PL9fwy3NUQKwYGN66V9CL-c7DFnG0_Swb2/X2dYrCBESGI.srt

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Okay ladies, good morning from Palestine, Gaza,

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the Islamic University of Gaza. We continue our

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English poetry course at the Islamic University

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English department. Next week is the midterms, so

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let's do some kind of review, but before we do

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that, I want to go again, just very quickly

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preview the two poems we discussed last time.

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Remember, when you approach a poem, you have to do

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it strategically and systematically. You could use

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whatever approach, whatever system,

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whatever approach, whatever you like. But at the

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end of the day, you need to give me some kind of

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comprehensive reading of the poem. I personally

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like to start with the little things, so I can

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build a case, build a pattern out of the things

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that the poets give us. There's always this

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question of authorial intention, whether the

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author intended something or not. We don't care

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about this, because the poem, language, poetry,

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literature, they're bigger than us. They're more

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pervasive than us, than even the writers. And

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there's this theory that suggests that once the

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author, once somebody publishes a text, it no

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longer becomes his or hers, because this person,

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this author, writer, turns into a reader. So don't

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try to seek what the author originally intended.

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So sometimes we deal with a poem and try to see

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what we get from it. And because this is

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sometimes done with different approaches. For example,

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the reader response theories would suggest that

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there are as many meanings or interpretations to a

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text as there are readers. This is good. I always

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encourage you to give me your opinion to see how

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things are said or done. But in order to make a

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balance, we try to look at the text itself. And

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this is the most significant thing to me. This is

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how I like to do things. This is how I like to

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appreciate literature, studying the structures,

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studying the forms, studying the language, the

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word order, which could be called the close

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reading approach where you try to see the beauty

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of how words can do magic, how changing the word

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order, how changing or replacing one word with

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another can create a fascinating metaphor or

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a particular sound pattern or anything like we

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studied many times. That's why I know

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some of you would hate it when I just say, why is

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this stressed? Why isn't this stressed? Why is

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there a perfect rhyme, not a perfect rhyme? In my

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opinion, this is a more beautiful approach. It

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helps you to appreciate language and literature.

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It helps you dive deeper and deeper into the language

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itself. Because I believe that there are only a

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handful of themes out there.

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Romanticism, mainly it's about what? Anti-

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authoritarian, anti-establishment, nature,

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poetry. Isn't that it? Childhood, right? Right?

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Innocence. Countryside. Impact of nature on us. So

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if you study a hundred poems by William

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Wordsworth, and at the end of the day, all you

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look for is nature, nature, nature, nature, isn't

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that repetitive and boring? But look at how he

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does different things sometimes to get to the same

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theme, the same objective. And I mentioned this

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last time, if poets believed that it's all about

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the theme, they could have stopped writing poetry

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centuries ago. Because why would I write a new

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poem if there is another love poem that exists

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already? Why wouldn't I borrow the poem? And

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that's it, that's fine. Everyone is different.

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Everyone is amazing in his or her own way.

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And I quoted someone who told a critic, I have so

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many ideas, I want to write poetry. Because we

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think, we do this sometimes, wow, I'm reading

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these books, you know, listening to these speeches

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or talks or TEDx or whatever, and then like, you

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feel that you're inspired because you have so many

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ideas.

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And then the man said, poetry, my friend, is made

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with words, not with ideas. And I connected this

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with even Coleridge's definition of poetry, that

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poetry is the best words in the best order. So

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there is always this deliberate, conscious attempt

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to choose the word that is

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most suitable for its context. For

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example, with John Donne, remember before John

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Donne, during John Donne's time, the classical and

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Augustan poets, they were speaking about lofty

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subject matter and used lofty, elevated, highly

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sophisticated diction. This has to be balanced.

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Now when John Donne wrote differently, used

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different language, a different conversational tone

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and everything, he was accused in many books, if you

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open the books you will see them describing

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John Donne's language as vulgar. And I don't think

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John Donne's language is vulgar. It's just that

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people were not used to using this language in

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this particular way. It doesn't make it, it

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doesn't mean it's not poetic, doesn't mean it's

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wrong, but for them it was the wrong language

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because when you talk about God, how would you

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talk about God and say like what he did, for

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example, "Batter my heart, three-personed God, ravish

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me" and these phrases and giving orders to God or

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"Death be not proud."  You see, he "spit in my face,"

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Jews, with one of the sonnets. This is vulgar for

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so many, but for Donne, this is the most

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suitable language. This is the best of words.

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Unlike Trump, of course, who claims to have the best words,

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who claims to have the best words. So when you

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look at this poem, we try to make sense of the

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form, of the shape. We say this is a short poem of

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four stanzas. We count the lines, so try to see if

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he is creating a perfect structure or not. And then

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in poetry, we always have this. So one, two,

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three, four, five, six, right? Six lines, six

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lines, six lines, six lines. We examine the rhyme

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scheme and we realize that stanza one, stanza two,

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and stanza four have perfect rhyme schemes. The

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same regular, perfect rhyme scheme except for

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stanza number three. Here we take a note

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because there could be something significant. If there is any

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imperfection, or a stanza that has, or a line that

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has an extra syllable or two extra syllables, it is

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usually something the poet is trying to draw our

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attention to. Like he's telling us, slow down

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here, I'm sending you a message. Of course, people

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who don't study poetry will not pay attention to

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these things. That's why it makes you special,

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makes you different. That's why I always say this,

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those who study English literature and English

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poetry become the best translators and the best

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writers and the best journalists because you

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understand these tiny differences that people

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never pay attention to.  You just say, Wait a minute,

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some time ago a student came to me and said, I met

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a student from another university and I discussed

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with her, we spoke about poetry, she's studying

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poetry, I'm studying poetry, and she was amazed at

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how we do things and how beautifully different we

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are. And I hope this is going to make a huge

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impact on you. So like I remember we said the

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themes, for example, we understand that this is a

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Romantic text, we understand even if we don't

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know in the final exam you will have an unseen

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extract from a poem you didn't study, unless you

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really read a lot of poetry and you come across it.

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And it's your job to try to tell whether this is

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probably Romantic or Metaphysical or 20th-century

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or war poetry or Shakespearean from the sensibility,

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the features, the form, you know? So if you study

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this poem, this is a pure nature poem, right? Is

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he saying at the end of the day, for example, and

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these daffodils look like your cheeks when you eat

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pizza? He's not using this whole scene just as

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some kind of decoration to make a point, etc.

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He's writing this about nature, inspired by nature,

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to nature. And we've seen at the end how he

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submitted himself totally to nature. Okay.

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Now, we paid attention to little things that I

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consider to be huge, like a poet could not but be

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in awe of nature, and the ending line where we have a stress on

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a word that normally shouldn't be stressed, and we

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connected this with the theme of the poem. If you

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were to read it with, "and dances with the daffodils."

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"and dances with the daffodils" in this stressed

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way, indicating the emphasis of this word being

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the key issue in the whole, being the theme of the

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poem. This is about oneness, melting in nature,

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becoming one with, I don't know if adopting is the right

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word, but submitting yourself to nature, allowing

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yourself to be controlled and overwhelmed by

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nature, not the other way around.

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Now, and then I spoke a little bit about this.

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Fascinating poem. Remember the first thing that we

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look at, it's a short poem, and then we count the

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lines, 14 lines. Some of you might be

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surprised because, wait a minute, didn't some of

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you say the best definition for poetry is the

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spontaneous overflow of powerful feelings

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recollected in tranquility? Probably it still is.

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And now, when we realize that this is a sonnet,

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and then we examine it and we understand that this

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is a Petrarchan, or Italian sonnet with an A, B, B, A,

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A, B, B, A, C, D, C, D, C, D rhyme scheme. If you

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count the syllables and you realize that they're

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all 10 syllables, five feet each, except maybe

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this one. Unless, remember we said, "and all bright

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and glittering in the smokeless air." If you, I'm

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not sure if the original manuscript, if it just

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removes the, you know, sometimes the apostrophe

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instead of one syllable here, the apostrophe, the

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schwa. So if you could still say, "all bright and

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Sad, that probably he's like at home, like,

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Okay. But so this could be, this could apply here.

