PL9fwy3NUQKwZ52Wxrug71SHLnFjqhlVJc/kWEiVweX2QA_raw.srt

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Okay, thank you. I think you are excited. Today we

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are coming to the, you know, this fourth lecture

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of, you know, poetry. And I think most of you are

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excited because they have something to say. So, as

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usual, let us start by having

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somebody to read her report.

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Fighting for survival can't be abandoned since no

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one can stop dreaming of the sweet memories in

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life. We all want to retrieve every sweet moment

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and live it again with the same people or maybe

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with others. And this is me having the same course

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for the second time gives me a flashback of the

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sweetest moments I have ever spent in my life.

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When I see the girls reading their creative

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reports with a victory smile, I remembered that

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smile I must have drawn when I was reading my

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first report. But when the same creativity comes

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with the same words I heard in the past, it must

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be something incredible. Since the music of

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alliteration metaphors paradox are heard again, I

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completely recognized the reason behind giving

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them the term aesthetics. So I admit it's a

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privilege more than a resentment to repeat the

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same course again. Good, thank you. So you are

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affirming what I'm doing here. Thank you for this

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report. Yes, you can attend the course more than

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once, but every time you have something new. Yeah.

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Okay, yes. Let's see if you can.

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Good morning, everybody. Having been ill for a

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couple of days, I was compelled to miss the poetry

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class. Though I came back last class and was quite

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thrilled at the nicely air-conditioned room with

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the air that was tickling my still warm face, the

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cameras were behind me and Being not having not

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prepared yet I was trying to sing further in my

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chair and hide between the colorful heads in the

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class. The poem being discussed however seemed

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pretty fun and easy to analyze. Dr. Akram's

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exploration investigation of the various aesthetic

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and figurative elements were really nice and were

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really exciting and got me more and more more and

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more excited. I feel excited about the class and

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there it goes with the next with the next class my

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journey of exploration will begin. Thank you very

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much. Okay, I know like most of you are willing to

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read, but I don't like to disappoint you. You can

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just read, come and read it quickly. Next time I'm

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going to choose randomly. Okay, go ahead. My last

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lecture in this class because I escaped from this

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class. Okay, so you're coming back. You're an

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attorney. Yes. Escaping from that room is what I

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did. So nice, so, so comfortable. But I was just

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like a bird in cage that could not fly. Move

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camera one. Switch camera two. That what, what the

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men in that room keeping said. Walking upstairs

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with my friend. Showing me her report with little

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shy. What amazing job you do. It, it touch me, it

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touch from me the sky. Go ahead. beneath the hope

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that gives life to whose heart is dead. Kick out

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your fright and just try. One day your struggle

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will end and we'll see the shine of success laying

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in your bed. With determination one could not be

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but guy. Finally she started reading and my heart

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with pleasure flied. Wow, great doing, my

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professor said. Then, with our interesting poem,

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we go deep and high. The time passed away, and one

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idea didn't leave my head. Can I write well as my

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friend? Yes, you can do whatever live in your

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side. Just be strong and don't let it die. This is

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very interesting. I like this report because it's

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creative. It has some poetic aspect. And I like it

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also because it runs against the motif of the

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poem. Because you see in the poem, the poet was

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frustrated, the poet was disappointed, and it

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seems like he has already, you know, made up his

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mind, like to relinquish, to give up, you know,

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any attempt of hunting, you know, the deer. But

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here, here we have a student who is persistent,

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who's not going to give up. You see? Good. So

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today's class is going to be a little bit

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different. Like it's practical more than me just

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talking. I know that I assigned you to read the

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first part of the critical plan. So just I want

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first at the beginning to see what you have

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understood. Then we're going to go through or to

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go again through like the aesthetics to show you

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the aesthetics and to see how we can link between

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like the aesthetics and the meaning of the poem or

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let's say the possible meaning of the poem. So let

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me ask you, what do you think of the first part of

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the critical plot?

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Yes. Yes, please. When you want to be excited

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about, you should answer some questions. Yes.

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First, you have to understand

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the course and language and read it again and more

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again in order to understand it deeply and then So

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yes, yes, you think like when we embark on reading

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any poem, we don't have like just to go to the

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poem without asking ourselves some questions.

