1 00:00:05,400 --> 00:00:08,900 Okay, good morning everyone and welcome back. 2 00:00:09,060 --> 00:00:14,280 Today we move to speak about our first poem, our 3 00:00:14,280 --> 00:00:16,680 first English poem in the course. Last time we 4 00:00:16,680 --> 00:00:21,300 examined a Palestinian poem by a young Palestinian 5 00:00:21,300 --> 00:00:24,740 poet Tamim el Barghouti about Jerusalem. We 6 00:00:24,740 --> 00:00:27,620 discussed issues related to the themes and the 7 00:00:27,620 --> 00:00:31,080 forms, and we kind of, in passing, mentioned some 8 00:00:31,080 --> 00:00:36,240 features of Palestinian poetry highlighted in the 9 00:00:36,240 --> 00:00:39,080 poem itself, and I gave you this as an assignment, 10 00:00:39,260 --> 00:00:42,920 so I'm hoping that you're working on this, again, 11 00:00:43,120 --> 00:00:47,010 on excavating the Palestinian features Palestinian 12 00:00:47,010 --> 00:00:50,950 poetry features from the poem Vitamin Al Barwati. 13 00:00:51,030 --> 00:00:56,610 Today we move to Renaissance poetry and this is 14 00:00:56,610 --> 00:01:04,620 Sir Thomas Wyatt from the 16th century. from the 15 00:01:04,620 --> 00:01:07,700 16th century. Sir Thomas White was born around 16 00:01:07,700 --> 00:01:13,860 1502 and died around 1542, something like this. It 17 00:01:13,860 --> 00:01:18,240 means he was born, wrote poetry, did what he did 18 00:01:18,240 --> 00:01:21,940 and lived in the first half of the 16th century. 19 00:01:24,740 --> 00:01:29,480 The poem We will talk about today is this one. 20 00:01:29,640 --> 00:01:33,660 It's called Whoso Less to Hunt. Many poems in the 21 00:01:33,660 --> 00:01:36,360 past didn't have titles, so many people tend to 22 00:01:36,360 --> 00:01:40,440 give them either titles revolving around the theme 23 00:01:40,440 --> 00:01:42,940 itself or sometimes people take the first line or 24 00:01:42,940 --> 00:01:46,020 the first part of the first line as the title of 25 00:01:46,020 --> 00:01:50,900 the poem. If you look at the poem, it's short. 26 00:01:51,120 --> 00:01:54,640 This is the first thing we notice. It's a short 27 00:01:54,640 --> 00:01:54,980 poem. 28 00:01:58,070 --> 00:02:01,150 If you look at the form or the shape, it's kind of 29 00:02:01,150 --> 00:02:06,510 regular, more or less. The lines are not exactly 30 00:02:06,510 --> 00:02:11,970 the same, but they are close. Sometimes the length 31 00:02:11,970 --> 00:02:14,470 of the line is significant, but what is more 32 00:02:14,470 --> 00:02:16,170 significant is the number of syllables. 33 00:02:19,190 --> 00:02:21,230 My advice is usually when you look at a poem, a 34 00:02:21,230 --> 00:02:24,810 short poem like this, is to count the lines. 35 00:02:27,250 --> 00:02:36,890 Because if this is a 14-line poem, it means it's a 36 00:02:36,890 --> 00:02:40,770 sonnet. Thank you very much. It means it's a 37 00:02:40,770 --> 00:02:43,970 sonnet. Why is a sonnet special? Can you tell me? 38 00:02:45,670 --> 00:02:48,910 Why is it special to highlight the fact that a 39 00:02:48,910 --> 00:02:51,410 particular poem is a sonnet or is not a sonnet? 40 00:02:51,610 --> 00:02:55,530 Please. It has a certain high scale and it usually 41 00:02:55,530 --> 00:03:01,050 speaks about How did you know it's a Petrarchan 42 00:03:01,050 --> 00:03:09,610 sonnet? Okay. Thank you. It has two parts. 43 00:03:11,650 --> 00:03:13,710 What's the most significant thing about the 44 00:03:13,710 --> 00:03:14,830 sonnet? 45 00:03:17,650 --> 00:03:22,350 More. More important. More important. What's the 46 00:03:22,350 --> 00:03:25,590 most significant thing about the sonnet? More. 47 00:03:29,550 --> 00:03:33,810 Yeah? The number of lines, the 14 lines, that's 48 00:03:33,810 --> 00:03:36,410 number one, that's a given. Yeah, but let's go 49 00:03:36,410 --> 00:03:40,830 back and work on things in a regular manner. 14 50 00:03:40,830 --> 00:03:44,190 lines, 13 lines, no sorry, not a sonnet. 15 lines, 51 00:03:44,950 --> 00:03:48,350 still not a sonnet. So when I say what is special 52 00:03:48,350 --> 00:03:51,370 about the sonnet, the first thing is that 14 53 00:03:51,370 --> 00:03:56,560 lines, sacred, it's a given. And then we talk 54 00:03:56,560 --> 00:03:58,520 about, because even when you talk about the rhyme 55 00:03:58,520 --> 00:04:02,180 scheme, there are varieties. The structures, there 56 00:04:02,180 --> 00:04:05,200 are varieties. The subject matter is basically 57 00:04:05,200 --> 00:04:08,520 what some of you mentioned could be basically a 58 00:04:08,520 --> 00:04:11,860 love poem. But we'll see later on how this could 59 00:04:11,860 --> 00:04:16,160 also shift and change. When we talk about the 60 00:04:16,160 --> 00:04:21,640 sonnet, we talk about Italy. It originated in? In 61 00:04:21,640 --> 00:04:22,100 Italy. 62 00:04:25,040 --> 00:04:28,880 So Italy has given us not only good food, but also 63 00:04:28,880 --> 00:04:32,480 good poetry and good football. Hopefully, you like 64 00:04:32,480 --> 00:04:37,900 football. Now, it was the sonnet became very 65 00:04:37,900 --> 00:04:41,820 famous, became trendy, very fashionable form of 66 00:04:41,820 --> 00:04:46,740 writing poetry sometime in the 14th century, I 67 00:04:46,740 --> 00:04:51,720 guess. And it was made very popular by two giants, 68 00:04:52,140 --> 00:04:58,690 two significant poets. Number one is Dante and 69 00:04:58,690 --> 00:05:01,670 number two probably more important is called 70 00:05:01,670 --> 00:05:07,150 Petrarch. Look at the spelling. And then the name 71 00:05:07,150 --> 00:05:10,770 sounds strange because almost all Italian words 72 00:05:10,770 --> 00:05:16,530 end in vowels. I don't know why this is different. 73 00:05:17,510 --> 00:05:22,790 So Petrarch, Petrarch. Petrarch. That's why we 74 00:05:22,790 --> 00:05:26,190 usually hear about the Petrarchan sonnet. It means 75 00:05:26,190 --> 00:05:32,270 the Italian sonnet. Now, in Petrarch, we have 76 00:05:32,270 --> 00:05:35,090 particular features for the sonnet. If you want to 77 00:05:35,090 --> 00:05:38,450 describe a sonnet as Petrarchan, it has to have 78 00:05:38,450 --> 00:05:42,630 certain things. We can organize these into three 79 00:05:42,630 --> 00:05:46,070 categories. Number one, the theme. 80 00:05:50,050 --> 00:05:54,070 What it is about. Number two, the form. 81 00:05:57,170 --> 00:05:59,570 The parts, like you said. And number three, 82 00:06:02,430 --> 00:06:07,990 the rhyme scheme. We defined rhyme before as the 83 00:06:07,990 --> 00:06:10,810 ending sound or sounds of a line of verse. 84 00:06:15,950 --> 00:06:18,730 So what's the theme in a Petrarchan sonnet? Can 85 00:06:18,730 --> 00:06:19,010 you tell? 86 00:06:31,050 --> 00:06:34,630 So it's about like what is he saying? Like women 87 00:06:34,630 --> 00:06:37,170 are good, women are bad, women are what exactly 88 00:06:37,170 --> 00:06:38,570 going on? 89 00:06:41,930 --> 00:06:44,430 in the Petrarchan sonnet is love. It's a love, 90 00:06:44,610 --> 00:06:47,590 that's why many people insist on defining the 91 00:06:47,590 --> 00:06:55,570 sonnet as a 14 line love poem. Because it was 92 00:06:55,570 --> 00:07:00,170 basically kind of invented to express this love 93 00:07:00,170 --> 00:07:04,330 relationship, to chase women, to come after them, 94 00:07:05,590 --> 00:07:10,330 to hunt them down, we see this. So it's a love 95 00:07:10,330 --> 00:07:16,600 poem. But even this poem, this kind of love theme 96 00:07:16,600 --> 00:07:20,340 is also special. There's something different. We 97 00:07:20,340 --> 00:07:24,220 find it in other poems, but here Petrarch usually 98 00:07:24,220 --> 00:07:28,760 represents the woman as unattainable, cruel and 99 00:07:28,760 --> 00:07:32,740 heartless. She's cruel and heartless, sometimes 100 00:07:32,740 --> 00:07:39,500 cannot be reached, cannot be attained. And usually 101 00:07:39,500 --> 00:07:45,220 the lover is presented as an abject man, a man 102 00:07:45,220 --> 00:07:48,980 usually doing his best, but failing not because 103 00:07:48,980 --> 00:07:51,820 he's a loser, but because of the woman, the 104 00:07:51,820 --> 00:07:52,480 heartless woman. 105 00:07:57,980 --> 00:08:00,220 And some people might find this very interesting 106 00:08:00,220 --> 00:08:04,020 in the sense that when you usually express love, 107 00:08:05,240 --> 00:08:08,880 and strong emotions like love, they usually 108 00:08:08,880 --> 00:08:13,520 overflow. Remember we spoke about overflowing? And 109 00:08:13,520 --> 00:08:18,640 putting this in this very tight shape, restricting 110 00:08:18,640 --> 00:08:22,180 us to 14 lines, that could be limiting sometimes. 111 00:08:23,280 --> 00:08:27,440 If 14 lines can limit us, wait until you see what 112 00:08:27,440 --> 00:08:30,540 other rules there should be, what other features 113 00:08:30,540 --> 00:08:33,340 there should be. Now, the Italian Sonnet or the 114 00:08:33,340 --> 00:08:37,580 Petrarchan Sonnet It has a particular form. It's 115 00:08:37,580 --> 00:08:44,980 divided into? Thank you very much. An octave and a 116 00:08:44,980 --> 00:08:50,160 sester. Easy. Octave means eight, like octopus, 117 00:08:50,500 --> 00:08:57,480 you know, octopus. Eight. Eight lines. 