final couplet in the end.

Michael Drayton also frequently uses the same words in the beginning of the lines. Only five of the fourteen lines have a word in the beginning that has not been used before or after. His repetitions include conjunctions (and, that) as well as an adverb (now).

There is also one anaphora in the sonnet in lines ten to eleven, which both start with the adverb “when”.

In lines nine to twelve he personalises love, passion, faith and innocence and gives them attributes of human beings, in order to make these words more important in his sonnet. This is a mixture of animism and anthropomorphism.

Due to the use of the pronouns “I”, “we” and “us” it is clear to say that it is a first person speaker in this sonnet, who talks about him- or herself. The addressee of the sonnet is his love interest, because he addresses to “you”.

The mood and the tone of the sonnet can only be described as sad, melancholic and pitiful with a little shimmer of hope. In the beginning the speaker of the sonnet and his love separate even though their relationship could have last longer than the point pointed out in the sonnet. It is hard for the speaker to break up with his love, but they somehow seem to have to break up, due to unknown reasons.

In my opinion Michael Drayton's sonnet is, concerning the content, structured in two parts. The first part tells the story of a bitter sweet breakup of the speaker and his love. It seems to be a very hopeless relationship without a future, which can be seen right in the beginning of the sonnet, which is the sonnet's title as well, (“Since there's no help, come let us kiss and part”) and line two (“You get no more of me”). The little shimmer of hope I mentioned before can be found in line three (“And I am glad, yea glad with all my heart”). Line four gives the reader the reason why he is glad (“That thus so cleanly I myself can free”), which is another factor for the bitter sweet and mixed feelings going around in the speaker's head.

In line five it seems that the speaker of the sonnet is finally ready to leave his love once and for all (“Shake hands for ever, cancel all our vows), which stand as a symbol for saying goodbye to someone. The last handshake with a person and the cancelling of vows, which could stand for the cancelling of a maybe planned wedding or the vow within the wedding that the lovers go through joy and sorrow till death does them part, are further signs for a goodbye.

All of a sudden, right after the speaker was ready to leave his love, the sonnet gives the reader another piece of hope. The speaker points out the possibility of meeting his love again (“And when we meet at any time again”). That is another recognisable factor of their love, because he won't give up the hope of meeting his love again.

Right afterwards comes the enjambment in this sonnet (“Be it not seen in either of our brows that we one jot of former love retain.”). In my opinion it is a conclusion to the first six lines of this sonnet. It says that if the lovers ever meet again, they pretend not to love each other. This could be a sign for a possible danger that occurs when the two lovers are together. It seems like something frightens the speaker not to openly show feelings for his true love and in order to, maybe, protect her or both they suppress their feelings for each other and go on with their lives alone.

The second part of the sonnet (line nine to fourteen) is a very hopeful one, even though it's wording may seem not hopeful.

It starts in line nine with the moment of death of a personified Love (“Now at the last gasp of Love's latest breath”). In my opinion the speaker refers to the relationship between him and his love interest. The fact that they have to separate somehow kills their love. The description of their Love's death goes on in line ten (“When, his (Love's) pulse failing, Passion speechless lies”). This is a simple trinity brought up by the speaker. It could mean that when Love is dying all the passion the former lovers felt for each other is gone, but it could also mean that without love, there is no true passion and so the “lovers” lie to each other through their passion. A third possibility could be that the passion is seen as an act of sexuality between two lovers and that this act has come to a final end. Not only through the separation but possibly due to some corporal disorders.

The next line (“When Faith is kneeling by his bed of death”) stands as a metaphor for a fading believe or faith when there is no love. If someone does not love, he has nothing to believe in. In my opinion believing in somebody or something means loving something or something in a certain way.

The speaker ends his portrayal of a dying Love in line twelve (“And Innocence is closing up his eyes”). That could mean on the one hand that Love has finally died and the two lovers are forever separated, or on the other hand that Innocence closed dying Love's eyes and gave him final peace and a last warmth through the touch.

In the final couplet the speaker addresses to his love again (“Now if thou would'st, when all have given him over, From death to life thou might'st him yet recover!”). The speaker gives his love a last shimmer of hope by saying that his love alone can resurrect their dying or already dead feelings for each other.