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Because I think asking questions will help us to

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have a better understanding of the poem. So this

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is very important. So who's speaking to whom? What

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is like the setting of the poem in time? What is

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the setting of the poem in place? And so on. Like,

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I think it is very important here when we, like in

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this poem, who's speaking? You know? Who's

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speaking? Yeah, like it's very important. Like a

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courtier? You know, the poet? An ordinary man?

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Like, who's talking? And to whom? And I think, you

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know, how many voices we have in the poem. It's

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very important to know, like, how many voices we

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have in the poem. Because, like, realizing this or

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finding answers to these questions will help us to

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draft our, you know, let's say, initial critique

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of the poem. Good. Let's see if somebody else,

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like, what do you understand from what you have

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read? Yes?

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So let's go through the question. The first

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question, what is like, who's talking, I think?

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What is the first question? The setting of the

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poem in time. Do you think this is very important,

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my question? Does this give us clues? And if we

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are talking about this poem, You know, and I

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think, you know, we have now in mind like the

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setting of the poem. How does this help us? Yes,

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Ana. I'm sure that it's like an essential aspect

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that when we know the time that the poem was

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written and we know the culture of that time, the

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features of that time, the cases and everything

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that happened in that time, that the poem itself

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reflects what happened in that time. So sometimes

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it is a reflection, sometimes it is like, you

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know, an expansion of an idea, sometimes it runs

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against the prominent ideas of the time. See? So

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it's very important to understand the setting of

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time, like when it was, when was the poem written?

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Yes? I think it is important to know the time

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because we have to know the period because it's,

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every period has a specific origin.

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expectations, right, because the poets were

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writing for the readers of the time. And, of

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course, they knew what they expected. Yes, Jahan?

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I think sometimes it is actually essential, but

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sometimes it really doesn't matter. Sometimes you

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have a text that means something back in time, but

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when you read it now, it gives the meaning a whole

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different dimension. So it also gives it richness.

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when you don't really attach it to a specific

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period of time. When you just take it as a chance.

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You are right, but this depends on what kind of

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critic you are. If we are dealing with new

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critics, of course, like Jehan studied, like

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schools of criticism. Like, yes, if we are dealing

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with new critics, we have to forget anything

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underground. But nowadays, the most prominent

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schools of criticism are

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the cultural critics and the neo-hystericists. The

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neo-hystericists think that the poem was a kind of

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dialogue between the text and the age itself.

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Okay, but thank you. This means we don't have,

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yes, it is very important to know the time, but we

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can discuss the poem, you know, in isolation, but

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this gives us like very objective. Yes? So I think

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it's like a vital way or strategy to study history

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by reading that poem from like ages ago. Yeah. So

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I think also it is a kind of revision because, you

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know, sometimes we take what other people say for

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granted. And in the poem, I don't know, like, we

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believe the poet, However, some of you, like, was

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a little bit cynical, like they didn't trust what

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the poet said, they didn't believe him and they

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started like to think of the whole anti-feminist

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culture of the time. You see what I mean? Because

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some of you Like, didn't believe that the poet

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was, you know, in that way was a victim, but he

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was rather a victimizer. So all these things might

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be aroused when you think, what is the setting of

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the poem in time? And then, what is the setting of

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the poem in place? It's very important. You know,

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the place. Because sometimes, like, the place

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might restrict you to certain norms. If we think

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of our poet as, you know, a courtier, a man who

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was living in a court, so I think he had to

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respect the rules, the regulations of the court.

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Otherwise, he would be put in prison, like what

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happened to him. So I think the place, sometimes

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we are affected by the place. So if you are

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talking about Like, you know, the place of the

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poem, you have the hunting scenes, and I think

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hunting was like a picture of the daily life of

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the royal family during that time. a sport like

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one kind of sports the king was involved in is

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like to go hunting and I think hunting has to do

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with like it is very it is a leisure activity you

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know but it is like a leisure activity for

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aristocrats for high class people so I think all

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of these might come to our mind okay what other

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questions we have Who's the speaker? Do you think

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it's very important to know who's the speaker?

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Who's the speaker in the poem? Who's the speaker?

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Okay?

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The poet? The poet, a man? A woman? Yeah, we have

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the voice of a woman, but the main speaker is a

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man. But don't you think, like, the man here, the

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speaker voice is stronger than any voice? And even

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when he let her speak about herself, he chose

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something, you know, a certain thing, no limi

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tangere. That was a little bit offensive, if you

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want to say. So he subsumed her voice. I mean, he

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included her voice in his voice. OK, good. To

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whom? Like to whom? I think in the poem.