118 00:09:01,440 --> 00:09:05,600 Sestet? Six. Okay, thank you. Six lines. 119 00:09:09,310 --> 00:09:11,570 Now in the first part, what happens in the first 120 00:09:11,570 --> 00:09:16,930 part, in the opening eight lines? Please. Okay, so 121 00:09:16,930 --> 00:09:20,370 there is the introduction of, the problem, the 122 00:09:20,370 --> 00:09:24,470 issue, the crisis, the complications, the issue, 123 00:09:24,750 --> 00:09:27,470 he's discussing his, what exactly is going on. 124 00:09:28,280 --> 00:09:30,180 Because many people, like Shakespeare, Shakespeare 125 00:09:30,180 --> 00:09:34,580 wrote, we'll see this next class, 154 sonnets, 126 00:09:34,740 --> 00:09:37,720 give or take. Same with Petrarch, I'm not sure how 127 00:09:37,720 --> 00:09:42,740 many, but he wrote over 200 sonnets. So if this is 128 00:09:42,740 --> 00:09:47,760 a love poem, and you're saying something about 129 00:09:47,760 --> 00:09:51,360 your relationship with a woman, why are you saying 130 00:09:51,360 --> 00:09:57,250 it in 200 different ways? Yeah? It's never enough, 131 00:09:57,330 --> 00:10:00,810 I don't know. But in the first eight lines, the 132 00:10:00,810 --> 00:10:04,710 poet exposes us to what's going on, how he feels, 133 00:10:05,270 --> 00:10:09,330 what's going on. Usually something is wrong. He's 134 00:10:09,330 --> 00:10:12,990 down. He's not feeling good. He's not optimistic 135 00:10:12,990 --> 00:10:15,130 about winning the woman. The woman is doing 136 00:10:15,130 --> 00:10:20,010 something that doesn't help him win her heart. And 137 00:10:20,010 --> 00:10:25,820 naturally, in the Sestet, we have The solution, 138 00:10:26,800 --> 00:10:30,780 the kind of answer, the resolution, the closure, 139 00:10:31,140 --> 00:10:37,520 hopefully sometimes, or the justification. Why 140 00:10:37,520 --> 00:10:40,780 what happened in the first stanza, the first part 141 00:10:40,780 --> 00:10:41,420 happened. 142 00:10:43,900 --> 00:10:48,990 Okay, so look at this. We said 14 lines, and some 143 00:10:48,990 --> 00:10:52,890 might say, wow, that's very limiting, very strict 144 00:10:52,890 --> 00:10:56,030 and rigid. And then we say, also, wait a minute. 145 00:10:56,530 --> 00:11:03,790 The first eight lines, the octave, form one 146 00:11:03,790 --> 00:11:06,150 part, one particular part. It discusses this 147 00:11:06,150 --> 00:11:08,890 particular issue. And then the poet kind of 148 00:11:08,890 --> 00:11:13,720 twists, moves, shifts. to the resolution, usually 149 00:11:13,720 --> 00:11:16,680 some kind of a closure or a justification 150 00:11:16,680 --> 00:11:25,100 sometimes in six lines. Now even more limiting is 151 00:11:25,100 --> 00:11:27,460 the rhyme scheme, the ending sounds. We'll see 152 00:11:27,460 --> 00:11:33,420 this in a bit of the poem. How it ends. And we 153 00:11:33,420 --> 00:11:35,660 discussed this before, we mentioned it very 154 00:11:35,660 --> 00:11:38,040 quickly in Ali Abunayem's poem because the five 155 00:11:38,040 --> 00:11:41,940 lines ended in I, I, I, I, I sound, we said it 156 00:11:41,940 --> 00:11:46,880 ended with I. In English, the rhyme in English 157 00:11:46,880 --> 00:11:50,680 follows, the sounds follow the alphabet, A, B, C, 158 00:11:50,900 --> 00:11:57,400 D, E, F, G, H, I, J, K, L, M, N, O, P, Q, I, S, T, 159 00:11:57,440 --> 00:12:01,370 et cetera, et cetera. Because Arabic is a very 160 00:12:01,370 --> 00:12:04,590 flexible language. You could read a poem of 2000 161 00:12:04,590 --> 00:12:11,150 lines ending in the same sound. Hundreds of lines 162 00:12:11,150 --> 00:12:15,190 could end. Arabic language is said to have 12 163 00:12:15,190 --> 00:12:20,010 million words. That's a lot. And the second place, 164 00:12:20,590 --> 00:12:23,630 in the second place comes English with close to 165 00:12:23,630 --> 00:12:28,960 half a million. Notice the gap? more than 11 166 00:12:28,960 --> 00:12:32,220 million words. That's why Arabic is a very 167 00:12:32,220 --> 00:12:35,360 flexible language. English comes second, very 168 00:12:35,360 --> 00:12:40,760 flexible, but doesn't sometimes come close. So 169 00:12:40,760 --> 00:12:43,520 usually the first sound, let's work on this before 170 00:12:43,520 --> 00:12:47,060 we talk about dialect scheme. The first sound, 171 00:12:47,140 --> 00:12:51,020 whatever it is, Whatever it is, whether the poem 172 00:12:51,020 --> 00:12:57,860 ends in zero, pizza, salad, morning, class, 173 00:12:58,140 --> 00:13:01,980 teacher, whatever, the sound or the sounds, 174 00:13:02,120 --> 00:13:03,980 because sometimes it's not the last sound, the 175 00:13:03,980 --> 00:13:07,500 last two sounds. We give it A. 176 00:13:10,500 --> 00:13:13,900 Where did the A come from? The alphabet, the first 177 00:13:13,900 --> 00:13:17,680 letter from the alphabet. You should know this 178 00:13:17,680 --> 00:13:22,160 because you need to do it in your exams. Now, we 179 00:13:22,160 --> 00:13:24,740 look at the second line, the ending of the second 180 00:13:24,740 --> 00:13:28,180 line. If it repeats the same sound or sounds as 181 00:13:28,180 --> 00:13:32,880 the first line, another A. No, we go back to the 182 00:13:32,880 --> 00:13:36,180 alphabet. The next one is B. 183 00:13:39,880 --> 00:13:50,030 That's more saw. That's another B. Behind. A. And 184 00:13:50,030 --> 00:13:55,070 then we have mind, wind. Okay, we'll see this in a 185 00:13:55,070 --> 00:14:01,570 bit. Another A, a four, therefore, B. Look at 186 00:14:01,570 --> 00:14:08,830 this. If you look at this word and compare it with 187 00:14:08,830 --> 00:14:15,470 this or this. 188 00:14:17,300 --> 00:14:22,120 or this, they look similar. The last three 189 00:14:22,120 --> 00:14:26,200 letters, I-N-D, I-N-D, I-N-D, they are the same. 190 00:14:27,260 --> 00:14:30,840 But it's not the letters we care about. It's the 191 00:14:30,840 --> 00:14:39,120 sounds. It's the sounds. So hind or ind in middle 192 00:14:39,120 --> 00:14:44,980 English. And then we have here behind. and then 193 00:14:44,980 --> 00:14:48,120 mine but this one this is now by the way the verb 194 00:14:48,120 --> 00:14:52,320 is wind when something you know but this is the 195 00:14:52,320 --> 00:15:00,060 noun wind wind it looks the same but it sounds 196 00:15:00,060 --> 00:15:04,280 different we call this an imperfect rhyme or 197 00:15:04,280 --> 00:15:09,490 sometimes I rhyme. I rhyme. You look at it. It 198 00:15:09,490 --> 00:15:12,890 sounds the same. You read it. It's not the same. 199 00:15:13,650 --> 00:15:16,830 It's not the same. Now there is an issue here. 200 00:15:17,090 --> 00:15:20,290 Some people might give this like some kind of 201 00:15:20,290 --> 00:15:26,710 poetic license, you know, and would say something 202 00:15:26,710 --> 00:15:29,530 like probably the poet originally pronounced it 203 00:15:30,860 --> 00:15:34,640 wine just to make it look more musical or perhaps 204 00:15:34,640 --> 00:15:39,440 in the past 500 years ago it was pronounced wine 205 00:15:39,440 --> 00:15:42,600 but now we don't say wine so we say win in this 206 00:15:42,600 --> 00:15:46,280 case we'll give it an imperfect rhyme and I 207 00:15:46,280 --> 00:15:49,300 usually use the small letter so that's why I like 208 00:15:49,300 --> 00:15:52,880 you to use the capital letter this is my thing 209 00:15:53,870 --> 00:15:57,850 Capital, capital, capital, and then to indicate an 210 00:15:57,850 --> 00:16:01,290 imperfect rhyme, go for small. And we will always 211 00:16:01,290 --> 00:16:03,750 ask the question, why is there an imperfect rhyme? 212 00:16:04,070 --> 00:16:06,450 Because there's a reason behind everything in a 213 00:16:06,450 --> 00:16:11,610 poem. Everything counts. Okay, so basically this 214 00:16:11,610 --> 00:16:16,030 is the first part. This is the octave, the eight 215 00:16:16,030 --> 00:16:21,870 lines, the opening. And they kind of mirror each 216 00:16:21,870 --> 00:16:28,170 other. Yeah? A, B, B, A, A, B, B, A. It's very 217 00:16:28,170 --> 00:16:32,290 musical. Although the sound A, B, B, A, A, B, B, A 218 00:16:32,290 --> 00:16:35,230 is not what we hear. We hear the sounds hind, mo, 219 00:16:35,390 --> 00:16:41,810 mo, hind, mind, fore, fore and wind. And then this 220 00:16:41,810 --> 00:16:47,830 is different, a different sound. Doubt. Doubt. We 221 00:16:47,830 --> 00:16:52,330 go to the alphabet. What's after B? C. Doubt. 222 00:16:53,940 --> 00:17:01,600 Vein, plane, D, D, about. Look at this. This is a 223 00:17:01,600 --> 00:17:03,460 silent letter. That's why we care about the 224 00:17:03,460 --> 00:17:09,680 sounds. And then about is yet another, another C. 225 00:17:12,180 --> 00:17:16,100 There's one line missing. Okay. So the last line 226 00:17:16,100 --> 00:17:24,200 here, C, D, D, C. Am, you know, am, we say am. For 227 00:17:24,200 --> 00:17:26,820 Caesars, I am. 228 00:17:37,460 --> 00:17:38,900 Did we get the last line? 229 00:17:41,780 --> 00:17:50,060 Yup. So the last line, the last two lines, am is? 230 00:17:55,000 --> 00:18:02,980 and then and then that's tame tame I think it's 231 00:18:02,980 --> 00:18:06,100 another imperfect rhyme scheme so let's go back 232 00:18:06,100 --> 00:18:09,560 again because we have a smaller screen now we have 233 00:18:09,560 --> 00:18:27,660 high a B, B, A, A, B, B, imperfect, C, D, D, C, E, 234 00:18:27,760 --> 00:18:31,440 E. One imperfect rhyme, two imperfect rhymes. 