UPMSP Intermediate English study materials
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Reading the “But”: Structure and Misreading in The True Beauty

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Reading the “But”: Structure and Misreading in The True Beauty

A revision class on Carew’s “The True Beauty”. One student’s paraphrase reads: “The poet praises a rosy cheek, a coral lip and star-like eyes, and says that old Time makes them decay. So the poem is about how beautiful women lose their looks.” Another student objects: “But the second stanza says the opposite.” The teacher writes two clues on the board: stanza 1 opens “He that loves…”, stanza 2 opens “But…”. The lines under discussion are: “He that loves a rosy cheek / Or a coral lip admires … / As old Time makes these decay, / So his flames must waste away.” And: “But a smooth and steadfast mind, / Gentle thoughts and calm desires, / Hearts with equal love combined, / Kindle never-dying fires.” The exam question is: “What is the ‘true beauty’ the poet celebrates, and how does the structure of the poem help him make his point?”

1. Show why the first paraphrase is a misreading, using the grammatical subject of stanza 1.

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The grammatical subject is “He that loves…”, not “I”. The stanza describes what happens to the man who loves only complexion: his flame wastes away because its fuel decays. The poet is not praising the rosy cheek; he is setting out the fate of a love that rests on one.

A better paraphrase. “If a man loves only a rosy cheek or a coral lip, then as Time destroys those things, his passion must die with them.” Notice that the paraphrase now starts with if/then - the stanza is conditional, a case being put in order to be set aside.

The signal. Stanza 2 begins with “But”, which is a hinge of contrast. Whatever stanza 1 appears to recommend is what stanza 2 will correct. A candidate who misses the “But” will write an answer that contradicts itself halfway through - praising physical beauty and then praising the mind.

Exam habit. Circle the opening words of every stanza before answering a “structure” question; connectives carry more marks than most candidates realise.

2. Write the 40-word answer to the exam question, and explain which words in the poem you built it from.

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Answer (40 words). The poet’s “true beauty” is inward: a smooth and steadfast mind, gentle thoughts, calm desires and equal love. The poem first shows physical love dying as its fuel decays, then turns with “But” to the mind’s “never-dying fires”, so the contrast itself proves his point.

Sources. “Smooth and steadfast mind”, “gentle thoughts and calm desires”, “hearts with equal love combined”, “never-dying fires” for the positive half; “waste away” for the rejected half; “But” for the structure.

Why the structure sentence matters. The question asks two things - what and how - and most candidates answer only the first. Naming the two-part movement (fading fire, then undying fire) is the mark-earning half.

A caution. Do not claim the poet rejects the body or calls beauty evil; he calls it temporary and insufficient on its own. Overstating the rejection is the second commonest error after missing the “But”.

3. A short-answer question asks: “Why does the poet call physical beauty a fire that must waste away?” What must the answer contain to be complete?

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Complete answer. The fire is a metaphor: a flame needs fuel, and fuel is used up by burning, so a love fed only by cheeks, lips and eyes is consumed by the very Time that supplies it. “Must” adds inevitability - decay is not an accident but a condition of the fuel. The metaphor also prepares the contrast with the mind’s “never-dying fires”, which need no such fuel.

Three things the answer must do. (1) Name the device - metaphor, or extended metaphor. (2) Explain the vehicle: fire, fuel, consumption. (3) State the effect: love based on appearance is self-consuming, and the inevitability is built into the comparison, not added as an afterthought.

What to avoid. “Beauty is short-lived” is the theme, not the answer to why he calls it a fire; it earns no device mark and no explanation mark. Likewise, do not confuse this fire with the “never-dying fires” of stanza 2 - the whole point is that one goes out and the other does not.