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He's, he's at home asleep, hungry, thinking of

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something in a vacant or impulsive mood. And then he

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remembered this experience on the bridge early in

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the morning and then, wow. Actually, he denies that,

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because the word "recollected" means that it's being

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studied, it's being thought of, and it's being

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organized. So maybe the spontaneous overflow of

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feelings is when he actually looked at it. Then he

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recollected it, and studied it, and organized it.

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Recollected, okay, if you take "recollected" as

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such, possible. But "recollected" doesn't

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necessarily, doesn't only mean this. The first

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thing that comes to mind is "recalled," remembered.

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He could have said, "and I would be studying it."

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I'm not denying this. There's no such, I know like

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great poets always do this. That's why free verse

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sometimes, you know, poetry, blank verse,

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sometimes you could write something and you never

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touch it and it's the perfect text. If you want to

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write a sonnet, you sometimes take the hammer and

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do some, you know, hammering here or there in

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order to just make it smoother, or not, to indicate

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something. Okay. Let me first discuss the meaning

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of poetry. Like, this word's definition was my

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least favorite because I did not really believe in

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all the spontaneous overflow of thoughts and

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feelings. But at the same time, I remember, like,

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I tried to compare this with Arabic. And I

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remember in Arabic, we have something, I do not

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remember the term, but like when poets used to

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stand in front of each other and start, like,

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mocking each other and satirizing. But many people

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still do this. Yes, but they write the poetry on

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the spot and it is spontaneous overflow of

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powerful feelings and it is very highly

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structured. So I think that in Arabic it's like a

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more, like, I don't know, maybe because it's an

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older language and it's more structured than

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English. English is more of a modern language, so

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I don't think that it applies to these. That's

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also possible if you are a poet. I'm sure some of

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you have started writing more and more poetry recently.

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And that's why it's the best thing to understand

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poetry is to write it. Try to write a sonnet. Give

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it a try. Tell yourself, okay, next inspiration,

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next revelation, I'm writing a sonnet. I'm sure

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it's not going to be easy, but it's not going to

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be impossible at the same time. If you write it,

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you'll end up, and we're not native speakers,

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we're not Shakespeare, we're not Wordsworth. There

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00:16:20,090 --> 00:16:22,910
is a possibility that he just wrote it and he did

276
00:16:22,910 --> 00:16:26,790
nothing. Many people feel this, that the music is

277
00:16:26,790 --> 00:16:30,410
there, there is harmony, and some people would

278
00:16:30,410 --> 00:16:33,990
say, no, there is no harmony. Like when you, it's

279
00:16:33,990 --> 00:16:38,310
just try to read the poem for yourself aloud. If

280
00:16:38,310 --> 00:16:40,230
you look at Shakespeare's sonnets, they mostly

281
00:16:40,230 --> 00:16:44,690
flow. You know? They mostly flow. Try to sing it

282
00:16:44,690 --> 00:16:48,630
alone. They mostly flow. John Donne, for example,

283
00:16:48,730 --> 00:16:50,990
they don't usually flow. Because with John Donne,

284
00:16:51,590 --> 00:16:58,150
he, you know, plays with the meter a lot. Not just

285
00:16:58,150 --> 00:17:01,170
like, for example, with, we said, "Shall I compare

286
00:17:01,170 --> 00:17:03,170
thee to a summer's day?" That were more lovely and

287
00:17:03,170 --> 00:17:05,090
more temperate? Rough winds do shake the darling

288
00:17:05,090 --> 00:17:07,530
buds of May, and summer's lease hath all too short

289
00:17:07,530 --> 00:17:11,560
a date. Like, it flows. But with John Donne,

290
00:17:11,640 --> 00:17:13,520
sometimes you have to slow down, even with the

291
00:17:13,520 --> 00:17:15,700
romantics, despite the simplicity of structure,

292
00:17:16,440 --> 00:17:19,660
sometimes it doesn't flow as it used to because

293
00:17:19,660 --> 00:17:23,640
they have more freedom nowadays. They have this

294
00:17:23,640 --> 00:17:27,580
intention to break the rules. So I'm not saying

295
00:17:27,580 --> 00:17:31,860
that it doesn't totally, but again, it attracts

296
00:17:31,860 --> 00:17:33,920
our attention. So why are you choosing, that's the

297
00:17:33,920 --> 00:17:37,660
question I'm raising. Why are you using the form

298
00:17:37,660 --> 00:17:41,790
of a sonnet? Could this be connected with the fact

299
00:17:41,790 --> 00:17:46,270
that he is in London? You know, the sonnet being,

300
00:17:46,990 --> 00:17:49,470
sorry to use this term, being restrictive, in a way

301
00:17:49,470 --> 00:17:51,350
it doesn't allow you to say everything, it

302
00:17:51,350 --> 00:17:55,070
controls you. And London controlling everybody's

303
00:17:55,070 --> 00:17:59,790
life, even the tiny little, you know, like things

304
00:17:59,790 --> 00:18:03,750
you do. There are so many rules, there are so many

305
00:18:03,750 --> 00:18:06,330
regulations in London, and that's why he chose

306
00:18:06,330 --> 00:18:10,710
this perfect form, the sonnet, to mirror this kind

307
00:18:10,710 --> 00:18:13,310
of relationship between man and poetry and man and

308
00:18:13,310 --> 00:18:18,850
the city and man and London. Okay? And at the same

309
00:18:18,850 --> 00:18:23,110
time, you could also be surprised by the fact that

310
00:18:23,110 --> 00:18:26,810
this man is praising London. The meme I posted the

311
00:18:26,810 --> 00:18:29,850
other day, last night, about this man saying,

312
00:18:30,050 --> 00:18:31,710
you know, "My heart with pleasure fills and dances

313
00:18:31,710 --> 00:18:33,450
with the daffodils." The daffodils are everything.

314
00:18:34,190 --> 00:18:37,590
I love them. They're the most perfect thing I have

315
00:18:37,590 --> 00:18:41,860
ever seen. And then he is saying, "the city now

316
00:18:41,860 --> 00:18:44,120
does like a garment, wear the beauty of the

317
00:18:44,120 --> 00:18:48,020
morning, silent, bare, and still, so touching in its

318
00:18:48,020 --> 00:18:51,500
majesty." Why on earth is this man praising the

319
00:18:51,500 --> 00:18:56,040
city? We said romantic literature, this is a core

320
00:18:56,040 --> 00:19:02,040
feature of Romanticism. It's in its essence, an

321
00:19:02,040 --> 00:19:02,960
anti-city portrait.

322
00:19:06,360 --> 00:19:08,280
A kind of poetry that hates the city, that

323
00:19:08,280 --> 00:19:10,960
considers the city to be the source of corruption,

324
00:19:11,100 --> 00:19:13,800
the source of depersonalization, the source of

325
00:19:13,800 --> 00:19:18,660
fragmentation, whatever you call it. So go back,

326
00:19:18,760 --> 00:19:21,920
that's why a return to nature is a major Romantic

327
00:19:21,920 --> 00:19:23,860
feature. Let's go back to nature, to Mother

328
00:19:23,860 --> 00:19:28,700
Nature. And by the way, the name "Romantic," at that

329
00:19:28,700 --> 00:19:31,300
time, they didn't call themselves the Romantic

330
00:19:31,300 --> 00:19:35,180
poets or Romantics. Later critics did this. And

331
00:19:35,180 --> 00:19:37,180
the term at that time, the term "Romantic" was used

332
00:19:37,180 --> 00:19:42,880
to refer to medieval times. To medieval times, a

333
00:19:42,880 --> 00:19:46,060
time when there was less, there was basically no

334
00:19:46,060 --> 00:19:49,720
industrial revolution, no factories, no steam

335
00:19:49,720 --> 00:19:52,540
engine, no engines, no pollution, at least

336
00:19:52,540 --> 00:19:54,380
compared to that time. Pollution, corruption,

337
00:19:55,820 --> 00:20:00,690
people were basically, of course, man was never

338
00:20:00,690 --> 00:20:04,790
good. But compared to those times, it was a lot

339
00:20:04,790 --> 00:20:08,070
better in the past. And this, I guess, why he

340
00:20:08,070 --> 00:20:12,550
jumps over Shakespeare and picks a form that is

341
00:20:12,550 --> 00:20:17,670
also as old as those, you know, medieval times.