235 00:18:32,380 --> 00:18:36,640 Because this is M, this is the sounds, the 236 00:18:36,640 --> 00:18:39,260 phonemic transcription, but team is 237 00:18:42,250 --> 00:18:46,090 Same with this one, this is Ind, for example Hind, 238 00:18:48,950 --> 00:18:56,370 but mind is, wind is just wind 239 00:19:00,070 --> 00:19:02,850 This is how you get the rhyme scheme from a poem, 240 00:19:03,270 --> 00:19:07,130 from a stanza. Usually, if we move to a new stanza 241 00:19:07,130 --> 00:19:10,150 in the poem, we begin again, we go back to the A, 242 00:19:11,070 --> 00:19:13,590 but the sonnet is written in one block, so we just 243 00:19:13,590 --> 00:19:14,650 continue counting. 244 00:19:17,770 --> 00:19:21,810 Okay, so the Petrarchan Sonnet has a special rhyme 245 00:19:21,810 --> 00:19:25,930 scheme. Do you know it? What it is? What is it? 246 00:19:26,210 --> 00:19:31,860 Please. Okay, so the rhyme scheme is What should I 247 00:19:31,860 --> 00:19:33,540 write it? So the rhyme scheme for the Petrarchan 248 00:19:33,540 --> 00:19:41,380 sonnet is A B B A A 249 00:19:41,380 --> 00:19:46,200 B B A Say 250 00:19:46,200 --> 00:19:50,220 again Okay, 251 00:19:50,380 --> 00:20:00,650 A B B A Yet again, A B B A Yes or no? 252 00:20:04,330 --> 00:20:06,570 I'm talking about the Petrarchan sonnet. 253 00:20:08,210 --> 00:20:12,510 Petrarchan sonnet rhymes A B B A A B B A. What 254 00:20:12,510 --> 00:20:13,150 about the assistant? 255 00:20:17,230 --> 00:20:27,960 Okay, so we could go for C D E C D E R C, D, C, D, 256 00:20:28,220 --> 00:20:31,000 C, D. This is Petrarch. 257 00:20:34,920 --> 00:20:41,680 Listen, the Italian sonnet itself has 11 syllables 258 00:20:41,680 --> 00:20:45,340 in every line. Look at how strict and rigid this 259 00:20:45,340 --> 00:20:49,500 is. It's highly calculated. It's tightly 260 00:20:49,500 --> 00:20:53,900 structured. The sounds, the rhymes, the lines. 261 00:20:54,920 --> 00:20:59,980 Even the syllables. And this is what makes the 262 00:20:59,980 --> 00:21:02,220 sonnet different. It's not only the theme. It's 263 00:21:02,220 --> 00:21:07,360 not only sometimes the number of lines. And that's 264 00:21:07,360 --> 00:21:09,880 why many people describe it as a rigid form of 265 00:21:09,880 --> 00:21:14,420 poetry. And these rules, by the way, make the 266 00:21:14,420 --> 00:21:17,780 sonnet a difficult kind of poem to write. 267 00:21:21,190 --> 00:21:25,170 because you were surrounded by rules from all. 268 00:21:25,530 --> 00:21:27,490 It's not just, okay, I want to write a 14-line 269 00:21:27,490 --> 00:21:31,530 poem. Wait a minute. The number of syllables, the 270 00:21:31,530 --> 00:21:35,650 number of the structure, the rhyme scheme, the 271 00:21:35,650 --> 00:21:36,210 form, et cetera. 272 00:21:40,430 --> 00:21:44,070 Now, in the Renaissance, whether in Italy or in 273 00:21:44,070 --> 00:21:47,770 England, it became a fashion. The sun, it became a 274 00:21:47,770 --> 00:21:51,960 fashionable trend. And that's why almost all major 275 00:21:51,960 --> 00:21:56,480 poets wrote sonnets. It's like now when one of 276 00:21:56,480 --> 00:21:59,320 your friends doesn't have an account on Twitter or 277 00:21:59,320 --> 00:22:03,300 Instagram. It's like, what? And it was a show off. 278 00:22:04,280 --> 00:22:06,940 I know people who start all their conversations by 279 00:22:06,940 --> 00:22:12,460 like, I have 10K on Twitter. I have 15K on 280 00:22:12,460 --> 00:22:14,820 Instagram. I think in the past it was like, I 281 00:22:14,820 --> 00:22:19,760 wrote sonnets. You know, I wrote a sonnet last, in 282 00:22:19,760 --> 00:22:22,560 my sonnet last time, I did this and that. In my 283 00:22:22,560 --> 00:22:26,040 sonnet to Laura, this Petrarch, he was writing to 284 00:22:26,040 --> 00:22:29,100 Laura, sometimes pronounced as Laura, Italian 285 00:22:29,100 --> 00:22:36,340 musical way. So this sonnet kind of migrated to 286 00:22:36,340 --> 00:22:40,140 England, or was brought to England, depending on 287 00:22:40,140 --> 00:22:43,280 how you like to look at things. If you think that 288 00:22:43,280 --> 00:22:48,880 the sonnet is like an organism, a human being, Did 289 00:22:48,880 --> 00:22:52,640 it migrate or was it brought, imported? Is it a 290 00:22:52,640 --> 00:22:55,940 product? I like to use the word migrate, 291 00:22:56,240 --> 00:22:58,800 migrating. How it migrated from one place to 292 00:22:58,800 --> 00:23:01,600 another. Now Sir Thomas Wyatt, the guy who wrote 293 00:23:01,600 --> 00:23:04,980 this poem, and Henry Howard, they brought it to 294 00:23:04,980 --> 00:23:08,580 England. And England always had this problem with 295 00:23:08,580 --> 00:23:13,310 Europe. Because all the good things originated in 296 00:23:13,310 --> 00:23:16,630 Europe, in the continent, not in England itself. 297 00:23:17,170 --> 00:23:19,570 Even football that the English claim to have 298 00:23:19,570 --> 00:23:23,490 invented, they have won the World Cup only once 299 00:23:23,490 --> 00:23:27,710 and they are always beaten up. So this inferiority 300 00:23:27,710 --> 00:23:31,870 complex, let me say, is, and again probably some 301 00:23:31,870 --> 00:23:34,390 people complain, connect this to Brexit nowadays. 302 00:23:35,300 --> 00:23:37,020 It's like the English want to be different. They 303 00:23:37,020 --> 00:23:39,200 wanted to write things their own way, but 304 00:23:39,200 --> 00:23:42,800 eventually they end up borrowing the sonnet, 305 00:23:43,340 --> 00:23:46,720 borrowing even the novel, even classical drama. 306 00:23:46,980 --> 00:23:50,020 Everything is not originally British. Not many 307 00:23:50,020 --> 00:23:52,440 things are originally British, maybe except 308 00:23:52,440 --> 00:23:57,300 imperialism and colonialism and evil and bad food. 309 00:23:57,580 --> 00:24:01,600 So what I'm saying here is that when Sir Thomas 310 00:24:01,600 --> 00:24:08,000 Wyatt brought this small, beautiful, baby poem to 311 00:24:08,000 --> 00:24:13,440 England, he adopted it. I'm sorry for the extended 312 00:24:13,440 --> 00:24:18,800 metaphors. It sounds stupid now. Okay? And he 313 00:24:18,800 --> 00:24:21,440 tried to make it a little bit English. You know, 314 00:24:21,520 --> 00:24:23,300 when somebody copies your homework, you say, just 315 00:24:23,300 --> 00:24:25,880 copy it so it doesn't sound you're plagiarizing. 316 00:24:26,340 --> 00:24:28,620 So he changed a little bit about it. He introduced 317 00:24:28,620 --> 00:24:35,980 something at the end. The couplet, the two rhyming 318 00:24:35,980 --> 00:24:42,380 lines. So today we know we have the octave, eight 319 00:24:42,380 --> 00:24:49,240 lines, the sextet, six lines and also the couplet. 320 00:24:51,610 --> 00:24:53,750 Two rhyming lines. This is necessary. It's 321 00:24:53,750 --> 00:24:57,630 necessary to say two rhyming lines, not all 322 00:24:57,630 --> 00:25:02,010 couples of lines are couplets. They should rhyme. 323 00:25:02,110 --> 00:25:04,030 And some people insist that they should be about 324 00:25:04,030 --> 00:25:06,890 one idea, sometimes one image. 325 00:25:09,870 --> 00:25:13,770 The question is, is this poem by Sir Thomas Wyatt 326 00:25:13,770 --> 00:25:17,880 a Petrarchan sonnet? Or not? Has he changed 327 00:25:17,880 --> 00:25:21,180 anything? What did he change and where? Somebody 328 00:25:21,180 --> 00:25:27,100 please read. Read the poem. Please. Who saw less 329 00:25:27,100 --> 00:25:30,280 to hunt? I know where is the night. But as far 330 00:25:30,280 --> 00:25:34,260 from me, alas, I may know more. The vain travel 331 00:25:34,260 --> 00:25:37,940 hath wearied me so sore. I am of them that 332 00:25:37,940 --> 00:25:42,900 farthest sunk behind. Yet may I by no means my 333 00:25:42,900 --> 00:25:47,300 weary mind I draw from the deer, but as she fleeth 334 00:25:47,300 --> 00:25:52,160 afore painting, I follow. I leave off, therefore, 335 00:25:52,780 --> 00:25:56,960 since in a net I seek to hold the wind. Who list 336 00:25:56,960 --> 00:26:01,840 her hunt, I put him out of doubt. As well as I may 337 00:26:01,840 --> 00:26:07,000 spend his time in vain and graven with diamonds in 338 00:26:07,000 --> 00:26:10,560 letters plain, there is written her phrenic 339 00:26:10,560 --> 00:26:11,460 roundabout. 340 00:26:17,390 --> 00:26:18,070 Okay, 341 00:26:21,530 --> 00:26:27,210 good reading. One more, please. Can you speak up? 342 00:26:31,670 --> 00:26:35,090 Where is Anaheim? 