1 00:00:22,850 --> 00:00:28,110 Today we start something probably different, 2 00:00:29,030 --> 00:00:33,750 something new, related but still something new. 3 00:00:34,490 --> 00:00:38,150 Last time we finished speaking about major 4 00:00:38,150 --> 00:00:42,090 Renaissance poets and before that we studied major 5 00:00:42,090 --> 00:00:46,910 Renaissance dramatists. We spoke about several 6 00:00:46,910 --> 00:00:50,570 terms that we needed to understand and we still 7 00:00:50,570 --> 00:00:54,950 do. We spoke about censorship, patronage, and we 8 00:00:54,950 --> 00:01:01,110 also spoke about the canon, and last time, the 9 00:01:01,110 --> 00:01:06,320 rules of Decorum. What do you know about the rules 10 00:01:06,320 --> 00:01:08,920 of decorum? Did you read more stuff about the 11 00:01:08,920 --> 00:01:12,400 rules of decorum? What does the term rules of 12 00:01:12,400 --> 00:01:15,400 decorum mean in the context of literature here? 13 00:01:17,260 --> 00:01:22,220 Rules of decorum, yes, please. The rules of 14 00:01:22,220 --> 00:01:26,880 decorum are the rules that the poet has to have in 15 00:01:26,880 --> 00:01:30,160 his personality or in his style of writing to be 16 00:01:30,160 --> 00:01:36,040 in the group of canon. To write great poetry, you 17 00:01:36,040 --> 00:01:41,040 had to follow certain rules, specific rules. And 18 00:01:41,040 --> 00:01:44,480 many of these rules were strict. You had to follow 19 00:01:44,480 --> 00:01:48,560 them. What topic to choose? Universal truths, 20 00:01:48,660 --> 00:01:52,220 remember? The language itself. Not everything can 21 00:01:52,220 --> 00:01:55,120 be poetic. Only highly embellished poetic 22 00:01:55,120 --> 00:01:58,560 language. And then the form itself. You had to 23 00:01:58,560 --> 00:02:02,850 follow a particular structure. a highly organized 24 00:02:02,850 --> 00:02:08,890 form of poetry. And in the 17th century and 18th 25 00:02:08,890 --> 00:02:12,770 century, this became even more famous than now, 26 00:02:12,870 --> 00:02:17,010 more common than now. But during the time of 27 00:02:17,010 --> 00:02:21,050 Elizabeth and later on, we have a group of poets 28 00:02:21,050 --> 00:02:24,750 who did not follow the rules of the Quran, who did 29 00:02:24,750 --> 00:02:28,930 not want to obey these ancient rules of writing 30 00:02:28,930 --> 00:02:33,590 poetry, of versification. Before I explain things, 31 00:02:33,790 --> 00:02:36,910 I'll give you examples from their poetry, and I'll 32 00:02:36,910 --> 00:02:42,010 let you come to certain conclusions yourself. Look 33 00:02:42,010 --> 00:02:45,830 at this poem. And again, I'm not mentioning the 34 00:02:45,830 --> 00:02:48,930 name of the poet, because we care more about the 35 00:02:48,930 --> 00:02:52,150 text itself. We need to appreciate the text 36 00:02:52,150 --> 00:02:57,130 regardless of who the poet is. This is a poem, The 37 00:02:57,130 --> 00:03:01,530 Sun Rising. Look at the shape of the poem and tell 38 00:03:01,530 --> 00:03:02,330 me what you think. 39 00:03:05,090 --> 00:03:13,930 Please. How do you know? Did you count the lines? 40 00:03:15,890 --> 00:03:21,410 How many lines? This is not a sonnet. Ten lines, 41 00:03:21,790 --> 00:03:23,970 not fourteen. So it's not definitely not. By the 42 00:03:23,970 --> 00:03:27,530 way, this is the first stanza of a poem consisting 43 00:03:27,530 --> 00:03:33,540 of Three stanzas. So the sun rising, number one. 44 00:03:33,640 --> 00:03:35,960 Okay, you noticed very quickly the rhyme scheme. 45 00:03:36,140 --> 00:03:40,140 Good, very good of you. And you think it has in 46 00:03:40,140 --> 00:03:43,240 part something from the Italian sonnet Petrarca. 47 00:03:43,860 --> 00:03:48,280 Something clearer than this, please. Oh, remember 48 00:03:48,280 --> 00:03:51,040 the poems before when we studied the sonnets? More 49 00:03:51,040 --> 00:03:53,500 or less they were like this. Oh, sorry. They were 50 00:03:53,500 --> 00:03:57,940 like this. Remember five feet, five feet, five 51 00:03:57,940 --> 00:04:00,120 feet, five feet, ten syllables, ten syllables, ten 52 00:04:00,120 --> 00:04:02,960 syllables. Sometimes four feet, four feet, four 53 00:04:02,960 --> 00:04:04,620 feet, like eight syllables, eight syllables, eight 54 00:04:04,620 --> 00:04:07,480 syllables. So you read a whole poem, a long poem. 55 00:04:07,600 --> 00:04:10,120 And I said this about Shakespeare's sonnet. We 56 00:04:10,120 --> 00:04:16,600 have over 150. Sonnets, and almost all the lines 57 00:04:16,600 --> 00:04:19,440 consist of 10 syllables, because this is the rules 58 00:04:19,440 --> 00:04:23,160 of decorum, this strict, rigid form of poetry in 59 00:04:23,160 --> 00:04:26,220 general, but of the sonnet in particular. So the 60 00:04:26,220 --> 00:04:29,840 first thing we notice is that this poem, this was 61 00:04:29,840 --> 00:04:35,240 written again in the Elizabethan Age. Clearly the 62 00:04:35,240 --> 00:04:40,430 shape is not following the rules of decorum. If 63 00:04:40,430 --> 00:04:42,630 you count the syllables, how many syllables do we 64 00:04:42,630 --> 00:04:46,750 have in the first line? How many syllables in 65 00:04:46,750 --> 00:04:55,050 busy? Busy, happy, two. Okay, one, two, three, 66 00:04:55,210 --> 00:04:58,930 four, five, six, seven, eight. So four feet. 67 00:05:05,010 --> 00:05:11,130 Unruly three. Unruly, like happy, two. Happiness, 68 00:05:11,510 --> 00:05:18,390 three. Happily, three. Ha, pi, li, three. The 69 00:05:18,390 --> 00:05:22,050 syllable depends on how many vowel sounds we have. 70 00:05:22,430 --> 00:05:28,870 And then, why dost thou thus? How do you know the 71 00:05:28,870 --> 00:05:32,850 number of feet generally? You divide the number 72 00:05:32,850 --> 00:05:38,970 seven by two. And then, through windows and 73 00:05:38,970 --> 00:05:43,590 through curtains call on us. One, two, three, 74 00:05:43,990 --> 00:05:51,470 four, five, six, seven, eight, nine, ten. Come on. 75 00:05:53,310 --> 00:05:58,250 Clearly there is an intention to change, to be 76 00:05:58,250 --> 00:06:02,570 different. An intention to not follow the rules. 