PL9fwy3NUQKwZ52Wxrug71SHLnFjqhlVJc/L7HUVUHeccM_postprocess.srt

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Okay, good morning everybody. How are you? I bet

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you had a nice weekend. Not much. Why? Okay, but

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other than this, like, did you have time to write

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reports and write response?

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So, let us see what you have written. Let me see

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you, please. Yes.

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You just come here. Okay. I'm sitting on my desk

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thinking of something to write in my daily report

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about the previous class. Actually, I didn't have

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the chance to read my report yet. But this time, I

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have this gut feeling that this time, Dr. Anna...

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Wow, look here. You know, look here. And this is

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the beauty about like getting to write a report.

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Like, you think, you know, you're not going to

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read, but here she thought and she's reading.

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About the last class, I really liked the themes of

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the poem. It wasn't just about courtly love, as I

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expected. It also could be about power and

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weakness. And also, how you connected Raym with

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the themes. It was very amazing. Thank you very

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much. It's laconic, but what I like about this...

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You know what means laconic? Very short. But what

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I like about this report, is like the way she is

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spontaneous and the way she is recapitulating the

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previous class by talking about the theme. Okay,

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yes? Yes? Report. Still like we are in the area of

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report.

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Say good morning, how are you? Like they are

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waiting for you, yeah? And you have to look at

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them. Good, good. Okay. Last class was an

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interesting class because Mr. Habib completed the

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last point in the poem. He used his lab and showed

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some of the reports about poems, which gave us an

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important information. That helped us to

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understand more. A lot of students participated

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with the teacher. Next, he used a new way that he

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divided us for groups, only three students in the

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same group.

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Collaborative. I like the word collaborative work.

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He wanted to ask each group of the first one to

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the second one. So the lecture followed up a

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discussion and a question. At last, we finished

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the whole discussion. Then Mr. Hadif called us to

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prepare us to a new bowl. Ah, to prepare a new

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bowl. Good. Now I know somebody is like boiling.

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She wants to read her report. Is anybody like?

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feeling that she needs to read her report before

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we shift to the response? Good. So, Henry Howard,

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Errol of Surrey. Description of Spring. What do

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you think? First, let me see who's ready to give a

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response.

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The season of buds and blooms fled away, with the

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gifts he brought and every spray, with the smiles

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he drew on every spot, and the gloom he erased

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behind every dot. For the green hills that used to

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spring, and the nightingales that always sing, the

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season of love will back again, when he reignites

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other hills somewhere. It's the angelic season to

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blow the joy in the heart, to lob in the yards and

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catch the buck's heart. It's the time when hearts

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make up their minds to create a castle over

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blossoms' rapid sides. Yet some might consider it

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a matter of gloom, since in the party they failed

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to win a room. Those should be much more aware

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that life leaves us rarely fair. Good. Thank you.

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I think you are becoming more poetic in your

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response. So I think at the end of this course, we

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are going to have a new poet. Thank you. Okay, now

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let me just elicit your responses, like, you read

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something about the poet, you read, like, Henry

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Howard. So let me see, like, what's your response

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without reading, yes?

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No,

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I just want you to talk without reading. What do

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you think of the poet and what do you think of the

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poem?

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We have some similarities

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and some differences.

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So it seems like you are impressed by this summit

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more than the previous one?

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Okay,

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so there is like, you know, an abrupt shift, you

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know, in the whole poem. Good. I like the way you

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approach the poem, like, and you know, you started

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to compare and contrast. And I think comparing and

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contrast between two poets is good. And I want

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this angle to be developed in our course.

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Yesterday, we were dealing with Henry Howard, who

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was a great admirer of Sir Thomas Wyatt, the one

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who introduced this sonnet. Good. Any other

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response? Yes, please. by teaching them the style

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of the word, and that it's also epistemic. Yeah, I

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like the word ephemism, ephemistic. To be

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ephemistic, like, you know how to write this word.

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Ephemism, like to use nice words to express harsh

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ideas. For example, sometimes it is very

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embarrassing to say, I want to go to the toilet.

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So a better way is say, I want to wash my hands.

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Mr. X, for example, died. This is very shocking.

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So he passed away. This is ephemism. But I don't

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know why you say he's ephemistic. It means

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he's hedging. He's not blunt. He's not direct.

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Okay, it seems like we need to develop this

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further. Good, thank you. Yes? Yes?

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Okay. What do you think? Do you like the poem?