343 00:26:37,690 --> 00:26:40,990 But as for me, alas, I may no more. The vain 344 00:26:40,990 --> 00:26:45,130 travail hath wearied me so sure. I am of them that 345 00:26:45,130 --> 00:26:49,570 far this cometh behind. Again, yet may I be no 346 00:26:49,570 --> 00:26:53,290 means my wearied mind. Draw from the deer, but as 347 00:26:53,290 --> 00:26:56,830 she plays at once, painting I follow. I leave off 348 00:26:56,830 --> 00:27:00,030 therefore. Since in a myth I seek to hold to it. 349 00:27:15,590 --> 00:27:16,330 Okay, 350 00:27:19,770 --> 00:27:24,780 one more please, finally. And I know where it can 351 00:27:24,780 --> 00:27:29,080 hide. But as for me, alas, I may know more. The 352 00:27:29,080 --> 00:27:32,140 vain travail hath wearied me so sore. I am of them 353 00:27:32,140 --> 00:27:35,960 that hardest cometh behind. Yet may I by no means 354 00:27:35,960 --> 00:27:40,380 my weary mind draw from the deer. But as she 355 00:27:40,380 --> 00:27:43,920 fleeth afore, fainting, I follow. I leave off, 356 00:27:44,060 --> 00:27:46,780 therefore, since in a net I seek to hold the wind. 357 00:27:47,640 --> 00:27:50,740 Who list her hunt, I put him out of doubt, as well 358 00:27:50,740 --> 00:27:54,160 as I may spend most of his time in vain. Engraven 359 00:27:54,160 --> 00:27:57,180 with diamonds and letters plain, there is written, 360 00:27:57,380 --> 00:28:01,620 prepare next roundabout. Money me tender, for 361 00:28:01,620 --> 00:28:07,610 Caesar's I am, and wild boar to hold. Okay, nice 362 00:28:07,610 --> 00:28:08,710 readings, thank you very much. 363 00:28:12,210 --> 00:28:16,950 Now, before we comment on the poem, there are many 364 00:28:16,950 --> 00:28:20,590 things to notice. This is, by the way, a 365 00:28:20,590 --> 00:28:23,150 modernized version of the original text. I tried 366 00:28:23,150 --> 00:28:26,870 to use words that correspond with today's English, 367 00:28:27,350 --> 00:28:32,590 but still there are words like kamith, but it's 368 00:28:32,590 --> 00:28:35,250 two syllables actually, like Rahaf said, kamith. 369 00:28:36,100 --> 00:28:45,320 even fleeth fleeth this is and hath hath this is 370 00:28:45,320 --> 00:28:50,740 hath this is comes this is flees middle English 371 00:28:50,740 --> 00:28:56,760 they use th for he she it that was replaced long 372 00:28:56,760 --> 00:29:02,500 time ago by s today we say she has she goes she 373 00:29:02,500 --> 00:29:08,800 flees she runs In the past it was fleeth, cumth, 374 00:29:09,540 --> 00:29:19,240 heth, the th. The other thing to notice is the 375 00:29:19,240 --> 00:29:23,560 Latin here in the last two lines. Noli, me, 376 00:29:23,880 --> 00:29:26,020 actually there are many readings for this, but 377 00:29:26,020 --> 00:29:28,700 many dictionary online say Noli, me, tangiri. 378 00:29:29,490 --> 00:29:32,630 making it one, two, three, four, five, six 379 00:29:32,630 --> 00:29:36,130 syllables. No limitangere. Although I love the no 380 00:29:36,130 --> 00:29:39,390 limitangere, the Italian way of saying it. 381 00:29:41,010 --> 00:29:42,370 Anything else to notice? 382 00:29:46,370 --> 00:29:50,450 Language-wise. So that's it. This is all the 383 00:29:50,450 --> 00:29:56,010 middle English have, comes and please. Now what is 384 00:29:56,010 --> 00:29:59,200 this about? What is the poet saying? Can you 385 00:29:59,200 --> 00:30:03,060 guess? Look at the pronouns, the people, the 386 00:30:03,060 --> 00:30:08,320 characters in the poem. And probably you could 387 00:30:08,320 --> 00:30:15,460 have noticed this. We don't say an honest 388 00:30:15,460 --> 00:30:19,480 nowadays, yeah? An honest. But today we say hind. 389 00:30:20,460 --> 00:30:27,150 Hind, it means a deer, yeah? Gazelle. So basically 390 00:30:27,150 --> 00:30:29,610 probably in the past, the H could have been 391 00:30:29,610 --> 00:30:34,830 silent, like it's silent in honor, in hour, you 392 00:30:34,830 --> 00:30:40,170 know, and honest, etc On YouTube, many people say 393 00:30:40,170 --> 00:30:43,990 Anhein, it reads well, but I guess it should be 394 00:30:43,990 --> 00:30:47,370 Anhein It's heavy to pronounce But you can make it 395 00:30:47,370 --> 00:30:51,390 not heavy, Anhein, but I would go for Anhein If I 396 00:30:51,390 --> 00:30:53,830 will pronounce it as Hein, why should I use 397 00:30:53,830 --> 00:30:54,170 Anhein? 398 00:30:57,290 --> 00:31:00,530 That's why, that's why, okay? So this is basically 399 00:31:00,530 --> 00:31:04,150 why we have the N for the vowel that follows. The 400 00:31:04,150 --> 00:31:09,490 H is not a vowel sound. And there's a big story 401 00:31:09,490 --> 00:31:12,070 about the H and how, why is it, why is the H 402 00:31:12,070 --> 00:31:18,130 silent in our and honest and honor? Why? And why 403 00:31:18,130 --> 00:31:22,930 it's not silent somewhere else? And by the way, 404 00:31:25,370 --> 00:31:29,130 It's sometimes you will read something like and. 405 00:31:33,670 --> 00:31:35,630 And this is strange because we say history, 406 00:31:35,770 --> 00:31:41,310 historic and historical. Both are correct. You 407 00:31:41,310 --> 00:31:44,730 could say and or a. And I know some people who 408 00:31:44,730 --> 00:31:47,030 just want to show off that they know they have the 409 00:31:47,030 --> 00:31:49,920 depth of you know. The language, so they say, they 410 00:31:49,920 --> 00:31:52,140 write an historical. It's like, wait a minute, 411 00:31:52,240 --> 00:31:55,940 there's a typo here. No, both are okay. But if you 412 00:31:55,940 --> 00:31:58,260 say an, it should be an historical. 413 00:32:00,760 --> 00:32:03,380 ahistorical the same with hysterical and 414 00:32:03,380 --> 00:32:07,700 hysterical or some anyway so this is probably the 415 00:32:07,700 --> 00:32:11,380 H sound must have been a heavy sound to pronounce 416 00:32:11,380 --> 00:32:15,400 and I know people I met an American woman who 417 00:32:15,400 --> 00:32:19,780 couldn't say Ahmed even Ahmed Ahmed it's not like 418 00:32:19,780 --> 00:32:24,080 the how we have in Arabic anyway so what's going 419 00:32:24,080 --> 00:32:28,540 on in the poem what's what what is it about what 420 00:32:28,540 --> 00:32:29,860 is the poet talking about please 421 00:32:34,850 --> 00:32:35,710 Okay, 422 00:32:43,730 --> 00:32:48,330 so it's about hunting Okay, 423 00:32:48,610 --> 00:32:53,290 so he doesn't directly say a woman although he 424 00:32:53,290 --> 00:33:00,010 uses the pronouns her and she To pass you know 425 00:33:00,010 --> 00:33:05,190 personify The deer here, the hind. So is this 426 00:33:05,190 --> 00:33:08,510 about hunting or is this about hunting women? 427 00:33:09,010 --> 00:33:09,010 Please. 428 00:33:18,290 --> 00:33:22,690 Okay, so the extended metaphor here is that 429 00:33:22,690 --> 00:33:27,280 falling in love is like hunting. Sometimes you 430 00:33:27,280 --> 00:33:29,520 win, sometimes you hunt what you're after, 431 00:33:29,660 --> 00:33:33,100 sometimes you go back home empty-handed. More. 432 00:33:37,060 --> 00:33:37,620 Okay, 433 00:33:40,120 --> 00:33:43,260 I know where you're going. Let's not go outside 434 00:33:43,260 --> 00:33:46,500 the text for now. What is the text telling us? 435 00:33:46,660 --> 00:33:50,480 This is what I care about. The history, listen, 436 00:33:50,820 --> 00:33:53,960 the history, the background of the poem might be 437 00:33:53,960 --> 00:33:56,220 interesting. It could help us, you know, further 438 00:33:56,220 --> 00:33:59,800 understand aspects of the poem. But let's assume 439 00:33:59,800 --> 00:34:02,760 that this is what we have. Please. 440 00:34:09,380 --> 00:34:14,080 So is 441 00:34:14,080 --> 00:34:17,240 it about hunting? That's my question. What is it 442 00:34:17,240 --> 00:34:22,340 about? Please. The poet is using a hunting 443 00:34:22,340 --> 00:34:28,820 metaphor to describe a suitor who is trying to win 444 00:34:28,820 --> 00:34:32,960 the affection of another woman and here again we 445 00:34:32,960 --> 00:34:36,160 have the lover who is doing his best but the woman 446 00:34:36,160 --> 00:34:39,180 is cruel and he just can't get her. So the woman 447 00:34:39,180 --> 00:34:42,200 is the deer and he tried to hunt her over and over 448 00:34:42,200 --> 00:34:44,940 but she just keeps escaping and he keeps falling 449 00:34:45,550 --> 00:34:48,450 By the way, this is a poem from the perspective of 450 00:34:48,450 --> 00:34:50,970 a man. He's saying she keeps running away. He's 451 00:34:50,970 --> 00:34:54,730 not saying I'm a loser. Although sometimes he 452 00:34:54,730 --> 00:35:01,150 indicates that he doesn't follow, he leaves off, 453 00:35:01,190 --> 00:35:03,430 he gives up. But he doesn't say because I'm a 454 00:35:03,430 --> 00:35:08,050 loser or I'm a good guy. It's because she's wild. 455 00:35:09,490 --> 00:35:12,390 She's wild. So can you describe this as a love 456 00:35:12,390 --> 00:35:17,190 poem? It talks about unattainable love, and I do 457 00:35:17,190 --> 00:35:21,830 believe this, and he describes the woman as, okay, 458 00:35:21,930 --> 00:35:25,270 a deer, and he describes her as wild, though tame, 459 00:35:25,410 --> 00:35:27,750 so this means that there is some kind of, yes, I 460 00:35:27,750 --> 00:35:30,610 want to maybe come to you or something, but still, 461 00:35:30,670 --> 00:35:33,870 she's restricted by something that the poet 462 00:35:33,870 --> 00:35:36,030 himself does not know. I just want to say 463 00:35:36,030 --> 00:35:38,370 something that maybe this metaphor could be 464 00:35:38,370 --> 00:35:42,030 extended even more to say that this woman or this 465 00:35:42,030 --> 00:35:47,760 deer can be actually The poem itself. How's that? 466 00:35:49,160 --> 00:35:51,900 Let's go back to this probably at the end of the 467 00:35:51,900 --> 00:35:54,380 class. But the point is here, can you describe 468 00:35:54,380 --> 00:35:56,940 this as a love poem? We don't have much 469 00:35:56,940 --> 00:35:59,120 information, let's say. We only know that this is 470 00:35:59,120 --> 00:36:01,440 a sonnet written by Sir Thomas White, an 471 00:36:01,440 --> 00:36:05,000 Englishman in the first half of the 16th century, 472 00:36:05,320 --> 00:36:07,780 the Renaissance period before Shakespeare. 