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So he was talking to other hunters? He was talking

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to other men? He was talking to other ladies?

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Anybody who accused him? And anybody who was

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envious of him because like some people Some

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people envied him and they thought, you know, he

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was privileged, but he wanted to show them that

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his life was different. Okay.

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Don't you think he was talking to the king as

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well? To the king. Imagine yourself the king. What

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would reaction, what would your reaction be? Would

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you be happy or you would not be happy? Why?

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Yes? Would you be happy like if you were the king

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and listen to this? You know? No? Why?

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Yeah, I think he would be mad because he's talking

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about his wife, you know? Good. Who thinks she

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would be happy? Yes. Yeah, he gave up. And I

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think, you know, also like No Limit Tanjer, like

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because he's the most powerful. Nobody is allowed

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to rival or to vie with him because he is an

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absolute power. I think, you know, he might be

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happy or angry, it depends how we interpret this.

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And the last question is, after answering all

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these questions, who is speaking to whom, the

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setting, the place, what is the poem about? This

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is the most important thing. What is the poem

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about? So let me, because this is what I want you

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to do today, is to divide in groups. And then

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start to write what might the poem be about. Okay?

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Good. So let's see. What do you think the poem is

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about? It's about courtly love. What do you mean

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courtly love? Women from the high class fall in

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love with a man from the low class. Fall in love

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with a woman from the high class. Okay, so this is

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like, you know, the meaning we see in the poem.

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Unattainable love, courtly love, and again this is

247
00:17:27,420 --> 00:17:32,080
an exercise of masculinity. But let's see, let's

248
00:17:32,080 --> 00:17:34,080
put this, because this is one of the strongest

249
00:17:34,080 --> 00:17:38,360
themes. It is a possible theme. Do you have more

250
00:17:38,360 --> 00:17:39,680
themes like this?

251
00:17:44,200 --> 00:17:49,220
So do you want to say like the poem is about a

252
00:17:49,220 --> 00:17:52,860
class hierarchy like in that society? Like

253
00:17:52,860 --> 00:17:57,220
privileged people who are holding the power, who

254
00:17:57,220 --> 00:18:02,720
are holding the money, and the disprivileged

255
00:18:02,720 --> 00:18:06,560
people who are having nothing, you see, the weak.

256
00:18:07,680 --> 00:18:12,020
And like if we say who are the weak people, we

257
00:18:12,020 --> 00:18:17,040
might list The poet means this, the woman, you

258
00:18:17,040 --> 00:18:19,660
know, and even other hunters, you know, because

259
00:18:19,660 --> 00:18:24,260
they were doing the same thing. Good. What else?

260
00:18:27,780 --> 00:18:33,960
It's still like it is, you know, courtly love. But

261
00:18:33,960 --> 00:18:37,680
like here we have about unattainable, it is about

262
00:18:37,680 --> 00:18:43,820
unattainable goal. It is about power, you know.

263
00:18:44,630 --> 00:18:45,210
What else?

264
00:18:51,290 --> 00:18:54,210
Yeah, it's about class division itself.

265
00:18:57,030 --> 00:19:00,330
I don't know. Evaluating.

266
00:19:06,710 --> 00:19:07,270
Yeah,

267
00:19:10,130 --> 00:19:13,310
but still it's about attainable goal and

268
00:19:13,310 --> 00:19:16,330
attainable, you know, ambition. Like everybody of

269
00:19:16,330 --> 00:19:19,070
us has an ambition, but sometimes we have a lot of

270
00:19:19,070 --> 00:19:22,890
hindrances that impede like the achievement or the

271
00:19:22,890 --> 00:19:27,670
fulfillment of this. Okay. Now I think we have

272
00:19:27,670 --> 00:19:32,390
today what I'm going to do is like to make you

273
00:19:32,390 --> 00:19:36,490
write down what you think the poem about. But let

274
00:19:36,490 --> 00:19:42,270
me just remind you of the

275
00:19:42,270 --> 00:19:45,170
aesthetics. Like last time we looked at the rhyme,

276
00:19:46,290 --> 00:19:54,530
and we said we have, as you see, A, B, B, A, A, B,

277
00:19:54,550 --> 00:20:00,450
B, A, and then C, D, E, C, D, E, like this might

278
00:20:00,450 --> 00:20:05,290
happen in the poem. I don't know how you can make