342
00:20:18,800 --> 00:20:25,940
At times described as, I don't know, like when man

343
00:20:25,940 --> 00:20:28,440
was not in control of nature like he is now,

344
00:20:28,440 --> 00:20:31,820
destroying nature at that time. And this also

345
00:20:31,820 --> 00:20:35,120
could be connected with the fact that he's using

346
00:20:35,120 --> 00:20:41,860
these words, "doth." If he said "does," it's the same

347
00:20:41,860 --> 00:20:44,360
thing. It's going to be the same thing meter-wise,

348
00:20:44,700 --> 00:20:50,370
rhythm-wise. But he opts for "doth." And then

349
00:20:50,370 --> 00:20:53,010
the same thing with the river Glym. It's

350
00:20:53,010 --> 00:20:56,530
"glides," if you add this, it takes an extra

351
00:20:56,530 --> 00:21:00,070
syllable here. Glym. So river Glym. He goes

352
00:21:00,070 --> 00:21:03,470
back. I'm sure some of you are familiar with

353
00:21:03,470 --> 00:21:08,310
William Blake's "London." When he expresses his

354
00:21:08,310 --> 00:21:10,950
anger that everything is chartered, everything is

355
00:21:10,950 --> 00:21:16,020
in chains, in manacles. Man is controlling and

356
00:21:16,020 --> 00:21:18,120
regulating everything, there's no freedom,

357
00:21:18,280 --> 00:21:21,560
everything, even whatever is suffocating, being

358
00:21:21,560 --> 00:21:24,820
polluted and being controlled. So he's again

359
00:21:24,820 --> 00:21:27,120
jumping to the past, and that's why again the

360
00:21:27,120 --> 00:21:30,080
beauty of how to understand this, and these are

361
00:21:30,080 --> 00:21:33,360
the kind of questions I want to ask you in the

362
00:21:33,360 --> 00:21:38,940
exam. Why is he using "doth" instead of "does"? Why

363
00:21:38,940 --> 00:21:41,600
does he use the Middle English form of the word

364
00:21:41,600 --> 00:21:47,450
"glides"? Using "glides." Is that significant?

365
00:21:48,190 --> 00:21:51,570
Remember we said in a way also poetry, if it is

366
00:21:51,570 --> 00:21:54,430
the best of words in the best order, this is a

367
00:21:54,430 --> 00:21:57,850
process of making choices, what

368
00:21:57,850 --> 00:22:01,630
word to choose, what word not to choose. If you

369
00:22:01,630 --> 00:22:05,150
are a beginner, it begins as artificial. You try

370
00:22:05,150 --> 00:22:09,930
to make the best impact.

371
00:22:11,000 --> 00:22:13,320
But when you are a professional like Wordsworth,

372
00:22:13,520 --> 00:22:17,480
things naturally flow, of course, and will be more

373
00:22:17,480 --> 00:22:22,500
spontaneous compared to others. So we realize at

374
00:22:22,500 --> 00:22:28,560
the end that this is a poem written in London from

375
00:22:28,560 --> 00:22:31,940
a particular place, the bridge. There's a distance

376
00:22:31,940 --> 00:22:35,000
between him and the people, and probably the

377
00:22:35,000 --> 00:22:38,500
London Bridge here wasn't as high as we can

378
00:22:38,500 --> 00:22:40,440
imagine, but still it's in a high position. And

379
00:22:40,440 --> 00:22:44,420
even the timing here, at dawn, sunrise, the

380
00:22:44,420 --> 00:22:46,320
beauty, even here he's saying the beauty of the

381
00:22:46,320 --> 00:22:50,820
morning. Silent and bare, everything is silent and

382
00:22:50,820 --> 00:22:54,180
bare. So we realize that he's not praising London

383
00:22:54,180 --> 00:22:57,740
as London as such, he's actually praising a

384
00:22:57,740 --> 00:23:00,800
people-less London. No people, there's no

385
00:23:00,800 --> 00:23:04,330
reference, there's no mention of people. Even when

386
00:23:04,330 --> 00:23:07,390
they use the word "asleep," it doesn't refer to

387
00:23:07,390 --> 00:23:11,350
people. The very houses, and "very" here is for

388
00:23:11,350 --> 00:23:15,050
emphasis. The houses themselves are asleep.

389
00:23:15,190 --> 00:23:19,650
There's a personification here. How peaceful this

390
00:23:19,650 --> 00:23:19,910
is.

391
00:23:23,370 --> 00:23:27,050
Therefore, that's why I would take "lie" as a pun.

392
00:23:29,170 --> 00:23:34,580
To lie, to sit, or to sleep. He's lying. Let

393
00:23:34,580 --> 00:23:41,280
sleeping dogs lie. Or, not to tell the truth. So this

394
00:23:41,280 --> 00:23:47,700
silent, beautiful, majestic scenery is a lie.

395
00:23:47,940 --> 00:23:49,920
Because in a minute, in five minutes, in ten

396
00:23:49,920 --> 00:23:52,960
minutes, in thirty minutes, it's all going to be

397
00:23:52,960 --> 00:23:58,890
again smoke and smog and noise and shouting and

398
00:23:58,890 --> 00:24:04,850
street vendors and these things and then there's

399
00:24:04,850 --> 00:24:07,730
no peace, there's no quiet, there's no calm any

400
00:24:07,730 --> 00:24:11,670
longer. But what I find disturbing is the last

401
00:24:11,670 --> 00:24:17,590
line: "Dear God, the very houses seem asleep." This

402
00:24:17,590 --> 00:24:21,710
is not real because "seem asleep," even "asleep," it's

403
00:24:21,710 --> 00:24:24,090
just a short time. And here it's a garment,

404
00:24:24,810 --> 00:24:26,950
something that you wear and you can shed, you take

405
00:24:26,950 --> 00:24:27,890
off, you change.

406
00:24:31,610 --> 00:24:35,850
And all the might and all that mighty heart, not

407
00:24:35,850 --> 00:24:40,290
sure exactly what he means by the mighty heart. Is

408
00:24:40,290 --> 00:24:43,570
it the machine? The heart? The heart of England?

409
00:24:43,990 --> 00:24:47,250
The city itself? The city, the idea of the city?

410
00:24:47,450 --> 00:24:49,690
The factories? The heart of the beast? The

411
00:24:49,690

445
00:26:58,950 --> 00:27:05,450
manufacturing, the factories became dominant.

446
00:27:05,530 --> 00:27:07,630
That's correct. That's correct. Yeah, I agree.

447
00:27:15,190 --> 00:27:17,630
Is this a sonnet?

448
00:27:22,630 --> 00:27:28,690
Fourteen lines, Petrarchan, the octave, the

449
00:27:28,690 --> 00:27:33,100
sextet, it is a sonnet. But he changed, like John

450
00:27:33,100 --> 00:27:34,640
Donne, he changed. Remember we said there are

451
00:27:34,920 --> 00:27:37,100
many of you probably didn't see this. There are so

452
00:27:37,100 --> 00:27:38,960
many similarities between the metaphysicals and

453
00:27:38,960 --> 00:27:42,920
the Romantics. John Donne changed that; this is a

454
00:27:42,920 --> 00:27:47,560
sonnet. The sonnet, the class; John Donne freed

455
00:27:47,560 --> 00:27:50,380
the sonnet. He broke the chains around the sonnet

456
00:27:50,380 --> 00:27:52,720
and everybody else started to take the sonnet the

457
00:27:52,720 --> 00:27:55,020
way they liked. So thank you, John Donne.

