By Sonnet 101, however, the poet has taken a very different tone with the Muse, and no longer simply begs or implores for inspiration, but rather asks "Oh truant Muse what shall be thy amends / for thy neglect of truth in beauty dyed?" (Sonnet 101,1-2). The poet has gone from speaking as passively inspired to demanding amends from the Muse for its neglect of he and his Fair Youth. The poet then implicates the Muse in his own plight, by declaring, "Both truth and beauty on my love depends; / so dost thou too, and therein dignified" (101, 3-4), meaning that both the poet and the Muse are given purpose by their function in praising truth and beauty. Quatrain 2 As mentioned above, rather than asking for inspiration, the poet demands explanation, though now he presumes his Muse's excuse for the neglect, which the poet takes to be that truth of beauty is self-evident, and needs no further embellishment. It is in the second and third line of this quatrain, or the sixth and seventh lines in the sonnet, where the rhythmic structure of Sonnet 101 becomes noteworthy. Whereas the rest of Sonnet 101 follows conventional structural patterns, it is in line 6 and 7, "Truth needs no colour with his colour fixed; / Beauty no pencil, beauty's truth to lay," that the rhythm deviates from the established norm, which is discussed in depth earlier in this article. Though there is no definitive explanation for this alteration, its inconsistency warrants speculation. If we assume that the difference in pattern is not an oversight on the part of Shakespeare, then it is conceivable that this creative idiosyncrasy was made for aesthetic or symbolic reasons. It is then pertinent to question why these particular lines are given this unique structural treatment. Putting aside aesthetic interpretation, it could be conceived that Shakespeare intentionally chose these two lines with which to assert freedom from the regular metrics of iambic pentameter, to show that truth and beauty should be singled out. Given this interpretation of the second and third lines of the quatrain, the fourth line, "But best is best, if never intermixed?" can even be read as the poet-speaker's assessment that his Muse does not see fit to embellish truth and beauty through poetic inspiration. Quatrain 3 The poet rejects this neglect of praise that he has attributed to his Muse's will, and