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Okay, you can, you're free to say, we like it, we

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don't like it. What was the most interesting line

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for you? Like, these are, yes? Have you read the

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poem? Yeah, was it disturbing? Because some people

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thought it was disturbing, because you know, the

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language itself is little bit. Yeah, it's archaic

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language. It's not like, you know, very formal.

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It's archaic. Yes? It is not old English, because

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if we are talking about old English, it is

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completely different, you know? This is like, you

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know, it can be criticized as modern English, you

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know? Yes? What about here, people? Yes, please. I

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like

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this.

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I like this. So he was trying, like, to speak

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about the internal by talking about... Yeah, and

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this is like, you know, one of the differences

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between the two. Yes?

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It's, can you repeat that?

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Good color. Nature. So you think the poem is about

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like a change in nature?

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He liked that change or he didn't like it? He

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liked it, but he's sad because he didn't like one

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of the aspects of this change or relief of nature.

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He's not included with that. So because he was not

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included in that change, do you want to say he was

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a little bit envious? You know what's mean

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envious? Like he had some envy. Good. I like this.

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Yes? At first, he was describing the miracle of

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nature and how everything around him is new and

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changing. But at the same time, his attitude, he

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couldn't change. He couldn't be part of this

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change and move on. Good. I liked it. Yes? What

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about the other people? Yes? What do you think? I

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want to talk about the… Yeah, it seems like all of

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you are doing well, but some of you are afraid to

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say their opinion. Go ahead. expressed about his

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love for nature and the change which happened. Do

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you think like he, when he talk about nature, did

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he show any feeling and attitude? Yes, he

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expressed his insight by expressing about the

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outside. So he used the description as a vehicle?

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Good. You talked. What about the rest? Yes? You

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like the poem or you don't like it?

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You talked

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about the message. What is the message? Yeah, but

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he has a message. Do you think he has a message? I

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think when we write, you know, we are having a

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message. What is the message? What is the possible

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message?

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Yes? So, like, the message he's sending, like,

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he's different, like, he's, you know, sad. He's

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sad. So, he wants, like, to convey his suffering.

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Good, okay. Good.

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Is he trying to gain our sympathy?

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Have you read that? How did you read that? First,

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like, I don't know. When you read the poem, you

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must have read

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it aloud. So this is the poem. And thus I see

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among these pleasant things, each care decays and

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my sorrow springs. How would you read this? I want

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you to read as if you like, when you read it at

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home, you must have read it aloud. So how would

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you read this last couplet? And I like, you know,

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this is a copy. How did you read it? And each care

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decays and you know, and thus I see among these

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pleasant things, each care decays and yet my soul

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springs. You mean how I read it? Yeah, yeah. How

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to understand it? Yeah, how you read it aloud. And

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thus I see among these pleasant things, each care

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decays and yet my soul springs. Do you think this

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works like this? Like does this fit with the

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atmosphere? No, I want it to be very poetic, as if

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you were on the stage and reading this. How would

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you read it? Thus, I see among these pleasant

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things each care decays and yet my soul springs.

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Do you like it like this? I don't like it. Yeah.

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So, yeah, there should be sadness going on. And

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thus, I see among these pleasant things, each care

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decays and yet my sorrow springs. Yes. Yes. Yes.

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Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes.

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Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes.

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Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes.

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Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes.

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Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes.

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Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. You

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should feel about it. OK. But I want to read the

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explanation. You want to read? OK, go ahead. I

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like this. At first, I see among these pleasant

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things, each care decays and yet my sorrow begins.

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Good. My sorrow springs. Yeah. So you have like

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this sense of like envy. And thus, I see among

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these pleasant things. Each care decays on my

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soul. And yet my soul springs. So it's like

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focusing. There is concentration on this coupling.

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Okay. It seems like this poem is very interesting.

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But let me ask a last question about your response

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as a Muslim reader.

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Did you like the poem? And why? As a Muslim

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reader, like, you know, as a reader, as a Muslim,

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do you like this poem or not? And what reasons

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would a Muslim have to like this poem?

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Yeah,

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so you think, I like this, The poet tries to

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convey some new ideas that come to transfer to the

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reader. And then the revolutions in the Arab

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world. Ah, very good. I like this, you know. They

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called it the Arabic Spring. The Arab Spring. Wow,

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good. Which means a new life. This is a new

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reading. This is a new political reading of the

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poem. Good. A new life, a new way of even a new

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way of style of life that they want to like it can

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be like protected. Good. I think yes, as Muslims,

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like we are interested in the idea of

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regeneration. We are interested in the idea of

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resurrection, rebirth. You know, resurrection

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means like you are resurrected from the dead. And

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we have a lot of dead images or images of death

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Then suddenly, all these images were transformed

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to images of love, of life and rebirth. Good. This

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is very interesting. Thank you for giving me this

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input. Now, let's go to the poet. Nobody told me

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anything about the poet. As you see here, Henry

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Howard, Earl of Surrey. And this is like a title,

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Errol. Errol, it's a title, like Errol to be in

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response. So it seems like he was a man from the

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Nobles. He was a man belonging to the court. He

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was a little bit different from Sir Thomas Wyatt.