458
00:27:58,720 --> 00:28:04,360
But remember the imperfect rhyme here. This could

459
00:28:04,360 --> 00:28:07,960
also be part of the fact that this is still, even

460
00:28:07,960 --> 00:28:11,000
though the word "majesty" is not majestic; it's not

461
00:28:11,000 --> 00:28:13,820
perfect. It's not, you know, perfect; it's not

462
00:28:13,820 --> 00:28:17,200
complete. So there's still this tension that this

463
00:28:17,200 --> 00:28:19,340
imperfect rhyme creates, the tension that creates

464
00:28:19,340 --> 00:28:22,160
a conflict that could tell us that this is all

465
00:28:22,160 --> 00:28:26,720
just a sham. It's just temporary; it's not going

466
00:28:26,720 --> 00:28:31,800
to live forever. This is not, but with nature,

467
00:28:32,180 --> 00:28:35,520
it's all the time. That's why I say, "For oft when

468
00:28:35,520 --> 00:28:39,180
on my couch I lie," the present simple, every time

469
00:28:39,180 --> 00:28:44,000
I lie. But here, it's not the same; different. So

470
00:28:44,000 --> 00:28:46,860
yeah, I agree; he's not present. There's a whole

471
00:28:46,860 --> 00:28:52,420
genre of poetry called "city poetry." You could do

472
00:28:52,420 --> 00:28:54,800
some research on this in the future. City poetry,

473
00:28:54,920 --> 00:29:02,130
how poets tackle the city in different ways. And the

474
00:29:02,130 --> 00:29:04,770
most fascinating thing about this is when you

475
00:29:04,770 --> 00:29:08,030
compare between outsiders, like Wordsworth; he

476
00:29:08,030 --> 00:29:10,830
wasn't a Londoner; he was an outsider, and William

477
00:29:10,830 --> 00:29:14,490
Blake, who was a Londoner, who lived in London.

478
00:29:17,830 --> 00:29:21,030
In London, if I can recall, he said, "I wandered

479
00:29:21,030 --> 00:29:24,850
through each street," or something like this. He was

480
00:29:24,850 --> 00:29:28,670
in the streets, chartered streets, exactly; in the

481
00:29:28,670 --> 00:29:32,950
streets, feeling and sensing the pain, the woes,

482
00:29:33,150 --> 00:29:37,810
the cries, the babies, the harlots, the soldiers,

483
00:29:37,930 --> 00:29:40,690
the blood; feeling it and touching it and sensing

484
00:29:40,690 --> 00:29:46,330
it. But this man, he is himself; he's just up

485
00:29:46,330 --> 00:29:52,230
above. He goes to London and sees beauty. Many

486
00:29:52,230 --> 00:29:56,410
people will be revolted by this. Come on! At the

487
00:29:56,410 --> 00:29:58,690
time, London... like there was a lot of pain, a lot of

488
00:29:58,690 --> 00:30:01,350
suffering, hunger, and diseases, and people were

489
00:30:01,350 --> 00:30:05,200
dying. This is one reason why the younger

490
00:30:05,200 --> 00:30:08,600
generation of the Romantics hated, in many ways,

491
00:30:08,640 --> 00:30:11,380
to some extent, hated Wordsworth, accusing him of

492
00:30:11,380 --> 00:30:15,400
being an escapist, instead of coming face to face

493
00:30:15,400 --> 00:30:15,720
with

494
00:30:19,800 --> 00:30:22,740
the problems, the trouble, the pain, the suffering;

495
00:30:22,740 --> 00:30:27,140
it's just running away. Some people call them tree

496
00:30:27,140 --> 00:30:30,160
huggers, just making fun of them. Tree-huggers;

497
00:30:30,220 --> 00:30:33,180
they just want to hug trees, and then all their

498
00:30:33,180 --> 00:30:37,580
pains just go away. Are you poor? Just come see

499
00:30:37,580 --> 00:30:42,180
these daffodils, and you'll be fine. Do you have

500
00:30:42,180 --> 00:30:46,440
exams? You want to cope with that stress?

501
00:30:47,170 --> 00:30:50,890
Come to nature. This could help. I'm not being

502
00:30:50,890 --> 00:30:55,550
condescending here; this could help. And people

503
00:30:55,550 --> 00:30:57,490
who would... I would defend Wordsworth saying that

504
00:30:57,490 --> 00:31:03,940
this is a revolution in poetry, because

505
00:31:03,940 --> 00:31:09,160
politically speaking, the British government was

506
00:31:09,160 --> 00:31:12,860
really shaking, because there was a rebellion, a

507
00:31:12,860 --> 00:31:15,700
revolution in America, a revolution in France, and

508
00:31:15,700 --> 00:31:17,640
they were like, "Oh my God! Oh my God!" By the way,

509
00:31:17,720 --> 00:31:22,130
you could read... there are so many later

510
00:31:22,130 --> 00:31:24,710
declassified reports, because the English

511
00:31:24,710 --> 00:31:26,690
intelligence was spying on Wordsworth and

512
00:31:26,690 --> 00:31:28,190
Coleridge because they thought that those people

513
00:31:28,190 --> 00:31:31,990
were planning a revolution. And they were, but not

514
00:31:31,990 --> 00:31:35,490
like the revolution, the political revolution.

515
00:31:35,610 --> 00:31:37,490
They were doing a revolution in poetry, in

516
00:31:37,490 --> 00:31:41,310
language, in thinking, and in sensibility, which is

517
00:31:41,310 --> 00:31:44,290
fascinating in itself, which paved the way. And

518
00:31:44,290 --> 00:31:48,870
when you compare this to Chile... Chile is a...

519
00:31:51,020 --> 00:31:54,220
Che Guevara, right? He was a man of actions; he

520
00:31:54,220 --> 00:31:58,060
wanted to topple the government. You are many;

521
00:31:58,300 --> 00:31:59,620
they are few.

522
00:32:03,160 --> 00:32:06,980
Read "The Anarchy." There was a

523
00:32:06,980 --> 00:32:10,760
massacre in Manchester, and read the "Ode to the

524
00:32:10,760 --> 00:32:15,980
West Wind" and even "Ozymandias," mocking

525
00:32:15,980 --> 00:32:24,070
authority. You know? Which one? Yeah, I too, but

526
00:32:24,070 --> 00:32:26,810
some people, again, for this; again, the thing

527
00:32:26,810 --> 00:32:30,270
that makes you love Shelley, many people say, "Hmm,

528
00:32:30,590 --> 00:32:33,130
he's too political. I don't like poetry to be too

529
00:32:33,130 --> 00:32:35,550
political." So there's always somebody who would

530
00:32:35,550 --> 00:32:38,030
hate something about your writing or somebody's

531
00:32:38,030 --> 00:32:44,700
writing. Yeah, yeah, right. Byron; you should, you

532
00:32:44,700 --> 00:32:46,680
should read something by Byron. Byron was

533
00:32:46,680 --> 00:32:51,220
deliberately attacking, openly attacking, even

534
00:32:51,220 --> 00:32:53,560
naming Coleridge and Wordsworth in his poetry, not

535
00:32:53,560 --> 00:32:56,660
just alluding to them, calling them, making fun of

536
00:32:56,660 --> 00:33:00,940
them. Okay, if you have questions here, just say

537
00:33:00,940 --> 00:33:02,700
something very briefly, and we'll just do the

538
00:33:02,700 --> 00:33:05,600
review for the whole course.  I think what

539
00:33:05,600 --> 00:33:08,740
happens between Blake and Wordsworth is the same

540
00:33:08,740 --> 00:33:10,860
thing that's happening here in Gaza; like some

541
00:33:10,860 --> 00:33:12,960
people show you some good pictures and some

542
00:33:12,960 --> 00:33:15,520
fascinating pictures of Gaza, and you look at them

543
00:33:15,520 --> 00:33:18,340
you say, like, "Okay, this is Paris. Okay, so okay, let

544
00:33:18,340 --> 00:33:21,060
me get this straight. Well, let's agree on this:

545
00:33:21,060 --> 00:33:24,480
Wordsworth is Instagram of Gaza, and William Blake

546
00:33:24,480 --> 00:33:27,800
is Twitter of Gaza. Okay, so with Instagram, it's like

547
00:33:27,800 --> 00:33:31,560
it's always beautiful; it's always cheesy, and you

548
00:33:31,560 --> 00:33:37,070
know... Really? The funny thing is that when we see

549
00:33:37,070 --> 00:33:39,690
those people who give that flowery image, we call

550
00:33:39,690 --> 00:33:42,490
them Romantics in Arabic. Yes, exactly. We say

551
00:33:42,490 --> 00:33:45,010
that they are... "Don't romanticize pain; don't

552
00:33:45,010 --> 00:33:47,370
romanticize occupation; don't romanticize

553
00:33:47,370 --> 00:33:52,130
suffering." Right? We do this. The thing is that

554
00:33:52,130 --> 00:33:55,670
both of them, or these both sides, or both parties

555
00:33:55,670 --> 00:33:59,190
want to serve their own good. Their own? Yes,

556
00:33:59,310 --> 00:34:01,630
their own good. Okay. And maybe like Wordsworth,

557
00:34:01,630 --> 00:34:04,110
when he wrote his poetry, he wanted to serve his

558
00:34:04,110 --> 00:34:06,410
own part of the book, the narrative palace that

559
00:34:06,410 --> 00:34:09,130
they wrote. And for maybe like—being self

560
00:34:09,130 --> 00:34:10,910
expression. He doesn't care about the society; he

561
00:34:10,910 --> 00:34:15,090
just cares about himself. Exactly. That's a huge

562
00:34:15,090 --> 00:34:16,950
thing to say. I'm not going to get into this

563
00:34:16,950 --> 00:34:20,030
because there's a lot of things to unravel here.