473 00:36:10,300 --> 00:36:13,540 You said here this is unattainable love, love that 474 00:36:13,540 --> 00:36:19,860 can't be. Please. I think it is just giving 475 00:36:19,860 --> 00:36:26,240 justifications because we don't listen to the two 476 00:36:26,240 --> 00:36:32,000 points of view. You just listen to him and he's 477 00:36:32,000 --> 00:36:34,860 giving justifications for giving up his love. 478 00:36:35,320 --> 00:36:39,920 Okay. He shows his love to her somewhere in the 479 00:36:39,920 --> 00:36:43,160 poem. Does he show somewhere? He describes her as 480 00:36:43,890 --> 00:36:48,270 Beautiful, you know, the fair neck. She's a deer. 481 00:36:48,710 --> 00:36:53,650 She's not a crow, a raven, or I don't know, a wild 482 00:36:53,650 --> 00:36:57,030 cat. She's a deer. Yeah. 483 00:37:02,530 --> 00:37:06,710 So he's searching for the right suitor, the right 484 00:37:06,710 --> 00:37:12,990 partner possibly. Okay. And may I by no means my 485 00:37:12,990 --> 00:37:15,510 weird mind that it can't stop thinking about me. 486 00:37:16,670 --> 00:37:19,950 But his mind is weird. He's tired. He's giving up. 487 00:37:20,910 --> 00:37:24,010 And also he is saying, who's soulless to hunt? I 488 00:37:24,010 --> 00:37:27,830 know where is a lion. Whoever wants to hunt, I can 489 00:37:27,830 --> 00:37:32,470 tell you where you can find a deer. So you can 490 00:37:32,470 --> 00:37:36,550 hunt here. That's giving up. That's horrible, by 491 00:37:36,550 --> 00:37:41,400 the way. In the age of me too, this is This is mad 492 00:37:41,400 --> 00:37:45,840 and sad, yeah? Because clearly we'll talk about 493 00:37:45,840 --> 00:37:49,600 this in a bit. The woman seems to be saying no, 494 00:37:50,300 --> 00:37:54,060 rejecting him, turning him down. But this is a man 495 00:37:54,060 --> 00:37:58,400 who is not only insisting on having her, pushing 496 00:37:58,400 --> 00:38:02,840 further after having his advances rejected. This 497 00:38:02,840 --> 00:38:07,000 is a man who is telling other men to hunt this 498 00:38:07,000 --> 00:38:12,380 woman, to go after her. Horrible, horrible. You 499 00:38:12,380 --> 00:38:14,080 know, no is no, right? Please? 500 00:38:19,600 --> 00:38:27,160 Don't we 501 00:38:27,160 --> 00:38:29,520 do this all the time? Don't we compare people we 502 00:38:29,520 --> 00:38:33,000 love to certain animals? Does it mean they are 503 00:38:33,000 --> 00:38:34,580 animals or we hate them? 504 00:38:40,790 --> 00:38:43,690 Because when you put it this way he compares her 505 00:38:43,690 --> 00:38:47,790 to an animal Wow don't do this, but a deer is kind 506 00:38:47,790 --> 00:38:53,690 of unacceptable image Even 507 00:38:53,690 --> 00:38:57,410 dogs sometimes in certain situations can be can be 508 00:38:57,410 --> 00:39:01,570 positive. Yeah More 509 00:39:01,570 --> 00:39:03,590 More 510 00:39:05,450 --> 00:39:07,510 Can we take this, simply speaking, can we take 511 00:39:07,510 --> 00:39:09,630 this under, does it go under the umbrella of a 512 00:39:09,630 --> 00:39:12,990 love poem? If you want to categorize it. I think 513 00:39:12,990 --> 00:39:15,870 yeah. Maybe it's not reciprocated, you know? 514 00:39:16,370 --> 00:39:19,710 There's no loving back. So the theme here is, 515 00:39:20,150 --> 00:39:20,430 sorry? 516 00:39:23,990 --> 00:39:25,810 Okay, so we have here the theme, 517 00:39:28,750 --> 00:39:31,510 probably courtly love. 518 00:39:35,310 --> 00:39:39,670 What about the form? Before the form, maybe you 519 00:39:39,670 --> 00:39:41,010 can talk about the rhyme scheme. 520 00:39:43,870 --> 00:39:50,890 Quickly. The rhyme scheme is here. So it is A, B, 521 00:39:51,110 --> 00:40:00,680 B, A, A, B, B, A. That's Petrarch. And then C, D, 522 00:40:01,120 --> 00:40:08,680 D, C, E, E. Okay, if you want to insist on the 523 00:40:08,680 --> 00:40:16,760 imperfect rhyme, it could go like this. So is the 524 00:40:16,760 --> 00:40:18,440 rhyme scheme a Petrarchan rhyme scheme? 525 00:40:23,060 --> 00:40:27,770 Usually in Petrarch, we don't, I think, Very few 526 00:40:27,770 --> 00:40:30,030 Petrarchan sonnets have the rhyming couplet at the 527 00:40:30,030 --> 00:40:33,690 end. So it's not something characteristic of 528 00:40:33,690 --> 00:40:38,690 Petrarch. The rhyming couplet at the end is an 529 00:40:38,690 --> 00:40:43,090 English thing. Some English poets introduced it, 530 00:40:43,250 --> 00:40:46,390 but it was made so popular by Shakespeare. We'll 531 00:40:46,390 --> 00:40:52,010 see next class. Okay? So while the octave might 532 00:40:52,010 --> 00:40:53,570 sound Petrarchan, 533 00:40:55,970 --> 00:41:03,590 The cystate is not at least 100% Petrarchum. So 534 00:41:03,590 --> 00:41:09,470 how is this divided? It depends. I could go for 535 00:41:09,470 --> 00:41:14,050 octave, quadrant, couplet. Like you could count it 536 00:41:14,050 --> 00:41:17,310 this way, like we have four, eight lines, four 537 00:41:17,310 --> 00:41:22,140 lines, two lines. This is the octave. This is the 538 00:41:22,140 --> 00:41:24,860 quatrain. This is a new word maybe to some of you. 539 00:41:25,140 --> 00:41:27,680 Quatrain from quarter means four, four lines. So 540 00:41:27,680 --> 00:41:32,520 we have couplet, quatrain, sextet and octave and 541 00:41:32,520 --> 00:41:37,580 then the couplet. Which makes it different from 542 00:41:37,580 --> 00:41:41,080 Petrarch. Or you just could go simply for eight 543 00:41:41,080 --> 00:41:43,420 lines, six lines ending in a couplet. 544 00:41:46,590 --> 00:41:48,810 But the rhyme scheme is a little bit different 545 00:41:48,810 --> 00:41:54,630 from Petrarch, especially that we have, we have a 546 00:41:54,630 --> 00:41:58,850 couplet here. So he's, the theme, almost the same, 547 00:41:59,550 --> 00:42:02,650 the rhyme scheme, almost the same. The theme is 548 00:42:02,650 --> 00:42:05,470 probably typically Petrarchan because this is a 549 00:42:05,470 --> 00:42:10,600 lover who's giving up. We pity him. Yeah, haram, 550 00:42:10,680 --> 00:42:13,240 she's cruel, she's heartless. But he is, you know, 551 00:42:13,920 --> 00:42:16,080 he's doing his best. Look at him, he's writing 552 00:42:16,080 --> 00:42:20,120 sonnets. But because of her cruelty, he's giving 553 00:42:20,120 --> 00:42:25,240 up. So probably this is pure Petrarchan theme. The 554 00:42:25,240 --> 00:42:28,940 rhyme scheme is not 100% Petrarchan, which means 555 00:42:28,940 --> 00:42:31,680 the form or the structure of the sonnet is also 556 00:42:31,680 --> 00:42:35,000 not 100% Petrarchan. But again, it depends on how 557 00:42:35,000 --> 00:42:38,540 you want to divide it. I leave this to you. If you 558 00:42:38,540 --> 00:42:41,380 want to divide it into eight, four, two, I'll 559 00:42:41,380 --> 00:42:44,620 accept that. If you want to divide it into eight, 560 00:42:44,900 --> 00:42:47,720 six, I'll also take that. But don't forget that we 561 00:42:47,720 --> 00:42:52,340 have here a rhyming couplet, which is an English 562 00:42:52,340 --> 00:42:56,460 thing. So if you want to answer the question 563 00:42:56,460 --> 00:42:58,820 whether this is a Petrarchan sonnet or not, many 564 00:42:58,820 --> 00:43:02,700 people would easily say yes. And many people will 565 00:43:02,700 --> 00:43:06,260 say yes with just a little kind of change. But 566 00:43:06,260 --> 00:43:11,260 it's not 100% Petrarchan. And this is the tiny 567 00:43:11,260 --> 00:43:13,840 little thing the English poets wanted to introduce 568 00:43:13,840 --> 00:43:16,280 to the sonnet. We'll see how Shakespeare does to 569 00:43:16,280 --> 00:43:19,970 the sonnet later on. Okay, something before we 570 00:43:19,970 --> 00:43:26,650 move? Yes. Please. I would say that we can push a 571 00:43:26,650 --> 00:43:31,070 theme in love because I think even any words like 572 00:43:31,070 --> 00:43:35,330 fun or dear still this is a love story. And I 573 00:43:35,330 --> 00:43:37,290 think this is what usually happens in love 574 00:43:37,290 --> 00:43:39,290 stories. There is that kind of 575 00:43:43,290 --> 00:43:46,090 Uh-huh. 576 00:43:58,900 --> 00:44:01,780 That's a very interesting question. Is the woman 577 