|
1 |
|
00:00:21,330 --> 00:00:25,690 |
|
Assalamualaikum and welcome back. Today we |
|
|
|
2 |
|
00:00:25,690 --> 00:00:29,650 |
|
continue speaking about the commonwealth and the |
|
|
|
3 |
|
00:00:29,650 --> 00:00:36,010 |
|
restoration. In terms of politics, this is an age, |
|
|
|
4 |
|
00:00:36,650 --> 00:00:43,020 |
|
an era that is so restless. that is so messed up |
|
|
|
5 |
|
00:00:43,020 --> 00:00:46,480 |
|
in so many ways, because for the first time in the |
|
|
|
6 |
|
00:00:46,480 --> 00:00:50,020 |
|
history of modern England, we see the king |
|
|
|
7 |
|
00:00:50,020 --> 00:00:57,620 |
|
executed. And for the first time, England is ruled |
|
|
|
8 |
|
00:00:57,620 --> 00:01:02,420 |
|
not by a king, |
|
|
|
9 |
|
00:01:04,800 --> 00:01:12,780 |
|
but by a ruler who does the job probably maybe he |
|
|
|
10 |
|
00:01:12,780 --> 00:01:16,920 |
|
was better than the king in many ways But again, |
|
|
|
11 |
|
00:01:17,020 --> 00:01:20,720 |
|
politically speaking, historically speaking, the |
|
|
|
12 |
|
00:01:20,720 --> 00:01:23,140 |
|
removal of the king, the execution, he wasn't only |
|
|
|
13 |
|
00:01:23,140 --> 00:01:25,360 |
|
removed, he was executed. Remember, we've seen |
|
|
|
14 |
|
00:01:25,360 --> 00:01:26,880 |
|
this in literature, we've seen this in |
|
|
|
15 |
|
00:01:26,880 --> 00:01:30,100 |
|
Shakespeare. And this is how interesting how |
|
|
|
16 |
|
00:01:30,100 --> 00:01:33,540 |
|
literature prepares people, fiction creates |
|
|
|
17 |
|
00:01:33,540 --> 00:01:36,980 |
|
reality in a way or another, prepares. But no |
|
|
|
18 |
|
00:01:36,980 --> 00:01:39,300 |
|
matter how many times you see the king dead, |
|
|
|
19 |
|
00:01:39,480 --> 00:01:45,020 |
|
killed, On stage, when it happened, people were |
|
|
|
20 |
|
00:01:45,020 --> 00:01:47,380 |
|
shocked in so many ways because the idea of the |
|
|
|
21 |
|
00:01:47,380 --> 00:01:50,300 |
|
king and the monarchy was deeply rooted in the |
|
|
|
22 |
|
00:01:50,300 --> 00:01:52,960 |
|
mentalities, in the mindsets, in the minds of the |
|
|
|
23 |
|
00:01:52,960 --> 00:01:57,660 |
|
English people. Cromwell rules for about 10 years. |
|
|
|
24 |
|
00:01:58,160 --> 00:02:01,680 |
|
He was successful, powerful. We've seen people |
|
|
|
25 |
|
00:02:01,680 --> 00:02:08,070 |
|
praise him. Marvel, and also John Milton, and many |
|
|
|
26 |
|
00:02:08,070 --> 00:02:11,590 |
|
other people wrote good poetry about him, praised |
|
|
|
27 |
|
00:02:11,590 --> 00:02:14,830 |
|
him in a way that, again, people praised the kings |
|
|
|
28 |
|
00:02:14,830 --> 00:02:17,190 |
|
and the queens before. |
|
|
|
29 |
|
00:02:21,110 --> 00:02:26,010 |
|
When he was old, when he passed away, when he |
|
|
|
30 |
|
00:02:26,010 --> 00:02:29,170 |
|
died, he was followed, again, ironically, by his |
|
|
|
31 |
|
00:02:29,170 --> 00:02:35,000 |
|
own son. That's funny. Remember I said in a way |
|
|
|
32 |
|
00:02:35,000 --> 00:02:39,220 |
|
it's ironic because you remove the king because of |
|
|
|
33 |
|
00:02:39,220 --> 00:02:42,040 |
|
corruption and sins and vices and deterioration |
|
|
|
34 |
|
00:02:42,040 --> 00:02:45,900 |
|
and breakdown of many things. But when a ruler |
|
|
|
35 |
|
00:02:45,900 --> 00:02:49,740 |
|
comes, this should help pave the way, prepare the |
|
|
|
36 |
|
00:02:49,740 --> 00:02:52,960 |
|
people to a democratic process of choosing their |
|
|
|
37 |
|
00:02:52,960 --> 00:02:58,420 |
|
own leaders and their own rulers. However, His son |
|
|
|
38 |
|
00:02:58,420 --> 00:03:02,780 |
|
came after him and he was so weak. I think no |
|
|
|
39 |
|
00:03:02,780 --> 00:03:05,880 |
|
matter how good he was, he wouldn't be good enough |
|
|
|
40 |
|
00:03:05,880 --> 00:03:09,500 |
|
because he can't be compared to his father. And |
|
|
|
41 |
|
00:03:09,500 --> 00:03:14,440 |
|
that's called the Commonwealth. Oliver Cromwell |
|
|
|
42 |
|
00:03:14,440 --> 00:03:19,160 |
|
and then his son about 11, 12 years. However, he |
|
|
|
43 |
|
00:03:19,160 --> 00:03:23,120 |
|
was followed with the death of Cromwell and the |
|
|
|
44 |
|
00:03:23,120 --> 00:03:27,760 |
|
rule of his son ended abruptly because the people |
|
|
|
45 |
|
00:03:27,760 --> 00:03:33,280 |
|
decided to bring the king back again. So Oliver's |
|
|
|
46 |
|
00:03:33,280 --> 00:03:36,620 |
|
son, I don't know his name, excuse me, just go. We |
|
|
|
47 |
|
00:03:36,620 --> 00:03:38,860 |
|
want the king. We can't live without the king |
|
|
|
48 |
|
00:03:38,860 --> 00:03:42,220 |
|
because the king gives us security and safety, |
|
|
|
49 |
|
00:03:42,780 --> 00:03:45,280 |
|
provides us with protection, and because the king |
|
|
|
50 |
|
00:03:45,280 --> 00:03:47,600 |
|
is part of our culture and tradition and |
|
|
|
51 |
|
00:03:47,600 --> 00:03:50,340 |
|
literature and society and life and mentality and |
|
|
|
52 |
|
00:03:50,340 --> 00:03:53,940 |
|
many things. We said in this era, literature has |
|
|
|
53 |
|
00:03:53,940 --> 00:03:59,370 |
|
become highly political. Remember there was |
|
|
|
54 |
|
00:03:59,370 --> 00:04:01,230 |
|
nationalism, the strong sense of the English |
|
|
|
55 |
|
00:04:01,230 --> 00:04:03,310 |
|
identity and nationalism in poetry before where |
|
|
|
56 |
|
00:04:03,310 --> 00:04:05,670 |
|
you love England, you love the Thames, you love |
|
|
|
57 |
|
00:04:05,670 --> 00:04:07,790 |
|
the Queen, you praise the Queen. We've seen |
|
|
|
58 |
|
00:04:07,790 --> 00:04:11,370 |
|
Spencer praising, you know, the fairy queen. But |
|
|
|
59 |
|
00:04:11,370 --> 00:04:14,190 |
|
now there's political division. Poetry is |
|
|
|
60 |
|
00:04:14,190 --> 00:04:16,250 |
|
political in the sense that there are two |
|
|
|
61 |
|
00:04:16,250 --> 00:04:19,270 |
|
political parties and you side with one against |
|
|
|
62 |
|
00:04:19,270 --> 00:04:22,710 |
|
the other. Now imagine this. Many people, |
|
|
|
63 |
|
00:04:22,870 --> 00:04:25,250 |
|
including poets and intellectuals, sided with the |
|
|
|
64 |
|
00:04:25,250 --> 00:04:25,670 |
|
Commonwealth, |
|
|
|
65 |
|
00:04:29,030 --> 00:04:33,150 |
|
with Oliver Cromwell. When he died and the king |
|
|
|
66 |
|
00:04:33,150 --> 00:04:37,910 |
|
was restored, they were in trouble. They were in |
|
|
|
67 |
|
00:04:37,910 --> 00:04:40,010 |
|
real trouble. Some of them were arrested, some of |
|
|
|
68 |
|
00:04:40,010 --> 00:04:45,380 |
|
them were punished in one way or another. We spoke |
|
|
|
69 |
|
00:04:45,380 --> 00:04:49,520 |
|
about Andrew Marvell before. Andrew Marvell became |
|
|
|
70 |
|
00:04:49,520 --> 00:04:51,980 |
|
a politician himself. He started as a poet, but |
|
|
|
71 |
|
00:04:51,980 --> 00:04:54,160 |
|
later on he ran for president. He was a member of |
|
|
|
72 |
|
00:04:54,160 --> 00:04:57,120 |
|
the parliament. And although he was a member of |
|
|
|
73 |
|
00:04:57,120 --> 00:05:00,260 |
|
the parliament, he was almost arrested. John |
|
|
|
74 |
|
00:05:00,260 --> 00:05:03,180 |
|
Milton, our friend here today, was arrested |
|
|
|
75 |
|
00:05:03,180 --> 00:05:08,980 |
|
because of his support to the Commonwealth. Some |
|
|
|
76 |
|
00:05:08,980 --> 00:05:11,220 |
|
say he could have been executed, or he could have |
|
|
|
77 |
|
00:05:11,220 --> 00:05:14,780 |
|
spent a lot of time in prison. But it was thanks |
|
|
|
78 |
|
00:05:14,780 --> 00:05:18,140 |
|
to his friend, Andrew Marvell, that helped release |
|
|
|
79 |
|
00:05:18,140 --> 00:05:22,260 |
|
him. And that's not all bad, because in prison he |
|
|
|
80 |
|
00:05:22,260 --> 00:05:25,760 |
|
wrote some really good literature. And Milton, by |
|
|
|
81 |
|
00:05:25,760 --> 00:05:28,540 |
|
the way, when he grew up, he started to lose his |
|
|
|
82 |
|
00:05:28,540 --> 00:05:33,980 |
|
sight and eventually he went blind. Still, he |
|
|
|
83 |
|
00:05:33,980 --> 00:05:37,240 |
|
wrote some of the best English poetry ever. Today, |
|
|
|
84 |
|
00:05:37,660 --> 00:05:42,300 |
|
we'll spend some time, a journey with John Milton. |
|
|
|
85 |
|
00:05:43,300 --> 00:05:48,300 |
|
A major 17th century poet. A poet who was in many |
|
|
|
86 |
|
00:05:48,300 --> 00:05:52,040 |
|
ways trying to have influence on the whole English |
|
|
|
87 |
|
00:05:52,040 --> 00:05:55,120 |
|
literature. He wanted to be as famous, as |
|
|
|
88 |
|
00:05:55,120 --> 00:05:57,840 |
|
influential as Chaucer himself. And interesting |
|
|
|
89 |
|
00:05:57,840 --> 00:06:01,060 |
|
how people always go back to Chaucer just to, if |
|
|
|
90 |
|
00:06:01,060 --> 00:06:05,040 |
|
they want to do great things. And he wanted |
|
|
|
91 |
|
00:06:05,040 --> 00:06:09,800 |
|
English literature to compete, to be independent |
|
|
|
92 |
|
00:06:09,800 --> 00:06:14,700 |
|
of Europe in many ways. So he wrote several texts. |
|
|
|
93 |
|
00:06:14,800 --> 00:06:16,940 |