564
00:34:20,210 --> 00:34:23,530
Okay? So anything you want to say about

565
00:34:23,530 --> 00:34:30,810
Wordsworth? Okay, so do you have questions for the

566
00:34:30,810 --> 00:34:34,530
course, exams, anything quickly before we see last

567
00:34:34,530 --> 00:34:36,370
year's midterm exam?

568
00:34:47,410 --> 00:34:51,850
What do you think?

569
00:34:55,420 --> 00:35:01,980
I tend usually not to take sides, so I raise

570
00:35:01,980 --> 00:35:04,800
issues, raise questions for you to think and to

571
00:35:04,800 --> 00:35:09,060
adopt whatever opinion you like. I don't want to

572
00:35:09,060 --> 00:35:11,560
put you in a corner and tell you this is what you

573
00:35:11,560 --> 00:35:14,800
need to do, although you know teachers sometimes

574
00:35:14,800 --> 00:35:15,520
shouldn't be believed.

575
00:35:18,680 --> 00:35:25,100
So yeah, "out did the sparkling waves in glee."

576
00:35:29,480 --> 00:35:35,920
Continuous? No, it's continuous "as the stars that

577
00:35:35,920 --> 00:35:39,200
shine." That's the only one that has an extra

578
00:35:39,200 --> 00:35:39,820
syllable, yeah?

579
00:35:43,830 --> 00:35:46,290
In these cases, remember, it's either one

580
00:35:46,290 --> 00:35:50,250
syllable, one vowel sound is not pronounced as we

581
00:35:50,250 --> 00:35:54,070
pronounce it these days, or there is, again, a

582
00:35:54,070 --> 00:35:56,390
deliberate attempt to tell us that something is

583
00:35:56,390 --> 00:36:00,430
more, extra; something doesn't conform with the

584
00:36:00,430 --> 00:36:03,850
rules here. So this "continuous," because he's

585
00:36:03,850 --> 00:36:06,150
reaching to the stars; that's a possibility.

586
00:36:09,330 --> 00:36:12,330
Possible, yeah. Like with "glittering" here.

587
00:36:21,570 --> 00:36:24,750
possible, but I, again, I'm honest with you; I could

588
00:36:24,750 --> 00:36:31,310
say the same thing about each line, any line. Okay,

589
00:36:31,310 --> 00:36:34,630
more questions about the course? Do you have

590
00:36:34,630 --> 00:36:40,370
questions, any poem, any text, any poet, any idea?

591
00:36:44,550 --> 00:36:50,190
Okay, we have a question here from Noha. Excuse

592
00:36:50,190 --> 00:36:54,450
me? Could you just please...? Yeah. The question that

593
00:36:54,450 --> 00:36:58,190
we raised like minutes ago, when we said like about

594
00:36:58,190 --> 00:37:01,130
spontaneous overthrow; I think this corresponds

595
00:37:01,130 --> 00:37:05,090
with our controversial question of "Is a poet made

596
00:37:05,090 --> 00:37:09,640
or born?" Thank you very much. That's very, very

597
00:37:09,640 --> 00:37:13,660
significant, important. I think of this all the

598
00:37:13,660 --> 00:37:19,480
time. Are poets born or made?

599
00:37:22,360 --> 00:37:26,700
Are you just born a poet? And you realize at one

600
00:37:26,700 --> 00:37:30,560
point that, "Oh, I'm a poet. I can write poetry."

601
00:37:32,480 --> 00:37:36,440
Or do you have to study, to learn, to go to

602
00:37:36,440 --> 00:37:39,140
university, to attend classes? Of course,

603
00:37:39,260 --> 00:37:42,880
everybody is going to say "both." But what is it? Is

604
00:37:42,880 --> 00:37:47,760
it more of this or more of that? Yeah, please. I

605
00:37:47,760 --> 00:37:51,520
think that some people are born with a talent, and

606
00:37:51,520 --> 00:37:55,940
if they get more skillful with studying, their

607
00:37:55,940 --> 00:37:58,490
coaching will be the best. Some people can learn

608
00:37:58,490 --> 00:38:01,630
writing poetry through skill, but they won't be as

609
00:38:01,630 --> 00:38:06,230
good as the talented. It's more patience than having

610
00:38:06,230 --> 00:38:10,490
talent. If you have the patience to read more, to

611
00:38:10,490 --> 00:38:13,530
develop yourself, you'll do great things. Is it

612
00:38:13,530 --> 00:38:17,770
like patience or attitude? Like, you know, I

613
00:38:17,770 --> 00:38:21,430
always quote Monica Geller: "You are a poet, and you

614
00:38:21,430 --> 00:38:27,360
know it." So this is an attitude. Like, "I think I

615
00:38:27,360 --> 00:38:30,160
can be a poet." I think I can be a poet. In Arabic,

616
00:38:30,400 --> 00:38:33,160
in our culture, there is an Arab poet called

617
00:38:33,160 --> 00:38:35,240
Nabigha. I'm not sure which one of them. There are

618
00:38:35,240 --> 00:38:40,200
three Nabighas. Nabigha Al-Jaadī or something. No,

619
00:38:40,400 --> 00:38:46,640
I got this totally wrong. Somebody called, a man

620
00:38:46,640 --> 00:38:50,120
who kept writing poetry for like 40 years, and it

621
00:38:50,120 --> 00:38:54,540
was all, it sucked all. And then at one point he

622
00:38:54,540 --> 00:38:57,540
became a poet all of a sudden, and then he said

623
00:38:57,540 --> 00:39:01,720
لازال يهدي حتى

624
00:39:01,720 --> 00:39:06,180
قال شعران  He kept writing trash until all of a

625
00:39:06,180 --> 00:39:08,960
sudden he started writing poetry. So yeah, practice,

626
00:39:08,960 --> 00:39:12,880
patience, practice, patience; but significantly, an

627
00:39:12,880 --> 00:39:17,790
attitude. Look at the fascinating concrete poems

628
00:39:17,790 --> 00:39:20,910
you wrote; all you need is just a push; there's a

629
00:39:20,910 --> 00:39:23,790
bonus mark if you write this, and all of a sudden

630
00:39:23,790 --> 00:39:28,030
you all turn into poets, right? So you could add

631
00:39:28,030 --> 00:39:31,050
this to the list: patience, attitude, passion,

632
00:39:31,250 --> 00:39:36,330
practice, and marks, or linen, yeah? Sorry?

633
00:39:40,980 --> 00:39:44,000
Thank you very much. Good writers are originally

634
00:3

667
00:41:34,190 --> 00:41:36,960
rules. And you have to follow them, the rules of

668
00:41:36,960 --> 00:41:41,220
decorum; you have to be well-read in Latin, in

669
00:41:41,220 --> 00:41:44,780
Greek, in ancient literatures, so you can, you

670
00:41:44,780 --> 00:41:48,380
know what's going on and you know what to do in

671
00:41:48,380 --> 00:41:52,860
your poetry. And always people who learn, who work

672
00:41:52,860 --> 00:41:55,860
hard to get to become readers, writers, good

673
00:41:55,860 --> 00:41:57,960
writers and good poets, they will not be happy

674
00:41:57,960 --> 00:42:03,600
with naturals. And the same thing is, again, if you

675
00:42:03,600 --> 00:42:05,880
talk about football, Messi and Ronaldo, many

676
00:42:05,880 --> 00:42:10,640
people say Messi is a natural. He's a talent. But

677
00:42:10,640 --> 00:42:13,240
Ronaldo worked very, very, very, very hard to be

678
00:42:13,240 --> 00:42:15,480
the world footballer he is now.