As I said in the beginning of this paragraph the text is rather positive, even though the wording has a darker sense. In my opinion the speaker does give examples for what happens after the separation and the meeting again. When both are forced not to show any feelings for each other it would be the inevitable death of their love. But in the end he says that the only one who could ever revive their love is his love interest. He takes away his own power to revive their love and puts it into the hands of his love. For me that is a clear sign of true love again, because he somehow waits for his love to come back to him. He tells his love subliminally that he will wait for her what ever happens and so he makes, while separating from her, the first step to come close to her again.

I think at first sight “Since there's no help, come let us kiss and part” is structured like every other sonnet, which has the Shakespearean form. But if you look closer into the sonnet's structure you will realise, like I did, that it has two parts within it's form. The first part of the Sonnet is about two lovers who separate from each other. This situation is followed by the enjambment, which acts like a couplet to first half of the sonnet. The second part of the sonnet is mostly about the speaker giving examples and ensuring his love give their love at a later time a second chance. So if I compare Michael Drayton's sonnet to a standardised Shakespearean sonnet it comes out to be a special one. Other sonnets are written to seduce a loved one. This one is not far away from that, because in the end the speaker somehow seduces his love to be with him again. The special thing about this sonnet is the beginning. It is very uncommon in seductive poetry to break up with your love only to re-seduce her. I think that is the point that makes Michael Drayton's “Since there's no help, come let us kiss and part” so special.

Find no peace

 Hellooo readers....

   Here Im going to discuss about poem named Find no pease by Thomas Wyatt.

Find no peace

SIR THOMAS WYATT

I find no peace, and all my war is done.

I fear and hope. I burn and freeze like ice.

I fly above the wind, yet can I not arise;

And nought I have, and all the world I seize on.

That loseth nor locketh holdeth me in prison

And holdeth me not—yet can I scape no wise—

Nor letteth me live nor die at my device,

And yet of death it giveth me occasion.

Without eyen I see, and without tongue I plain.

I desire to perish, and yet I ask health.

I love another, and thus I hate myself.

I feed me in sorrow and laugh in all my pain;

Likewise displeaseth me both life and death,

And my delight is causer of this strife.

Summary

The poet opened the poem with the conclusion in his mind saying that since he couldn't find no peace, he would give up his fighting. Line 2-7 further explains the poet's or the poem speaker's state of dilemma which precedes the poet's conclusion: "I fear and hope, I burn and freeze like ice; I fly above the wind, yet can I not rise, And naught I have and all the world I seize on; That looseth nor locket holdeth me in prison, And holdeth, me not yet can I scape nowise; Nor letteth me live nor die at my devise" The cause of the poet's frustration was shown in line 14 "And my delight is causer of this strife" meaning that his pains and sorrows were self-inflected due to his desire for love "I love another, and thus I hate myself"; the hatred was so strong to the point where he was displeased with living but didn't prefer dying as an alternative. 

 The poem has the theme of love, dilemma, unfulfilled emotion, vanity of possession when love is shattered, etc. As said at the beginning of this post, love is very paramount in the poem; where the poet expressed a certain love experience which led him to an unfulfilled emotional state, leaving him in a state of dilemma. Everything the poet acquired were worth nothing since he couldn't hold unto the love he desired. The poem is a sonnet with end rhyme pattern of ABBAABBACDDCEE. It looks anti-climatic and has the old form of English language. 

The repetition of first person singular "I" made the poem more personal. Most lines of the poem are antithesis. Silmile in line 2 "freeze like ice", hyperbole in line 3 and 4 "I fly above the wind" "all the world Iseize on" alliteration in lines 5, 7, 13 "That looseth nor locket" "Nor letteth me live nor die at my devise" "Likewise displeaseth me both death" personification in line 14 "And my delight is causer of this strife" Assonance in lines 2, 3, 7, 9, "like ice" "fly above the wind, yet can I not rise" "die at my devise" "eye I see" According to wikipedia.org article, "Sir Thomas Wyatt (1503 – 11 October 1542) was a 16th-century English ambassador and lyrical poet. 

He is credited with introducing the sonnet into English literature. He was born at Allington Castle, near Maidstone in Kent."