279
00:20:05,290 --> 00:20:09,830
use of this when you are going to write your

280
00:20:09,830 --> 00:20:12,990
critique. What are we going to do with this? Yes,

281
00:20:13,090 --> 00:20:15,430
this is a patriarchal consonant. The patriarchal

282
00:20:15,430 --> 00:20:20,170
consonant has two sides, you know, has, you know,

283
00:20:20,830 --> 00:20:25,150
has two parts, the octave and the system. So you

284
00:20:25,150 --> 00:20:28,910
might think of the whole argument, how the whole

285
00:20:28,910 --> 00:20:33,190
argument is distributed. You might think of the

286
00:20:33,190 --> 00:20:40,030
words that make rhyme and their impact on us. You

287
00:20:40,030 --> 00:20:44,690
might think also of the change, you know, he's

288
00:20:44,690 --> 00:20:47,770
doing, he's trying, because Sir Thomas White was

289
00:20:47,770 --> 00:20:52,610
experimenting, and we don't have like here, you

290
00:20:52,610 --> 00:20:55,510
know, we have in this state, like he's not

291
00:20:55,510 --> 00:20:59,530
consistent. And even you can do it like this, or

292
00:20:59,530 --> 00:21:04,090
you can end by EE, which is a couplet. If you look

293
00:21:04,090 --> 00:21:08,950
at the couplet, do you think It is valuable in

294
00:21:08,950 --> 00:21:13,570
itself. Is there something he is stressing in that

295
00:21:13,570 --> 00:21:17,790
couplet? So all these things you might ask when

296
00:21:17,790 --> 00:21:20,490
you write, when you want to make use of the rhyme

297
00:21:20,490 --> 00:21:25,170
itself. See what I mean? I'll leave this for you.

298
00:21:25,690 --> 00:21:30,050
And we'll see what you're going to write. And then

299
00:21:30,050 --> 00:21:32,690
the rhythm. I don't know what you are going to do

300
00:21:32,690 --> 00:21:37,100
with rhythm. Yes, we have rhythm, and as you see,

301
00:21:37,240 --> 00:21:40,840
the rhythm is a kind of iambic pentameter. But not

302
00:21:40,840 --> 00:21:45,160
all the poems like this. We have some verses like

303
00:21:45,160 --> 00:21:49,240
we have extra syllables. But this is, as you see,

304
00:21:49,720 --> 00:21:55,240
but as, but as, for me, unless, I may, no more.

305
00:21:55,600 --> 00:21:59,580
Titam, titam, titam, titam. It's like unchi,

306
00:21:59,780 --> 00:22:04,140
unchi, unchi, unchi. Like unstressed, stressed.

307
00:22:04,580 --> 00:22:10,960
You know, if we look here, but as you see, but as

308
00:22:10,960 --> 00:22:24,360
for me, unless I may know more. So, it is iambic

309
00:22:24,360 --> 00:22:27,420
pentameter, and I don't know what you are going to

310
00:22:27,420 --> 00:22:30,920
do with this, you know, this meter, okay?

311
00:22:33,760 --> 00:22:40,580
It's musical, of course, but it is like this, ti

312
00:22:40,580 --> 00:22:45,940
tam, ti tam, ti tam, ti tam. Can you link it with

313
00:22:45,940 --> 00:22:50,360
anything related to the feeling of the poem, the

314
00:22:50,360 --> 00:22:51,880
feeling of disappointment, the feeling of

315
00:22:51,880 --> 00:22:55,120
whatever? So it's very important. If you cannot,

316
00:22:55,460 --> 00:22:59,840
leave it. But I would encourage you to make use of

317
00:22:59,840 --> 00:23:01,400
these aesthetic things.

318
00:23:07,190 --> 00:23:11,450
Yes? Okay, now, like here, Jihan started to

319
00:23:11,450 --> 00:23:14,390
reflect upon this, you know, because if we are

320
00:23:14,390 --> 00:23:17,290
talking about like frustration, like hope and

321
00:23:17,290 --> 00:23:19,710
frustration, so it is, you have this

322
00:23:19,710 --> 00:23:24,170
interchangeable effect, you know, it might be. I

323
00:23:24,170 --> 00:23:26,390
don't want like to rule out something to say,

324
00:23:26,530 --> 00:23:33,310
okay, sorry, Here are some of the themes. You

325
00:23:33,310 --> 00:23:37,430
might embrace some of them. And I would leave

326
00:23:37,430 --> 00:23:41,530
these themes. When you read, it's about attainable

327
00:23:41,530 --> 00:23:43,390
love.