00:44:01,780 --> 00:44:04,540 pretending to say no because, and this is horrible 578 00:44:04,540 --> 00:44:07,920 by the way, but also is the man saying I'm giving 579 00:44:07,920 --> 00:44:11,680 up just to make her pity him and have him back? 580 00:44:12,000 --> 00:44:13,580 It's like, oh no, no, no, I'm just kidding or 581 00:44:13,580 --> 00:44:17,380 something. This is, I leave this for you, but 582 00:44:17,380 --> 00:44:19,320 let's not again accuse every woman of just 583 00:44:19,320 --> 00:44:22,040 pretending deep in her heart that she wants to say 584 00:44:22,040 --> 00:44:23,840 yes, but she's saying no because, this is a 585 00:44:23,840 --> 00:44:29,040 horrible idea, please. Interesting, yes we can 586 00:44:29,040 --> 00:44:33,080 classify it under the love category but at the 587 00:44:33,080 --> 00:44:36,100 same time I don't think he's really in love 588 00:44:36,100 --> 00:44:40,800 because usually the term, in English there's a 589 00:44:40,800 --> 00:44:44,100 term called husband hunting, I never heard about 590 00:44:44,100 --> 00:44:46,920 wife hunting, it's, it's, you know usually There's 591 00:44:46,920 --> 00:44:51,220 always wife hunting It's like, no, but usually the 592 00:44:51,220 --> 00:44:56,970 term they use also wife hunting what's wrong for 593 00:44:56,970 --> 00:45:00,030 women who just want to get any husband especially 594 00:45:00,030 --> 00:45:02,810 if he was a rich husband like back then in their 595 00:45:02,810 --> 00:45:08,890 age okay so he's using so the word hunting in this 596 00:45:08,890 --> 00:45:12,850 context usually has a negative meaning and when we 597 00:45:12,850 --> 00:45:15,910 hunt something down we usually hunt it because we 598 00:45:15,910 --> 00:45:19,570 either want it needed to survive or in their case 599 00:45:19,570 --> 00:45:23,230 they used hunt for pleasure to show off because 600 00:45:23,230 --> 00:45:28,910 they are rich people a trophy you know she's a 601 00:45:28,910 --> 00:45:33,610 trophy okay interesting although in like 602 00:45:33,610 --> 00:45:36,970 traditional societies like ours in the Middle East 603 00:45:36,970 --> 00:45:43,030 here there's always wife hunting okay so if you 604 00:45:43,030 --> 00:45:46,370 look at the text there's a huge difference between 605 00:45:46,370 --> 00:45:48,830 the woman and the man 606 00:45:51,690 --> 00:45:53,570 There's a huge difference in the representation. 607 00:45:53,870 --> 00:45:56,550 It's probably not clear, but we can comment on 608 00:45:56,550 --> 00:46:01,510 this. How many people are there in the text? 609 00:46:03,090 --> 00:46:05,030 Please. Who are they? 610 00:46:08,190 --> 00:46:13,430 Let's say poet, be more specific. The hind, who's 611 00:46:13,430 --> 00:46:19,110 the hind, the deer? The woman? Very good. Caesar, 612 00:46:19,250 --> 00:46:20,750 where would you put Caesar, here or here? 613 00:46:24,860 --> 00:46:30,840 Caesar is here. Also, who else is there? Thank you 614 00:46:30,840 --> 00:46:35,180 very much. The other hunters, the other men. 615 00:46:36,100 --> 00:46:39,180 There's also the speaker. It's not always mixed 616 00:46:39,180 --> 00:46:41,920 between the speaker and the poet. The poet is the 617 00:46:41,920 --> 00:46:44,540 man whose name appears next to the poem, but the 618 00:46:44,540 --> 00:46:47,600 speaker is the persona there. It could be 619 00:46:47,600 --> 00:46:49,500 fictional sometimes. Sometimes they are the same. 620 00:46:50,440 --> 00:46:53,360 Sometimes they are not. The speaker in the text. 621 00:46:54,730 --> 00:46:59,090 So this is a poem dominated by men. 622 00:47:01,910 --> 00:47:04,290 And the woman, somebody said here, is talked 623 00:47:04,290 --> 00:47:10,830 about. And she is objectified, she's an object of 624 00:47:10,830 --> 00:47:15,930 desire. People want her, not because of something 625 00:47:15,930 --> 00:47:19,950 in her mind or heart, just because she's 626 00:47:19,950 --> 00:47:23,670 beautiful, fair, she's fair, she's beautiful. 627 00:47:28,450 --> 00:47:34,650 Meaning the woman's voice is weak or not there. 628 00:47:37,410 --> 00:47:41,210 Let me ask this in other words. Is the 629 00:47:41,210 --> 00:47:43,490 representation of the woman positive or negative? 630 00:47:44,050 --> 00:47:45,910 Do you like the way the woman is introduced to us 631 00:47:45,910 --> 00:47:50,320 or not? Okay, why? I heard somebody say positive. 632 00:47:51,340 --> 00:47:55,140 So it doesn't have to be 100% positive, 100% 633 00:47:55,140 --> 00:47:57,920 negative. Is it both? Where can you see good 634 00:47:57,920 --> 00:48:00,060 representation of the woman? Where can you see 635 00:48:00,060 --> 00:48:02,120 good representation? How does this give a good 636 00:48:02,120 --> 00:48:04,260 image about the woman or women in general in that 637 00:48:04,260 --> 00:48:08,660 age? Quickly, please. I think it is a negative 638 00:48:08,660 --> 00:48:11,900 representation. My question, where do you see a 639 00:48:11,900 --> 00:48:14,460 positive representation of the woman or women in 640 00:48:14,460 --> 00:48:18,510 the poem? We'll come to the negative later on. So 641 00:48:18,510 --> 00:48:20,090 Fernick, if you describe a woman as beautiful, 642 00:48:20,230 --> 00:48:24,250 that's something good? The physical appearance? Is 643 00:48:24,250 --> 00:48:25,590 it more important than other things? 644 00:48:29,750 --> 00:48:33,670 Where is the woman positively depicted in the 645 00:48:33,670 --> 00:48:40,730 poem? Please. Yeah. Remember we said that women 646 00:48:42,510 --> 00:48:45,650 were weak, are weak. It's described like this all 647 00:48:45,650 --> 00:48:48,170 the time, that men are strong and intellectual and 648 00:48:48,170 --> 00:48:51,350 tough, but women are not. That's sentimental, the 649 00:48:51,350 --> 00:48:53,950 stupid distinction. But here, the woman is 650 00:48:53,950 --> 00:48:58,150 resisting the man's advances. She's saying, no. 651 00:48:58,970 --> 00:49:02,070 And she's insisting on saying, no. She's rejecting 652 00:49:02,070 --> 00:49:06,010 him. And this very act is significant. It shows 653 00:49:06,010 --> 00:49:09,780 how strong and independent this woman is. Nice. 654 00:49:09,960 --> 00:49:14,900 What else? What other positive things can you 655 00:49:14,900 --> 00:49:19,540 find? Please. What other positive things? I'm 656 00:49:19,540 --> 00:49:21,000 coming to the negative things. I know what you 657 00:49:21,000 --> 00:49:23,100 want to talk about. But what other positive things 658 00:49:23,100 --> 00:49:27,640 can you see in the poem about the woman? Do you 659 00:49:27,640 --> 00:49:28,360 want to be this woman? 660 00:49:31,840 --> 00:49:34,940 Okay, so that's why, what I'm talking about. The 661 00:49:34,940 --> 00:49:37,280 maybe here means because there's something good 662 00:49:37,280 --> 00:49:41,320 that might make you identify with here. Please. 663 00:49:42,560 --> 00:49:44,060 Very good. 664 00:49:47,900 --> 00:49:50,800 Okay, so why, why do you think the last two lines, 665 00:49:50,900 --> 00:49:51,280 the couplet? 666 00:49:56,740 --> 00:50:02,980 Okay, what does that indicate? Aha, nice. So even 667 00:50:02,980 --> 00:50:09,260 the king himself can't own them. Why? No? You're 668 00:50:09,260 --> 00:50:11,720 contradicting yourself here because the very 669 00:50:11,720 --> 00:50:17,540 couplet says, for Caesar's I am, meaning I belong 670 00:50:17,540 --> 00:50:21,080 to Caesar. The apostrophe S here is significant. 671 00:50:25,130 --> 00:50:29,670 Though, so she's saying, I seem tame like all 672 00:50:29,670 --> 00:50:34,530 women might be, might do, but I am wild, 673 00:50:34,850 --> 00:50:38,630 uncontrollable. I can't be controlled by men. 674 00:50:38,890 --> 00:50:42,570 That's also a declaration of resistance from the 675 00:50:42,570 --> 00:50:46,850 woman's part. Wild, withhold, it's like she's hard 676 00:50:46,850 --> 00:50:48,530 to get. To catch. 677 00:50:53,220 --> 00:50:58,560 Okay, that's nice. Other positive things? Yes, I 678 00:50:58,560 --> 00:51:01,740 like the way that the decision in this 679 00:51:01,740 --> 00:51:05,660 relationship maybe or in this love story is 680 00:51:05,660 --> 00:51:10,920 related to the woman. That if she wants to be in 681 00:51:10,920 --> 00:51:14,440 this, she will say yes. She is the center of this 682 00:51:14,440 --> 00:51:15,820 relationship. Yes, she is the center and the 683 00:51:15,820 --> 00:51:19,320 decision is with her. I like this. Okay, nice. Who 684 00:51:19,320 --> 00:51:24,380 thinks this is negative? What don't you like? in 685 00:51:24,380 --> 00:51:27,380 this poem representation of the woman how she is 686 00:51:27,380 --> 00:51:30,940 depicted please I feel like the voice of the woman 687 00:51:30,940 --> 00:51:34,240 is not here like she didn't have her idea she 688 00:51:34,240 --> 00:51:36,760 didn't explain what she thinks about this 689 00:51:36,760 --> 00:51:41,190 relationship she is just escaping Okay, but here 690 00:51:41,190 --> 00:51:44,590 Amina is suggesting that the very act of running 691 00:51:44,590 --> 00:51:46,710 away and rejecting and saying no is an act of 692 00:51:46,710 --> 00:51:48,530 resistance at that time, but you're saying that 693 00:51:48,530 --> 00:51:52,190 she should at least confront this man as the 694 00:51:52,190 --> 00:51:57,110 lover, the hunter, pretending, like saying go away 695 00:51:57,110 --> 00:51:59,150 directly, but isn't running, 696 00:52:01,710 --> 00:52:07,850 like in a way, like running away is also an act of 697 00:52:07,850 --> 00:52:09,390 resistance here, please. 