|
We'll mention some of them. We'll study probably |
|
|
|
94 |
|
00:06:16,940 --> 00:06:20,180 |
|
in a way, in bits and pieces, two of them. The |
|
|
|
95 |
|
00:06:20,180 --> 00:06:27,260 |
|
first one is Paradise Lost. Paradise. You know |
|
|
|
96 |
|
00:06:27,260 --> 00:06:32,560 |
|
paradise? Heaven. Heaven, yeah. What does this |
|
|
|
97 |
|
00:06:32,560 --> 00:06:34,900 |
|
translate into Arabic? How does it translate into |
|
|
|
98 |
|
00:06:34,900 --> 00:06:37,800 |
|
Arabic? Yeah, Arabic. |
|
|
|
99 |
|
00:06:41,820 --> 00:06:44,800 |
|
It has a poetic translation in Arabic. |
|
|
|
100 |
|
00:06:49,280 --> 00:06:56,500 |
|
Because you're |
|
|
|
101 |
|
00:06:56,500 --> 00:06:59,380 |
|
not studying translation yet. When you do, you |
|
|
|
102 |
|
00:06:59,380 --> 00:07:03,580 |
|
will see how sometimes you change a little bit so |
|
|
|
103 |
|
00:07:03,580 --> 00:07:06,800 |
|
you give it the poetic sense. And later on, he |
|
|
|
104 |
|
00:07:06,800 --> 00:07:09,100 |
|
wrote another text called Paradise. |
|
|
|
105 |
|
00:07:11,830 --> 00:07:17,050 |
|
Regained. You know regained? It means restored. |
|
|
|
106 |
|
00:07:17,310 --> 00:07:22,450 |
|
The restoration. And then the third text is called |
|
|
|
107 |
|
00:07:22,450 --> 00:07:23,890 |
|
Samson Agonist. |
|
|
|
108 |
|
00:07:30,230 --> 00:07:34,290 |
|
Have you ever heard of Samson? Samson. Samson. |
|
|
|
109 |
|
00:07:34,410 --> 00:07:37,970 |
|
Samson. Samson. The text takes place in Gaza by |
|
|
|
110 |
|
00:07:37,970 --> 00:07:42,620 |
|
the way. So the guy is Gazan like us. Yeah, |
|
|
|
111 |
|
00:07:43,040 --> 00:07:47,380 |
|
Samsung. Samsung. Does it ring a bell? Samsung. |
|
|
|
112 |
|
00:07:48,480 --> 00:07:51,920 |
|
There's a character in Spongebob. Samsung. |
|
|
|
113 |
|
00:07:52,300 --> 00:07:55,960 |
|
Samsung. Simpsons. No, not the Simpsons. Samsung. |
|
|
|
114 |
|
00:07:57,400 --> 00:08:01,160 |
|
Shamshoon. Yeah, Shamshoon, that's it. Shamshoon |
|
|
|
115 |
|
00:08:01,160 --> 00:08:03,820 |
|
Al Jabbar, we know this. Yeah, yes. But we'll talk |
|
|
|
116 |
|
00:08:03,820 --> 00:08:07,200 |
|
about it probably this class, if not the next |
|
|
|
117 |
|
00:08:07,200 --> 00:08:11,200 |
|
class. John Milton, again, wanted to do something |
|
|
|
118 |
|
00:08:11,200 --> 00:08:14,360 |
|
great, to write an epic poem. Oh, no, epic poem, a |
|
|
|
119 |
|
00:08:14,360 --> 00:08:17,000 |
|
very long poem about important issues, important |
|
|
|
120 |
|
00:08:17,000 --> 00:08:21,060 |
|
themes, important characters, important myths. At |
|
|
|
121 |
|
00:08:21,060 --> 00:08:24,460 |
|
the beginning, he thought of writing something |
|
|
|
122 |
|
00:08:24,460 --> 00:08:29,440 |
|
about King Arthur and the Knights of the Round |
|
|
|
123 |
|
00:08:29,440 --> 00:08:32,220 |
|
Table. You know why he chose this particular text? |
|
|
|
124 |
|
00:08:32,260 --> 00:08:36,380 |
|
Because everything about it is pure English. I |
|
|
|
125 |
|
00:08:36,380 --> 00:08:38,960 |
|
don't know why, but he dropped that idea. But |
|
|
|
126 |
|
00:08:38,960 --> 00:08:41,920 |
|
again, notice how he's intentionally, consciously |
|
|
|
127 |
|
00:08:41,920 --> 00:08:44,940 |
|
planning something, because he wants to write. |
|
|
|
128 |
|
00:08:45,100 --> 00:08:49,440 |
|
This is not a sonnet. It's a poem. Paradise Lost |
|
|
|
129 |
|
00:08:49,440 --> 00:08:52,560 |
|
is about 10,000 lines. |
|
|
|
130 |
|
00:08:56,360 --> 00:08:59,700 |
|
10,000 lines, Paradise Lost. That's an epic poem. |
|
|
|
131 |
|
00:09:00,300 --> 00:09:03,680 |
|
What is it about? Do you have any idea? Paradise. |
|
|
|
132 |
|
00:09:05,020 --> 00:09:06,980 |
|
Who could be the main characters, the characters |
|
|
|
133 |
|
00:09:06,980 --> 00:09:12,280 |
|
in it? Religious? Who? The king. Bigger than them. |
|
|
|
134 |
|
00:09:12,320 --> 00:09:19,600 |
|
He's more ambitious. Adam and Eve. Who else? The |
|
|
|
135 |
|
00:09:19,600 --> 00:09:26,620 |
|
devil. Satan. Angels. Demons. Who else? More |
|
|
|
136 |
|
00:09:26,620 --> 00:09:33,190 |
|
significant. God. This is how ambitious he is. But |
|
|
|
137 |
|
00:09:33,190 --> 00:09:36,090 |
|
it's funny because these are not English people |
|
|
|
138 |
|
00:09:36,090 --> 00:09:39,310 |
|
and the events don't take place in England. But |
|
|
|
139 |
|
00:09:39,310 --> 00:09:42,030 |
|
still this is an English text, a major epic |
|
|
|
140 |
|
00:09:42,030 --> 00:09:46,710 |
|
English text poem, which shows his attempt to do |
|
|
|
141 |
|
00:09:46,710 --> 00:09:51,710 |
|
this. So the major characters in Paradise Lost are |
|
|
|
142 |
|
00:09:51,710 --> 00:09:58,570 |
|
God, Satan, Adam, Eve, you should know, you should |
|
|
|
143 |
|
00:09:58,570 --> 00:10:01,570 |
|
be familiar with these, you know, names. We have |
|
|
|
144 |
|
00:10:01,570 --> 00:10:05,210 |
|
Adam, you know Adam already. And Eve, this is Eve. |
|
|
|
145 |
|
00:10:05,510 --> 00:10:12,910 |
|
You know, Christmas Eve. Eve, God, Satan. And we |
|
|
|
146 |
|
00:10:12,910 --> 00:10:18,370 |
|
have God. And this takes place in heaven, |
|
|
|
147 |
|
00:10:18,650 --> 00:10:27,810 |
|
paradise. There is a garden of Eden. Garden of |
|
|
|
148 |
|
00:10:27,810 --> 00:10:32,190 |
|
Eden, Jannat Adan, right? And then we have the |
|
|
|
149 |
|
00:10:32,190 --> 00:10:33,010 |
|
original sin. |
|
|
|
150 |
|
00:10:35,790 --> 00:10:39,870 |
|
What's the original sin? This is a Christian term, |
|
|
|
151 |
|
00:10:40,030 --> 00:10:43,390 |
|
by the way. The original sin is when Adam and Eve |
|
|
|
152 |
|
00:10:43,390 --> 00:10:46,590 |
|
disobeyed God and ate from the tree of knowledge. |
|
|
|
153 |
|
00:10:47,950 --> 00:10:49,870 |
|
Tree of knowledge. |
|
|
|
154 |
|
00:10:55,070 --> 00:10:58,310 |
|
In Islam, we're not sure whether this is an apple |
|
|
|
155 |
|
00:10:58,310 --> 00:11:02,770 |
|
tree or what. In Christianity, it's mentioned that |
|
|
|
156 |
|
00:11:02,770 --> 00:11:06,290 |
|
this is an apple tree. In Islam, it's not stated |
|
|
|
157 |
|
00:11:06,290 --> 00:11:09,730 |
|
whether it was Eve who started, you know, munching |
|
|
|
158 |
|
00:11:09,730 --> 00:11:13,810 |
|
at the apple, the fruit. In Christianity, it's not |
|
|
|
159 |
|
00:11:13,810 --> 00:11:17,250 |
|
about that. It's also who you blame more. In |
|
|
|
160 |
|
00:11:17,250 --> 00:11:20,130 |
|
Christianity, it's clear that Eve starts munching |
|
|
|
161 |
|
00:11:20,130 --> 00:11:24,180 |
|
at the apple. Right? That's why there is this |
|
|
|
162 |
|
00:11:24,180 --> 00:11:28,260 |
|
thing that many religious people do this like they |
|
|
|
163 |
|
00:11:28,260 --> 00:11:31,580 |
|
accuse women in general of committing the first |
|
|
|
164 |
|
00:11:31,580 --> 00:11:34,780 |
|
sin and causing the fall of Adam, the fall of |
|
|
|
165 |
|
00:11:34,780 --> 00:11:40,380 |
|
humanity. The fall of humanity from heaven to |
|
|
|
166 |
|
00:11:40,380 --> 00:11:45,280 |
|
earth, from mercy to sin. Very interesting stuff. |
|
|
|
167 |
|
00:11:46,880 --> 00:11:49,700 |
|
The fall, you know, fall down because of the |
|
|
|
168 |
|
00:11:49,700 --> 00:11:54,620 |
|
original sin because Now, we know the biblical |
|
|
|
169 |
|
00:11:54,620 --> 00:11:57,640 |
|
story. It's similar to the story we have in Islam, |
|
|
|
170 |
|
00:11:57,740 --> 00:12:00,440 |
|
with tiny little differences. In Islam, again, |
|
|
|
171 |
|
00:12:00,620 --> 00:12:03,600 |
|
both of them, Adam and Eve, are to blame. And |
|
|
|
172 |
|
00:12:03,600 --> 00:12:08,820 |
|
sometimes Adam is blamed more. But here, in |
|
|
|
173 |
|
00:12:08,820 --> 00:12:10,900 |
|
Christianity, we have something different. In the |
|
|
|
174 |
|
00:12:10,900 --> 00:12:13,460 |
|
text, he takes the story, but he changes it a |
|
|
|
175 |
|
00:12:13,460 --> 00:12:17,820 |
|
little bit. When you read the story, I'm not sure |
|
|
|
176 |
|
00:12:17,820 --> 00:12:20,340 |
|
if you can read 10,000 lines now that you have |
|
|
|
177 |
|
00:12:20,340 --> 00:12:23,600 |
|
midterm exams, but who knows? Maybe you can watch |
|
|
|
178 |
|
00:12:23,600 --> 00:12:28,360 |
|
some extracts or a dramatization on YouTube. When |
|
|
|
179 |
|
00:12:28,360 --> 00:12:33,540 |
|
you read the text, you will find that, you will |
|
|
|
180 |
|
00:12:33,540 --> 00:12:37,860 |
|
feel that the author, John Milton, in a way |
|
|
|
181 |
|
00:12:37,860 --> 00:12:42,260 |
|
humanizes Satan. Presents sometimes, presents |
|
|
|
182 |
|
00:12:42,260 --> 00:12:46,820 |
|
Satan as the hero. sometimes equally blaming God, |
|
|
|
183 |
|
00:12:46,960 --> 00:12:49,520 |
|
Adam, Eve, and Satan equally for what happened. |
|
|
|
184 |
|
00:12:50,460 --> 00:12:53,480 |
|
And that's why the text is controversial. You know |
|
|
|
185 |
|
00:12:53,480 --> 00:12:55,840 |
|