328
00:23:44,710 --> 00:23:47,810
As you see, the speaker chases a woman whom he

329
00:23:47,810 --> 00:23:50,510
cannot and must not reach, and must not reach.

330
00:23:50,930 --> 00:23:54,650
She's a taboo. She is something you cannot reach.

331
00:23:54,690 --> 00:23:58,970
You know what I mean? For she is a prize of the

332
00:23:58,970 --> 00:24:05,250
ruler of the land. So nobody can challenge the

333
00:24:05,250 --> 00:24:10,170
king. And I'm not sure whether the poet was

334
00:24:10,170 --> 00:24:16,470
antagonist or accomplice with the king. So he

335
00:24:16,470 --> 00:24:20,670
might be like a media machine for the king, hey

336
00:24:20,670 --> 00:24:25,810
hunters, if you are trying to do like this, this

337
00:24:25,810 --> 00:24:29,010
is your fate will be. So he might be admonishing

338
00:24:29,010 --> 00:24:37,450
them, warning them. If Annabelle approaches, let's

339
00:24:37,450 --> 00:24:43,610
say, what is related to the king or something the

340
00:24:43,610 --> 00:24:46,510
king owns, you'll be in trouble. Do you see what I

341
00:24:46,510 --> 00:24:52,370
mean? Shakespeare, in most of his plays, promoted

342
00:24:52,370 --> 00:24:58,650
that culture, like the king was divine and nobody,

343
00:24:59,030 --> 00:25:02,710
you know, in the kingdom should think for a moment

344
00:25:02,710 --> 00:25:07,370
to contest that power. Otherwise, he would be

345
00:25:07,370 --> 00:25:13,090
ostracized. Ostracized means like marginalized or

346
00:25:13,090 --> 00:25:18,430
treated badly. You see what I mean? Good. Another

347
00:25:18,430 --> 00:25:21,810
theme is like bowing to absolute power. Like this

348
00:25:21,810 --> 00:25:24,550
is what I'm talking about. The king is a power and

349
00:25:24,550 --> 00:25:28,680
so you are You know you are showing veneration and

350
00:25:28,680 --> 00:25:32,600
submission to that culture These are possible

351
00:25:32,600 --> 00:25:34,760
themes you can add to the courtly love

352
00:25:34,760 --> 00:25:38,120
Unattainable

353
00:25:38,120 --> 00:25:43,640
goal And you can read I can leave this for you

354
00:25:43,640 --> 00:25:48,320
like on the page to read And

355
00:25:48,320 --> 00:25:52,800
here we have all the metaphors we talk about you

356
00:25:52,800 --> 00:25:57,110
know and I think the alliteration, so you have the

357
00:25:57,110 --> 00:25:59,730
metaphor, the alliteration, you have the metaphor,

358
00:26:00,390 --> 00:26:04,250
you have the paradox. So all these are elements

359
00:26:04,250 --> 00:26:09,670
that you should use when you write. But now, with

360
00:26:09,670 --> 00:26:14,910
all these things in mind, how to start is the

361
00:26:14,910 --> 00:26:22,590
biggest question. How to start? Now, I think it's

362
00:26:22,590 --> 00:26:27,090
very important, to contextualize the poem, it's

363
00:26:27,090 --> 00:26:29,090
very important to write the first paragraph.

364
00:26:30,010 --> 00:26:35,790
Because if you write the first paragraph in which

365
00:26:35,790 --> 00:26:42,450
you have to articulate your thesis, your thesis

366
00:26:42,450 --> 00:26:44,810
statement, the topic sentence, and the topic

367
00:26:44,810 --> 00:26:47,530
sentence, when we are talking of the poem, should

368
00:26:47,530 --> 00:26:54,240
include the main idea of the poem. So you might

369
00:26:54,240 --> 00:26:59,900
say, let me just help you. This poem seems to be

370
00:26:59,900 --> 00:27:01,400
about, let me write even.