77 00:06:03,230 --> 00:06:07,650 Not write a poem with strictly the same number of 78 00:06:07,650 --> 00:06:09,110 syllables and the same number of feet. 79 00:06:12,430 --> 00:06:15,330 If you code more, you'll find again, I think this 80 00:06:15,330 --> 00:06:20,450 is also 10. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. 1, 2, 81 00:06:20,590 --> 00:06:25,330 3, 4, 5, 6, 7, 8, and then 5 feet, 4 feet. So 82 00:06:25,330 --> 00:06:32,120 number one, we notice the irregular form. The 83 00:06:32,120 --> 00:06:37,480 number of lines, the number of feet in the first 84 00:06:37,480 --> 00:06:40,460 line is not the same, second, third, etc. What 85 00:06:40,460 --> 00:06:43,980 about the rhyme scheme? Can someone do the rhyme 86 00:06:43,980 --> 00:06:48,620 scheme? Can you come here please? Yes? 87 00:06:55,960 --> 00:07:05,070 Sun A Y, tell them why. The first sound takes the 88 00:07:05,070 --> 00:07:12,450 first letter of the alphabet. Okay. Why B? Why not 89 00:07:12,450 --> 00:07:17,210 A? It's different. It's not the same. So we go to 90 00:07:17,210 --> 00:07:19,850 the second letter of the alphabet, which is B. 91 00:07:21,470 --> 00:07:22,830 Okay. A. 92 00:07:32,350 --> 00:07:35,830 New sound, we go to the next letter. 93 00:07:39,450 --> 00:07:45,530 Parenthesis, C? No, definitely not. This is thus, 94 00:07:46,530 --> 00:07:50,970 us, this is parenthesis. This is D. 95 00:08:00,010 --> 00:08:01,050 Offices, parentheses? 96 00:08:04,430 --> 00:08:12,850 No way. This is M. This is D. Not the same sound. 97 00:08:12,910 --> 00:08:16,930 Definitely not the same sound. It's a couplet. 98 00:08:17,830 --> 00:08:24,190 Thank you very much. Thank you. Is it regular? How 99 00:08:24,190 --> 00:08:27,010 can we tell? Is it musical? Does it make a musical 100 00:08:27,010 --> 00:08:34,270 pattern? A, B, B, A, C, D, C, D, E. It is. It is 101 00:08:34,270 --> 00:08:36,770 musical. But we can double check when we look at 102 00:08:36,770 --> 00:08:39,910 the other stanzas. So this is stanza number one, 103 00:08:40,010 --> 00:08:42,650 this is stanza number two. Strong? Someone do it 104 00:08:42,650 --> 00:08:46,070 quickly. Someone. The rhyme scheme. Yeah, quickly 105 00:08:46,070 --> 00:08:53,430 Also 106 00:08:53,430 --> 00:09:01,090 D 107 00:09:01,090 --> 00:09:09,570 E E So the same go here. It's the same. So this is 108 00:09:09,570 --> 00:09:12,210 a regular rhyme scheme regular rhyme scheme 109 00:09:12,210 --> 00:09:18,340 musical but The number of feet in each line is not 110 00:09:18,340 --> 00:09:22,660 the same. But does that mean this is not musical? 111 00:09:23,000 --> 00:09:26,500 Let's read the poem. Someone read the poem. The 112 00:09:26,500 --> 00:09:32,600 first one, someone, please. Yeah, go on. The sun 113 00:09:32,600 --> 00:09:36,380 rising, busy old fool and lonely sun. Why does 114 00:09:36,380 --> 00:09:41,940 thou thus throw windows and throw curtains calm on 115 00:09:41,940 --> 00:09:49,880 us? Must desire motions lovers seasons run saucy 116 00:09:49,880 --> 00:09:56,960 saucy pedantic rich rich gosh child life is cool 117 00:09:56,960 --> 00:10:01,100 boys and princesses princesses princesses go 118 00:10:01,100 --> 00:10:05,520 talker handsome handsome handsome man that the 119 00:10:05,520 --> 00:10:09,860 king will ride cold country ants to harvest 120 00:10:09,860 --> 00:10:15,320 offices. Love all life, no season, no clime, nor 121 00:10:15,320 --> 00:10:21,200 hours, days, months, which are the rags of time. I 122 00:10:21,200 --> 00:10:24,160 think there is some music to this. Can you do it? 123 00:10:24,280 --> 00:10:24,720 Yeah? OK. 124 00:10:28,770 --> 00:10:32,730 It's not throw, 125 00:10:33,130 --> 00:10:41,450 it's like you throwing windows, through windows. 126 00:10:49,350 --> 00:10:52,930 So are apprentices. 127 00:11:17,020 --> 00:11:19,220 Beautiful reading. Thank you very much. Let's see 128 00:11:19,220 --> 00:11:22,100 what the poet is saying here. What is he talking 129 00:11:22,100 --> 00:11:25,100 to? Who is he talking to? Who's he addressing? 130 00:11:27,300 --> 00:11:32,980 Okay, who's that? Is he talking to a woman, to a 131 00:11:32,980 --> 00:11:37,980 person? Yeah, he's talking to the sun. A 132 00:11:37,980 --> 00:11:41,390 personification. And there is, if you don't read 133 00:11:41,390 --> 00:11:43,530 the title here of the poem, and someone tells you, 134 00:11:43,650 --> 00:11:46,530 busy, old, fool, unruly son, I'm sure some of you 135 00:11:46,530 --> 00:11:49,830 will write it this way with O. Because these 136 00:11:49,830 --> 00:11:56,330 features, unruly means naughty. Fool, busy, 137 00:11:57,410 --> 00:12:01,230 adjectives that describe people rather than 138 00:12:01,230 --> 00:12:03,790 things. So there is a personification of the son. 139 00:12:04,070 --> 00:12:10,410 And generally, the son is also a symbol. A symbol 140 00:12:10,410 --> 00:12:13,330 means something that stands for something else. It 141 00:12:13,330 --> 00:12:18,590 symbolizes power. It symbolizes authority. 142 00:12:20,110 --> 00:12:23,390 Probably, a new start, generally. But here, is he 143 00:12:23,390 --> 00:12:27,570 happy with the sun? Remember that text, when the 144 00:12:27,570 --> 00:12:30,010 sun was good because of the winter of discontent? 145 00:12:30,330 --> 00:12:34,290 But here, the guy is attacking the sun, calling it 146 00:12:34,290 --> 00:12:40,560 unruly, old, fool, busy. He's not happy with the 147 00:12:40,560 --> 00:12:43,000 sun because the sun keeps sticking its nose, its 148 00:12:43,000 --> 00:12:46,160 head, through the windows and the curtains. So 149 00:12:46,160 --> 00:12:49,800 he's busy, old fool, unruly sun. Why dost thou? 150 00:12:49,800 --> 00:12:52,420 He's interrogating the sun. Through windows and 151 00:12:52,420 --> 00:12:55,320 through curtains call upon us. Must thy motions 152 00:12:55,320 --> 00:12:59,320 lovers' seasons run? Saucy, pedantic, rich, go. 153 00:12:59,520 --> 00:13:04,700 Go. Get out. That's why I would usually here in 154 00:13:04,700 --> 00:13:07,740 this context take the sun as a symbol of 155 00:13:07,740 --> 00:13:08,200 authority. 156 00:13:11,570 --> 00:13:18,490 What's authority? Power. The mainstream. The 157 00:13:18,490 --> 00:13:20,650 mainstream, the official worldview. 