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And look here. All his birth shows that he was

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noble. He was the eldest son of Thomas Howard and

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Lady Elizabeth, daughter of Duke. So he's

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belonging to the royal family. And he was given

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this title. He himself was a decision maker. And I

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think he was an important, figure in English

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literature for some reasons. Now Thomas Wyatt was

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influential, was very important. Why? Because he

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introduced the sonnet. Now we have here like

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somebody who did something else. And here we are

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talking about his achievement. As you see, Henry

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Howard was one of the founders of the English

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Renaissance poetry. So when we're talking about

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Renaissance poetry, we're talking about poetry

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which was influenced by Latin culture. I think he

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was, he translated many of Latin writers. And his

250
00:19:22,310 --> 00:19:25,970
poetry was imitating, but he was trying to develop

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00:19:25,970 --> 00:19:30,370
the Renaissance poetry. Like he wrote about love,

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he wrote about death, he wrote about life. So his

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spectrum of themes was very wide.

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And I think he is accredited, as you see here, to

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develop the sonnet. Yes, Wyatt introduced the

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sonnet, but here we have a poet who developed the

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sonnet. And what I mean, he developed. I'm not

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00:19:57,700 --> 00:20:02,340
talking about just like the rhyme itself, I mean

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the couplet, but rather how the sonnet became into

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00:20:08,820 --> 00:20:13,060
four parts rather than two or three parts. So the

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00:20:13,060 --> 00:20:19,400
poem, the sonnet became like four parts, three

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00:20:19,400 --> 00:20:23,360
quatrains, and when I say quatrain, like four

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lines, and a couplet. And this is what Shakespeare

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adopted after him. So yes, he developed the

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sonnet. And the sonnet became more flexible,

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because if we are talking about the Italian

267
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sonnet, an octave and assisted, it is a little bit

268
00:20:42,070 --> 00:20:45,950
rigid. You are restrained to introduce the

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00:20:45,950 --> 00:20:49,710
argument in the octave, and then you are forced to

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00:20:49,710 --> 00:20:55,470
put forward the resolution or the solution. And

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that was very restraining to the poet. But here,

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you are gaining more flexibility. I like the way

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00:21:02,710 --> 00:21:08,470
they are comparing Wyatt and Surrey. Both of them

274
00:21:08,470 --> 00:21:13,210
were the fathers of the English sonnet. Because

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one introduced it, and the other developed it.

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However, like one of the most interesting

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00:21:22,040 --> 00:21:25,600
achievement, and he's credited, is the invention

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00:21:25,600 --> 00:21:31,020
of blank verse. When we say blank verse, we're

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talking about unrhymed

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iambic pentameter. And Shakespeare is greatly

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00:21:39,960 --> 00:21:47,060
indebted to Surrey because all of Shakespeare's

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00:21:47,060 --> 00:21:51,330
plays were written in blank verse. And blank

283
00:21:51,330 --> 00:21:57,590
verse, it is this unrhymed iambic pentameter. I

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don't know, like, you might have read about his

285
00:21:59,630 --> 00:22:05,250
life. He had unfortunate life. And you know what

286
00:22:05,250 --> 00:22:09,510
happened to him? You know what happened to him?

287
00:22:11,830 --> 00:22:14,870
Why didn't you read about anything about him? You

288
00:22:14,870 --> 00:22:18,970
are bad today, you know? I told you you have to

289
00:22:18,970 --> 00:22:21,830
read, and I gave you and the reader something

290
00:22:21,830 --> 00:22:26,350
about his life. So if you keep slacking off like

291
00:22:26,350 --> 00:22:31,210
this, I'll be worried about you if you slack off.

292
00:22:31,850 --> 00:22:36,390
I told you sometimes it is very important to read

293
00:22:36,390 --> 00:22:37,770
about the life of the poet.

294
00:22:42,830 --> 00:22:48,180
Good, let me keep asking you about The lines you

295
00:22:48,180 --> 00:22:55,760
like in the poem. Which line do you like? Which

296
00:22:55,760 --> 00:22:58,600
line do you like? The couplet?

