Assalamualaikum. Good morning everybody. How are
you today? Good. I don't see many students here.
Right. Today, I'm going to surprise you and slow
down the class. I know that we're expected to have
Sydney, but it seems like we have to slow down
here in order to give time for other classes to
catch up. So it's our chance today to look back
again at rhyme, rhythm, and some areas in the
critical plan. But before we start, you know, as
usual, I need somebody like to read a report. Yes?
Hate you, Mr. Report. At the beginning of my
report, let me begin with admission that I hate
writing reports, even though I like the class of
poetry. Feeling that you have nothing to write
about feeling, that you have nothing to write
about feeling makes me hate the assignment of
writing reports. But I like writing reports
because it is at least has a theme or idea to work
on and write about. To talk about love picture, it
was enjoyable there. I didn't feel the time
passing us. It was a nice lecture to learn about
metaphor, irony, and image. After I just know
little about them, I feel that those figures are
the heart of poetry, that there is no poem without
a figurative language that enhances and
strengthens the idea of the poet, learning the way
to use it makes a joy to use such language in our
everyday language to express our gladness,
sadness, and even sarcastic everyday life
situations. Good, thank you. I do agree sometimes
it gets, you know, a boring process like to write
a report. And here, like, comes the creativity.
When you have, when you don't know what you are
going to write about. So you might look for a
hook. you might find very interesting hook and
then you write report. So the report is like to
get you to write. And don't forget, this is like
the bonus mark. It's not one of the official
assignment. So you don't have to complain, but
it's okay. You can do that. But I need you to
write. Okay, let's see another report. Yes,
please.
Daily Reporter. Description of spring was so nice.
It was the title of the previous month. The
previous lecture was extremely surprising. Gentle
and kind, I tried continuously to make up my mind
and decide, either to share or to be in a side.
Although the lecturer was in a gut mood, the
students were worried and wanted to conclude. He
asked the questions and students replied, but
because of the hot day, they will nearly fly.
Finally, we finished and the teacher said, you
should be prepared, increase your effort a little
bit. Okay, clap for her. Okay, look here, this is
an example of creativity.
But let me choose, yeah, you, you want like, this
is randomly to make sure everybody's writing.
Sometimes it's weird how time passed so fast. It
was just like yesterday when Dr. Akram asked us to
write a daily report, and I remember how confused
I was. But now all my fears disappeared. Now I
know how to write a daily report and how to write
a response. It is unbelievable that we already
finished two poems and about to start the third.
I'm so excited to take a poem by Sir Philip Sidney
because I've heard that he is a very talented boy.
Good, thank you very much. And we have to clap for
her as well. It doesn't mean that we don't like
what Rawan said, but it's okay. Right. Today I
thought it would be nice to go through two
important elements, more specifically two more
elements of poetry, the rhyme and the rhythm. And
then later we might go back to part two of the
critical plan. I think, you know, we have taken
two poems. We spoke about rhyme in general. But
today, I'll take you to be more specific to talk
about rhyme. Because we have many types of rhyme.
You might have read that.
As you see here, there are many types of rhyme. We
have perfect rhyme.No perfect rhyme. We have
imperfect rhyme.
Sorry.
Perfect rhyme. Imperfect rhyme. Masculine rhyme.
Feminine rhyme. I rhyme. Para rhyme. Okay, this is
more specific. I think most of you, like those who
read their reports, were writing poetic lines
using perfect rhyme. Perfect rhyme, as you see,
this is an example of perfect rhyme. It is like a
rhyme which has almost the same sound, the same
sound. Like this is in Spencer. help me to blaze
her worthy praise. Like he was praising the queen,
and like, you see, blaze and praise, almost the
same sound. Okay? So we call this perfect rhyme.
And another example, I saw Phobias thrust out his
golden head upon her to gaze, but when he saw how
broad her beams did spread, you know, so spread
and hid. So this is perfect rhyme. Now we might
ask when poets use perfect rhyme or when they use
imperfect rhyme. Sometimes in certain poems, you
should stick to perfect rhyme. However, poets
might variate between perfect and imperfect
according to their attitude, the atmosphere of the
poem. Perhaps they want to criticize or they want
to praise. So using the rhyme, each poet uses the
rhyme that fits with the topic, the subject
matter. We cannot now for sure say this rhyme
serves this purpose. It is according to the poem.