the word controversial? Yes. Controversial, |
|
|
|
186 |
|
00:12:56,080 --> 00:12:58,920 |
|
debatable. Some people don't like it. Some people |
|
|
|
187 |
|
00:12:58,920 --> 00:13:01,440 |
|
like it. Some people disagree with many things. So |
|
|
|
188 |
|
00:13:01,440 --> 00:13:05,540 |
|
why does it create controversy here? This because? |
|
|
|
189 |
|
00:13:05,780 --> 00:13:08,480 |
|
Because he changes the thoughts and he blames as |
|
|
|
190 |
|
00:13:08,480 --> 00:13:11,580 |
|
well. He changes the Christian idea by one |
|
|
|
191 |
|
00:13:11,580 --> 00:13:15,580 |
|
presenting who as the hero. But the antagonist. |
|
|
|
192 |
|
00:13:15,640 --> 00:13:19,080 |
|
The antagonist, Satan. In Islam and in |
|
|
|
193 |
|
00:13:19,080 --> 00:13:22,260 |
|
Christianity and other religions, Satan is the |
|
|
|
194 |
|
00:13:22,260 --> 00:13:26,220 |
|
embodiment of evil, the pure evil. Yes. But here, |
|
|
|
195 |
|
00:13:26,300 --> 00:13:28,980 |
|
he's not. He's real. You feel sorry for him. So if |
|
|
|
196 |
|
00:13:28,980 --> 00:13:31,140 |
|
you're reading this and you feel sorry for Satan, |
|
|
|
197 |
|
00:13:31,280 --> 00:13:35,280 |
|
it doesn't mean you are evil. It means the author. |
|
|
|
198 |
|
00:13:35,520 --> 00:13:37,920 |
|
It means the author is smart, is genius. We do |
|
|
|
199 |
|
00:13:37,920 --> 00:13:41,040 |
|
this. We watch Hollywood movies. Did you watch The |
|
|
|
200 |
|
00:13:41,040 --> 00:13:45,200 |
|
Sniper? Yeah. Sniper is a horrible movie about an |
|
|
|
201 |
|
00:13:45,200 --> 00:13:47,780 |
|
American soldier, war criminal actually, who kills |
|
|
|
202 |
|
00:13:47,780 --> 00:13:51,500 |
|
over 100, around 150 Iraqis. Some of them women, |
|
|
|
203 |
|
00:13:51,620 --> 00:13:53,680 |
|
some of them kids, some of them innocent civilian |
|
|
|
204 |
|
00:13:53,680 --> 00:13:56,700 |
|
people. You watch the movie and you feel sorry for |
|
|
|
205 |
|
00:13:56,700 --> 00:14:02,060 |
|
him. Yeah, you feel sorry for him in a way. You |
|
|
|
206 |
|
00:14:02,060 --> 00:14:03,400 |
|
don't have to feel sorry for him, by the way, |
|
|
|
207 |
|
00:14:03,480 --> 00:14:06,420 |
|
because he's a murderer. But that is how |
|
|
|
208 |
|
00:14:06,420 --> 00:14:10,460 |
|
influential literature is and movie production is. |
|
|
|
209 |
|
00:14:12,880 --> 00:14:16,160 |
|
You know? Change your attitudes and sympathize |
|
|
|
210 |
|
00:14:16,160 --> 00:14:18,620 |
|
with people usually you don't sympathize in real |
|
|
|
211 |
|
00:14:18,620 --> 00:14:22,200 |
|
life. So this created a huge controversy. Still |
|
|
|
212 |
|
00:14:22,200 --> 00:14:24,880 |
|
does. Many Christians, for example, don't like |
|
|
|
213 |
|
00:14:24,880 --> 00:14:28,700 |
|
this. Because they see that the author is equally |
|
|
|
214 |
|
00:14:28,700 --> 00:14:32,600 |
|
blaming not only Zeta, not only Adam and Eve, but |
|
|
|
215 |
|
00:14:32,600 --> 00:14:36,420 |
|
also God. Like, this shouldn't have happened. Some |
|
|
|
216 |
|
00:14:36,420 --> 00:14:38,740 |
|
people, by the way, some people read the whole |
|
|
|
217 |
|
00:14:38,740 --> 00:14:43,360 |
|
thing as an allegory. An allegory of the |
|
|
|
218 |
|
00:14:43,360 --> 00:14:46,480 |
|
commonwealth and the restoration. So the |
|
|
|
219 |
|
00:14:46,480 --> 00:14:49,700 |
|
commonwealth is, I don't know, heaven. And because |
|
|
|
220 |
|
00:14:49,700 --> 00:14:54,020 |
|
people don't do a good job after Cromwell, they |
|
|
|
221 |
|
00:14:54,020 --> 00:14:59,120 |
|
fell down. They fall. And then the king is |
|
|
|
222 |
|
00:14:59,120 --> 00:15:01,740 |
|
restored, where the king, the restoration here |
|
|
|
223 |
|
00:15:01,740 --> 00:15:06,100 |
|
represents earth and sin. Because after that, |
|
|
|
224 |
|
00:15:06,240 --> 00:15:09,620 |
|
after the commonwealth, the guy was not doing a |
|
|
|
225 |
|
00:15:09,620 --> 00:15:14,030 |
|
good job. Later on, in a way, Adam and Eve go down |
|
|
|
226 |
|
00:15:14,030 --> 00:15:19,510 |
|
to Earth to the unknown, to human knowledge. Later |
|
|
|
227 |
|
00:15:19,510 --> 00:15:22,630 |
|
on, he wrote another poem, just so you know. |
|
|
|
228 |
|
00:15:23,470 --> 00:15:27,190 |
|
Paradise Regained. Paradise Regained. In which, |
|
|
|
229 |
|
00:15:27,530 --> 00:15:30,090 |
|
how would you, in Christianity, how is Paradise |
|
|
|
230 |
|
00:15:30,090 --> 00:15:33,430 |
|
Regained? What do you expect? Maybe Adam and Eve |
|
|
|
231 |
|
00:15:33,430 --> 00:15:37,130 |
|
are God's... No, later on, after Adam and Eve. |
|
|
|
232 |
|
00:15:39,800 --> 00:15:45,160 |
|
How? Who leads humanity to regain paradise? No, |
|
|
|
233 |
|
00:15:46,840 --> 00:15:51,120 |
|
Jesus Christ. Jesus Christ because Jesus Christ |
|
|
|
234 |
|
00:15:51,120 --> 00:15:55,930 |
|
suffers for humanity. and leads humanity from sin, |
|
|
|
235 |
|
00:15:56,690 --> 00:16:00,930 |
|
corruption, vices, to virtue, to salvation, back |
|
|
|
236 |
|
00:16:00,930 --> 00:16:03,510 |
|
to heaven. And that's why it's regained. At the |
|
|
|
237 |
|
00:16:03,510 --> 00:16:07,690 |
|
end, I'll tell you the story of Samson Agones. So |
|
|
|
238 |
|
00:16:07,690 --> 00:16:12,970 |
|
let's go through Milton's Paradise Lost again, |
|
|
|
239 |
|
00:16:13,390 --> 00:16:17,150 |
|
step by step. Unless someone has a question to |
|
|
|
240 |
|
00:16:17,150 --> 00:16:21,090 |
|
ask. Please. What is the difference between |
|
|
|
241 |
|
00:16:21,090 --> 00:16:25,130 |
|
allegory and symbolism? Generally, an allegory is |
|
|
|
242 |
|
00:16:25,130 --> 00:16:27,770 |
|
a longer story, a bigger story. Like the whole |
|
|
|
243 |
|
00:16:27,770 --> 00:16:30,510 |
|
story could be an allegory. But symbolism could be |
|
|
|
244 |
|
00:16:30,510 --> 00:16:33,450 |
|
part of a story. So this is the basic thing you |
|
|
|
245 |
|
00:16:33,450 --> 00:16:39,670 |
|
need to know. So if you're writing a story, and in |
|
|
|
246 |
|
00:16:39,670 --> 00:16:43,910 |
|
your story there is a dove. The dove symbolizes |
|
|
|
247 |
|
00:16:43,910 --> 00:16:47,810 |
|
peace, love, purity, right? Snow. Snow symbolizes |
|
|
|
248 |
|
00:16:47,810 --> 00:16:51,330 |
|
purity, whiteness, et cetera. But the whole story |
|
|
|
249 |
|
00:16:51,330 --> 00:16:54,770 |
|
could be an allegory. But also, you can describe |
|
|
|
250 |
|
00:16:54,770 --> 00:16:57,730 |
|
it as symbolic, like where, for example, you have |
|
|
|
251 |
|
00:16:57,730 --> 00:17:01,030 |
|
animal characters. But they don't have to be |
|
|
|
252 |
|
00:17:01,030 --> 00:17:03,650 |
|
animal characters. You have characters who refer |
|
|
|
253 |
|
00:17:03,650 --> 00:17:06,430 |
|
to something else. So this could be an allegory, |
|
|
|
254 |
|
00:17:06,470 --> 00:17:10,550 |
|
because everything here could mean something else, |
|
|
|
255 |
|
00:17:10,590 --> 00:17:15,280 |
|
like the Commonwealth and the Restoration. But in |
|
|
|
256 |
|
00:17:15,280 --> 00:17:18,900 |
|
the story, the apple, the apple or the tree, the |
|
|
|
257 |
|
00:17:18,900 --> 00:17:22,480 |
|
apple here is a symbol of what? Of the forbidden, |
|
|
|
258 |
|
00:17:23,340 --> 00:17:30,100 |
|
of sin maybe, because the moment Eve eats, bites |
|
|
|
259 |
|
00:17:30,100 --> 00:17:34,460 |
|
the apple, everything turns upside, upside down. |
|
|
|
260 |
|
00:17:36,800 --> 00:17:40,140 |
|
This is Milton again. In many ways, he links the |
|
|
|
261 |
|
00:17:40,140 --> 00:17:43,340 |
|
Renaissance, the age of Shakespeare, later on with |
|
|
|
262 |
|
00:17:43,340 --> 00:17:46,500 |
|
the Commonwealth and the Restoration. He lived in |
|
|
|
263 |
|
00:17:46,500 --> 00:17:50,700 |
|
all these turbulent times. He was very ambitious. |
|
|
|
264 |
|
00:17:51,500 --> 00:17:55,400 |
|
Why? Because he wanted to be one of the greatest |
|
|
|
265 |
|
00:17:55,400 --> 00:17:59,100 |
|
poets in English literature, mainly like Chaucer, |
|
|
|
266 |
|
00:17:59,260 --> 00:18:02,040 |
|
always Chaucer. Someone asked me, why not |
|
|
|
267 |
|
00:18:02,040 --> 00:18:04,940 |
|
Shakespeare? Shakespeare is the greatest literary |
|
|
|
268 |
|
00:18:04,940 --> 00:18:09,440 |
|
figure probably ever. But Shakespeare is a |
|
|
|
269 |
|
00:18:09,440 --> 00:18:12,160 |
|
dramatist, and you'll ask, but drama was written |
|
|
|
270 |
|
00:18:12,160 --> 00:18:15,920 |
|
in verse. So it's a little bit different. That's |
|
|
|
271 |
|
00:18:15,920 --> 00:18:20,420 |
|
yeah, verse, but still as a drama here, okay? |
|
|
|
272 |
|
00:18:23,220 --> 00:18:25,760 |
|
Of course, he was engaged in politics, writing |
|
|
|
273 |
|
00:18:25,760 --> 00:18:29,020 |
|
essays about religion and many other things. He |
|
|
|
274 |
|
00:18:29,020 --> 00:18:31,620 |
|
became the Latin secretary to Cromwell. This is |
|
|
|
275 |
|
00:18:31,620 --> 00:18:35,740 |
|