158 00:13:23,130 --> 00:13:26,150 The poet, in a way, is personifying the son to 159 00:13:26,150 --> 00:13:29,430 make this idea clear, as if he's talking to a 160 00:13:29,430 --> 00:13:32,690 human being, to, I don't know, the king, or 161 00:13:32,690 --> 00:13:36,730 probably the people, the critics who decide the 162 00:13:36,730 --> 00:13:39,670 rules of poetry. You know what the word pedantic 163 00:13:39,670 --> 00:13:44,300 is? Pedantic is someone who uses language in a way 164 00:13:44,300 --> 00:13:47,580 to show off, like using big words, powerful 165 00:13:47,580 --> 00:13:50,940 language just to show off that I can use better 166 00:13:50,940 --> 00:13:54,400 language than you. So the fact that the poet is 167 00:13:54,400 --> 00:13:57,960 personifying the sun and describing it as pedantic 168 00:13:57,960 --> 00:14:01,500 and as nosy, you know, nosy because it sticks its 169 00:14:01,500 --> 00:14:05,620 nose, curious, waking them up, he's saying, go 170 00:14:05,620 --> 00:14:10,660 out. You're busy, you're old, you're a fool. Don't 171 00:14:10,660 --> 00:14:14,480 disturb us, the lovers, because the lovers must 172 00:14:14,480 --> 00:14:20,680 not or do not obey your rules. In my reading of 173 00:14:20,680 --> 00:14:24,080 this poem, I think the poet is, again, when he 174 00:14:24,080 --> 00:14:27,980 breaks the decorum of the lines here, he's also 175 00:14:27,980 --> 00:14:31,000 breaking the rules by challenging the authority 176 00:14:31,000 --> 00:14:34,120 itself, the sun that stands for power and 177 00:14:34,120 --> 00:14:38,640 authority. The sun here, in my opinion, could be 178 00:14:38,640 --> 00:14:42,240 the authority of criticism and poetry, the rules 179 00:14:42,240 --> 00:14:45,670 of decorum. Because you needed to write. You had 180 00:14:45,670 --> 00:14:48,270 to write poetry in a particular way. And the poet 181 00:14:48,270 --> 00:14:51,730 here is dismissing this. Get out. Don't tell me 182 00:14:51,730 --> 00:14:56,490 what I should do, when I should wake up. Why are 183 00:14:56,490 --> 00:14:58,730 you sticking your head through the windows and 184 00:14:58,730 --> 00:15:02,210 through the curtains? Get out. Go. Go instead of 185 00:15:02,210 --> 00:15:04,890 waking me up, disturbing me, telling me, dictating 186 00:15:04,890 --> 00:15:09,430 things on me. Go child. Let school boys. Go wake 187 00:15:09,430 --> 00:15:14,480 up school children. And sauer apprentices. 188 00:15:14,840 --> 00:15:18,140 Apprentices is originally apprentice. The boys who 189 00:15:18,140 --> 00:15:21,460 work at somebody's place to learn a craft or a 190 00:15:21,460 --> 00:15:25,140 skill. So sauer, you know, sauer is someone who 191 00:15:25,140 --> 00:15:28,040 doesn't want to go to work. Go wake them up. Go 192 00:15:28,040 --> 00:15:30,600 tell the court, the huntsman, the people in the 193 00:15:30,600 --> 00:15:35,200 court that the king is going outside. Go call the 194 00:15:35,200 --> 00:15:38,680 farmers. Tell the farmers, go harvest your crops. 195 00:15:39,100 --> 00:15:44,040 Leave us alone. And then we have the beautiful, 196 00:15:44,100 --> 00:15:47,560 beautiful, beautiful couplet here. Love, this is 197 00:15:47,560 --> 00:15:49,980 so like Shakespeare, probably more beautiful in 198 00:15:49,980 --> 00:15:53,540 many ways. When he says here, must thy emotions, 199 00:15:53,700 --> 00:15:57,880 lovers, seasons run? I shouldn't obey the sun, 200 00:15:58,140 --> 00:16:03,040 because we're more powerful. Love, all alike, no 201 00:16:03,040 --> 00:16:08,080 season knows, nor climb. Love is all the time. 202 00:16:08,340 --> 00:16:09,920 It's not in the morning. It's not at night. It's 203 00:16:09,920 --> 00:16:11,420 not in the afternoon. It's not when you're hungry, 204 00:16:11,560 --> 00:16:14,280 when you're thirsty. It's all the time. The sun 205 00:16:14,280 --> 00:16:19,200 does not dictate this. So in brief, we have a text 206 00:16:19,200 --> 00:16:23,680 here where the poet is clearly breaking the rules. 207 00:16:23,800 --> 00:16:31,420 How? Number one, the form itself. But is the form 208 00:16:31,420 --> 00:16:33,540 related to the meaning? In my opinion, yes. This 209 00:16:33,540 --> 00:16:36,720 is a revolutionary poem in which the poet, the 210 00:16:36,720 --> 00:16:40,580 speaker says, I don't want to obey anybody. And 211 00:16:40,580 --> 00:16:43,680 I'm breaking the rules. I'm breaking the rules. 212 00:16:44,100 --> 00:16:46,640 Look at the language. Remember, we said the 213 00:16:46,640 --> 00:16:48,980 language was especially the language of courtly 214 00:16:48,980 --> 00:16:51,040 love. This is a love poem. The language of courtly 215 00:16:51,040 --> 00:16:54,560 love. Remember the sonnet? Shall I compare thee to 216 00:16:54,560 --> 00:16:56,880 a summer's day? Now what more lovely and more 217 00:16:56,880 --> 00:17:00,550 temperate. Come live with me and be my love, and 218 00:17:00,550 --> 00:17:02,450 we will all the pleasures prove. But this is a 219 00:17:02,450 --> 00:17:06,750 poem about busy old fool and ruly son. Why dost 220 00:17:06,750 --> 00:17:09,310 thou through curtains and through windows call 221 00:17:09,310 --> 00:17:12,090 upon us? It's like there's a powerful beginning 222 00:17:12,090 --> 00:17:15,570 here. There's someone who is dramatic about this, 223 00:17:16,250 --> 00:17:18,710 probably expressing unhappiness or 224 00:17:18,710 --> 00:17:24,850 dissatisfaction. That's example number one. The 225 00:17:24,850 --> 00:17:30,140 same thing applies. to the other standard another 226 00:17:30,140 --> 00:17:35,260 text this is one we have in the book what do you 227 00:17:35,260 --> 00:17:39,300 notice quickly look at the text tell me what you 228 00:17:39,300 --> 00:17:46,480 notice about this raise your hand please remember 229 00:17:46,480 --> 00:17:50,680 generally i do it like this i look at the poem 230 00:17:50,680 --> 00:17:55,090 that's the first thing i do the second thing is I 231 00:17:55,090 --> 00:17:57,450 count the lines because it could be a sonnet if it 232 00:17:57,450 --> 00:18:00,470 is a sonnet there is something I can say out of 233 00:18:00,470 --> 00:18:05,150 the lines the counting I go for the rhyme scheme 234 00:18:05,150 --> 00:18:09,710 so what do you notice please okay 235 00:18:09,710 --> 00:18:16,570 so it's one block 14 lines interesting it is a 236 00:18:16,570 --> 00:18:21,930 sonnet remember the sonnet Italy Petrarch 237 00:18:23,480 --> 00:18:25,700 Particular subject matter, particular rhyme 238 00:18:25,700 --> 00:18:29,740 scheme, Shakespeare? The rhyme scheme. Let's go 239 00:18:29,740 --> 00:18:32,940 for the rhyme scheme. Can someone do it? This is 240 00:18:32,940 --> 00:18:36,760 going to be problematic. Come here please. Yes. 241 00:18:40,440 --> 00:18:41,700 Okay, no problem. 