Sometimes you have perfect rhyme and suddenly the
poet changes into imperfect rhyme. Like, you don't
have this harmony, perhaps because there is no
harmony in the experience of the poet. See what I
mean? I remember in Wilfred Owen, Futility, he was
using imperfect rhyme, he was using I rhyme. And
why? Because he saw no pattern in life, so he did
not want to commit himself to any pattern of
poetry. So why would a poet use this rhyme? This
depends on the poem itself. Okay, so I think these
are again here in Epithelium. Epithelium is a poem
written by Spencer to describe his, it is a
matrimony poem. Matrimony, wedding. It was to
describe his wedding. It is a beautiful one,
Epithelium, if you have time to read it, you know,
just go and read it. So, now we'll go to another
type of rhyme, which is imperfect rhyme. You know,
imperfect rhyme, you see, it is not, it doesn't
have the same sound. Like you hear, you see, also
in the same poem of Spencer, you have though
hidden peril round about me placed, yet hope I
will that when this storm is passed. So what do
you think? Placed and passed. Placed and passed.
They're not almost, yeah, there is something
similar, but it is not a perfect rhyme. So this is
what imperfect rhyme.
Again, why would they use this? This depends on
the poem, the theme of the poem itself. Then comes
number three, masculine rhyme. It's very funny,
huh? Masculine rhyme. There is a rhyme which is
masculine. And masculine rhyme, like as you see
here, this is, you know, from The Solitary Reaper,
I think. The Solitary Reaper, Wordsworth. When he
says, I listened motionless and still, and as I
mounted up the hill, the music in my heart I bore,
long after it was heard no more. Look here, still
and hill, bore and more. If you look at the words,
how many syllables do we have in this word? One
syllable. So, when The rhyming words are
monosyllabic, like this. This is called masculine
rhyme. It's a masculine rhyme. It is one syllable.
It's not more than one syllable. It seems like
this is very tough, but this is an example of
masculine rhyme. Of course, when we talk about
masculine, we should talk about feminine because
if we call this masculine, there should be
feminine. But somebody might say, okay, masculine
means tough and feminine means flexible and more
lenient.
Feminine rhyme is the opposite. Of course, these
are your reader, you can follow them. They are in
the pamphlet.
Again, Wordsworth, as if her song, it's in the
same. So he was, in that poem, variating between a
masculine rhyme and feminine rhyme. And in fact,
if you read The Slither Reaper, I was teaching The
Slither Reaper in other courses, In that poem,
Wordsworth, I don't know, it seems like he was
challenging the conventions of the time, I mean
the past convention. He was romantic, but in this
poem, he was using neoclassical. He was using
poetic diction. So he was variating with
The diction itself with the images sometimes, some
of the images like I behold her single, behold,
this is very poetic. Then would anybody tell me
what she's singing? So he was moving from formal.
to informal, from poetic diction, and even the
rhyme. He is in the same poem, he's variating in
the rhyme. Why he was doing this, some critics say
because he wanted to challenge, he wanted to
ridicule those. So this depends on the poem. If
you look here, as if her song could have no
ending, I saw her singing at work, at her work,
and over the sickle bending. So if you look at
ending and bending, they are two syllables. They
have almost the same sound and this rhyme called
feminine rhyme.
Then I rhyme. I rhyme.
I rhyme, you know, very deceptive. You know, you
look at them, like here, some never advanced
adjustment of their own, but catch the spreading
notion of the town. So if you look at them, they
seem to have rhymed, but if you read them, yeah,
they, you know, do not have the same sound.
I think the final one is para rhyme. Para, it's
not like, as you see, it's a rhyme in which you
have the same consonants, but the inside vowels
are different. So if you look at this, I seem that
out of the bottle I escaped. Down some profound
doltenal I long since scooped, then through grains
which Titanic wars had grown, yet also the
encumbered sleepers grown. So what do you see?
Escaped and scooped. We have the same consonant,
but different vowel. So para, it is not
completely, you know? It is not complete. It is
semi, semi, you know? Semi-rhyme, because it has
similar consonants, but different vowels. And this
is again, you know, called para-rhyme.