how close he was to Cromwell. And it's because of |
|
|
|
276 |
|
00:18:35,740 --> 00:18:38,820 |
|
this he later on was arrested. |
|
|
|
277 |
|
00:18:41,320 --> 00:18:44,880 |
|
When he was blind, started to be blind, eventually |
|
|
|
278 |
|
00:18:44,880 --> 00:18:47,420 |
|
he wrote Paradise Lost. I should add the inverted |
|
|
|
279 |
|
00:18:47,420 --> 00:18:52,260 |
|
commas. Don't forget this. He wrote Paradise Lost. |
|
|
|
280 |
|
00:18:53,410 --> 00:18:57,370 |
|
Yeah, I think it took him some time, but |
|
|
|
281 |
|
00:18:57,370 --> 00:19:01,430 |
|
eventually he went blind. And I know many people |
|
|
|
282 |
|
00:19:01,430 --> 00:19:05,090 |
|
who study, you know, in Arabic literature, we have |
|
|
|
283 |
|
00:19:05,090 --> 00:19:06,490 |
|
blind poets also. |
|
|
|
284 |
|
00:19:09,170 --> 00:19:12,690 |
|
Tahseen wasn't a poet. He was a northerner. Bashar |
|
|
|
285 |
|
00:19:12,690 --> 00:19:16,050 |
|
bin Bord, you know? I think. Abu Al-Alai Al-Ma |
|
|
|
286 |
|
00:19:16,050 --> 00:19:18,730 |
|
'ari, was he blind? No. Abu Al-Alai Al-Ma'ari? Are |
|
|
|
287 |
|
00:19:18,730 --> 00:19:22,740 |
|
you sure? Anyway, so some, maybe you study |
|
|
|
288 |
|
00:19:22,740 --> 00:19:25,220 |
|
comparative literature in the future, you compare |
|
|
|
289 |
|
00:19:25,220 --> 00:19:27,860 |
|
how blindness does something to literature and |
|
|
|
290 |
|
00:19:27,860 --> 00:19:30,440 |
|
how, because there are so many references to the |
|
|
|
291 |
|
00:19:30,440 --> 00:19:33,360 |
|
fact that he's blind. There is, I think, a poem he |
|
|
|
292 |
|
00:19:33,360 --> 00:19:38,000 |
|
wrote on his blindness. Okay, so Paradise Lost is |
|
|
|
293 |
|
00:19:38,000 --> 00:19:43,810 |
|
a major epic poem in English. by John Milton about |
|
|
|
294 |
|
00:19:43,810 --> 00:19:48,210 |
|
God, Adam, Eve, Satan, and the fall of mankind. |
|
|
|
295 |
|
00:19:50,510 --> 00:19:57,270 |
|
Now, the question is, why did Milton write this? |
|
|
|
296 |
|
00:19:57,430 --> 00:20:03,560 |
|
This is actually poetry from Paradise Lost. At the |
|
|
|
297 |
|
00:20:03,560 --> 00:20:06,000 |
|
beginning, in the opening, he addresses the |
|
|
|
298 |
|
00:20:06,000 --> 00:20:08,960 |
|
audience. He tells them why he is engaging in |
|
|
|
299 |
|
00:20:08,960 --> 00:20:14,290 |
|
writing a 10,000-line poem. What do you think? |
|
|
|
300 |
|
00:20:14,570 --> 00:20:16,910 |
|
He's saying to assert eternal providence. |
|
|
|
301 |
|
00:20:17,050 --> 00:20:18,790 |
|
Providence means, do you know what providence is? |
|
|
|
302 |
|
00:20:19,510 --> 00:20:22,570 |
|
Providence means basically that there is a God, |
|
|
|
303 |
|
00:20:23,050 --> 00:20:25,710 |
|
and that God is taking care of us all, and |
|
|
|
304 |
|
00:20:25,710 --> 00:20:27,950 |
|
eventually everything is going to be fine because |
|
|
|
305 |
|
00:20:27,950 --> 00:20:31,870 |
|
there is a merciful just God. So to assert, to |
|
|
|
306 |
|
00:20:31,870 --> 00:20:35,270 |
|
make sure, to convince people that, to assert |
|
|
|
307 |
|
00:20:35,270 --> 00:20:39,650 |
|
eternal providence and to justify the ways of God |
|
|
|
308 |
|
00:20:39,650 --> 00:20:43,190 |
|
to men. Whose job is it to do this generally in |
|
|
|
309 |
|
00:20:43,190 --> 00:20:46,910 |
|
life? Whose job is it to assert eternal providence |
|
|
|
310 |
|
00:20:46,910 --> 00:20:49,930 |
|
and to justify the ways, the means of God to men? |
|
|
|
311 |
|
00:20:52,770 --> 00:20:57,140 |
|
Prophets, yeah. It's usually a prophet. who does |
|
|
|
312 |
|
00:20:57,140 --> 00:20:59,220 |
|
this to assert eternal prophethood, to tell people |
|
|
|
313 |
|
00:20:59,220 --> 00:21:02,320 |
|
there is a God and God is merciful. Yes, God |
|
|
|
314 |
|
00:21:02,320 --> 00:21:06,940 |
|
sometimes tries us. In a way, we're punished |
|
|
|
315 |
|
00:21:06,940 --> 00:21:09,140 |
|
sometimes. We suffer sometimes. But this is for |
|
|
|
316 |
|
00:21:09,140 --> 00:21:15,560 |
|
our own good, to justify the ways of God to men. |
|
|
|
317 |
|
00:21:15,680 --> 00:21:18,620 |
|
And this is how ambitious he is. So in a way, he's |
|
|
|
318 |
|
00:21:18,620 --> 00:21:21,980 |
|
claiming, assuming the role of the prophet. |
|
|
|
319 |
|
00:21:22,240 --> 00:21:26,310 |
|
Prophet. You know what a prophet is? Yes. Like a |
|
|
|
320 |
|
00:21:26,310 --> 00:21:30,430 |
|
messenger. So he knew he's doing something great. |
|
|
|
321 |
|
00:21:30,610 --> 00:21:32,950 |
|
He knew that. And indeed, he's one of the greatest |
|
|
|
322 |
|
00:21:32,950 --> 00:21:37,990 |
|
English poets ever. Okay? Why did... Can you |
|
|
|
323 |
|
00:21:37,990 --> 00:21:39,890 |
|
answer this question? Don't look here. Why did the |
|
|
|
324 |
|
00:21:39,890 --> 00:21:42,410 |
|
text... I could ask you this in the exam. Why did |
|
|
|
325 |
|
00:21:42,410 --> 00:21:45,510 |
|
Paradise Lost cause controversy? |
|
|
|
326 |
|
00:21:50,350 --> 00:21:55,370 |
|
Please. Very good. He contradicts the Christian |
|
|
|
327 |
|
00:21:55,370 --> 00:21:58,390 |
|
beliefs. How? Can you give examples? Yes? |
|
|
|
328 |
|
00:22:02,530 --> 00:22:05,670 |
|
Sometimes as the hero. How? Because he challenges |
|
|
|
329 |
|
00:22:05,670 --> 00:22:08,970 |
|
God. God tells Satan, kneel. And he says, I don't |
|
|
|
330 |
|
00:22:08,970 --> 00:22:12,910 |
|
want to kneel. Leave Adam and Eve alone. I don't |
|
|
|
331 |
|
00:22:12,910 --> 00:22:15,910 |
|
want to leave them alone. And he tempts Eve to eat |
|
|
|
332 |
|
00:22:15,910 --> 00:22:19,090 |
|
from the tree of knowledge. What else? There is |
|
|
|
333 |
|
00:22:19,090 --> 00:22:20,550 |
|
another reason here. |
|
|
|
334 |
|
00:22:24,810 --> 00:22:29,430 |
|
Some level of blame. They're all equally to blame, |
|
|
|
335 |
|
00:22:29,710 --> 00:22:36,120 |
|
equally responsible for this. Okay? But there is a |
|
|
|
336 |
|
00:22:36,120 --> 00:22:38,920 |
|
discussion here about freedom of choice and good |
|
|
|
337 |
|
00:22:38,920 --> 00:22:42,680 |
|
free will, free will and freedom of choice. Are we |
|
|
|
338 |
|
00:22:42,680 --> 00:22:45,040 |
|
destined to do something or can we choose our own |
|
|
|
339 |
|
00:22:45,040 --> 00:22:47,920 |
|
destiny? Here, yes, we can choose our own destiny. |
|
|
|
340 |
|
00:22:48,240 --> 00:22:50,500 |
|
At the end of the text, this happens. Someone |
|
|
|
341 |
|
00:22:50,500 --> 00:22:53,380 |
|
read, please. Yeah, please. |
|
|
|
342 |
|
00:23:03,210 --> 00:23:06,930 |
|
They hand in hand with wandering steps and walk |
|
|
|
343 |
|
00:23:06,930 --> 00:23:13,830 |
|
through Eden took their solitary way. Who's they |
|
|
|
344 |
|
00:23:13,830 --> 00:23:17,970 |
|
here and them? Who are they? Adam and Eve. This is |
|
|
|
345 |
|
00:23:17,970 --> 00:23:21,610 |
|
at the end, eventually, when everything goes as it |
|
|
|
346 |
|
00:23:21,610 --> 00:23:26,570 |
|
goes here in the poem. Adam and Eve walk hand in |
|
|
|
347 |
|
00:23:26,570 --> 00:23:30,330 |
|
hand, not to God's mercy, not back to heaven, to |
|
|
|
348 |
|
00:23:30,330 --> 00:23:35,030 |
|
providence. They go back to human knowledge, to |
|
|
|
349 |
|
00:23:35,030 --> 00:23:39,130 |
|
the unknown. In many ways, this symbolizes the |
|
|
|
350 |
|
00:23:39,130 --> 00:23:41,170 |
|
Renaissance, how the Renaissance was trying to |
|
|
|
351 |
|
00:23:41,170 --> 00:23:43,150 |
|
break the barriers, to break the rules, to push |
|
|
|
352 |
|
00:23:43,150 --> 00:23:46,470 |
|
the barriers, to go perfection, to seek |
|
|
|
353 |
|
00:23:46,470 --> 00:23:48,950 |
|
perfection. We've seen this in Dr. Faustus. He |
|
|
|
354 |
|
00:23:48,950 --> 00:23:53,110 |
|
wanted unlimited access to knowledge. But how did |
|
|
|
355 |
|
00:23:53,110 --> 00:23:55,370 |
|
the whole Renaissance end? It ended in |
|
|
|
356 |
|
00:23:55,370 --> 00:23:59,290 |
|
disillusionment. It ended in decline. It ended in |
|
|
|
357 |
|
00:23:59,290 --> 00:24:03,430 |
|
criticism. It ended in censorship. It ended with |
|
|
|
358 |
|
00:24:03,430 --> 00:24:05,690 |
|
the execution of the king and the closure of the |
|
|
|
359 |
|
00:24:05,690 --> 00:24:09,750 |
|
theater. Remember by the Puritans? So in a way, |
|
|
|
360 |
|
00:24:10,190 --> 00:24:14,890 |
|
they're going to the unknown. Disobeying God takes |
|
|
|
361 |
|
00:24:14,890 --> 00:24:18,650 |
|
you to the unknown. But in literature, this is |
|
|
|
362 |
|
00:24:18,650 --> 00:24:21,550 |
|
sometimes a good theme because you choose your own |
|
|
|
363 |
|
00:24:21,550 --> 00:24:27,310 |
|
future. So the world was all before them were to |
|
|
|
364 |
|
00:24:27,310 --> 00:24:29,530 |
|
choose. They could have, you know, chosen |
|
|
|
365 |
|
00:24:29,530 --> 00:24:32,950 |
|
differently. Their place of rest, you know, rest, |
|
|
|
366 |
|
00:24:33,090 --> 00:24:37,810 |
|
peace, heaven, and Providence, their guide, they, |