242 00:18:45,100 --> 00:18:48,470 Tell them what you're doing. Okay, the first one, 243 00:18:48,670 --> 00:18:53,990 first alphabet, A, U meant it's totally different, 244 00:18:54,270 --> 00:18:59,770 bent than meant A, sorry, B. Okay, good. U and U, 245 00:18:59,910 --> 00:19:09,010 A, U, C, and A. U and U are not the same, U, U, U. 246 00:19:09,630 --> 00:19:16,730 They're the same. M and bent B, different. 247 00:19:22,120 --> 00:19:22,560 Okay, 248 00:19:25,980 --> 00:19:28,860 before she continues, what does this remind you 249 00:19:28,860 --> 00:19:33,280 of? Italian sonnet, Petrarch, remember? A, B, B, 250 00:19:33,340 --> 00:19:38,720 A, A, B, B, A, C, D, C, D, C, D. Go on. 251 00:19:49,840 --> 00:19:57,280 I for I are you 252 00:19:57,280 --> 00:20:01,620 sure maybe it is listen we started something 253 00:20:01,620 --> 00:20:05,880 called imperfect rhyme what is an imperfect rhyme 254 00:20:05,880 --> 00:20:10,560 there is rhyme but it doesn't rhyme hundred 255 00:20:10,560 --> 00:20:15,370 percent probably fifty percent so anime Enemy and 256 00:20:15,370 --> 00:20:18,730 I they are close but not close enough to be 257 00:20:18,730 --> 00:20:22,510 perfect rhyme. So it should be DD Before she 258 00:20:22,510 --> 00:20:30,550 continues. This is also Petrarch however Oh, 259 00:20:30,650 --> 00:20:34,490 thank you. What is EE? Couplet. Thank you very 260 00:20:34,490 --> 00:20:39,110 much. Good Listen to me The imperfect rhyme again. 261 00:20:39,250 --> 00:20:42,170 Remember we said this before either it was read in 262 00:20:42,170 --> 00:20:44,810 a particular way or when you read it you just do 263 00:20:44,810 --> 00:20:47,450 it extend it stretch it a little bit so it could 264 00:20:47,450 --> 00:20:51,750 be like anime I in a way a little bit close or 265 00:20:51,750 --> 00:20:54,900 could have been pronounced in a way that But more 266 00:20:54,900 --> 00:20:58,220 important to me is that an imperfect rhyme tells 267 00:20:58,220 --> 00:21:01,200 us, when you read the text, be careful. The poet 268 00:21:01,200 --> 00:21:04,920 is sending us a signal, a particular message. Why 269 00:21:04,920 --> 00:21:07,180 we need to stop and see why there is imperfection 270 00:21:07,180 --> 00:21:10,340 here. Does it reflect a particular idea? And 271 00:21:10,340 --> 00:21:15,500 usually it does. So is this a Shakespearean or a 272 00:21:15,500 --> 00:21:18,540 Petrarchan sonnet? Italian or English? Italian. 273 00:21:19,560 --> 00:21:24,060 Are you sure? Yes. Half and half, mixture. 274 00:21:25,960 --> 00:21:34,840 Generally, we have 275 00:21:34,840 --> 00:21:37,760 several forms, but the most important forms are 276 00:21:37,760 --> 00:21:41,400 again the Italian, the English, Petrarchan, 277 00:21:41,760 --> 00:21:46,000 Shakespeare. We have a person here who's going for 278 00:21:46,000 --> 00:21:50,200 Petrarch, the original, Sonneteer and then at the 279 00:21:50,200 --> 00:21:54,780 end all of a sudden shifts to Shakespeare in a way 280 00:21:54,780 --> 00:21:59,940 creating a new form in a way mixing things and 281 00:21:59,940 --> 00:22:08,080 bringing a new form a bb a a bb a cd cd ee and 282 00:22:08,080 --> 00:22:12,330 remember the sonnet With a couplet, it means 283 00:22:12,330 --> 00:22:14,950 something. Remember we said some people believe 284 00:22:14,950 --> 00:22:18,550 that only Shakespeare could do this, where he 285 00:22:18,550 --> 00:22:21,830 develops in 12 lines a particular problem and 286 00:22:21,830 --> 00:22:25,670 gives us the twist, the resolution, the closure in 287 00:22:25,670 --> 00:22:28,110 two lines. So this is someone saying, I don't want 288 00:22:28,110 --> 00:22:30,950 to follow Shakespeare, but I can be as smart as 289 00:22:30,950 --> 00:22:32,790 Shakespeare, as good as Shakespeare, and this is 290 00:22:32,790 --> 00:22:34,270 the couplet I have here. 291 00:22:37,070 --> 00:22:40,980 So sonnet, different rhyme scheme. What do you 292 00:22:40,980 --> 00:22:43,400 notice? What else do you notice about it? Now 293 00:22:43,400 --> 00:22:43,820 read. 294 00:22:47,640 --> 00:22:51,220 What is the sonnet about? Does anyone want to 295 00:22:51,220 --> 00:22:55,900 read? Probably the first quatrain, yes? batter my 296 00:22:55,900 --> 00:22:59,540 heart, three persons God for you, as yet but not 297 00:22:59,540 --> 00:23:02,700 breathe shine and seek to mend, that I may rise 298 00:23:02,700 --> 00:23:07,260 and stand o'er you, me and them, you're forced to 299 00:23:07,260 --> 00:23:11,160 break, blow, burn and make me new. No, no, read 300 00:23:11,160 --> 00:23:14,300 this again and pay attention to the B B B sound, 301 00:23:14,440 --> 00:23:17,460 the alliteration. You're forced to break, blow, 302 00:23:17,600 --> 00:23:20,000 burn and make me new. Break, break, blow, burn. 303 00:23:20,840 --> 00:23:24,300 Yeah, that's that's part of the strong language 304 00:23:24,300 --> 00:23:30,100 strong opening here. Is this a love poem? There's 305 00:23:30,100 --> 00:23:34,500 God here. You know three persons in Christianity 306 00:23:34,500 --> 00:23:38,700 who have Trinity. The Trinity. This is a religious 307 00:23:38,700 --> 00:23:43,800 poem and the whole poem is about the poet trying 308 00:23:43,800 --> 00:23:49,500 to break free from the sins of God's enemy, Satan, 309 00:23:49,640 --> 00:23:52,860 the devil. He's asking God to break this 310 00:23:52,860 --> 00:23:57,820 relationship between him and Satan, to free him. 311 00:23:58,460 --> 00:24:03,560 Divorce me from who? From his relationship with 312 00:24:03,560 --> 00:24:08,620 the enemy of God, Satan. Because he wants to be 313 