Okay. The poems we are studying have rhyme, and
each rhyme, for example, in the sonnet of Sir
Thomas Wyatt, the rhyme was fitting the sonnet. He
was governed by this sonnet. It was A, if you
remember, B, B, A. A, B, B, A, C, D, C, D, and E,
E. So he was governed, but we said like when he
chose word like behind, you know, we had like that
long vowel and it has to do with his suffering and
agony. Okay? So in the sonnet, you are governed by
certain rhyme, but you have the freedom to play
Which words to choose? Which words to choose? But
rhyme is very important. Sometimes we might have
or we might have a good and a better understanding
of the poem because of a rhyme thing. The rhyme,
sometimes they employ it to express certain
feelings. Again, in Wilfred Owen, when he was
shocked, by the tragedies of the war. He didn't
use the perfect rhyme, he used I rhyme, he used
imperfect rhyme, paradigm. So there was no pattern
in the poem. And he did that deliberately in order
to correlate this
with his horror, his experience of disappointment
because of the horror of the war itself. So
sometimes there is kind of, you know, the rhyme
resonates with the meaning of the poem. Okay? Now,
we'll go to the problematic area, which is the
rhythm. And some of you are disturbed because of
the rhythm. and they think this is too much for
us. I'm not teaching you scansion or neither
prosody in this course, but it's very important to
know the meters. and to know certain feet and how
they function. Because sometimes again, in certain
poems, mainly in Shakespeare, he plays with rhythm
in order to suit perhaps an attitude or to fit
with a tone or the general atmosphere of the poem.
We are going to see that in one or two of his
sonnets. So let's see what is rhythm.
If you remember at the beginning of the course, we
spoke about rhythm when we defined poetry. And
here, these are the feet in English poetry. As we
said, Most of the English poetry, I mean 80-70
percent of the English poetry is written in iambic
pentameter. Iamb is like this, two syllables. As
you see, repeat, the word repeat. What is the
stress? Is it on the first or the second? Yes,
it's the longer one. Repeat, repeat, repeat. So it
is very long. We saw this also in Henry Howard's
poem last time. And thus I see among these
pleasant things. It was iambic pentameter. But
forget about pentameter. Like this is iamb. Ayam,
it's called Ayam. If you have, you know, this
pattern in the poem, you know, like repeat, you
know, meet, see, et cetera, you have, this is
Ayam. Now, the opposite of it, it's called Troche
or Troche. You know, one of them either. And it is
like never. Huh? Never. Like, look here, never.
Where is the stress? It's on the first one.
Clever. Never. Huh? Better. Okay, these are, you
know, this is a trochee. It's the opposite of?
Yes. The anabast. Okay, the anabast.
The anabast. is similar to the iambic, but you
have... Sorry.
Okay. I have to go back. The anabast
is like too unstressed, and then stressed, like
interrupt, corrupt. You see? I think you are
studying stress with Dr. Walid, okay? So, and Dr.
Khader like teaching you like this, so you can
make use of them in understanding the rhyme. Okay,
then you have something called dactyl. Dactyl as
it's like crochet, but instead of stressed, you
have stressed and too unstressed, like Washington,
wasting. It's like, as you see, one stressed, two
stressed. Then you have spondee. This is accented.
You don't have, it is like two words or two
stressed syllables together, heart rate, heart
rate, you know? Then you have pyrrhic, you know,
like it is too unstressed,
like as in the top of the mountain, the morning,
you know, in the top of, morning, like too
unstressed, too unstressed. Now we say monometer,
diameter, why? Because sometimes if we look at the
line of pottery, we might find iambic repeated
like this, never ever. So what should I say? This
is iambic what? Iambic monometer or diameter?
Diameter, because it has two. It has two. So we
say diameter, trimeter, monometer,
diameter,
yes, pentameter. It is according to the
repetition.
So here you have one foot is called what?
Monometer.
Two foot, diameter. Three, sorry, two feet. Three
feet, trimeter. Four feet, tetrameter. Five,
pentameter. That's why we said pentameter. Most of
English poetry is written in pentameter, which is
very musical. Then hexameter, six feet. Then
heptameter, seven feet. And I think here you have
some example. Like this is an example, you know,
of iambic pentameter.