679
00:42:18,340 --> 00:42:23,140
Okay, more, more questions. More questions. I want

680
00:42:23,140 --> 00:42:26,700
to conclude something that both of us, if you take

681
00:42:26,700 --> 00:42:32,680
this way or take this way, you will succeed at the

682
00:42:32,680 --> 00:42:35,620
end. This is the point. Exactly. That's why I say

683
00:42:35,620 --> 00:42:38,860
everybody is a poet. There is a poet asleep

684
00:42:38,860 --> 00:42:43,900
inside. Keep feeding him or her pizza, and you will

685
00:42:43,900 --> 00:42:46,380
have a lot of poetry at the end of the day.

686
00:42:47,770 --> 00:42:51,190
Because if you don't, again, if you think that, I

687
00:42:51,190 --> 00:42:53,250
know someone who said, "I will never ever be able

688
00:42:53,250 --> 00:42:58,570
to drive a car. It would be tough." So this

689
00:42:58,570 --> 00:43:03,380
attitude is significant. Like how I believe that

690
00:43:03,380 --> 00:43:05,960
some people are born really clever, and some

691
00:43:05,960 --> 00:43:08,500
people work really hard at school. So we would

692
00:43:08,500 --> 00:43:11,520
find the clever person would study on the exam

693
00:43:11,520 --> 00:43:13,180
night, and he would get a full mark, while the

694
00:43:13,180 --> 00:43:15,900
other would be studying the whole semester to get

695
00:43:15,900 --> 00:43:18,680
that full mark. So some people are natural. Some

696
00:43:18,680 --> 00:43:21,900
people work hard, and both deserve respect. And

697
00:43:21,900 --> 00:43:24,840
another thing, speaking about rhyme schemes and

698
00:43:24,840 --> 00:43:28,540
the meter, I don't know if you were the one who

699
00:43:28,540 --> 00:43:30,860
said it, or I read it somewhere, but it says that

700
00:43:30,860 --> 00:43:36,120
a poet has the music in his head, so he basically

701
00:43:36,120 --> 00:43:38,280
doesn't even have to think of the meter. Some

702
00:43:38,280 --> 00:43:41,560
poets just have the music; they write it based on

703
00:43:41,560 --> 00:43:48,220
how they read the poem. Again, this is a question

704
00:43:48,220 --> 00:43:53,640
I'm not interested in whether he worked to tweak

705
00:43:53,640 --> 00:43:56,700
the poem for the rhyme scheme, or it just

706
00:43:56,700 --> 00:43:59,880
naturally came this way. What I care about is that

707
00:43:59,880 --> 00:44:03,320
we have it this way now. And you can, by the way,

708
00:44:03,380 --> 00:44:05,880
if you are interested in this, you will find so

709
00:44:05,880 --> 00:44:10,800
many poets' writing the manuscripts. You'll find

710
00:44:10,800 --> 00:44:12,760
first drafts, and second drafts, and third drafts of

711
00:44:12,760 --> 00:44:14,810
the same poem. And I know many people who are

712
00:44:14,810 --> 00:44:17,470
interested, who do a lot of research on this. Like

713
00:44:17,470 --> 00:44:21,910
with Tamim al-Barghouti, for example, you will

714
00:44:21,910 --> 00:44:26,730
find that the poem sometimes he recites here or

715
00:44:26,730 --> 00:44:30,910
there. He would add a couple of lines here. He

716
00:44:30,910 --> 00:44:32,630
would change a word there. He would change

717
00:44:32,630 --> 00:44:36,090
something there. So people try to compare early

718
00:44:36,090 --> 00:44:39,070
editions with late editions, and why the change is

719
00:44:39,070 --> 00:44:42,570
taking place. And is this related to how somebody

720
00:44:42,570 --> 00:44:49,930
wants to work to improve the poem, you know, see the

721
00:44:49,930 --> 00:44:52,910
point, like when you change the rhyme scheme or

722
00:44:52,910 --> 00:44:55,950
something. Is this you improving the poem? Does it

723
00:44:55,950 --> 00:44:58,990
change it? Doesn't make it better? Does it? But again,

724
00:44:58,990 --> 00:45:01,870
we don't—we—when I never said that this is a good

725
00:45:01,870 --> 00:45:06,510
poem and this is a bad poem, yeah, because there are

726
00:45:06,510 --> 00:45:08,210
millions of poems in English literature, and we're

727
00:45:08,210 --> 00:45:11,630
studying only like 30 of them, so naturally we pick

728
00:45:12,270 --> 00:45:14,450
And that's also bad in a way because we choose the

729
00:45:14,450 --> 00:45:17,110
canonical texts, the canonical writers, and

730
00:45:17,110 --> 00:45:21,110
sometimes other writers remain ignored. Something

731
00:45:21,110 --> 00:45:22,250
else.

732
00:45:24,230 --> 00:45:29,430
Something else. Something else. Please. I think

733
00:45:29,430 --> 00:45:29,810
yeah.

734
00:45:34,310 --> 00:45:36,850
Some people believe that modernism started with

735
00:45:36,850 --> 00:45:40,670
William Blake or with the Lyrical Ballads or the

736
00:45:40,670 --> 00:45:43,950
preface to the Lyrical Ballads. I do believe, and I

737
00:45:43,950 --> 00:45:49,690
have evidence for this, that our friend Joan Dunn

738
00:45:49,690 --> 00:45:53,770
is the pioneer in modernism. It was he who

739
00:45:53,770 --> 00:45:57,130
started this whole movement of changing the way,

740
00:45:57,830 --> 00:46:00,590
not only just the way, everything about pottery.

741
00:46:00,850 --> 00:46:03,470
The sensibility, the themes, the forms, the

742
00:46:03,470 --> 00:46:07,130
structures, the rules. The man toppled everything,

743
00:46:07,410 --> 00:46:10,810
brought pottery down to earth, to us, to the

744
00:46:10,810 --> 00:46:15,710
masses. Pottery is for all, for the 99%, not for

745
00:46:15,710 --> 00:46:16,990
the one percent, the elite.

746
00:46:20,450 --> 00:46:26,560
Please. Doctor, we studied the schools and jump

747
00:46:26,560 --> 00:46:30,780
from school to another school. Do the poets, or

748
00:46:30,780 --> 00:46:34,980
where they know each other as one school, follow?

749
00:46:36,790 --> 00:46:42,670
Sometimes, yes. There is this small circle. Poets,

750
00:46:42,970 --> 00:46:47,730
not every poet liked others. And many things

751
00:46:47,730 --> 00:46:49,890
written about this. There's a book called, a

752
00:46:49,950 --> 00:46:53,030
beautiful book called *Poets on Poets*. What poets

753
00:46:53,030 --> 00:46:57,790
said about other poets. And there's Harold Bloom,

754
00:46:57,890 --> 00:47:00,570
who just passed away two weeks ago, wrote this book

755
00:47:00,570 --> 00:47:05,990
about *The Anxiety of Influence*. Like poets, all

756
00:47:05,990 --> 00:47:09,210
poets influence each other. That's why

757
00:47:09,210 --> 00:47:13,030
intertextuality is everywhere. Sometimes even when

758
00:47:13,030 --> 00:47:15,050
you don't want to be influenced, you get

759
00:47:15,050 --> 00:47:17,610
influenced. It creates this anxiety.

760
00:47:20,050 --> 00:47:22,910
So sometimes, yes, they did know each other. They

761
00:47:22,910 --> 00:47:24,710
would, like the Romantics, Wordsworth and

762
00:47:24,710 --> 00:47:28,310
Coleridge were best friends. Shelley, Byron, and

763
00:47:28,310 --> 00:47:33,650
Keats, and what's that other guy? Shelley, Byron,

764
00:47:33,650 --> 00:47:37,510
Keats, and Shelley, and even Mary Shelley, like they

765
00:47:37,510 --> 00:47:40,230
were friends; they would meet regularly, and even

766
00:47:40,230 --> 00:47:44,190
with *Frankenstein*, the novel, it came as a kind of

767
00:47:44,190 --> 00:47:45,830
context, a challenge, "Let's write something."