371
00:27:07,260 --> 00:27:09,000
So I might start saying,

372
00:27:21,310 --> 00:27:28,330
This poem, or I might, it's good to say, Huzo Lesz

373
00:27:28,330 --> 00:27:32,410
Zohan is

374
00:27:32,410 --> 00:27:38,050
a poem or is a sonnet. I prefer like, if you, it

375
00:27:38,050 --> 00:27:40,390
is different when you say it is a sonnet. It is a

376
00:27:40,390 --> 00:27:43,490
sonnet, you show that, you start to fuse. It's a

377
00:27:43,490 --> 00:27:47,250
sonnet written

378
00:27:47,250 --> 00:27:49,930
by

379
00:28:14,840 --> 00:28:21,140
Poet or courtier. Poet, and you say he's a

380
00:28:21,140 --> 00:28:21,760
courtier.

381
00:28:25,740 --> 00:28:34,720
The main theme of the poem seems to be about...

382
00:28:34,720 --> 00:28:38,080
The main theme of the poem, after that you say,

383
00:28:38,540 --> 00:28:42,840
the main theme

384
00:28:44,830 --> 00:28:55,490
Okay, the main theme of the poem seems,

385
00:28:55,590 --> 00:28:59,930
I don't want you to say it is, because this is a

386
00:28:59,930 --> 00:29:06,670
possibility. We don't want to exhaust any other

387
00:29:06,670 --> 00:29:10,270
possibility by saying it is. So the theme might

388
00:29:10,270 --> 00:29:13,330
be, seems to be about courtly love.

389
00:29:16,820 --> 00:29:28,160
The theme of the poem seems to

390
00:29:28,160 --> 00:29:30,760
be about,

391
00:29:33,140 --> 00:29:34,900
after articulating this,

392
00:29:47,920 --> 00:29:51,420
It's about courtly love.

393
00:29:52,960 --> 00:29:56,820
After this, it's very important now to say what is

394
00:29:56,820 --> 00:29:59,120
courtly love and to relate this.

395
00:30:02,040 --> 00:30:08,060
The persona who represents the poet is greatly

396
00:30:08,060 --> 00:30:11,460
frustrated. Now, this is what we say, the

397
00:30:11,460 --> 00:30:16,660
elaboration. And look here, the elaboration is

398
00:30:16,660 --> 00:30:20,340
very important. Why? Because the way you are

399
00:30:20,340 --> 00:30:22,960
elaborating, it means you are creating your

400
00:30:22,960 --> 00:30:27,860
controlling ideas. So the poet is greatly

401
00:30:27,860 --> 00:30:33,720
devastated because of the changeability and the

402
00:30:33,720 --> 00:30:39,700
inconsistency of a woman or the woman. So here,

403
00:30:41,840 --> 00:30:44,480
When you say the changeability, when you say this,

404
00:30:44,660 --> 00:30:50,000
like, it means you are enunciating your, like,

405
00:30:50,140 --> 00:30:54,080
controlling ideas. And this is in itself like how

406
00:30:54,080 --> 00:30:58,940
we start, okay? Now I would leave you to work in

407
00:30:58,940 --> 00:31:01,440
groups, I'll give you like 10 minutes for this

408
00:31:01,440 --> 00:31:04,760
exercise, and listen, like groups of three or

409
00:31:04,760 --> 00:31:08,580
four, and just like try to write, make use of the

410
00:31:08,580 --> 00:31:12,880
whatever figure of speech, but I think, you know,

411
00:31:13,320 --> 00:31:17,020
some of you might need to write about the theme,

412
00:31:17,920 --> 00:31:21,280
okay? So here, like group of three, write about

413
00:31:21,280 --> 00:31:26,020
the possibility. And I want you, this, like to

414
00:31:26,020 --> 00:31:29,780
make use of the You know, figures of speech. You

415
00:31:29,780 --> 00:31:32,120
know? So they might say, Cortado, what about the

416
00:31:32,120 --> 00:31:33,920
figure of speech? They might say, you know,

417
00:31:34,020 --> 00:31:37,560
terrible goal, what are the rules? You might also

418
00:31:37,560 --> 00:31:40,060
make use of the right and the left. Tell me how

419
00:31:40,060 --> 00:31:43,940
the right and the left are very important. So,

420
00:31:44,500 --> 00:31:48,520
okay. So here you work out the possible theme.

421
00:31:49,200 --> 00:31:51,780
Here you try to tell us how the figures of speech

422
00:31:51,780 --> 00:31:55,420
are related to the theme. And here, you know,

423
00:32:01,640 --> 00:32:04,480
If you need any help, I'm just coming around.