Can anybody read this? Like here, from furthest
creature, we desire increase. that their beauties
rose, but never die. Who can read it? From there,
from fair creatures, we desire increase, that
their beauties rose, but never die. See? Titam,
titam. So try to read it according to them, from
fair, From fairest creatures, we desire increase,
that their beauties rose, but never die. So it is
measured, very musical. As I told you, if we talk
in iambic pentameter, we'll be funny. For example,
please, when you come to my class, write your
report. It's like this, you know, ti tam, ti tam,
ti tam. So another example, this is, you know, a
tetrameter.
Tetrameter, sorry.
This is iambic trimeter, three. It is the evening
hour. How silent all that lie. It is the evening
hour. How silent all that lie. See? This is iambic
trimeter. Then we have tetrameter. This is like
Troche. He's...
I think it is in the other side.
The iambic tetrameter, it's like, it's a poem we
are going to study. Okay, just like.
Is it clear? Okay.
This is, you know, tricky, but I'm just like, I
want to give you an example of iambic tetrameter.
It's like in Marlowe's, they never reply, come
live with me and be my love. It is, you know, Come
live with me and be my love. It is eight
syllables, and it is called iambic pentameter.
This is troche tetrameter. Come, you know, troche,
we said it's the opposite. Come my, what is the
stress? The first one. Come my, Celia, let us
prove why we made this sports of love. You know,
it's like troche, and how many syllables do you
have? You have like, you know, six here, as you
see. Tetra, because we have six syllables.
Tetrameter, like eight, in fact. Cum, cummi, this
is two, cilia two, two, so we have eight. Eight
syllables because the foot, each foot is like two
syllables. So this is called troche, dactyl,
tetrameter. Like this one, you know, women much
missed how you call to me, call to me, saying that
you are not as you were, okay? So this is, and all
these are examples of the meters, just like look
at them, you know, and see the stress, where the
stress, so it is very important that to know In
this course, we might look at the rhythm in some
poems because sometimes the rhythm might have
something to do with poetry. Good. This is
generally about rhythm and rhyme and rhythm. We'll
go back to the critical plan. Yes.
No, I mean it is up to the purpose, like how he
sees. Sometimes certain words, you know, do not
fit with the rhyme. But poets want to be regular.
Like I know some, you know, some students of mine,
write poetry by using rhythm. They go study rhythm
and they write poetry. Even they are not native
speakers, but they still, a student of mine, even
he's like Tawjihi, said, I wrote a poem in Anabas,
which was very surprising to me. So yes, they
choose sometimes like they vary it. Sometimes they
are systematic. It is according to the purpose
they want to establish. Yes, sir. Yes.
Forty love middle-aged couple. Yes. Yes.
It doesn't fit with the rhythm of that.
Yeah, but no, 40 love, 40 love, you have two
syllables. We have two syllables in each one. 40
love, it's like iambic. All of it, it is iambic
diameter. 40 love, middle-aged couple playing
tennis, it's iambic pentameter.
Yeah, that was, you know, I mean at the beginning
of the course I gave you two poems which are
modern. Sometimes some poets do not follow rhyme
at all, and this is called free verse. They do not
follow rhyme, and sometimes they vary it with
rhythm. See? But those poems I gave you at the
beginning of the course were just
very modern or very postmodern, in which the poets
did not commit themselves to the tradition of
English poetry.
If you remember last time, I gave you, quickly at
the end of the lecture, the leveler. And part two
of the critical plan was discussing some areas we,
as readers, might face when we read a poem. And as
you see, the first area was
like, we don't have to be very hasty. Some people
are hasty. This is part two. It's meaning,
intention, and idea. And here, as you see, we are
strongly advised
These are areas gaining balanced development of
the theme, maintaining the total experience of the
poem, and judging the poem on the basis of the
poet's intention.
We said, you know, gaining a balanced development
of the theme. We do not have to base our judgment
on one part of the poem, we have to follow or to
read the entire poem and to test this theme. Is it
like, does it fit with the whole poem or not? So
we don't have to be very hasty. And we gave you
the example of Deliverer, which was similar to the
example of the poem, Who's Lost to Hunt, if you
remember. So this is an area we should be careful.