768
00:47:48,570 --> 00:47:51,310
So yeah, more or less.

769
00:48:11,670 --> 00:48:15,310
We're talking about a time when women were not

770
00:48:15,310 --> 00:48:20,990
believed to be as intellectual as men were, when

771
00:48:20,990 --> 00:48:23,810
women were not considered to be poets. Like, you

772
00:48:23,810 --> 00:48:25,770
could write prose; you could write your own

773
00:48:25,770 --> 00:48:28,250
diaries, but you couldn't write poetry because you're

774
00:48:28,250 --> 00:48:30,630
not a man; you're not—like this was still

775
00:48:30,630 --> 00:48:35,030
implanted in the mentalities of women. Her text is

776
00:48:35,030 --> 00:48:38,890
really beautiful. In many ways, it's very vivid,

777
00:48:39,030 --> 00:48:43,930
it's very—this entry. But Wordsworth, sorry, what

778
00:48:43,930 --> 00:48:46,430
erases her altogether; he kicks her out of his

779
00:48:46,430 --> 00:48:50,230
poem. She's no longer there. Some people would

780
00:48:50,230 --> 00:48:53,170
accuse him of being anti-feminist. Again, imagine

781
00:48:53,170 --> 00:48:57,350
yourself, if it was a dead body they saw; he's not

782
00:48:57,350 --> 00:48:59,470
going to go to the police and say, "Hey, I saw a

783
00:48:59,470 --> 00:49:01,530
dead body; I was wondering." He would say, "My

784
00:49:01,530 --> 00:49:05,630
sister saw a dead body, and I was there." Imagine

785
00:49:05,630 --> 00:49:08,110
yourself finding a treasure or winning the

786
00:49:08,110 --> 00:49:09,950
lottery, you and your brother scratching something,

787
00:49:09,950 --> 00:49:13,350
and then he goes to your mom and says, "Mom, I won

788
00:49:13,350 --> 00:49:16,310
the lottery," or "Mom, I found this treasure," or

789
00:49:16,310 --> 00:49:20,810
something. It would be—it is frustrating. Again,

790
00:49:20,970 --> 00:49:25,190
some people say, sorry? Yeah, possible. It's just

791
00:49:25,190 --> 00:49:28,990
selfishness. He felt that he is more superior than

792
00:49:28,990 --> 00:49:31,470
her. So why bring her in the text? Why, you know?

793
00:49:33,560 --> 00:49:35,660
Some people would say, "Because he loves nature

794
00:49:35,660 --> 00:49:38,680
more." And again, I'm trying to imagine this

795
00:49:38,680 --> 00:49:43,480
scenario where, again, she's complaining to her

796
00:49:43,480 --> 00:49:46,580
mom, saying, "Mom, he even looked, had a peek at my

797
00:49:46,580 --> 00:49:50,680
own diaries, and he got inspired by this," because

798
00:49:50,680 --> 00:49:53,820
we don't know what inspired him. Was it this? No,

799
00:49:54,020 --> 00:49:55,960
it's nothing against you, Dorothy. It's just I

800
00:49:55,960 --> 00:49:59,500
love the daffodils more. That's even worse, yeah?

801
00:50:00,610 --> 00:50:06,550
That's even worse. But again, many believe that

802
00:50:06,550 --> 00:50:11,470
this is just an issue of solitude that is a core

803
00:50:11,470 --> 00:50:15,990
Romantic issue. The issue of solitude and

804
00:50:15,990 --> 00:50:19,350
imagination and individuality requires—head out of

805
00:50:19,350 --> 00:50:24,670
the text. If you want to study, to take this as an

806
00:50:24,670 --> 00:50:26,870
anti-feminist, it's up to you. I don't—I wouldn't

807
00:50:26,870 --> 00:50:29,050
say no. But if you want to trace whether he is

808
00:50:29,050 --> 00:50:30,570
anti-feminist or not, you need to look at other

809
00:50:30,570 --> 00:50:35,170
texts, what he does with them. Okay, one more

810
00:50:35,170 --> 00:50:37,810
before we see last year's questions.

811
00:50:41,230 --> 00:50:47,870
Please. Who also used that reform of the UN? The

812
00:50:47,870 --> 00:50:51,990
Romantics and people later on. With the Romantics

813
00:50:51,990 --> 00:50:54,230
and the Modernist movement, 20th century.

814
00:50:56,890 --> 00:50:58,930
Yeah, yeah. He's a Metaphysical.

815
00:51:01,850 --> 00:51:05,830
Okay, last year's exam had two main questions.

816
00:51:06,030 --> 00:51:10,570
Will be in a way similar to this year's exam. You

817
00:51:10,570 --> 00:51:14,630
will be asked to comment, to write three or two

818
00:51:14,630 --> 00:51:18,720
paragraphs to contextualize. I am not going to

819
00:51:18,720 --> 00:51:24,000
give you the extract from the poem and just leave

820
00:51:24,000 --> 00:51:26,860
it open to you. I want to give you the topic

821
00:51:26,860 --> 00:51:29,500
sentence, the issue. Like this question with

822
00:51:29,500 --> 00:51:32,560
Shakespeare: "Uses the rigid form of the sonnet to

823
00:51:32,560 --> 00:51:36,100
control the uncontrollable." Look at this. And I'm

824
00:51:36,100 --> 00:51:39,520
giving you this; focus on this. At least 80, 70%

825
00:51:39,520 --> 00:51:42,040
of your answer will be focused on the text given.

826
00:51:44,180 --> 00:51:48,370
This is significant to me. Okay? So you could say,

827
00:51:48,510 --> 00:51:53,850
for example, this—the lines given is the couplet

828
00:51:53,850 --> 00:51:57,330
of Sonnet 18, "Shall I compare thee to a summer's

829
00:51:57,330 --> 00:52:06,070
day?" This couplet rhymes perfectly, and each has

830
00:52:06,070 --> 00:52:10,990
ten syllables, five feet. This reflects the

831
00:52:10,990 --> 00:52:15,850
rigidity, the strict structure that the sonnet

832
00:52:15,850 --> 00:52:19,010
follows. See their organization, or something. Now,

833
00:52:19,630 --> 00:52:21,890
in these lines, Shakespeare is saying, "I'm going

834
00:52:21,890 --> 00:52:27,190
to live forever," because previously in the lines

835
00:52:27,190 --> 00:52:33,570
above, he was kind of complaining that life is not

836
00:52:33,570 --> 00:52:37,430
good to him or to anyone. Because every fear from

837
00:52:37,430 --> 00:52:40,710
fear sometimes declines. And he wants to control

838
00:52:40,710 --> 00:52:45,170
this, to control his own destiny, to take things

839
00:52:45,170 --> 00:52:49,290
in his own hands by writing poetry. So life that

840
00:52:49,290 --> 00:52:54,690
is being uncontrollable is being controlled in a

841
00:52:54,690 --> 00:52:57,950
couple of lines by Shakespeare here. It's being

842
00:52:57,950 --> 00:53:04,330
squeezed into a space of ten syllables, two lines,

843
00:53:04,650 --> 00:53:07,570
perfect rhyme scheme. This could indicate

844
00:53:07,570 --> 00:53:14,850
Shakespeare's attempt to seek immortality. This is

845
00:53:14,850 --> 00:53:18,610
controlling his own destiny, his own life. He

846
00:53:18,610 --> 00:53:22,750
determined what will happen to him, not life—that

847
00:53:22,750 --> 00:53:30,310
destroys the darling buds of man. Did he succeed?

848
00:53:31,490 --> 00:53:34,730
Definitely. He's bigger than life now, Shakespeare.