00:24:08,620 --> 00:24:12,000 close to God. He wants to be free. And there's a 314 00:24:12,000 --> 00:24:15,660 paradox. I like the paradox here. Imprison me to 315 00:24:15,660 --> 00:24:19,840 make me free. What is a paradox? Saying something 316 00:24:19,840 --> 00:24:22,900 and saying the opposite. That's irony. Paradox is 317 00:24:22,900 --> 00:24:25,820 a sentence that contradicts itself. When someone 318 00:24:25,820 --> 00:24:28,820 says imprison me because I want to be free. What? 319 00:24:32,060 --> 00:24:36,190 Feed me because I want to be hungry. Break me 320 00:24:36,190 --> 00:24:41,750 because I want to be new. Generally, it's a 321 00:24:41,750 --> 00:24:44,770 statement that contradicts itself. When you first 322 00:24:44,770 --> 00:24:47,810 read it, you think it doesn't make sense. But when 323 00:24:47,810 --> 00:24:50,550 you analyze it, when you put it in its context, 324 00:24:51,010 --> 00:24:54,550 you realize how smart and witty this is. So he 325 00:24:54,550 --> 00:24:58,810 wants to break the old him, the sinner, the person 326 00:24:58,810 --> 00:25:02,250 that is close to Satan, to the devil, because he 327 00:25:02,250 --> 00:25:06,270 wants to be new with God. He wants God to imprison 328 00:25:06,270 --> 00:25:10,690 him away from the enemy of God, from him to him. 329 00:25:11,050 --> 00:25:15,010 If you are a prisoner with God, you're still free. 330 00:25:15,830 --> 00:25:18,950 He offers you a lot of freedom. So what is this 331 00:25:18,950 --> 00:25:24,510 poet doing? Again, changing the form, changing the 332 00:25:24,510 --> 00:25:28,130 rhyme scheme, and changing the subject matter of 333 00:25:28,130 --> 00:25:31,310 the most important form of English literature of 334 00:25:31,310 --> 00:25:33,710 that time, the sonnet. So there is a deliberate 335 00:25:35,590 --> 00:25:38,890 Insistence on this, on bringing something new, on 336 00:25:38,890 --> 00:25:41,430 breaking the rules of the Qur'an. This is someone 337 00:25:41,430 --> 00:25:44,130 saying, no, I am more powerful than the rules of 338 00:25:44,130 --> 00:25:46,270 the Qur'an. Because the rules of the Qur'an are 339 00:25:46,270 --> 00:25:50,770 busy old fool and unruly. They keep just calling 340 00:25:50,770 --> 00:25:53,270 upon us, telling us what to do and what not to do. 341 00:25:53,350 --> 00:25:58,690 I'm not going to follow this. OK. One more. This 342 00:25:58,690 --> 00:26:01,490 is another sonnet. Probably I can pass it on. Look 343 00:26:01,490 --> 00:26:07,140 at this poem. it's in the book by the way and the 344 00:26:07,140 --> 00:26:12,540 title is Easter Wings you know not Red Bull this 345 00:26:12,540 --> 00:26:17,840 time but if you look at the text from afar it 346 00:26:17,840 --> 00:26:23,680 sounds like a bird flying or probably two birds 347 00:26:23,680 --> 00:26:27,780 flying because this is body the wings the body the 348 00:26:27,780 --> 00:26:28,300 wings 349 00:26:31,180 --> 00:26:34,540 What was that? The M? 350 00:26:37,520 --> 00:26:41,240 But generally I just turned it this way because I 351 00:26:41,240 --> 00:26:44,680 wanted to show you how it could look like a bird, 352 00:26:44,860 --> 00:26:48,140 like wings. Easter, wings. Also Easter, you know 353 00:26:48,140 --> 00:26:50,400 Easter, we are in March, Easter. This is also a 354 00:26:50,400 --> 00:26:52,860 really just Christian thing here. 355 00:26:57,060 --> 00:27:00,220 This is the poem. Now, the title, Easter Wings, 356 00:27:00,380 --> 00:27:06,400 might sound religious. It is religious. But when 357 00:27:06,400 --> 00:27:11,380 you look at the shape of the poem, remember, when 358 00:27:11,380 --> 00:27:13,440 we go for Shakespeare, for Ben Jonson, even 359 00:27:13,440 --> 00:27:18,280 Marlowe and those poets, same number of syllables 360 00:27:18,280 --> 00:27:22,840 and feet. This looks crazy, because we have long 361 00:27:22,840 --> 00:27:26,600 line, shorter, short, and then the shortest, and 362 00:27:26,600 --> 00:27:31,260 then it gets long. Listen. Now these group, these 363 00:27:31,260 --> 00:27:36,860 poets, this group of poets did something new to 364 00:27:36,860 --> 00:27:41,320 literature, to English poetry. And this is 365 00:27:41,320 --> 00:27:46,880 important because to them, the meaning is more 366 00:27:46,880 --> 00:27:51,860 important than the rule. Again, the meaning is 367 00:27:51,860 --> 00:27:55,360 more important than the rule. If I feel like 368 00:27:55,360 --> 00:27:57,680 writing a religious poem in the sonnet form, you 369 00:27:57,680 --> 00:28:02,620 go for it. If I feel that the line needs five 370 00:28:02,620 --> 00:28:06,000 feet, I go there. If I feel it needs less or more, 371 00:28:06,200 --> 00:28:11,500 I go there. The idea is more important. The idea 372 00:28:11,500 --> 00:28:14,780 is more significant than the rule itself, than the 373 00:28:14,780 --> 00:28:19,680 number of the syllables in many ways. Let's see 374 00:28:19,680 --> 00:28:22,640 how they connect where the meaning and the form 375 00:28:22,640 --> 00:28:26,060 are connected. In the rules of the Quran, like in 376 00:28:26,060 --> 00:28:28,360 Arabic poetry by the way, sometimes when you read 377 00:28:28,360 --> 00:28:30,600 Arabic poetry you find that a particular word 378 00:28:30,600 --> 00:28:33,300 doesn't fit in the context. I'm not sure if I 379 00:28:33,300 --> 00:28:37,970 mentioned this before here. What's his name? Elia 380 00:28:37,970 --> 00:28:42,010 Boumadie, in one of his poems, Kam Tashtaki, He's 381 00:28:42,010 --> 00:28:45,630 inviting people to be optimistic. And in one line, 382 00:28:45,710 --> 00:28:46,190 he says, 383 00:28:50,660 --> 00:28:53,360 So he's saying, like, be happy because the sun is 384 00:28:53,360 --> 00:28:57,640 burning. It doesn't work. Why? Because he chose 385 00:28:57,640 --> 00:28:59,560 this particular word, although it is the wrong 386 00:28:59,560 --> 00:29:02,220 word, because of the rhyme and because of the 387 00:29:02,220 --> 00:29:04,980 meter. It wasn't mulqafiyah. For those 388 00:29:04,980 --> 00:29:08,000 metaphysical poets, for those poets we're studying 389 00:29:08,000 --> 00:29:11,100 today, the meaning is more important. They can 390 00:29:11,100 --> 00:29:13,680 break the rule for the right word, for the right 391 00:29:13,680 --> 00:29:18,240 idea. Let's see how the meaning, the theme, is 392 00:29:18,240 --> 00:29:19,420 connected with 393 00:29:22,470 --> 00:29:28,490 The form. So this is the longest line, right? And 394 00:29:28,490 --> 00:29:32,690 this is the shortest line. Same here, two lines, 395 00:29:32,790 --> 00:29:35,830 very short, long, long. The first line says, Lord, 396 00:29:35,950 --> 00:29:42,730 again, God, religious. Lord who created man in 397 00:29:42,730 --> 00:29:44,870 wealth and store. And that's why we have the 398 00:29:44,870 --> 00:29:49,350 longest line. He's saying, God gave man 399 00:29:49,350 --> 00:29:54,450 everything. This big, the biggest thing. God 400 00:29:54,450 --> 00:29:59,710 created man in wealth and store. And that's why 401 00:29:59,710 --> 00:30:04,270 it's the longest line. What happens next? Man 402 00:30:04,270 --> 00:30:06,930 begins to lose. 403 00:30:08,750 --> 00:30:12,390 And then because there is loss here, the line 404 00:30:12,390 --> 00:30:17,240 shrinks. Thank you for the word, shrinks. And then 405 00:30:17,240 --> 00:30:21,440 decay, you know, decay decline, fades, decaying 406 00:30:21,440 --> 00:30:28,320 even more and more till he became most poor, most 407 00:30:28,320 --> 00:30:33,200 poor and we have the shortest line. But what 408 00:30:33,200 --> 00:30:37,900 happens next with thee, thee here, Lord. Let me 409 00:30:37,900 --> 00:30:40,980 rise. Because there's rising, it grows again 410 00:30:40,980 --> 00:30:43,940 bigger because you connect, you go back to God. As 411 00:30:43,940 --> 00:30:46,960 larks, as birds. You know the lark? Harmoniously 412 00:30:46,960 --> 00:30:50,920 and sing this day thy victories. Then shall the 413 00:30:50,920 --> 00:30:55,260 fall further the flight in me. Oh, thank you. I 414 00:30:55,260 --> 00:31:00,660 love the further alliteration. The fall further 415 00:31:00,660 --> 00:31:05,790 the flight. It's alliteration where the sound It's 416 00:31:05,790 --> 00:31:11,210 like, it's like wings fluttering. Similar to this 417 00:31:11,210 --> 00:31:15,710 in a way, fluttering. The fall, further, the 418 00:31:15,710 --> 00:31:20,110 flight, there is alliteration here, but also there 419 00:31:20,110 --> 00:31:27,910 is a paradox. What's a paradox? A sentence that is 420 00:31:27,910 --> 00:31:32,190 self-contradictory. How does the fall further the 421 00:31:32,190 --> 00:31:36,030 flight? If you fall, you fall. But here he says, 422 00:31:36,530 --> 00:31:41,030 if I fall, I rise up above. Because this is a 423 00:31:41,030 --> 00:31:44,470 religious concept here. If you commit a sin and 424 00:31:44,470 --> 00:31:49,150 you repent, you go back to God, you will rise 425 00:31:49,150 --> 00:31:52,270 higher than ever before. If you count the number 426 00:31:52,270 --> 00:31:57,310 of syllables here, Ten. Can you say how that 427 00:31:57,310 --> 00:32:05,530 worked with you? One, two, three, four, 428 00:32:05,790 --> 00:32:07,610 five, six, seven, eight, nine, ten. One, two, 429 00:32:07,810 --> 00:32:10,030 three, four, five, six, seven, eight, nine, ten. 430 00:32:10,030 --> 00:32:10,030 One, two, three, four, five, six, seven, eight, 431 00:32:10,030 --> 00:32:11,050 nine, ten. One, two, three, four, five, six, 432 00:32:11,050 --> 00:32:11,590 seven, eight, nine, ten. One, two, three, four, 433 00:32:11,590 --> 00:32:11,990 five, six, seven, eight, nine, ten. One, two, 434 00:32:11,990 --> 00:32:11,990 three, four, five, six, seven, eight, nine, ten. 435 00:32:12,090 --> 00:32:12,090 One, two, three, four, five, six, seven, eight, 436 00:32:12,090 --> 00:32:13,010 nine, ten. One, two, three, four, five, six, 437 00:32:13,010 --> 00:32:14,750 seven, eight, nine, ten. One, two, three, four, 438 00:32:14,750 --> 00:32:15,250 five, six, seven, eight, nine, ten. One, two, 439 00:32:15,250 --> 00:32:15,250 three, four, five, six, seven, eight, nine, ten. 440 00:32:16,670 --> 00:32:17,150 One, two, 441 00:32:19,930 --> 00:32:21,470 three, four, five, six, seven 442 00:32:24,690 --> 00:32:28,870 One foot. One foot. No, two syllables, one foot. 443 00:32:29,770 --> 00:32:35,270 Plural of foot. And then one, two, three, four, 444 00:32:35,510 --> 00:32:39,950 five. The same thing happens again and again. But 445 00:32:39,950 --> 00:32:42,250 again, what I'm saying here is that the longest 446 00:32:42,250 --> 00:32:46,330 line corresponds, is connected with what it means. 447 00:32:47,030 --> 00:32:51,930 Wealth and store. God gave man everything. And 448 00:32:51,930 --> 00:32:55,930 when man lost everything, became the most, most 449 00:32:55,930 --> 00:33:00,930 poor. Same thing happens again. Most thin, because 450 00:33:00,930 --> 00:33:03,210 this is the most thin physically, it's the most 451 00:33:03,210 --> 00:33:07,930 thin. But the poet is saying that I want to imp. 452 00:33:08,030 --> 00:33:12,230 Imp means like link, glue, connect. My wing on 453 00:33:12,230 --> 00:33:14,850 thine. And that's why we have here, this is a bird 454 00:33:14,850 --> 00:33:18,220 probably standing for man. And this is another 455 00:33:18,220 --> 00:33:23,040 bird standing for Jesus or God. And he wants the 456 00:33:23,040 --> 00:33:27,920 wings to be connected so they can... Affliction, 457 00:33:28,140 --> 00:33:31,680 pain shall advance the flight in me. I want to go 458 00:33:31,680 --> 00:33:34,840 back to you, God. Forgive my sins. I love you, 459 00:33:34,960 --> 00:33:38,380 God. I'm coming back to you. Look at the rhyme 460 00:33:38,380 --> 00:33:48,240 scheme here. We have Thor. Same. B, more, A, B, 461 00:33:48,780 --> 00:33:56,820 Puro, so A, D, C, rise, D, listen, harmoniously 462 00:33:56,820 --> 00:34:02,660 rhymes with D but imperfectly. So C, also rise and 463 00:34:02,660 --> 00:34:07,640 victories, they rhyme but imperfect rhyme. So D 464 00:34:07,640 --> 00:34:09,600 and C. 465 00:34:12,280 --> 00:34:18,680 So A, B, A, B, A. C, D, C, D, C. And the same 466 00:34:18,680 --> 00:34:25,760 thing happens later on. What do we see here again 467 00:34:25,760 --> 00:34:31,100 is that a poet deliberately, on purpose, changing 468 00:34:31,100 --> 00:34:35,460 