424
00:32:06,160 --> 00:32:10,200
Okay, let's see. Let's see here like those who

425
00:32:10,200 --> 00:32:14,740
wrote about the possibility. Yes, please. So you

426
00:32:14,740 --> 00:32:17,620
think that the poem is still courtly love?

427
00:32:22,740 --> 00:32:23,420
Okay,

428
00:32:26,320 --> 00:32:29,800
but we cannot write like you are defining courtly

429
00:32:29,800 --> 00:32:33,540
love, you know, not talking about the theme of the

430
00:32:33,540 --> 00:32:37,660
poem. Okay, now, like, when you write about the

431
00:32:37,660 --> 00:32:40,180
theme of the poem, you have to elaborate, you

432
00:32:40,180 --> 00:32:43,060
know, it only, but don't give a definition of the

433
00:32:43,060 --> 00:32:46,140
court levau. Otherwise, you know you're, this is

434
00:32:46,140 --> 00:32:48,860
like the aggression, like you're not writing about

435
00:32:48,860 --> 00:32:52,660
the poem. Okay, let's suppose that the poet is,

436
00:32:52,860 --> 00:32:56,480
the poem is about court levau, and the poet is

437
00:32:56,480 --> 00:32:59,680
frustrated, disappointed, because of the

438
00:32:59,680 --> 00:33:03,220
inconsistency of the lady, because of, you know,

439
00:33:03,980 --> 00:33:07,180
the dishonesty because of her fickleness, okay?

440
00:33:08,640 --> 00:33:12,900
And he was like to remove any blame to exonerate

441
00:33:12,900 --> 00:33:18,220
himself. Now, in the poem, we have, let's say, the

442
00:33:18,220 --> 00:33:22,280
metaphors, we have the rhythm, we have a very

443
00:33:22,280 --> 00:33:27,660
good, I haven't thought of that. Yeah, it is

444
00:33:27,660 --> 00:33:32,900
stressed, unstressed. Like again, this, it is like

445
00:33:32,900 --> 00:33:36,360
fluctuating, it keeps fluctuating and this

446
00:33:36,360 --> 00:33:38,860
fluctuating, I don't know, I have thought of it

447
00:33:38,860 --> 00:33:42,460
also like when a hunter is hunting, you know, he

448
00:33:42,460 --> 00:33:46,340
has hopes of catching them, these hopes are

449
00:33:46,340 --> 00:33:51,770
smashed, okay? It's like panting up. Somebody who

450
00:33:51,770 --> 00:33:55,190
is running, you know, he's panting out because

451
00:33:55,190 --> 00:33:58,670
why? He cannot. Thank you. I have never thought of

452
00:33:58,670 --> 00:34:03,190
like the rhythm fitting with the meaning of the

453
00:34:03,190 --> 00:34:07,010
poem in this way. Okay, let's shift to the theme

454
00:34:07,010 --> 00:34:14,050
group. I want a theme other than Cordula. Okay? We

455
00:34:14,050 --> 00:34:20,970
want a theme other than Cordula. Yes? Yes? Class

456
00:34:20,970 --> 00:34:20,990
division.

457
00:34:44,880 --> 00:34:45,340
Okay,

458
00:34:55,780 --> 00:34:58,160
so like she wants to say that the theme is the

459
00:34:58,160 --> 00:35:01,210
class individual. Okay, do you have anything in

460
00:35:01,210 --> 00:35:05,530
the figures of speech to substantiate that or to

461
00:35:05,530 --> 00:35:12,070
help us in developing that theme? The allegory

462
00:35:12,070 --> 00:35:17,370
itself? Yeah, very good. He can't say and express

463
00:35:17,370 --> 00:35:23,230
feelings. He just mentioned the allegory. Yeah, so

464
00:35:23,230 --> 00:35:26,680
do you want to say like He afraid from the king.

465
00:35:26,740 --> 00:35:30,480
You know or normal people like are not given like

466
00:35:30,480 --> 00:35:33,680
they don't have the right to express themselves.

467
00:35:33,920 --> 00:35:37,380
Yes. So they opt for the use of allegory. Yes.

468
00:35:37,560 --> 00:35:37,860
Good.