|
|
|
367 |
|
00:24:38,210 --> 00:24:44,410 |
|
however, they hand in hand still stick together |
|
|
|
368 |
|
00:24:44,410 --> 00:24:51,930 |
|
with wandering steps, slow wandering, slow steps, |
|
|
|
369 |
|
00:24:53,720 --> 00:24:58,900 |
|
through Eden. And this is really heartbreaking. So |
|
|
|
370 |
|
00:24:58,900 --> 00:25:02,240 |
|
this is like I imagine this way this is like if |
|
|
|
371 |
|
00:25:02,240 --> 00:25:07,020 |
|
this is heaven how they go back down to earth so |
|
|
|
372 |
|
00:25:07,020 --> 00:25:08,960 |
|
they have to cross all the way through heaven |
|
|
|
373 |
|
00:25:08,960 --> 00:25:12,100 |
|
where they see all beauty and the rest and the |
|
|
|
374 |
|
00:25:12,100 --> 00:25:15,670 |
|
providence and they still They determine, and they |
|
|
|
375 |
|
00:25:15,670 --> 00:25:19,130 |
|
go. That was because of the original scene we saw. |
|
|
|
376 |
|
00:25:19,370 --> 00:25:23,510 |
|
Through Eden, took their solitary way, the |
|
|
|
377 |
|
00:25:23,510 --> 00:25:26,350 |
|
unknown. And this is a theme here, of the theme of |
|
|
|
378 |
|
00:25:26,350 --> 00:25:29,950 |
|
the unknown. Where is humanity going? Where are we |
|
|
|
379 |
|
00:25:29,950 --> 00:25:33,950 |
|
going? We're going to the unknown. This is very |
|
|
|
380 |
|
00:25:33,950 --> 00:25:37,250 |
|
ambitious. And at the same time, very sad, very |
|
|
|
381 |
|
00:25:37,250 --> 00:25:39,150 |
|
heartbreaking, very risky. |
|
|
|
382 |
|
00:25:42,120 --> 00:25:47,740 |
|
I can't tell whether Milton is promoting this or |
|
|
|
383 |
|
00:25:47,740 --> 00:25:53,120 |
|
condemning this. What do you think from this? Do |
|
|
|
384 |
|
00:25:53,120 --> 00:25:56,420 |
|
you think Milton wants us to be this adventurous |
|
|
|
385 |
|
00:25:56,420 --> 00:26:00,000 |
|
and this risky? Or is he telling us, see, if you |
|
|
|
386 |
|
00:26:00,000 --> 00:26:02,400 |
|
disobey God, if you don't follow the rules, you're |
|
|
|
387 |
|
00:26:02,400 --> 00:26:06,360 |
|
going to end up with the unknown? Yeah, so? |
|
|
|
388 |
|
00:26:12,070 --> 00:26:14,430 |
|
He's blaming God, and I think he's saying that you |
|
|
|
389 |
|
00:26:14,430 --> 00:26:20,470 |
|
have to, I don't know. What do you think? You |
|
|
|
390 |
|
00:26:20,470 --> 00:26:22,830 |
|
don't have to know. What do you think, generally? |
|
|
|
391 |
|
00:26:22,990 --> 00:26:27,250 |
|
I think he's, the first place, he blamed God, but |
|
|
|
392 |
|
00:26:27,250 --> 00:26:34,610 |
|
I don't think that he wants us to obey God. He put |
|
|
|
393 |
|
00:26:34,610 --> 00:26:37,430 |
|
God as the antagonist. Okay, but not necessarily, |
|
|
|
394 |
|
00:26:37,590 --> 00:26:39,370 |
|
it doesn't mean, listen, in literature generally, |
|
|
|
395 |
|
00:26:39,530 --> 00:26:43,980 |
|
I said this before, Literature usually, or |
|
|
|
396 |
|
00:26:43,980 --> 00:26:46,860 |
|
sometimes, doesn't seek to give us answers, but to |
|
|
|
397 |
|
00:26:46,860 --> 00:26:49,880 |
|
raise questions. That's one. In literature, we |
|
|
|
398 |
|
00:26:49,880 --> 00:26:53,280 |
|
don't usually have pure evil or pure good |
|
|
|
399 |
|
00:26:53,280 --> 00:26:56,080 |
|
characters, because literature is usually focused |
|
|
|
400 |
|
00:26:56,080 --> 00:26:59,180 |
|
on the gray area. If the text, if the movie is |
|
|
|
401 |
|
00:26:59,180 --> 00:27:03,020 |
|
about a family that is too good, it's boring. Or |
|
|
|
402 |
|
00:27:03,020 --> 00:27:05,380 |
|
too evil, sometimes it's frightening. There's too |
|
|
|
403 |
|
00:27:05,380 --> 00:27:09,100 |
|
much evil there. It's about good people who do bad |
|
|
|
404 |
|
00:27:09,100 --> 00:27:13,470 |
|
things. No? Bad people who do good things. Oh, |
|
|
|
405 |
|
00:27:13,650 --> 00:27:17,050 |
|
interesting. You ask a question, would I do the |
|
|
|
406 |
|
00:27:17,050 --> 00:27:20,170 |
|
same if I were in their position? Would I do the |
|
|
|
407 |
|
00:27:20,170 --> 00:27:24,510 |
|
same? And it's interesting because we see how |
|
|
|
408 |
|
00:27:24,510 --> 00:27:27,310 |
|
people react, how good people sometimes react when |
|
|
|
409 |
|
00:27:27,310 --> 00:27:28,850 |
|
they want to do evil. It's very interesting. |
|
|
|
410 |
|
00:27:28,950 --> 00:27:31,010 |
|
There's a movie I watched. It's called Death |
|
|
|
411 |
|
00:27:31,010 --> 00:27:33,050 |
|
Sentence. You know what it means, death sentence? |
|
|
|
412 |
|
00:27:34,150 --> 00:27:36,510 |
|
sentence in this context what does sentence mean |
|
|
|
413 |
|
00:27:36,510 --> 00:27:40,170 |
|
when you say somebody was sentenced to 10 years in |
|
|
|
414 |
|
00:27:40,170 --> 00:27:44,790 |
|
prison sentence it's a time someone a criminal |
|
|
|
415 |
|
00:27:44,790 --> 00:27:50,330 |
|
spends in prison for life sentence death sentence |
|
|
|
416 |
|
00:27:52,950 --> 00:27:54,910 |
|
A movie called Death Sentence, really beautiful |
|
|
|
417 |
|
00:27:54,910 --> 00:27:57,190 |
|
movie. It starts with, again, a beautiful family, |
|
|
|
418 |
|
00:27:57,390 --> 00:27:59,650 |
|
the perfect family, the husband, the wife, and the |
|
|
|
419 |
|
00:27:59,650 --> 00:28:03,430 |
|
two kids. One of them is very promising, very |
|
|
|
420 |
|
00:28:03,430 --> 00:28:06,130 |
|
ambitious. He has a very good job. They're rich. |
|
|
|
421 |
|
00:28:06,210 --> 00:28:10,470 |
|
They're comfortable. And after like 10 or 15 |
|
|
|
422 |
|
00:28:10,470 --> 00:28:14,070 |
|
minutes, the son they loved the most was killed by |
|
|
|
423 |
|
00:28:14,070 --> 00:28:19,270 |
|
a gang member. How would a loving father, a |
|
|
|
424 |
|
00:28:19,270 --> 00:28:21,590 |
|
peaceful father, a father who has never touched a |
|
|
|
425 |
|
00:28:21,590 --> 00:28:26,990 |
|
gun would react in this? I'm not going to spoil |
|
|
|
426 |
|
00:28:26,990 --> 00:28:31,610 |
|
it. It's one of my top movies actually. Try to |
|
|
|
427 |
|
00:28:31,610 --> 00:28:34,320 |
|
watch it. Really interesting stuff. But again, |
|
|
|
428 |
|
00:28:34,540 --> 00:28:38,780 |
|
until this moment, I asked myself, God forbid, how |
|
|
|
429 |
|
00:28:38,780 --> 00:28:41,780 |
|
would a person who's not into revenge and fighting |
|
|
|
430 |
|
00:28:41,780 --> 00:28:45,220 |
|
and everything, movies and literature, give us |
|
|
|
431 |
|
00:28:45,220 --> 00:28:48,680 |
|
these scenarios? And that's why when you see the |
|
|
|
432 |
|
00:28:48,680 --> 00:28:51,280 |
|
conclusion, the ending, and how it ends, probably |
|
|
|
433 |
|
00:28:51,280 --> 00:28:54,160 |
|
you say, OK, I'll do the same. But it gives you a |
|
|
|
434 |
|
00:28:54,160 --> 00:28:56,700 |
|
whole story, a whole world in front of you, where |
|
|
|
435 |
|
00:28:56,700 --> 00:29:00,600 |
|
to choose. What should I do? Should I leave the |
|
|
|
436 |
|
00:29:00,600 --> 00:29:04,650 |
|
law to take its course? When you lose someone you |
|
|
|
437 |
|
00:29:04,650 --> 00:29:08,190 |
|
love the most, you wouldn't wait for Allah to take |
|
|
|
438 |
|
00:29:08,190 --> 00:29:11,250 |
|
your revenge. But is that good? If we do this, the |
|
|
|
439 |
|
00:29:11,250 --> 00:29:13,670 |
|
whole world is going to turn into a jungle. But |
|
|
|
440 |
|
00:29:13,670 --> 00:29:16,650 |
|
you wouldn't be OK if you didn't do this. We |
|
|
|
441 |
|
00:29:16,650 --> 00:29:19,470 |
|
should. Because yeah, there is this thing in our |
|
|
|
442 |
|
00:29:19,470 --> 00:29:22,490 |
|
hearts about revenge. But literature teaches us to |
|
|
|
443 |
|
00:29:22,490 --> 00:29:26,770 |
|
forgive. You might be the best person on Earth. |
|
|
|
444 |
|
00:29:27,090 --> 00:29:31,750 |
|
But still, it's your right to feel angry and to |
|
|
|
445 |
|
00:29:31,750 --> 00:29:34,940 |
|
want to take revenge. But if you want to kill |
|
|
|
446 |
|
00:29:34,940 --> 00:29:38,280 |
|
somebody because Toronto, like Shylock, if you |
|
|
|
447 |
|
00:29:38,280 --> 00:29:41,460 |
|
want to do, you know, we discussed this in another |
|
|
|
448 |
|
00:29:41,460 --> 00:29:43,580 |
|
class, I think. Would you do like Shylock? Would |
|
|
|
449 |
|
00:29:43,580 --> 00:29:45,420 |
|
you insist on taking a pound of flesh to take |
|
|
|
450 |
|
00:29:45,420 --> 00:29:48,680 |
|
revenge? It's his right, because he was attacked. |
|
|
|
451 |
|
00:29:48,740 --> 00:29:53,260 |
|
He was, you know, many times. But in this case, |
|
|
|
452 |
|
00:29:53,440 --> 00:29:57,640 |
|
the revenge wouldn't be killing. He might take |
|
|
|
453 |
|
00:29:57,640 --> 00:30:00,310 |
|
revenge by something else. By slapping him? No, |
|
|
|
454 |
|
00:30:00,470 --> 00:30:04,530 |
|
maybe by doing the same to him. Like what? He |
|
|
|
455 |
|
00:30:04,530 --> 00:30:06,610 |
|
killed someone, you killed someone? No, I don't |
|
|
|
456 |
|
00:30:06,610 --> 00:30:11,270 |
|
know. Nothing like that. At least like, but that's |
|
|