the form. And the form is not random. It's 469 00:34:35,460 --> 00:34:39,830 connected with the meaning in many ways. If you 470 00:34:39,830 --> 00:34:42,610 notice, we have in one stanza, we have two 471 00:34:42,610 --> 00:34:46,090 imperfect rhymes here. So they don't look for the 472 00:34:46,090 --> 00:34:47,950 perfect rhyme. They don't look for the most 473 00:34:47,950 --> 00:34:51,030 beautiful, most elegant, most powerful, most 474 00:34:51,030 --> 00:34:55,590 highly, you know. Like a word that really is 475 00:34:55,590 --> 00:34:59,110 poetic that only poets and only people who go to 476 00:34:59,110 --> 00:35:02,430 university know. The right word in the right place 477 00:35:02,430 --> 00:35:06,070 is usually used. Because the meaning is more 478 00:35:06,070 --> 00:35:10,610 important than the rule. What is this? 479 00:35:13,410 --> 00:35:17,550 Okay, see, this is clearer here. What is this? 480 00:35:17,750 --> 00:35:25,890 This is John Donne and his school of poets. John 481 00:35:25,890 --> 00:35:31,910 Donne. John Donne. And his followers, George 482 00:35:31,910 --> 00:35:35,710 Herbert. The Easter Wings poem is a poem by 483 00:35:37,930 --> 00:35:44,450 Someone named George Herbert. So in brief, to wrap 484 00:35:44,450 --> 00:35:48,850 things up, John Donne as a poet clearly was 485 00:35:48,850 --> 00:35:51,830 dissatisfied with the way English poetry was 486 00:35:51,830 --> 00:35:54,270 written during his time. He didn't like the rules 487 00:35:54,270 --> 00:35:57,470 of decorum, so he broke them. He changed many 488 00:35:57,470 --> 00:36:00,270 things. He changed something about the form, about 489 00:36:00,270 --> 00:36:05,210 the language, about the rules, the meter. For this 490 00:36:05,210 --> 00:36:08,150 poet, the idea is more important than the rule. So 491 00:36:08,150 --> 00:36:11,570 he would break the rule just to convey the right 492 00:36:11,570 --> 00:36:12,010 idea. 493 00:36:15,150 --> 00:36:18,330 And what does that mean? Does it mean that it was 494 00:36:18,330 --> 00:36:24,390 okay to do this then? Of course not. Remember, 495 00:36:24,510 --> 00:36:27,450 this is the heyday of Renaissance. And then we 496 00:36:27,450 --> 00:36:30,950 will be having the neoclassical age, the age that 497 00:36:30,950 --> 00:36:34,970 emphasized rules over meanings in so many ways. 498 00:36:35,810 --> 00:36:37,810 The rules of decorum were sacred. You had to 499 00:36:37,810 --> 00:36:40,790 follow them. And when someone comes to do this, 500 00:36:41,210 --> 00:36:45,300 number one, he's viewed as a threat. Writing 501 00:36:45,300 --> 00:36:47,960 something different, writing something new could 502 00:36:47,960 --> 00:36:51,640 be viewed as a threat because some patrons might 503 00:36:51,640 --> 00:36:53,880 find this interesting and would be, oh, I want 504 00:36:53,880 --> 00:36:57,260 this poet who writes different poetry. And I want 505 00:36:57,260 --> 00:37:00,020 to give him money. I want to bring him. So 506 00:37:00,020 --> 00:37:03,940 probably some critics of that time viewed this as 507 00:37:03,940 --> 00:37:06,700 a threat. But definitely, they didn't like 508 00:37:06,700 --> 00:37:10,980 Diondan. But not because Diondan was writing bad 509 00:37:10,980 --> 00:37:17,700 poetry. or difficult poetry, or complex poetry. It 510 00:37:17,700 --> 00:37:20,260 was because John Donne was breaking the rules. And 511 00:37:20,260 --> 00:37:22,760 the rules for them are the most important things. 512 00:37:24,640 --> 00:37:27,160 One critic, Johnson, we studied Johnson already as 513 00:37:27,160 --> 00:37:29,560 a dramatist and a poet, he said, John Donne 514 00:37:29,560 --> 00:37:35,260 deserves hanging. Yeah, that's extreme. He 515 00:37:35,260 --> 00:37:38,040 deserves hanging. 516 00:37:38,740 --> 00:37:43,210 For what? For writing different poetry? Where's 517 00:37:43,210 --> 00:37:46,070 the freedom of speech, right? And he said, John 518 00:37:46,070 --> 00:37:50,310 Donne will perish. You know perish? He will 519 00:37:50,310 --> 00:37:55,030 decline. He will be forgotten. Perish. No one will 520 00:37:55,030 --> 00:38:01,130 remember him. Perish. He will vanish. He will 521 00:38:01,130 --> 00:38:03,630 disappear because no one will like his poetry. 522 00:38:03,730 --> 00:38:06,550 Actually, many people liked his poetry, but the 523 00:38:06,550 --> 00:38:10,790 mainstream critics The critics who called for the 524 00:38:10,790 --> 00:38:12,470 rules of the Quran did it like this, and they 525 00:38:12,470 --> 00:38:14,450 kicked John Donne and his followers from the 526 00:38:14,450 --> 00:38:18,590 canon. They would also not talk about them, ignore 527 00:38:18,590 --> 00:38:20,710 them, and when they talk about them, they would 528 00:38:20,710 --> 00:38:23,110 negatively frame them. Remember the word frame? 529 00:38:24,190 --> 00:38:28,370 Important word here. Frame? to describe somebody 530 00:38:28,370 --> 00:38:31,130 in a negative way or a positive way. But here, 531 00:38:31,210 --> 00:38:35,310 John Donne was negatively framed by the mainstream 532 00:38:35,310 --> 00:38:39,210 critics. How? Someone said, he deserves hanging. 533 00:38:39,430 --> 00:38:43,810 Someone said, he will perish. Someone said, he 534 00:38:43,810 --> 00:38:47,650 writes a perplexing poetry. Someone said, John 535 00:38:47,650 --> 00:38:49,650 Donne, this is not poetry, this is verse. 536 00:38:52,340 --> 00:38:55,620 Someone said even, because a lot of critics agree 537 00:38:55,620 --> 00:38:59,520 that John Donne is smart, witty. Alexander Pope 538 00:38:59,520 --> 00:39:05,060 said, no, he doesn't have an extraordinary kind of 539 00:39:05,060 --> 00:39:09,240 wit. All poets have the same level of wit like 540 00:39:09,240 --> 00:39:14,120 Donne. So John Donne and his followers, for about 541 00:39:14,120 --> 00:39:20,390 200 years, was in a way marginalized, was not in 542 00:39:20,390 --> 00:39:24,790 the canon, was kicked out. And thanks to a very 543 00:39:24,790 --> 00:39:28,790 important man, a very important critic, a very 544 00:39:28,790 --> 00:39:32,130 important poet in the 20th century, early 20th 545 00:39:32,130 --> 00:39:38,930 century, T.S. Eliot. The Wasteland, April is the 546 00:39:38,930 --> 00:39:44,390 cruelest month. When he was reading poetry, he 547 00:39:44,390 --> 00:39:48,530 came across the metaphysical poets, John Donne. 