297
00:23:01,880 --> 00:23:03,520
Okay, other than the couplet.

298
00:23:13,020 --> 00:23:15,280
Other than the couplet, do you like anything else?

299
00:23:24,290 --> 00:23:30,030
Yes. The title. Why do you like it?

300
00:23:36,090 --> 00:23:36,890
How?

301
00:23:40,790 --> 00:23:46,050
Yeah, very good. Like could

302
00:23:46,050 --> 00:23:47,330
you elaborate that for me?

303
00:24:15,340 --> 00:24:16,740
Okay.

304
00:24:19,790 --> 00:24:22,310
Yes, there is contradiction. I wanted to show you

305
00:24:22,310 --> 00:24:26,290
like the trial of the, you know, it seems like you

306
00:24:26,290 --> 00:24:30,250
are not having a sound, so we have the, you have a

307
00:24:30,250 --> 00:24:33,250
sound system, you are trying it. This is the trial

308
00:24:33,250 --> 00:24:38,630
of him. He was trying on pigeon. Okay,

309
00:24:42,250 --> 00:24:48,190
I'm sorry. We need the sound system. Like, yes,

310
00:24:48,370 --> 00:24:56,050
our poet was convicted. He was executed by King

311
00:24:56,050 --> 00:25:01,610
Henry Howard for the accusation of cheating. Like,

312
00:25:02,710 --> 00:25:11,710
as we said when we discussed wire, like, you know,

313
00:25:11,790 --> 00:25:15,690
the core of human age was born of envy.

314
00:25:17,420 --> 00:25:24,480
Conspiracies. And he was accused of conspiring

315
00:25:24,480 --> 00:25:28,160
against the king. And the king had no mercy on

316
00:25:28,160 --> 00:25:35,340
him. He was executed. He was beheaded. And he was

317
00:25:35,340 --> 00:25:39,260
executed. And after nine days, the king himself

318
00:25:39,260 --> 00:25:43,880
died. So I don't know whether or not God cares. By

319
00:25:43,880 --> 00:25:48,600
the will of God, he cares. Henry Meyer also was

320
00:25:48,600 --> 00:25:52,460
accused of treason,

321
00:25:52,780 --> 00:25:57,140
but he was not killed. So why did they kill this

322
00:25:57,140 --> 00:26:02,360
man? Why did they kill him? Why did the king have

323
00:26:02,360 --> 00:26:11,340
mercy on him? I think. Why? Yes, he was, so he was

324
00:26:11,340 --> 00:26:16,880
likely to become a king. Why? So he was a threat.

325
00:26:18,300 --> 00:26:22,760
He was a threat to the king, so the king wanted to

326
00:26:22,760 --> 00:26:27,520
monopolize power, and as we said, the culture of

327
00:26:27,520 --> 00:26:30,840
the time was to believe that everybody should

328
00:26:30,840 --> 00:26:34,640
respect a position, and the king was appointed by

329
00:26:34,640 --> 00:26:38,980
God. This is quite unfortunate about him. I wish

330
00:26:38,980 --> 00:26:43,190
we had, you can watch this video It is like the

331
00:26:43,190 --> 00:26:48,250
trial of Henry Auer, and you see he is now

332
00:26:48,250 --> 00:26:54,910
defending himself in front of the jurors, but

333
00:26:54,910 --> 00:27:00,810
since we don't have the, unfortunate that this man

334
00:27:00,810 --> 00:27:04,970
is losing his life. Had he lived, he would have

335
00:27:04,970 --> 00:27:11,610
been one of the most prolific poets of the 16th

336
00:27:11,610 --> 00:27:15,670
century, and he could have surpassed many of the

337
00:27:15,670 --> 00:27:19,990
great poets of the time. Now I think it is time to

338
00:27:19,990 --> 00:27:23,470
shift to the poem and to read it aloud.