849
00:53:37,300 --> 00:53:42,340
And you can't ask Harold Bloom about that. If you

850
00:53:42,340 --> 00:53:46,920
look here, "though you make up to kill me, lead not

851
00:53:46,920 --> 00:53:50,400
to that self-murder added. B and sacrilege, three

852
00:53:50,400 --> 00:53:53,860
sins in killing three." What is a metaphysical

853
00:53:53,860 --> 00:53:58,520
conceit, and how does Donne use it in this, in his

854
00:53:58,520 --> 00:54:03,770
argument? Again, with special focus on this. A

855
00:54:03,770 --> 00:54:06,090

889
00:56:27,880 --> 00:56:35,840
Is stressed like this and unstressed.  It's

890
00:56:35,840 --> 00:56:38,540
the main verb stressed. It says anything you add to

891
00:56:38,540 --> 00:56:44,100
the verb is unstressed: articles, determiners,

892
00:56:44,100 --> 00:56:46,780
functional words, you call them in linguistics,

893
00:56:46,780 --> 00:56:52,940
are unstressed. So the only part that emphasizes this

894
00:56:52,940 --> 00:56:56,720
unity with nature is where we say "with," right? So

895
00:56:56,720 --> 00:56:59,960
and dances with the daffodils, and dances with the

896
00:56:59,960 --> 00:57:03,660
daffodils. Number

897
00:57:03,660 --> 00:57:06,560
one is the opposite: stressed, unstressed, stressed,

898
00:57:06,560 --> 00:57:10,440
unstressed, stressed, unstressed. And number two,

899
00:57:10,760 --> 00:57:13,760
which syllable is this? One, two, three, four,

900
00:57:13,880 --> 00:57:18,140
stress, syllable number four. One, two, three,

901
00:57:18,600 --> 00:57:22,760
four, stressed. One, two, three, four, not

902
00:57:22,760 --> 00:57:26,360
stressed. One, two, three, four, stressed. One,

903
00:57:26,540 --> 00:57:29,120
two, three, four, stressed. So we exclude this and

904
00:57:29,120 --> 00:57:33,760
we try to make sense of this. It turns out to be

905
00:57:33,760 --> 00:57:34,140
which one?

906
00:57:49,970 --> 00:57:50,530
Yeah.

907
00:58:01,330 --> 00:58:04,290
It's "and."

908
00:58:05,070 --> 00:58:07,730
The lion says "and dances with the daffodil." It's

909
00:58:07,730 --> 00:58:15,990
D. and "done," unstressed, stressed.  "Says" with

910
00:58:15,990 --> 00:58:20,490
unstressed, stressed. "The," "the," unstressed, stressed.

911
00:58:20,490 --> 00:58:24,490
who deals according to Virginia Woolf,

912
00:58:37,840 --> 00:58:40,460
Unstressed, stressed, unstressed, stressed,

913
00:58:40,600 --> 00:58:42,820
unstressed, stressed, unstressed, stressed,

914
00:58:42,820 --> 00:58:45,640
unstressed, stressed,

915
00:58:49,180 --> 00:58:49,180
unstressed, unstressed, unstressed, unstressed,

916
00:58:49,180 --> 00:58:49,260
unstressed, unstressed, unstressed, unstressed,

917
00:58:49,260 --> 00:58:49,980
unstressed, unstressed, unstressed, unstressed,

918
00:58:49,980 --> 00:58:50,020
unstressed, unstressed, unstressed, unstressed,

919
00:58:50,020 --> 00:58:50,660
unstressed, unstressed, unstressed, unstressed,

920
00:58:50,660 --> 00:58:51,820
unstressed, unstressed, unstressed, unstressed,

921
00:58:51,820 --> 00:58:54,500
unstressed, unstressed, unstressed, unstressed,

922
00:58:54,620 --> 00:58:55,880
unstressed,

923
00:58:58,380 --> 00:59:04,720
unstressed, unstressed, unstressed, unstressed,

924
00:59:04,720 --> 00:59:08,630
unstressed. Empowers women, presents women as

925
00:59:08,630 --> 00:59:12,870
dependent on men, perplexes the minds of women,

926
00:59:13,650 --> 00:59:20,310
presents women as silent, meek, and submissive. The

927
00:59:20,310 --> 00:59:22,770
fact that the sick rose could have various

928
00:59:22,770 --> 00:59:27,270
interpretations indicates Blake's belief in

929
00:59:36,300 --> 00:59:38,660
the individual over the collective, the collective

930
00:59:38,660 --> 00:59:42,260
over the individual; an anti-romantic philosophy that

931
00:59:42,260 --> 00:59:44,680
states a duty to control public thought.

932
00:59:50,820 --> 00:59:57,440
It is. In "A poet could not but be gay," words were

933
00:59:57,440 --> 01:00:05,130
shifts from "I" to "a poet" because he was referring

934
01:00:05,130 --> 01:00:09,690
to his sister Dorothy, trying to avoid naming his

935
01:00:09,690 --> 01:00:13,950
sister. Three

936
01:00:13,950 --> 01:00:17,510
afraid

937
01:00:17,510 --> 01:00:21,970
people will say he is gay; he doesn't want to come

938
01:00:21,970 --> 01:00:26,590
out of the closet. Criticizing neoclassical poets

939
01:00:32,000 --> 01:00:35,080
Sorry? What's that?

940
01:00:38,960 --> 01:00:43,300
I don't

941
01:00:43,300 --> 01:00:44,880
think he meant his sister.

942
01:00:48,750 --> 01:00:56,750
Both believe that a poem's

943
01:00:56,750 --> 01:01:00,090
content or theme should create its form or

944
01:01:00,090 --> 01:01:03,970
structure. Shakespeare and Donne, the neoclassicists

945
01:01:03,970 --> 01:01:06,690
and the romantics, the romantics and the

946
01:01:06,690 --> 01:01:12,350
metaphysicals, Donne and Marvell, Donne

947
01:01:12,350 --> 01:01:17,130
and the romantics. The repetition of the same or

948
01:01:17,130 --> 01:01:20,830
similar sounds in two or more words, usually in

949
01:01:20,830 --> 01:01:25,950
the ending syllables of lines in poems and songs.

950
01:01:32,650 --> 01:01:39,050
What's the key word in the question? Ending, ending

951
01:01:39,050 --> 01:01:39,670
rhyme.

952
01:01:42,190 --> 01:01:46,090
The literary device in Wyatt's sonnet, "Fainting I

953
01:01:46,090 --> 01:01:53,390
follow, I leave off therefore," is in the opening

954
01:01:53,390 --> 01:01:56,850
couplet of "The Bait." John Donne subverts

955
01:01:56,850 --> 01:02:01,490
mainstream artistic traditions by employing parody,

956
01:02:01,490 --> 01:02:05,490
alternating rhyme, apostrophe, meter variations.

957
01:02:07,890 --> 01:02:11,090
The official institution of poetry attacked John

958
01:02:11,090 --> 01:02:14,650
Donne and rejected his poetry. In literature, this

959
01:02:14,650 --> 01:02:18,270
phenomenon is described as feminism,

960
01:02:19,270 --> 01:02:22,530
intertextuality, a literary movement, or framing.

961
01:02:25,570 --> 01:02:27,890
At least in these cases, if you're not sure, try

962
01:02:27,890 --> 01:02:30,350
to eliminate one or two answers and try just to

963
01:02:30,350 --> 01:02:34,320
think about them. To condemn Zionist alien rule

964
01:02:34,320 --> 01:02:37,900
over Jerusalem in his masterpiece, *Fil Quds* in

965
01:02:37,900 --> 01:02:42,340
Jerusalem, Tamim al-Barghouti invokes old Arabic

966
01:02:42,340 --> 01:02:45,620
traditions of gallantry and chivalry in the second

967
01:02:45,620 --> 01:02:51,840
stanza, openly calls for armed struggle, begins

968
01:02:51,840 --> 01:02:55,260
with a classical poetic form, and shifts to

969
01:02:55,260 --> 01:02:59,900
a loose poetic form, shifts from a loose poetic form to a

970
01:02:59,900 --> 01:03:07,350
classical one. And that's it. Good

971
01:03:07,350 --> 01:03:19,970
question, please. Stressed

972
01:03:19,970 --> 01:03:23,790
that

973
01:03:23,790 --> 01:03:28,390
no, with... oh no, I'm talking about "with"—that is not

974
01:03:28,390 --> 01:03:33,650
stressed. Okay, any questions? If you want to stay

975
01:03:33,650 --> 01:03:36,930
behind for questions, please do. Thank you very much

976
01:03:36,930 --> 01:03:40,990
and see you in two weeks. Do your best for the

977
01:03:40,990 --> 01:03:41,450
exams.