|
457 |
|
00:30:11,270 --> 00:30:14,870 |
|
where when we have like, if we have a good legal |
|
|
|
458 |
|
00:30:14,870 --> 00:30:19,190 |
|
system where criminals can be punished as they |
|
|
|
459 |
|
00:30:19,190 --> 00:30:21,610 |
|
should be, at least you don't have to go there. |
|
|
|
460 |
|
00:30:22,190 --> 00:30:25,590 |
|
Anyway, think of this, please. I think he's |
|
|
|
461 |
|
00:30:25,590 --> 00:30:30,360 |
|
promoting hearing to unknown. Because he said hand |
|
|
|
462 |
|
00:30:30,360 --> 00:30:33,940 |
|
in hand with wandering steps. He didn't mention |
|
|
|
463 |
|
00:30:33,940 --> 00:30:37,640 |
|
that there was any disagreement. And that's the |
|
|
|
464 |
|
00:30:37,640 --> 00:30:40,240 |
|
best thing about Adam and Eve, by the way. In |
|
|
|
465 |
|
00:30:40,240 --> 00:30:43,720 |
|
Islam and Christianity, I'm not sure we have this |
|
|
|
466 |
|
00:30:43,720 --> 00:30:46,280 |
|
in the text. I'll have to go back to it. Adam and |
|
|
|
467 |
|
00:30:46,280 --> 00:30:48,620 |
|
Eve were the perfect couple, in a way. They're not |
|
|
|
468 |
|
00:30:48,620 --> 00:30:51,460 |
|
the odd couples that are always fighting, like our |
|
|
|
469 |
|
00:30:51,460 --> 00:30:54,160 |
|
parents sometimes. They're always fighting over |
|
|
|
470 |
|
00:30:54,160 --> 00:30:56,800 |
|
trivial things. You don't see this, although this |
|
|
|
471 |
|
00:30:56,800 --> 00:31:00,060 |
|
is the most serious thing. Sometimes you do |
|
|
|
472 |
|
00:31:00,060 --> 00:31:03,200 |
|
something, and then the wife gets at you. The wife |
|
|
|
473 |
|
00:31:03,200 --> 00:31:05,260 |
|
does something, and the husband is angry and |
|
|
|
474 |
|
00:31:05,260 --> 00:31:09,590 |
|
everything. What a perfect couple they are. Hand |
|
|
|
475 |
|
00:31:09,590 --> 00:31:13,810 |
|
in hand, slowly wandering, despite the fact that |
|
|
|
476 |
|
00:31:13,810 --> 00:31:17,410 |
|
they lost the most important thing a human person, |
|
|
|
477 |
|
00:31:17,690 --> 00:31:22,130 |
|
humanity has ever lost. Paradise. Providence. |
|
|
|
478 |
|
00:31:22,950 --> 00:31:26,500 |
|
Being close to God. What a perfect, what a good |
|
|
|
479 |
|
00:31:26,500 --> 00:31:28,860 |
|
couple. But they were the only ones on the earth, |
|
|
|
480 |
|
00:31:28,960 --> 00:31:31,040 |
|
maybe because of that they wouldn't leave each |
|
|
|
481 |
|
00:31:31,040 --> 00:31:34,080 |
|
other for no reason. Yeah, so if I leave, but |
|
|
|
482 |
|
00:31:34,080 --> 00:31:36,900 |
|
still you fight a little bit because fighting |
|
|
|
483 |
|
00:31:36,900 --> 00:31:38,860 |
|
doesn't mean end in a war. Maybe they fought. |
|
|
|
484 |
|
00:31:39,280 --> 00:31:41,760 |
|
Maybe they did, but it's not in the Quran or the |
|
|
|
485 |
|
00:31:41,760 --> 00:31:45,310 |
|
Bible or in the text. And this is how literature |
|
|
|
486 |
|
00:31:45,310 --> 00:31:47,770 |
|
literature doesn't give us everything. It leaves |
|
|
|
487 |
|
00:31:47,770 --> 00:31:50,430 |
|
gaps for us to think. But yeah, interesting how |
|
|
|
488 |
|
00:31:50,430 --> 00:31:53,150 |
|
you think that at least when they take the |
|
|
|
489 |
|
00:31:53,150 --> 00:31:56,190 |
|
decision, they take it together, hand in hand. |
|
|
|
490 |
|
00:31:56,590 --> 00:31:59,210 |
|
Adam is not leading him, and she's not pushing |
|
|
|
491 |
|
00:31:59,210 --> 00:32:03,070 |
|
him. They're hand in hand. They are equal to the |
|
|
|
492 |
|
00:32:03,070 --> 00:32:09,290 |
|
other. OK. Now in Paradise Lost, we have a lot of |
|
|
|
493 |
|
00:32:09,290 --> 00:32:14,980 |
|
very memorable lines. So neither Adam nor Eve is |
|
|
|
494 |
|
00:32:14,980 --> 00:32:21,260 |
|
to blame because they are all equally to blame. |
|
|
|
495 |
|
00:32:23,000 --> 00:32:27,540 |
|
There are several memorable lines and |
|
|
|
496 |
|
00:32:27,540 --> 00:32:31,160 |
|
descriptions, descriptive passages, descriptive |
|
|
|
497 |
|
00:32:31,160 --> 00:32:34,820 |
|
stanzas and poetry in Paradise Lost. One of them |
|
|
|
498 |
|
00:32:34,820 --> 00:32:37,700 |
|
is a description of hell, hellfire. You know |
|
|
|
499 |
|
00:32:37,700 --> 00:32:41,380 |
|
dungeon? A dungeon is a dark place like a prison. |
|
|
|
500 |
|
00:32:41,760 --> 00:32:44,620 |
|
It's where sometimes you describe the prison as a |
|
|
|
501 |
|
00:32:44,620 --> 00:32:47,620 |
|
dungeon or a particular room. I don't like to sit |
|
|
|
502 |
|
00:32:47,620 --> 00:32:50,080 |
|
in this room. It's like a dungeon. Dungeon is a |
|
|
|
503 |
|
00:32:50,080 --> 00:32:55,140 |
|
dark place where you sit in. Could describe a |
|
|
|
504 |
|
00:32:55,140 --> 00:32:57,860 |
|
prison, but here it is used to describe hell |
|
|
|
505 |
|
00:32:57,860 --> 00:33:01,160 |
|
itself. And notice how horrible, how spooky this |
|
|
|
506 |
|
00:33:01,160 --> 00:33:03,420 |
|
is. This is very close to the Bible and the |
|
|
|
507 |
|
00:33:03,420 --> 00:33:07,740 |
|
description of the religious text here. So hell |
|
|
|
508 |
|
00:33:07,740 --> 00:33:14,600 |
|
is? Horrible on all sides around as one great |
|
|
|
509 |
|
00:33:14,600 --> 00:33:19,440 |
|
furnace. Do you know furnace? We took it before, |
|
|
|
510 |
|
00:33:19,540 --> 00:33:24,420 |
|
furnace. What is oven? What's an oven? You don't |
|
|
|
511 |
|
00:33:24,420 --> 00:33:29,180 |
|
know an oven? But furnace, where did we come |
|
|
|
512 |
|
00:33:29,180 --> 00:33:32,920 |
|
across furnace before? All the world's stage. |
|
|
|
513 |
|
00:33:34,020 --> 00:33:36,460 |
|
There was the furnace, the lever, the fighter, ah, |
|
|
|
514 |
|
00:33:36,500 --> 00:33:39,320 |
|
it's like a furnace. So you know what a furnace |
|
|
|
515 |
|
00:33:39,320 --> 00:33:44,480 |
|
is. There's fire all over the place. Flame, yit. |
|
|
|
516 |
|
00:33:45,000 --> 00:33:47,080 |
|
And again, see this paradox. There's a paradox |
|
|
|
517 |
|
00:33:47,080 --> 00:33:51,900 |
|
here. If there is fire, yes, there is heat. It's |
|
|
|
518 |
|
00:33:51,900 --> 00:33:54,720 |
|
negative in this sense. But fire means warmth. And |
|
|
|
519 |
|
00:33:54,720 --> 00:33:58,660 |
|
sometimes it means what do we have from fire other |
|
|
|
520 |
|
00:33:58,660 --> 00:34:01,600 |
|
than warmth? Light. Thank you very much. But this |
|
|
|
521 |
|
00:34:01,600 --> 00:34:06,210 |
|
is not an ordinary fire. This is hell fire. Yet |
|
|
|
522 |
|
00:34:06,210 --> 00:34:11,750 |
|
from these flames, from the fire, no light, but |
|
|
|
523 |
|
00:34:11,750 --> 00:34:15,550 |
|
rather darkness visible. It's funny that you say |
|
|
|
524 |
|
00:34:15,550 --> 00:34:19,010 |
|
darkness visible because darkness is darkness. |
|
|
|
525 |
|
00:34:20,530 --> 00:34:25,290 |
|
This is fire that gives darkness not light. |
|
|
|
526 |
|
00:34:27,770 --> 00:34:32,130 |
|
Isn't that the most horrifying thing ever? So when |
|
|
|
527 |
|
00:34:32,130 --> 00:34:34,870 |
|
someone tells you it's dark, OK, I can light some |
|
|
|
528 |
|
00:34:34,870 --> 00:34:37,830 |
|
fire. But fire there doesn't give light. It gives |
|
|
|
529 |
|
00:34:37,830 --> 00:34:44,870 |
|
more darkness. We have this. Usually religious |
|
|
|
530 |
|
00:34:44,870 --> 00:34:53,290 |
|
texts do this all the time. We all |
|
|
|
531 |
|
00:34:53,290 --> 00:34:59,150 |
|
hear about this, the food of the sinners, the |
|
|
|
532 |
|
00:34:59,150 --> 00:35:03,810 |
|
people in hell. In the Quran, there is a simile. |
|
|
|
533 |
|
00:35:04,330 --> 00:35:06,730 |
|
And usually, a simile, a metaphor, brings things |
|
|
|
534 |
|
00:35:06,730 --> 00:35:09,790 |
|
closer to our imagination. So someone tells you, |
|
|
|
535 |
|
00:35:09,890 --> 00:35:13,690 |
|
have you ever tasted or tried cheesecake? Yes. No. |
|
|
|
536 |
|
00:35:14,570 --> 00:35:17,130 |
|
What does it taste like? It's like ice cream, but |
|
|
|
537 |
|
00:35:17,130 --> 00:35:19,410 |
|
it's far, far, far bitter than ice cream. |
|
|
|
538 |
|
00:35:20,230 --> 00:35:24,350 |
|
Interesting. Delicious. So the tree of Zaqqum was |
|
|
|
539 |
|
00:35:24,350 --> 00:35:28,030 |
|
brought out as if it were a simile. We want to |
|
|
|
540 |
|
00:35:28,030 --> 00:35:36,790 |
|
know. So this A fruit in hell. The fruits there on |
|
|
|
541 |
|
00:35:36,790 --> 00:35:41,290 |
|
the trees look like the heads of devils. We don't |
|
|
|
542 |
|
00:35:41,290 --> 00:35:44,270 |
|
know what they look like originally, right? So |
|
|
|
543 |
|
00:35:44,270 --> 00:35:47,030 |
|
something spooky with something even more |
|
|
|
544 |
|
00:35:47,030 --> 00:35:49,550 |
|
terrifying. And this is religious text. And he's |
|
|
|
545 |
|
00:35:49,550 --> 00:35:54,870 |
|
doing this. So this hellfire is all darkness. It's |
|
|
|
546 |
|
00:35:54,870 --> 00:36:00,300 |
|
a furnace, flame. But do we have light? No. |
|
|
|
547 |
|
00:36:00,500 --> 00:36:03,240 |
|
