What are the stylistic elements , rhyme , rhythm and the pattern and relationships that bind the words to sense and sound in sonnet 64 ?I'm doing a...

Shakespearean (also known as Elizabethan or English)
sonnets follow the same rhyme scheme. The sonnet is comprised of fourteen lines. There
are three four-line stanzas (like paragraphs in writing), which represents twelve lines,
and one rhyming couplet, representing the last two lines. The rhyme scheme for this kind
of sonnet is created with the following pattern of end rhyme (rhyming with last word of
a line):

ABAB
CDCD EFEF
GG

Though the
rhyme scheme above visually separates the stanzas and rhyming couplet from each other,
most of the time these sonnets are printed as one long paragraph. Generally, the first
two stanzas present a main idea. At the beginning of the third stanza, or the ninth
line, there is usually a shift in the focus of the poem; the last two lines, or the
rhyming couplet, summarize the sonnet, pulling it all together. A very clear example of
this organization can be seen in Sonnet 29.

Shakespeare has
written his sonnets in iambic pentameter. This means he attempts to have ten syllables
in each line, and then place stress or emphasis on every other syllable. Note the
following line from Sonnet 64: the bolded words or syllables indicate where the stress
(or emphasis) should fall.

readability="5">

When I have
seen by Time's fell
hand
de-faced...

Therefore,
the sound of the sonnet generally comes from the rhyme scheme and the rhythm of the
poem. The sense of the poem comes from the poem's main idea. In
Sonnet 64, the poet seems to be humbled by the strength of the forces of Time and nature
to overwhelm and destroy things that might seem indestructible. The focus of the sonnet
then moves to love and explains that within a world of destruction, love will be lost in
death, and one is forced to weep in having such a dear thing that one fears so much to
lose—and will. Sonnet 64…

readability="6">

...catalogues instances of inevitable destruction
so as to provide a consolation for death and places “emphasis on the inescapable fact of
mutability” [change].

The
central idea is that the speaker's love is lost, but not by the choice of the loved one,
and this comforts the speaker in that it could not be avoided—it wasn't the speaker's
fault or wish either. There is great concern by the speaker for the loss of life
and of love, but no indication of which causes the greater sense of
loss.