548 00:39:49,510 --> 00:39:52,190 And he said, wow, these are important poets. He 549 00:39:52,190 --> 00:39:57,030 showed how important their poetry was, to the 550 00:39:57,030 --> 00:40:00,770 extent that in the 20th century, John Donne and 551 00:40:00,770 --> 00:40:03,630 his followers became more important than Johnson, 552 00:40:04,370 --> 00:40:06,790 than Dryden, than Samuel Johnson, and then 553 00:40:06,790 --> 00:40:10,810 Alexander Pope combined. Many poets in the 20th 554 00:40:10,810 --> 00:40:13,510 century started to imitate them in a way. That's 555 00:40:13,510 --> 00:40:17,530 why John Donne is considered a modernist. What is 556 00:40:17,530 --> 00:40:18,190 a modernist? 557 00:40:22,130 --> 00:40:25,750 Modernism. He brings new ideas, he experiments, he 558 00:40:25,750 --> 00:40:30,870 changes. The 20th century went back to the poets 559 00:40:30,870 --> 00:40:34,030 like John Donne to imitate them, to learn from 560 00:40:34,030 --> 00:40:39,540 them. And finally, when we read the literature 561 00:40:39,540 --> 00:40:42,480 box, we will come across the term metaphysical. 562 00:40:43,040 --> 00:40:46,780 Listen to this again. Metaphysical poetry, 563 00:40:46,900 --> 00:40:48,860 metaphysical poets. This is an ugly term. Look at 564 00:40:48,860 --> 00:40:51,900 it. It's horrible, right? Metaphysical poetry. It 565 00:40:51,900 --> 00:40:57,580 sounds terrorizing, intimidating, spooky. Now, 566 00:40:57,920 --> 00:41:00,900 this term was used again by the mainstream critics 567 00:41:00,900 --> 00:41:04,220 Dryden and Johnson to describe John Donne and his 568 00:41:04,220 --> 00:41:07,340 followers. What does it mean, metaphysical? 569 00:41:07,620 --> 00:41:10,180 Believe me, it doesn't mean much. It doesn't mean 570 00:41:10,180 --> 00:41:16,360 anything. But it was used in order to, again, make 571 00:41:16,360 --> 00:41:19,740 people just, in a way, hate those poets, not read 572 00:41:19,740 --> 00:41:23,840 them. Because I want to read poetry. Oh, yeah. 573 00:41:24,830 --> 00:41:27,070 Metaphysical, it sounds, the name even sounds 574 00:41:27,070 --> 00:41:29,950 difficult. So this is also negative framing. So 575 00:41:29,950 --> 00:41:34,290 according to T.S. Eliot, the term metaphysical was 576 00:41:34,290 --> 00:41:41,870 a term of abuse. What's abuse? As an insult. So it 577 00:41:41,870 --> 00:41:44,710 wasn't used to describe them, but it was used to 578 00:41:44,710 --> 00:41:48,510 insult them. To tell people, don't read this 579 00:41:48,510 --> 00:41:48,830 poetry. 580 00:41:53,340 --> 00:41:57,380 I'll stop here. I will continue this later on. But 581 00:41:57,380 --> 00:42:00,480 let me just summarize the last point here and see 582 00:42:00,480 --> 00:42:05,160 how funny literature is and how life works against 583 00:42:05,160 --> 00:42:12,160 certain ideologies and ideas. Ben Jonson said John 584 00:42:12,160 --> 00:42:14,260 Donne will perish for breaking the rules. 585 00:42:15,640 --> 00:42:17,880 Ironically, nowadays John Donne is more important 586 00:42:17,880 --> 00:42:22,470 than Ben Jonson. and probably other mainstream 587 00:42:22,470 --> 00:42:27,090 critics, neoclassical critics of that type. So no 588 00:42:27,090 --> 00:42:29,710 matter how much sometimes the official mainstream 589 00:42:29,710 --> 00:42:34,790 critics and poets try to dismiss some poetry, not 590 00:42:34,790 --> 00:42:37,250 because it's bad, but because it's against their 591 00:42:37,250 --> 00:42:40,590 ideology, against their rules, because it 592 00:42:40,590 --> 00:42:43,670 threatens them, no matter how much, how hard they 593 00:42:43,670 --> 00:42:48,420 try. Later on, people will have the chance to read 594 00:42:48,420 --> 00:42:51,980 this poetry and appreciate it for its beauty and 595 00:42:51,980 --> 00:42:57,500 its contribution. Okay? So these are the major 596 00:42:57,500 --> 00:43:00,700 points I just discussed here. 597 00:43:04,260 --> 00:43:06,300 You don't have to write them down. You can see 598 00:43:06,300 --> 00:43:07,360 them in the video, by the way. 599 00:43:13,450 --> 00:43:17,270 Our next class will continue doing John Donne, 600 00:43:17,970 --> 00:43:21,770 George Herbert, and Andrew Marvel. And I'll repeat 601 00:43:21,770 --> 00:43:24,510 these ideas and speak about the features of 602 00:43:24,510 --> 00:43:27,250 metaphysical portrait. Do you have any question? 603 00:43:27,730 --> 00:43:33,030 Please. How we can know the irregular rhyme scheme 604 00:43:33,030 --> 00:43:40,390 like this? When you look at the poem and trace the 605 00:43:40,390 --> 00:43:41,590 rhyme 606 00:43:45,760 --> 00:43:51,360 Generally, go with your gut, meaning like, what do 607 00:43:51,360 --> 00:43:54,580 you feel here? How do you feel? And then go 608 00:43:54,580 --> 00:43:57,800 through it again and try to see whether two rhymes 609 00:43:57,800 --> 00:44:02,560 are close, not close enough to be perfect rhymes, 610 00:44:03,000 --> 00:44:06,260 but probably 50% and you bring them together. So 611 00:44:06,260 --> 00:44:09,390 here, generally, when I first read this, I didn't 612 00:44:09,390 --> 00:44:13,870 like rise with victories. Because rise is 613 00:44:13,870 --> 00:44:16,290 different from victories. But does it sound like 614 00:44:16,290 --> 00:44:22,030 it? In a way, yes. A little bit. Not 100%. So we 615 00:44:22,030 --> 00:44:24,190 go for imperfect rhyme. When we remember these are 616 00:44:24,190 --> 00:44:25,930 the metaphysical powers, we say, oh, they didn't 617 00:44:25,930 --> 00:44:29,270 want to follow the rules 100%. But there is more 618 00:44:29,270 --> 00:44:31,970 to this. When you study the imperfect rhyme, I 619 00:44:31,970 --> 00:44:34,690 think you will find more reasons why this is 620 00:44:34,690 --> 00:44:37,310 imperfect. There's something going on. We need to 621 00:44:37,310 --> 00:44:39,860 analyze. Okay, thank you. If you have any 622 00:44:39,860 --> 00:44:42,480 question, we can continue after this. Thank you 623 00:44:42,480 --> 00:44:42,960 and good luck.