There's no light here. Please. I think this stanza |
|
|
|
548 |
|
00:36:03,240 --> 00:36:07,840 |
|
supports the idea that the stanza before this one, |
|
|
|
549 |
|
00:36:08,040 --> 00:36:13,200 |
|
it supports the idea that he's advising us to obey |
|
|
|
550 |
|
00:36:13,200 --> 00:36:16,300 |
|
God and listen to him to make you follow his plan. |
|
|
|
551 |
|
00:36:16,300 --> 00:36:18,500 |
|
Because eventually, if you don't, you're going to |
|
|
|
552 |
|
00:36:18,500 --> 00:36:21,960 |
|
be there. So he's terrifying us in a way. You have |
|
|
|
553 |
|
00:36:21,960 --> 00:36:26,640 |
|
to obey God. Another extract I liked is when he |
|
|
|
554 |
|
00:36:26,640 --> 00:36:27,500 |
|
describes |
|
|
|
555 |
|
00:36:30,580 --> 00:36:32,820 |
|
Eve. Maybe someone wants to do a presentation on |
|
|
|
556 |
|
00:36:32,820 --> 00:36:35,520 |
|
this, how he describes Eve and how he describes |
|
|
|
557 |
|
00:36:35,520 --> 00:36:38,680 |
|
Adam. You know, you have to do a presentation for |
|
|
|
558 |
|
00:36:38,680 --> 00:36:42,920 |
|
the course assessment. This is Milton talking |
|
|
|
559 |
|
00:36:42,920 --> 00:36:47,580 |
|
about Eve. In a way, he's saying Eve is the most |
|
|
|
560 |
|
00:36:47,580 --> 00:36:51,260 |
|
beautiful woman. At that time, you said this, |
|
|
|
561 |
|
00:36:51,360 --> 00:36:54,440 |
|
there were no women, no men. So of course, she is |
|
|
|
562 |
|
00:36:54,440 --> 00:36:58,490 |
|
the most beautiful woman on earth. But he compares |
|
|
|
563 |
|
00:36:58,490 --> 00:37:01,510 |
|
her to even more beautiful creatures. |
|
|
|
564 |
|
00:37:03,530 --> 00:37:09,510 |
|
Soft, she withdrew. Unlike a wood nymph, light. |
|
|
|
565 |
|
00:37:09,590 --> 00:37:11,990 |
|
You know a wood nymph? What's a nymph? A wood? |
|
|
|
566 |
|
00:37:12,510 --> 00:37:16,210 |
|
Nymph? It's like a goddess. Goddesses. Yeah, like |
|
|
|
567 |
|
00:37:16,210 --> 00:37:20,950 |
|
goddesses. Like purely beautiful creatures living |
|
|
|
568 |
|
00:37:20,950 --> 00:37:24,210 |
|
in heaven. Those imaginary creatures, the |
|
|
|
569 |
|
00:37:24,210 --> 00:37:26,790 |
|
creatures we imagine all the time. Perfect |
|
|
|
570 |
|
00:37:26,790 --> 00:37:31,430 |
|
creatures. So she withdrew, she moves, she |
|
|
|
571 |
|
00:37:31,430 --> 00:37:37,610 |
|
behaves, she acts like a nymph. Light. We took her |
|
|
|
572 |
|
00:37:37,610 --> 00:37:41,590 |
|
to the groves, but Delia's self-engaged surpassed |
|
|
|
573 |
|
00:37:41,590 --> 00:37:45,550 |
|
and goddess-like deposed. She looks like? Goddess. |
|
|
|
574 |
|
00:37:46,270 --> 00:37:50,650 |
|
Goddess. She's a goddess. She's a nymph, she's |
|
|
|
575 |
|
00:37:50,650 --> 00:37:56,240 |
|
beautiful, she's perfect. So maybe you want to see |
|
|
|
576 |
|
00:37:56,240 --> 00:38:00,420 |
|
how the text talks about. But here, notice the |
|
|
|
577 |
|
00:38:00,420 --> 00:38:03,360 |
|
description is mainly physical description. Are |
|
|
|
578 |
|
00:38:03,360 --> 00:38:07,500 |
|
there any references to her mind? Or is this the |
|
|
|
579 |
|
00:38:07,500 --> 00:38:11,280 |
|
case? A woman has to be beautiful, and that's it. |
|
|
|
580 |
|
00:38:12,040 --> 00:38:14,660 |
|
More important than her mind and her intellect. |
|
|
|
581 |
|
00:38:15,400 --> 00:38:17,120 |
|
Look into the text. If someone is interested in |
|
|
|
582 |
|
00:38:17,120 --> 00:38:19,920 |
|
this, to do a presentation, you can look into |
|
|
|
583 |
|
00:38:19,920 --> 00:38:24,130 |
|
this. And maybe you can see how Adam is. So maybe |
|
|
|
584 |
|
00:38:24,130 --> 00:38:28,570 |
|
Adam is not described physically. Maybe he's more |
|
|
|
585 |
|
00:38:28,570 --> 00:38:29,350 |
|
into the mind. |
|
|
|
586 |
|
00:38:34,390 --> 00:38:36,850 |
|
The apple, we'll see, yeah. We'll have to go back |
|
|
|
587 |
|
00:38:36,850 --> 00:38:40,810 |
|
to this and see what exactly he said about her, |
|
|
|
588 |
|
00:38:40,910 --> 00:38:46,570 |
|
how she behaved, what she exactly thought. I'll |
|
|
|
589 |
|
00:38:46,570 --> 00:38:51,270 |
|
conclude this with more memorable lines. We have |
|
|
|
590 |
|
00:38:51,270 --> 00:38:56,780 |
|
one. Two and three. Three, again, beautiful, very |
|
|
|
591 |
|
00:38:56,780 --> 00:38:58,520 |
|
memorable. Some of these, by the way, have become |
|
|
|
592 |
|
00:38:58,520 --> 00:39:01,980 |
|
English proverbs. We use them all the time, and |
|
|
|
593 |
|
00:39:01,980 --> 00:39:04,460 |
|
sometimes we don't know that they are from Milton. |
|
|
|
594 |
|
00:39:04,840 --> 00:39:06,940 |
|
Sometimes we use so many things from Shakespeare |
|
|
|
595 |
|
00:39:06,940 --> 00:39:08,300 |
|
and Milton and John Donne and everything. |
|
|
|
596 |
|
00:39:09,180 --> 00:39:11,320 |
|
Especially this one. I like using this all the |
|
|
|
597 |
|
00:39:11,320 --> 00:39:16,120 |
|
time. So farewell hope and with hope farewell |
|
|
|
598 |
|
00:39:16,120 --> 00:39:21,140 |
|
fear. So, farewell. You know farewell? Goodbye. |
|
|
|
599 |
|
00:39:22,260 --> 00:39:27,380 |
|
Goodbye to hope. But if somebody loses hope, you |
|
|
|
600 |
|
00:39:27,380 --> 00:39:31,640 |
|
have nothing else to lose. So, you don't fear |
|
|
|
601 |
|
00:39:31,640 --> 00:39:37,280 |
|
anything. And usually they say, you need to fear |
|
|
|
602 |
|
00:39:37,280 --> 00:39:40,760 |
|
someone who has nothing to fear. Beware of a |
|
|
|
603 |
|
00:39:40,760 --> 00:39:42,640 |
|
person who has nothing to fear. Because if you |
|
|
|
604 |
|
00:39:42,640 --> 00:39:46,200 |
|
have no family, nobody to love, no home to live, |
|
|
|
605 |
|
00:39:46,300 --> 00:39:48,940 |
|
no country, nothing, everything is threatened, |
|
|
|
606 |
|
00:39:49,100 --> 00:39:51,320 |
|
everything is taken away by occupations or by |
|
|
|
607 |
|
00:39:51,320 --> 00:39:56,960 |
|
something, this person is very dangerous. Why? |
|
|
|
608 |
|
00:39:56,960 --> 00:40:00,160 |
|
Because sometimes we want to do stuff, but we are |
|
|
|
609 |
|
00:40:00,160 --> 00:40:02,520 |
|
afraid maybe we're going to go, we would go to |
|
|
|
610 |
|
00:40:02,520 --> 00:40:05,600 |
|
prison, we'd be arrested because, and then my wife |
|
|
|
611 |
|
00:40:05,600 --> 00:40:07,860 |
|
and my kids and my family and my job and my |
|
|
|
612 |
|
00:40:07,860 --> 00:40:12,580 |
|
students. But if you have nothing to lose, no one |
|
|
|
613 |
|
00:40:12,580 --> 00:40:16,940 |
|
to love, no family, no job, you would be fearless. |
|
|
|
614 |
|
00:40:17,440 --> 00:40:19,860 |
|
And it's good in a way and it's also bad in |
|
|
|
615 |
|
00:40:19,860 --> 00:40:25,230 |
|
another way. Number one, Long is the way. Notice |
|
|
|
616 |
|
00:40:25,230 --> 00:40:28,910 |
|
the word order here. The way is long, but that's |
|
|
|
617 |
|
00:40:28,910 --> 00:40:36,430 |
|
poetic. Long is the way. And hard. Some only long, |
|
|
|
618 |
|
00:40:37,250 --> 00:40:41,430 |
|
but also hard. That's life. Life is hard. Life is |
|
|
|
619 |
|
00:40:41,430 --> 00:40:42,710 |
|
so long. |
|
|
|
620 |
|
00:40:45,440 --> 00:40:50,220 |
|
that out of hell leads up to life. It's like the |
|
|
|
621 |
|
00:40:50,220 --> 00:40:54,040 |
|
way to heaven is not an easy way. It's long, it's |
|
|
|
622 |
|
00:40:54,040 --> 00:41:01,000 |
|
hard. It's very difficult. In a way, when you read |
|
|
|
623 |
|
00:41:01,000 --> 00:41:02,740 |
|
this, you think it's from the Bible, by the way, |
|
|
|
624 |
|
00:41:03,300 --> 00:41:06,000 |
|
because of the religious nature of the text, |
|
|
|
625 |
|
00:41:06,180 --> 00:41:10,380 |
|
because he assumes this role. Finally, someone |
|
|
|
626 |
|
00:41:10,380 --> 00:41:15,000 |
|
read the last quote, please. Just are the ways of |
|
|
|
627 |
|
00:41:15,000 --> 00:41:19,780 |
|
God unjustifiable to men unless they're beings who |
|
|
|
628 |
|
00:41:19,780 --> 00:41:23,060 |
|
think not God at all. Okay, someone else, please. |
|
|
|
629 |
|
00:41:23,840 --> 00:41:31,620 |
|
Just are the ways of God unjustifiable to men |
|
|
|
630 |
|
00:41:31,620 --> 00:41:35,640 |
|
unless they're beings who think not God at all. |
|
|
|
631 |
|
00:41:50,730 --> 00:41:58,990 |
|
I think he's talking about prophets, how they give |
|
|
|
632 |
|
00:41:58,990 --> 00:42:03,750 |
|
us the message of God. The ways of God. |
|
|
|
633 |
|
00:42:12,410 --> 00:42:15,550 |
|
You suffer, but this suffering is good for you, |
|
|
|
634 |
|
00:42:15,890 --> 00:42:20,030 |
|
because eventually God is going to reward you for |
|
|
|
635 |
|
00:42:20,030 --> 00:42:24,730 |
|
this. So generally, remember to assert eternal |
|
|
|
636 |
|
00:42:24,730 --> 00:42:28,490 |
|
providence and justify the means or the ways of |
|
|
|
637 |
|
00:42:28,490 --> 00:42:31,630 |
|
God to men. It's too difficult. And again, notice |
|
|
|
638 |
|
00:42:31,630 --> 00:42:34,050 |
|
the word order here. There's emphasis on |
