(11)
According to the poet in the above poet, the summer has many defects unlike his beloved. In other words proceeds to outline the ways in which she actually exceeds it. First, he says that a summer day is actually not as lovely or temperate as she is. Sometimes “Rough winds shake the darling buds” and “summer’s lease hath all too short a date”; in other words, summer can be somewhat extreme, even volatile, and it does not last very long because it eventually gives way to autumn. Further, sometimes summer can be “too hot” and then, other times, the sun goes away for a long time (when “his gold complexion” is “dimm’d”). Furthermore, nature’s beauty has a way of “declin[ing]” as time passes. The speaker’s love, on the other hand, lives in an “eternal summer” because her beauty will never die; he has immortalized her and her beauty in these lines, and so she is better than literal summer. Hence the defects of the summer is day makes it impossible to be compared to the poet beloved.
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(9)
The poet use of rhetorical question beginning from In stanza 2, the poet laments further that if Africans ”Cry roughly” of their torments which started from the colonial times which he refers to as, ”… the start of things”, he wonders who will watch their ”large mouths” when they yell for help.
In stanza 3, the poet continues to lament that nobody will be emotional(represented by ‘heart’) enough to listen to their ‘clamouring’ and if by chance, they realize their predicament and grow angry, nobody will hear them as he terms any late realisation and anger as, ‘pitiful’. In stanza 4 & 5, the poet supports the reoccurring belief that the dead serve as ancestors and protect the living from evil forces. In these stanzas,the poet wonders that when the living dies (our dead) and meet the ancestors (their dead) whose advice has fallen on deaf ears and whose ‘wild appeals’ have been ignored, they (the living, now dead) would remember their warnings and regret not ever listening. The poet continues that they (the ancestors) left their signs on earth, water and air for their ”blind, deaf and unworthy sons” who see ‘nothing’ they have made. In stanza 6, the poet continues that since the Africans did not heed the advice of their ancestors, he wonders who will hear their ‘sobbing hearts’ when they ‘weep gently’.
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(5)
Joseph Asagai courts the attentions of Beneatha. In trying to win her affections, he is persistent but never overbearing. He flatters her with gifts (something that George Murchison has not done); in addition, Asagai’s gifts are not meaningless trinkets but are things that are both useful to and desired by Beneatha — such as the Nigerian robes he clearly has gone to a lot of trouble to obtain. Asagai’s compliments to Beneatha are sincere and therefore believable. His peaceful ways and calm manner give Beneatha an appreciation of his views even when they disagree. Contrasted with George Murchison’s abrasive put-downs of Beneatha and George’s insistence on retaining his narrow-minded views, Asagai appears as Beneatha’s savior from the potential tragedy of her eventually becoming George’s wife. In other words Asagai is helpful and concerned about the welfare of others. He volunteers to assist in the move to Clybourne Park and offers much-needed consolation and good advice to Beneatha when she is at her lowest. He counsels Beneatha spiritually and emotionally, helping her to get back “on track” as she rails against her brother’s foolishness in having lost the money.
He was used in the play to make a radical point about race
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