Of course, we cannot say what is the poem about
unless we read it several times. The second
problem area like here, as you say, we have to
maintain the total experience. Here, the second
area is called the total meaning and the prose
meaning. There is something called the prose
meaning and the total meaning. What is the
difference between the prose meaning and the total
meaning? The prose meaning of the poem means the
dictionary meaning. It is the paraphrase. So if
you say spring,
has bloom and everything is beautiful, you are
paraphrasing. But when you link this description
with experience, you are talking about the total
experience. So the total experience is different
from the prose meaning.
This is the leveler we read last time. I wish you
look at it again. It's a very interesting poem,
and we saw how sarcastic the poet was.
Mainly here in the last two stanzas, when he said,
Old Sergeant Smith, kindness of man, wrote out two
copies there and then of his accustomed speech to
cheer the women folk of each. He died a hero's
death, and here we saw how sarcastic the poet was,
how cynical he was. He didn't believe in the idea
of heroism. The second area, this is like, do not
give hasty adjustment. This is the second problem.
to understand the poet's thoughts and emotions.
Now, yes, we have to understand the poet's
thoughts and emotions. And in order to understand
this, we have to be open. Now, sometimes we might
not like or we might find a poem difficult. Some
words are difficult and we say, damn, I'm not
going to read this poem. This is not good. Okay?
You have to be sympathetic. At least while you are
reading the poem, you have to be, because you
won't have access to the experience, to the total
experience of the poet unless you are sympathetic.
You have to understand. You have to live the
experience of the poet in order to appreciate the
poem. And as you see, sometimes we don't have to
judge the poem according to our initial feeling.
And we hear, be sure you go to the author to get
his meaning, not to find yours. Sometimes we are
blinded by a certain idea in our mind, and we keep
developing this and forget what the poem is about.
So I think this is something we have to be
cautious of.
As you see here, the meaning of the poem is the
experience it expresses. It is the experience. So
this is the meaning. What kind of experience? This
is the experience of happiness, sadness,
frustration. So this is the meaning of the poem.
It is not the prose meaning of the poem. It is not
the paraphrase of the poem. Okay, you just go read
this part because sometimes we like We might be
worried that the poem has no ideas. It discusses
no ideas. And we say, why? Sometimes we have a
poem which is meaningful because it is only a
description. And this description records the
experience. And if you see here, you have a poem,
The Eagle. The eagle is an example. Here, it's a
description of an eagle which goes up high and
then comes down as a thunderbolt. Like, look here.
This is the eagle. It's a description. He clasped
the crag with crocked hands, close to the sun in
lonely lands. Ringed with the azure word, he
stands. The wrinkled sea beneath him crawls. He
watches from his mountain walls. And like
thunderbolt, he falls. It's a description of
eagle.
This poem was written by Tennyson. Tennyson was a
Victorian poet. And in the Victorian time, the
world was changing. people started to lose
certainty about, you know, no social patterns like
laissez-faire or, you know, like there was
corruption, utilitarianism, you know, people, I
mean, materialism was governing everything. So the
sense of society, the social patterns, you know,
vanished. And in fact, even like religion, I mean,
religious values retreated and retreated and Here
the poet, what is the experience of the poet
exactly? He was looking, he looked at the eagle.
The eagle had the power to go up to leave this
land, to go and come down, while the poet himself
was mentally, psychologically entrapped. So he was
looking at this bird with some feeling of envy. He
was trapped. But look at this. He clasped the crag
with crooked hands. Look how he admires it. Close
to the sun in lonely lands. Ringed with azure. He
envies the freedom of this creature. The wrinkled
sea beneath. Look at him, how powerful. Him
crawls. He watches from his mountain walls. And
like a thunderbolt, he falls. So here, okay, the
description is wonderful. We might look at this
for more aesthetic consideration, but as you see
here, the experience of the poet was like he, he
was not Like, he didn't have the ability to leave
because psychologically, mentally, he was trapped.
His age was like an age of corruption, or an age
of materialism. So people felt they were trapped.
They could not go nowhere. And here, he's just
looking at this eagle who's having that ability to
escape. To escape, not like the poet. I think, you
know, today, this is enough for today. I'm giving
chance to other classes to catch up. Next time, as
I said, you have to bring, like, you know, your
response to Sidney and Spencer. You know, Spencer
to his, you know, there is a sonnet for Spencer.
So, but we are going to discuss first Sydney and
then Spencer, okay? Thank you very much.