|
|
|
639 |
|
00:42:41,080 --> 00:42:43,080 |
|
But it's interesting also because if you follow |
|
|
|
640 |
|
00:42:43,080 --> 00:42:45,380 |
|
the path, you will finally go to God. It's the end |
|
|
|
641 |
|
00:42:45,380 --> 00:42:49,300 |
|
of the sentence. If you follow the long and hard |
|
|
|
642 |
|
00:42:49,300 --> 00:42:54,840 |
|
way to heaven, and you know it is just, you trust |
|
|
|
643 |
|
00:42:54,840 --> 00:42:57,100 |
|
God, you beg God, eventually you will love Him. |
|
|
|
644 |
|
00:42:57,860 --> 00:43:01,160 |
|
Just are the ways of God. Unjustifiable to men. |
|
|
|
645 |
|
00:43:01,220 --> 00:43:05,840 |
|
It's easy to see that God loves us, even if we |
|
|
|
646 |
|
00:43:05,840 --> 00:43:07,280 |
|
suffer. However, |
|
|
|
647 |
|
00:43:13,070 --> 00:43:16,390 |
|
People who originally don't believe in God. So if |
|
|
|
648 |
|
00:43:16,390 --> 00:43:19,350 |
|
you don't believe in God, you will not see |
|
|
|
649 |
|
00:43:19,350 --> 00:43:23,030 |
|
justice. You will not see that even if you suffer |
|
|
|
650 |
|
00:43:23,030 --> 00:43:26,130 |
|
eventually you will be rewarded, whether here or |
|
|
|
651 |
|
00:43:26,130 --> 00:43:33,040 |
|
there, hereafter. OK? So this is, in a way, |
|
|
|
652 |
|
00:43:33,100 --> 00:43:35,920 |
|
basically in brief. I know because this is an |
|
|
|
653 |
|
00:43:35,920 --> 00:43:38,500 |
|
introduction to English literature. We take like |
|
|
|
654 |
|
00:43:38,500 --> 00:43:41,840 |
|
little things about it. But I hope my lectures or |
|
|
|
655 |
|
00:43:41,840 --> 00:43:45,680 |
|
the lectures or the stuff in the book also helps |
|
|
|
656 |
|
00:43:45,680 --> 00:43:52,600 |
|
you to see something in literature, to love to do |
|
|
|
657 |
|
00:43:52,600 --> 00:43:53,740 |
|
something more on literature. |
|
|
|
658 |
|
00:43:56,850 --> 00:43:59,030 |
|
time especially these days with the exams coming |
|
|
|
659 |
|
00:43:59,030 --> 00:44:01,970 |
|
up please contribute you to watch some videos |
|
|
|
660 |
|
00:44:01,970 --> 00:44:06,870 |
|
about these or go google famous quotes from |
|
|
|
661 |
|
00:44:06,870 --> 00:44:10,950 |
|
paradises you will love what you see you can do |
|
|
|
662 |
|
00:44:10,950 --> 00:44:15,830 |
|
this for your extra portfolio so after this we |
|
|
|
663 |
|
00:44:15,830 --> 00:44:16,990 |
|
have paradise |
|
|
|
664 |
|
00:44:19,590 --> 00:44:22,210 |
|
I have probably two or three minutes to speak |
|
|
|
665 |
|
00:44:22,210 --> 00:44:25,630 |
|
about Samson Agnes. I'll be very brief. Maybe we |
|
|
|
666 |
|
00:44:25,630 --> 00:44:29,110 |
|
can continue this after the class. Samson Agnes |
|
|
|
667 |
|
00:44:29,110 --> 00:44:33,450 |
|
tells the story of an Israelite, Jewish person. |
|
|
|
668 |
|
00:44:33,710 --> 00:44:38,450 |
|
Israelite, not Israeli. Israelite. God sent him to |
|
|
|
669 |
|
00:44:38,450 --> 00:44:40,710 |
|
help the Israelites, because they were sinners, to |
|
|
|
670 |
|
00:44:40,710 --> 00:44:43,790 |
|
protect them against the Philistines. You know |
|
|
|
671 |
|
00:44:43,790 --> 00:44:46,990 |
|
Philistines? It's people who were living in |
|
|
|
672 |
|
00:44:46,990 --> 00:44:50,710 |
|
Palestine at that time. Palestine, the dictionary |
|
|
|
673 |
|
00:44:50,710 --> 00:44:53,290 |
|
is a negative word. It means a certain person who |
|
|
|
674 |
|
00:44:53,290 --> 00:44:56,430 |
|
doesn't appreciate the heart. And we can hopefully |
|
|
|
675 |
|
00:44:56,430 --> 00:45:00,210 |
|
talk about this later on. The Philistines were the |
|
|
|
676 |
|
00:45:00,210 --> 00:45:06,250 |
|
enemies of the Jews, the Jewish people. So Samson |
|
|
|
677 |
|
00:45:06,250 --> 00:45:12,610 |
|
was a fearless, powerful person, so strong that he |
|
|
|
678 |
|
00:45:12,610 --> 00:45:18,410 |
|
could sometimes kill 1,000 Philistines with only |
|
|
|
679 |
|
00:45:18,410 --> 00:45:24,010 |
|
something like, I don't know, a rubber. In one |
|
|
|
680 |
|
00:45:24,010 --> 00:45:27,050 |
|
story, he kills all about, I'm not sure how many, |
|
|
|
681 |
|
00:45:27,130 --> 00:45:31,530 |
|
but hundreds of Philistines only with a donkey's |
|
|
|
682 |
|
00:45:31,530 --> 00:45:34,520 |
|
jaw. You know what a jaw is? Jaw. This area is |
|
|
|
683 |
|
00:45:34,520 --> 00:45:38,700 |
|
called the Jaw. So a dead donkey's jaw, he killed |
|
|
|
684 |
|
00:45:38,700 --> 00:45:43,260 |
|
hundreds of people, armored with swords and with |
|
|
|
685 |
|
00:45:43,260 --> 00:45:47,020 |
|
arrows and everything. One time, he was attacked |
|
|
|
686 |
|
00:45:47,020 --> 00:45:53,640 |
|
by a lion, and with his bare hands, he rips the |
|
|
|
687 |
|
00:45:53,640 --> 00:46:01,300 |
|
lion into pieces. So powerful. And now, one |
|
|
|
688 |
|
00:46:01,300 --> 00:46:16,100 |
|
Palestinian woman from Gaza named Delilah. I know |
|
|
|
689 |
|
00:46:16,100 --> 00:46:17,420 |
|
people all over |
|
|
|
690 |
|
00:46:42,160 --> 00:46:44,320 |
|
There is a book, someone named, called in the book |
|
|
|
691 |
|
00:46:44,320 --> 00:46:47,280 |
|
Iris in Gaza, taken from this reference and it's |
|
|
|
692 |
|
00:46:47,280 --> 00:46:51,040 |
|
from the Bible in a way or another. So Delilah, he |
|
|
|
693 |
|
00:46:51,040 --> 00:46:54,320 |
|
shouldn't fall in love with any Palestinian woman, |
|
|
|
694 |
|
00:46:54,420 --> 00:46:57,840 |
|
he shouldn't deal with them. What he does, this is |
|
|
|
695 |
|
00:46:57,840 --> 00:47:00,540 |
|
a sin in a way. And she was like, Samson, |
|
|
|
696 |
|
00:47:03,560 --> 00:47:06,640 |
|
Samson, she keeps nagging and nagging and nagging |
|
|
|
697 |
|
00:47:06,640 --> 00:47:08,460 |
|
and nagging and nagging. He doesn't want to tell |
|
|
|
698 |
|
00:47:08,460 --> 00:47:12,000 |
|
anyone, but eventually he does. He tells her it's |
|
|
|
699 |
|
00:47:12,000 --> 00:47:16,640 |
|
because of my hair. This is Samson and he has this |
|
|
|
700 |
|
00:47:16,640 --> 00:47:19,540 |
|
long curly hair. |
|
|
|
701 |
|
00:47:25,060 --> 00:47:27,680 |
|
He cut him. The Philistines caught him. He was |
|
|
|
702 |
|
00:47:27,680 --> 00:47:30,080 |
|
asleep, and they cut his hair. He's now hairless. |
|
|
|
703 |
|
00:47:30,160 --> 00:47:33,440 |
|
They chain him. He tries to break the chains, but |
|
|
|
704 |
|
00:47:33,440 --> 00:47:37,540 |
|
he's powerless now. He loses his power. They |
|
|
|
705 |
|
00:47:37,540 --> 00:47:40,560 |
|
arrest him. They put him in a temple, and they |
|
|
|
706 |
|
00:47:40,560 --> 00:47:43,560 |
|
gold his eyes. He's now blind. Interesting. A |
|
|
|
707 |
|
00:47:43,560 --> 00:47:47,580 |
|
blind Samson, blind Meltem also. But because the |
|
|
|
708 |
|
00:47:47,580 --> 00:47:49,680 |
|
Philistines are backward and stupid, presented |
|
|
|
709 |
|
00:47:49,680 --> 00:47:53,380 |
|
this way, they forget about him, and his hair |
|
|
|
710 |
|
00:47:53,380 --> 00:47:54,640 |
|
grows white out. |
|
|
|
711 |
|
00:48:06,220 --> 00:48:10,280 |
|
and killing all the Palestinians. And that's the |
|
|
|
712 |
|
00:48:10,280 --> 00:48:12,520 |
|
story of Samson Adams. It's in the Bible, it's |
|
|
|
713 |
|
00:48:12,520 --> 00:48:15,140 |
|
typical, but it's part myth, part fiction in a |
|
|
|
714 |
|
00:48:15,140 --> 00:48:17,460 |
|
way. Unless you believe that there are people, we |
|
|
|
715 |
|
00:48:17,460 --> 00:48:19,920 |
|
see sometimes people with supernatural powers, |
|
|
|
716 |
|
00:48:20,040 --> 00:48:23,120 |
|
they can drag, you know, lorries and trucks with |
|
|
|
717 |
|
00:48:23,120 --> 00:48:25,800 |
|
their teeth. Yes, with their ears. They're |
|
|
|
718 |
|
00:48:25,800 --> 00:48:28,640 |
|
trained, they were not born. Okay, so this is the |
|
|
|
719 |
|
00:48:28,640 --> 00:48:30,820 |
|
story of Samson Adams. If you are interested in |
|
|
|
720 |
|
00:48:30,820 --> 00:48:33,160 |
|
doing a presentation about this, maybe you can |
|
|
|
721 |
|
00:48:33,160 --> 00:48:37,660 |
|
think of how the line that's Or how the |
|
|
|
722 |
|
00:48:37,660 --> 00:48:40,660 |
|
Philistines as the others, as the enemies were |
|
|
|
723 |
|
00:48:40,660 --> 00:48:44,560 |
|
represented. Because in a way, they were the |
|
|
|
724 |
|
00:48:44,560 --> 00:48:48,440 |
|
natives here in Gaza, like us here in Gaza. Maybe |
|
|
|
725 |
|
00:48:48,440 --> 00:48:51,860 |
|
someone wants to do more history research and find |
|
|
|
726 |
|
00:48:51,860 --> 00:48:55,600 |
|
out where this took place in Gaza. I was kidding |
|
|
|
727 |
|
00:48:55,600 --> 00:48:57,620 |
|
with the other class. I thought that Samson was |
|
|
|
728 |
|
00:48:57,620 --> 00:49:00,840 |
|
from Syria. Some people say, no, maybe he's from |
|
|
|
729 |
|
00:49:00,840 --> 00:49:04,660 |
|
there and back or somewhere. So look into this. |
|
|
|
730 |
|
00:49:10,770 --> 00:49:13,530 |
|
Thank you very much. Good luck. |
|
|
|
|