469
00:35:40,680 --> 00:35:43,760
Also the metonymy of diamonds and ferrets. The

470
00:35:43,760 --> 00:35:46,900
metonymy, thank you. The metonymy of diamonds. And

471
00:35:46,900 --> 00:35:48,260
also like ferrets. We were talking about the

472
00:35:48,260 --> 00:35:51,880
metonymy of the diamonds like this shows like

473
00:35:51,880 --> 00:35:57,780
diamond It has to do with richness, appearance.

474
00:35:57,920 --> 00:36:01,140
Appearance like richness. Okay? Good.

475
00:36:04,080 --> 00:36:04,820
Yes.

476
00:36:09,460 --> 00:36:14,900
Caesar, the word Caesar, you know, is also like an

477
00:36:14,900 --> 00:36:18,340
economy, like standing for the power. For the

478
00:36:18,340 --> 00:36:23,420
power. The upper class or the royal family had all

479
00:36:23,420 --> 00:36:27,940
the power in its hand. Good. Let's see. Let's go

480
00:36:27,940 --> 00:36:32,660
back to the rhyme and rhythm. Can you manipulate

481
00:36:32,660 --> 00:36:37,980
it? Because I think the art of criticism is an art

482
00:36:37,980 --> 00:36:40,240
of manipulation and persuasion. You have to

483
00:36:40,240 --> 00:36:46,540
manipulate. They say it's about power. It's about

484
00:36:46,540 --> 00:36:47,560
class division.

485
00:36:50,290 --> 00:36:51,330
So what do you want to say?

486
00:36:55,230 --> 00:36:59,850
It's a problem, huh? Yeah. Okay. So maybe, I don't

487
00:36:59,850 --> 00:37:01,750
know, maybe we can say that the fact that he

488
00:37:01,750 --> 00:37:05,050
actually did change in the run, even he did change

489
00:37:05,050 --> 00:37:08,870
the meter itself, it shows you that he's actually

490
00:37:08,870 --> 00:37:12,070
starving for power, or maybe he's trying to have

491
00:37:12,070 --> 00:37:16,270
some sort of control or sort of Ah, very good. To

492
00:37:16,270 --> 00:37:19,790
get a grip of something and do change it as he

493
00:37:19,790 --> 00:37:25,210
pleases. Yeah, like, so this change, like, it has

494
00:37:25,210 --> 00:37:28,110
to do with his attempt, like, to change. Yes, he

495
00:37:28,110 --> 00:37:31,510
cannot. He cannot, but still, like, he's trying.

496
00:37:31,770 --> 00:37:34,250
I'm trying. Okay, I got disappointed, but somebody

497
00:37:34,250 --> 00:37:37,730
might continue, you know. However, like, it is

498
00:37:37,730 --> 00:37:42,130
very disappointing, but at least I have tried to

499
00:37:42,130 --> 00:37:47,080
change and the, you know, Just to try, it's a good

500
00:37:47,080 --> 00:37:49,460
thing in itself. Well, thank you very much for

501
00:37:49,460 --> 00:37:52,820
manipulating. So look here, we can manipulate any

502
00:37:52,820 --> 00:37:56,460
figure of speech, we can manipulate any aesthetic

503
00:37:56,460 --> 00:38:00,120
element to serve our purpose. And you should be

504
00:38:00,120 --> 00:38:05,680
very happy because I'm not like just asking you to

505
00:38:05,680 --> 00:38:09,180
say one specific theme. You can talk about

506
00:38:09,180 --> 00:38:13,740
different things because what is the poem? So if

507
00:38:13,740 --> 00:38:16,820
we say it is about this, it means like we finished

508
00:38:16,820 --> 00:38:21,920
the whole poem, okay? I think I should, we should

509
00:38:21,920 --> 00:38:26,020
stop here, but it is now, this is the first

510
00:38:26,020 --> 00:38:31,420
experience with a poem like this. Next time we are

511
00:38:31,420 --> 00:38:36,180
moving to another poem, another poem, we're going

512
00:38:36,180 --> 00:38:41,740
to read another song, which is a description of

513
00:38:41,740 --> 00:38:45,340
strength. description before, I mean, written by

514
00:38:45,340 --> 00:38:48,540
Henry Howard Carroll of Surrey. He was

515
00:38:48,540 --> 00:38:50,760
contemporary. And it's very important when you

516
00:38:50,760 --> 00:38:53,940
respond, like, to pay attention to details, like,

517
00:38:54,380 --> 00:38:57,420
the differences between the two poems. So thank

518
00:38:57,420 --> 00:38:59,660
you very much, and yallah bless you.