698 00:52:14,140 --> 00:52:16,180 Okay, you're saying as an object. Where in the 699 00:52:16,180 --> 00:52:18,240 poem does it show that she's an object? 700 00:52:21,500 --> 00:52:23,200 Where is that? Very good. Where is that? 701 00:52:26,640 --> 00:52:28,160 Where is her appearance in the first line? 702 00:52:31,300 --> 00:52:34,580 Okay, when he used the hind to say this woman is 703 00:52:34,580 --> 00:52:37,700 like a hind, like a beautiful deer. But also she's 704 00:52:37,700 --> 00:52:40,100 fair. Fair means beautiful. And look at how he 705 00:52:40,100 --> 00:52:42,740 spoke about himself. Mine. The man is 706 00:52:42,740 --> 00:52:47,070 intellectual. But the woman is beautiful, the 707 00:52:47,070 --> 00:52:51,810 appearance, and wild also. She is what? She is 708 00:52:51,810 --> 00:52:58,310 unattainable, cruel, heartless. Okay? Now, I'm not 709 00:52:58,310 --> 00:53:04,130 sure if some of you noticed here, the couplet is 710 00:53:04,130 --> 00:53:09,530 not what the woman says. I know some people take 711 00:53:09,530 --> 00:53:13,110 the couplet as evidence that the woman is strong, 712 00:53:13,250 --> 00:53:17,050 independent, but no, it doesn't say the woman 713 00:53:17,050 --> 00:53:19,930 says, the woman replies. So I agree the woman is 714 00:53:19,930 --> 00:53:26,070 silent or silenced. Huge difference. It is written 715 00:53:26,070 --> 00:53:28,910 passive voice indicating how inactive, how passive 716 00:53:28,910 --> 00:53:31,250 she is. She doesn't even talk. She's not allowed 717 00:53:31,250 --> 00:53:33,890 to talk to people. There is something written 718 00:53:33,890 --> 00:53:39,100 around her neck, possibly written by Caesar or the 719 00:53:39,100 --> 00:53:41,840 King. You know you'll read about King Henry VIII 720 00:53:41,840 --> 00:53:44,740 and Anne Boleyn, what's her name, and the history 721 00:53:44,740 --> 00:53:48,570 about this, which might be interesting. to 722 00:53:48,570 --> 00:53:51,170 understanding the text, but this is enough. So for 723 00:53:51,170 --> 00:53:54,090 Caesars, I am, and even this, I belong to Caesar. 724 00:53:54,190 --> 00:53:57,970 I am the property. Yes, he's treated as property, 725 00:53:58,350 --> 00:54:01,290 as an object of admiration. Even when the man is, 726 00:54:01,310 --> 00:54:04,410 you know, fed up, he says, hey, anyone? Anyone? 727 00:54:04,790 --> 00:54:06,830 Want a woman? Want a woman? I know where you can 728 00:54:06,830 --> 00:54:09,770 find one. And he's insisting on this. Who lists 729 00:54:09,770 --> 00:54:14,930 her hunt? I put him out of doubt as well as I may 730 00:54:14,930 --> 00:54:16,970 spend his time in vain. But it's going to be in 731 00:54:16,970 --> 00:54:19,590 vain because she's wild. She's cruel. She's 732 00:54:19,590 --> 00:54:22,590 heartless. She probably, she's senseless also. She 733 00:54:22,590 --> 00:54:24,550 doesn't love, she doesn't have a heart. She 734 00:54:24,550 --> 00:54:29,650 doesn't love back. She doesn't care. And this is 735 00:54:29,650 --> 00:54:32,450 negative. So women generally are represented as 736 00:54:32,450 --> 00:54:34,750 sentimental and emotional, but when it comes to 737 00:54:34,750 --> 00:54:37,840 love, they don't love back. And this is, again, 738 00:54:37,920 --> 00:54:41,500 very interesting because, again, this is the frame 739 00:54:41,500 --> 00:54:46,500 that a man is putting on a woman. The man wants 740 00:54:46,500 --> 00:54:49,940 the woman to behave in this particular way, wants 741 00:54:49,940 --> 00:54:53,700 to control the woman, wants her to behave in the 742 00:54:53,700 --> 00:54:56,620 way he likes, whenever he wants, wherever he 743 00:54:56,620 --> 00:55:04,700 wants. But again, I think some of you might like 744 00:55:04,700 --> 00:55:07,800 to say that The representation of the woman is a 745 00:55:07,800 --> 00:55:11,520 lot better than many representations of women in 746 00:55:11,520 --> 00:55:14,460 other poems at that time. This is a little bit, 747 00:55:14,980 --> 00:55:18,000 this is a step forward. This is a step forward. 748 00:55:18,080 --> 00:55:21,840 This is not a woman submitting to the wills and 749 00:55:21,840 --> 00:55:27,140 wishes of the advances of man. Okay, brief. 750 00:55:47,840 --> 00:55:52,780 But sadly we don't hear her say this. We don't 751 00:55:52,780 --> 00:55:57,710 hear her say this. She doesn't talk, she doesn't 752 00:55:57,710 --> 00:55:59,230 speak, she's silent. 753 00:56:03,450 --> 00:56:08,610 Probably a 754 00:56:08,610 --> 00:56:12,970 sign of rejecting. She doesn't say, I love Caesar, 755 00:56:14,430 --> 00:56:19,290 I am in love with Caesar, I am owned by Caesar, to 756 00:56:19,290 --> 00:56:20,070 be more specific. 757 00:56:28,220 --> 00:56:33,040 I like this. Thank you very much. She's controlled 758 00:56:33,040 --> 00:56:36,000 from the neck. She's a slave. She's enslaved here. 759 00:56:37,020 --> 00:56:42,440 Now, can we trace the features of that age in the 760 00:56:42,440 --> 00:56:47,640 poem? Basically, we do. And this is what we will 761 00:56:47,640 --> 00:56:49,820 be doing. We'll try to understand the age from the 762 00:56:49,820 --> 00:56:53,350 poem, not vice versa. So please don't read the 763 00:56:53,350 --> 00:56:55,250 history of the poem and the poet and his mom and 764 00:56:55,250 --> 00:56:57,690 his mother-in-law, what he liked, what he didn't 765 00:56:57,690 --> 00:57:00,610 like. Let's see what the poem tells us. So it 766 00:57:00,610 --> 00:57:02,530 tells us that the sonnet here was a fashionable 767 00:57:02,530 --> 00:57:07,190 trend. And it tells us that women were presented 768 00:57:07,190 --> 00:57:08,190 in a particular way. 769 00:57:11,570 --> 00:57:14,530 Mainly negative, as objects of desire, to be 770 00:57:14,530 --> 00:57:20,110 hunted. Voiceless, heartless, senseless, even 771 00:57:20,110 --> 00:57:24,780 mindless. And the man is more superior to the 772 00:57:24,780 --> 00:57:28,800 woman. More intellectual. He writes, he is 773 00:57:28,800 --> 00:57:32,540 dominant. Men dominate. They hunt, they chase, 774 00:57:33,780 --> 00:57:39,680 they write. Sorry? They control. Women are the 775 00:57:39,680 --> 00:57:44,380 object. They are the do's here. There's something 776 00:57:44,380 --> 00:57:46,880 I love, something else I love about the poem. 777 00:57:48,260 --> 00:57:52,980 Basically this line. You want to talk about this 778 00:57:52,980 --> 00:57:55,820 line? Look at what's going on. Draw from the deer, 779 00:57:56,020 --> 00:58:00,700 but as she fleeth afore, fainting, I follow. I 780 00:58:00,700 --> 00:58:02,180 leave off therefore. Please. 781 00:58:05,400 --> 00:58:07,460 Thank you very much. Look at this. Fainting. 782 00:58:07,620 --> 00:58:11,420 Again, look at this man panting, running for a 783 00:58:11,420 --> 00:58:14,400 while and then he's giving up and he's like, who's 784 00:58:14,400 --> 00:58:16,380 who? Let's go hunt. I know where's the knife. This 785 00:58:16,380 --> 00:58:20,720 panting is mirrored. in the repetition of the fa 786 00:58:20,720 --> 00:58:25,740 fa fa sound and other friction sounds this is 787 00:58:25,740 --> 00:58:30,380 called alliteration and it doesn't only create 788 00:58:30,380 --> 00:58:37,060 music it also creates mirrors what's going on what 789 00:58:37,060 --> 00:58:42,280 else what's 790 00:58:42,280 --> 00:58:42,560 this 791 00:58:46,500 --> 00:58:49,120 A caesura, there is a break. So the full stop, 792 00:58:49,200 --> 00:58:53,920 what does it say? Taking a 793 00:58:53,920 --> 00:58:59,860 break, stopping. In old English, there was a space 794 00:58:59,860 --> 00:59:02,480 in the middle of the line like classical Arabic 795 00:59:02,480 --> 00:59:04,400 poetry. It's called a caesura, the break, the gap. 796 00:59:05,150 --> 00:59:09,070 But later on, this changed into punctuation marks, 797 00:59:09,350 --> 00:59:11,490 the false stop, the comma. Here, there is a 798 00:59:11,490 --> 00:59:13,550 physical that says you are in the very middle of 799 00:59:13,550 --> 00:59:16,150 the line. By the way, if you count the syllables, 800 00:59:16,370 --> 00:59:18,710 you'll find most lines, many lines, I think half 801 00:59:18,710 --> 00:59:22,610 of them have 11 syllables, closer to Petrarch than 802 00:59:22,610 --> 00:59:25,230 English. We'll see in Shakespeare, they are almost 803 00:59:25,230 --> 00:59:29,370 all 10 lines. So, fainting I follow. There's a 804 00:59:29,370 --> 00:59:32,270 contradiction here. The man is lying. He hasn't 805 00:59:32,270 --> 00:59:35,760 done his best. He says, fainting, I follow and he 806 00:59:35,760 --> 00:59:39,920 stops. He doesn't follow. He stops following. He's 807 00:59:39,920 --> 00:59:46,990 a quitter. I leave off therefore and then I leave 808 00:59:46,990 --> 00:59:50,790 off therefore since look at this beautiful image 809 00:59:50,790 --> 00:59:54,090 here since in the original text there's some other 810 00:59:54,090 --> 00:59:59,970 ugly word since in a net I seek to hold the wind 811 00:59:59,970 --> 01:00:03,510 sounds like a cliche today but perhaps in the past 812 01:00:03,510 --> 01:00:03,810 yeah 813 01:00:09,210 --> 01:00:13,510 Okay, hunting this woman is as impossible as 814 01:00:13,510 --> 01:00:19,170 hunting wind, holding wind in the palm of your 815 01:00:19,170 --> 01:00:19,590 hand. 816 01:00:29,830 --> 01:00:34,690 It's useless, it's futile. The vain prevail, in 817 01:00:34,690 --> 01:00:37,810 vain. Also the word vain means something else, 818 01:00:37,890 --> 01:00:43,370 proud. One of them is arrogant, is proud. Okay, 819 01:00:43,470 --> 01:00:47,510 we'll discuss other things related to the poem in 820 01:00:47,510 --> 01:00:52,310 this list of questions. Look at this list, please. 821 01:00:53,910 --> 01:00:57,050 We kind of answered and addressed some of them. 822 01:00:58,840 --> 01:01:02,560 How does the poem reflect its age? What can you 823 01:01:02,560 --> 01:01:06,580 say about the age from reading the poem? How does 824 01:01:06,580 --> 01:01:10,180 the poem create a particular image of women? Is it 825 01:01:10,180 --> 01:01:15,880 positive? Where? Where is it positive, where is it 826 01:01:15,880 --> 01:01:19,640 negative? What type of sonnet is this? What is the 827 01:01:19,640 --> 01:01:22,840 rhyme scheme of the poem? The sonnet, again, like 828 01:01:22,840 --> 01:01:26,400 we said, it's more or less Petrarchan, not 100% he 829 01:01:26,400 --> 01:01:27,840 introduced some change. 830 01:01:31,990 --> 01:01:35,030 Number five, significant point, whose voice is 831 01:01:35,030 --> 01:01:39,810 dominating? Whose dominant in the voice? Who do we 832 01:01:39,810 --> 01:01:46,370 hear? Who is speaking to us? Is the woman 833 01:01:46,370 --> 01:01:50,890 speaking? Does she have a voice? She's silent. 834 01:01:51,090 --> 01:01:55,850 Even when she talks, it's through some kind of 835 01:01:55,850 --> 01:01:59,830 mediation. Now number six, how does the form of 836 01:01:59,830 --> 01:02:04,770 the sonnet And the content of the sonnet relate to 837 01:02:04,770 --> 01:02:08,510 the content of the sonnet. Why did the poet choose 838 01:02:08,510 --> 01:02:11,690 the sonnet form? Why doesn't he choose some other 839 01:02:11,690 --> 01:02:17,230 form? Please. I think he used more likely to be 840 01:02:17,230 --> 01:02:21,050 Petrarch's sonnet. So Petrarch in his sonnets used 841 01:02:21,050 --> 01:02:23,930 to talk about love and about a cruel woman. So he 842 01:02:23,930 --> 01:02:28,430 used this form to describe the content of it. So 843 01:02:28,430 --> 01:02:34,100 when you look at it,Okay, more? Okay, well I'm 844 01:02:34,100 --> 01:02:37,640 going to comment on his use for a sonnet itself 845 01:02:37,640 --> 01:02:41,620 mainly because a sonnet has some rules and he's 846 01:02:41,620 --> 01:02:46,300 driving to control something so this is what I 847 01:02:46,300 --> 01:02:49,360 meant by saying like talking about the poem not a 848 01:02:49,360 --> 01:02:52,060 lover specifically He's trying to control this 849 01:02:52,060 --> 01:02:54,220 poem by following some rules. And here I believe 850 01:02:54,220 --> 01:02:56,620 that it's very significant that he used two 851 01:02:56,620 --> 01:02:59,320 imperfect rhymes. The first is when he said that, 852 01:02:59,520 --> 01:03:03,320 since in a net I seek to hold the wind. So we can 853 01:03:03,320 --> 01:03:07,880 see that as he's trying to hunt this deer or his 854 01:03:07,880 --> 01:03:10,800 lover, he cannot. So it's like the same thing 855 01:03:10,800 --> 01:03:13,300 happens. So again, we go back to what we started 856 01:03:13,300 --> 01:03:17,220 with. The sonnet is rigid. Sonnet is highly 857 01:03:17,220 --> 01:03:22,410 calculated. A sonnet is tightly structured. Every 858 01:03:22,410 --> 01:03:27,250 sound, every syllable counts. It's there for a 859 01:03:27,250 --> 01:03:30,670 purpose. On the other hand, we have a chaotic 860 01:03:30,670 --> 01:03:35,790 world. Men running after women, a man not having 861 01:03:35,790 --> 01:03:40,910 his woman sort of. It's a mess, yeah? It's 862 01:03:40,910 --> 01:03:45,870 chaotic. So it could basically be the man is 863 01:03:45,870 --> 01:03:49,750 trying to control life within the walls, so to 864 01:03:49,750 --> 01:03:52,730 speak, of the sonnet, trying to put it, to stick 865 01:03:52,730 --> 01:03:56,230 it in this tiny little space so he can organize, 866 01:03:56,410 --> 01:03:59,210 control, structure what can't be structured and 867 01:03:59,210 --> 01:04:01,810 what can't be controlled in real life. In other 868 01:04:01,810 --> 01:04:05,330 words, He sounds to be trying to control the 869 01:04:05,330 --> 01:04:07,510 uncontrollable. We'll talk about this more in more 870 01:04:07,510 --> 01:04:09,970 detail when we talk about Shakespeare. But also 871 01:04:09,970 --> 01:04:13,910 the sonnet was a fashion. Again, it's like again 872 01:04:13,910 --> 01:04:18,570 buying a modern car. Like again I said having like 873 01:04:18,870 --> 01:04:21,150 hundreds of thousands or tens of thousands of 874 01:04:21,150 --> 01:04:23,510 followers on social media. It's something people 875 01:04:23,510 --> 01:04:27,630 use to brag about, to show off. It's like, you 876 01:04:27,630 --> 01:04:30,910 know, I have this. And yes, thank you for hinting 877 01:04:30,910 --> 01:04:33,830 to the imperfect rhymes. The imperfection of 878 01:04:33,830 --> 01:04:38,950 probably his attempts, he falls short, he can't 879 01:04:38,950 --> 01:04:42,810 have hair, basically creating some kind of 880 01:04:42,810 --> 01:04:44,490 tension. 881 01:04:46,040 --> 01:04:49,180 Number seven, I'll give you a moment some of you, 882 01:04:49,780 --> 01:04:51,880 but let's read question number seven, question 883 01:04:51,880 --> 01:04:54,560 number eight. Number seven, could you please write 884 01:04:54,560 --> 01:04:59,080 your own poem being the woman replying some sort 885 01:04:59,080 --> 01:05:01,520 of parody? Some of your classmates in the other 886 01:05:01,520 --> 01:05:05,580 group wrote really fascinating poems. It doesn't 887 01:05:05,580 --> 01:05:07,480 have to be a sonnet, but if you can, that would be 888 01:05:07,480 --> 01:05:13,260 amazing. It would be a bonus. So reply to Sir 889 01:05:13,260 --> 01:05:16,640 Thomas Wyatt. Be the deer, be this woman, the 890 01:05:16,640 --> 01:05:20,740 hunted. And the question for this poem that I want 891 01:05:20,740 --> 01:05:25,200 you to reflect on, this is the assignment. You 892 01:05:25,200 --> 01:05:29,300 need to do seven out of 25 poems. I want you to 893 01:05:29,300 --> 01:05:34,300 compare the use of the deer image in this poem and 894 01:05:34,300 --> 01:05:40,560 in another Arabic poem. See how different poets, 895 01:05:40,760 --> 01:05:44,520 different cultures use The deer to talk about 896 01:05:44,520 --> 01:05:47,540 women. Are they similar? Are they dissimilar? 897 01:05:47,680 --> 01:05:52,020 Where do they meet? Where don't they meet? I think 898 01:05:52,020 --> 01:05:54,360 this is a very interesting thing to do. This 899 01:05:54,360 --> 01:05:57,760 question will be group work. So question number 900 01:05:57,760 --> 01:06:00,340 one, if you did Tamim's poem reflection, it's 901 01:06:00,340 --> 01:06:02,820 individual. It will close in two days, by the way. 902 01:06:03,180 --> 01:06:05,280 This one will be done, I'll give you details 903 01:06:05,280 --> 01:06:09,920 online, probably groups of twos, threes, or even 904 01:06:09,920 --> 01:06:13,060 fours. I'll stop here, but somebody wanted to say 905 01:06:13,060 --> 01:06:16,160 something. Very short. I wanted to comment on the 906 01:06:16,160 --> 01:06:19,460 imperfect triangle in the last couplet. Quickly. I 907 01:06:19,460 --> 01:06:21,900 wanted to say that it might relate to the paradox 908 01:06:21,900 --> 01:06:25,500 in this part. Because he's saying that yes and no, 909 01:06:25,600 --> 01:06:27,800 like I cannot be, she cannot be changed, but at 910 01:06:27,800 --> 01:06:29,960 the same time she is actually changed by having 911 01:06:29,960 --> 01:06:35,620 this around her neck. Okay, finally. Maybe he's 912 01:06:35,620 --> 01:06:37,700 rotating this board because he started reminding 913 01:06:37,700 --> 01:06:42,490 her and this board It's an attempt to win her 914 01:06:42,490 --> 01:06:46,430 back. The very sonnet itself is again an 915 01:06:46,430 --> 01:06:49,150 expression of admiration and love. That's a good 916 01:06:49,150 --> 01:06:52,030 point. We'll stop here ladies. Thank you very 917 01:06:52,030 --> 01:06:56,110 much. Next class we prepare Shakespeare's Sonnet 918 01:06:56,110 --> 01:06:58,790 18. Thank you and see you later.