339
00:27:37,120 --> 00:27:44,320
The soot season that bud forth and brings With

340
00:27:44,320 --> 00:27:49,740
green hath clad the hill and eke the vale The

341
00:27:49,740 --> 00:27:54,640
nightingale with feathers anew she sings The

342
00:27:54,640 --> 00:27:59,440
turtle to her make hath told her tale Summer is

343
00:27:59,440 --> 00:28:04,200
come for every spray now springs The heart hath

344
00:28:04,200 --> 00:28:09,060
hung his old head on the pale The buck in break

345
00:28:09,060 --> 00:28:13,980
his winter coat he flings The fishes fleet with a

346
00:28:13,980 --> 00:28:18,500
new repaired scale The other all her slough away

347
00:28:18,500 --> 00:28:22,800
she slings The swift swallow pursues the fly's

348
00:28:22,800 --> 00:28:27,140
snail The busy bee her honey now she mings Winter

349
00:28:27,140 --> 00:28:31,860
is warm, that was the flower's bail And thus, and

350
00:28:31,860 --> 00:28:35,780
thus I see among these pleasant things Each care

351
00:28:35,780 --> 00:28:42,250
decays And yet, my sorrow springs. Very beautiful,

352
00:28:42,390 --> 00:28:47,470
but sad. Okay. I don't know, you mentioned like in

353
00:28:47,470 --> 00:28:51,690
your response that he is, we like him because he's

354
00:28:51,690 --> 00:28:58,810
atomistic. He is less, let's say, less denigrating

355
00:28:58,810 --> 00:29:04,970
than, less offensive, mainly to women, than Sir

356
00:29:04,970 --> 00:29:11,050
Thomas Wyatt. And okay, do you have an example of

357
00:29:11,050 --> 00:29:14,050
ephemism? Because I'm interested in this word. Do

358
00:29:14,050 --> 00:29:19,870
you have an example of ephemism here? So why did

359
00:29:19,870 --> 00:29:25,050
you say he's ephemistic? Because not directly, his

360
00:29:25,050 --> 00:29:32,050
words like Thomas, when he said about his lover,

361
00:29:33,010 --> 00:29:38,640
about her touch, not even tangible. Uh-huh. So he

362
00:29:38,640 --> 00:29:42,560
was not like humiliating,

363
00:29:42,680 --> 00:29:46,200
he was not denigrating the woman by describing her

364
00:29:46,200 --> 00:29:48,900
how she was. We don't have this description of a

365
00:29:48,900 --> 00:29:53,600
woman as we had in, yeah. But I'll give you one,

366
00:29:54,280 --> 00:30:00,780
yes? He didn't talk about this at all. Not all

367
00:30:00,780 --> 00:30:05,160
about the poem, in the poem. But he just thinked

368
00:30:05,160 --> 00:30:09,880
about the title, the title itself. Yes, he hinted

369
00:30:09,880 --> 00:30:13,620
about the suffering in the title. But again, if I

370
00:30:13,620 --> 00:30:19,640
want to draw your attention to a very explicit in

371
00:30:19,640 --> 00:30:23,220
the poem example of ephemism. Like if you look

372
00:30:23,220 --> 00:30:29,860
here, the turtle to her make hath told her tale.

373
00:30:31,960 --> 00:30:35,980
Now this is very, this is an example of ephemism.

374
00:30:36,300 --> 00:30:41,750
We're talking about a turtle and Her mate. A

375
00:30:41,750 --> 00:30:48,610
turtle and a mate. Now, of course, we're talking

376
00:30:48,610 --> 00:30:53,910
about spring. And spring is the season of rebirth.

377
00:30:54,630 --> 00:30:59,230
It is the season of reproduction, regeneration,

378
00:31:00,070 --> 00:31:07,130
multiplication. And without, you know, like this,

379
00:31:08,040 --> 00:31:12,300
You know, I mean, this relationship among these,

380
00:31:12,500 --> 00:31:17,440
you know, let's see, creatures, you know, there is

381
00:31:17,440 --> 00:31:21,580
no rebirth. So it is very important, like, when we

382
00:31:21,580 --> 00:31:27,450
think of the turtle telling her mate a story. What

383
00:31:27,450 --> 00:31:30,430
kind of story? Like he talks about the story. But

384
00:31:30,430 --> 00:31:35,090
here we are talking about intercourse. Intercourse

385
00:31:35,090 --> 00:31:39,530
among like this. Because this is a month of

386
00:31:39,530 --> 00:31:43,330
regeneration. But look how he spoke about this.

387
00:31:43,670 --> 00:31:47,250
you know, intercourse in a very, you know,

388
00:31:48,650 --> 00:31:50,650
euphemistic way. He didn't say, like, they are

389
00:31:50,650 --> 00:31:54,050
making love, you know, in a way, but he say, she

390
00:31:54,050 --> 00:31:56,590
is, and this is like, we understand, this is like

391
00:31:56,590 --> 00:31:59,930
a love story, you know, which involves, like, you

392
00:31:59,930 --> 00:32:02,950
know, this intercourse. It's an example of

393
00:32:02,950 --> 00:32:06,190
euphemism. But let me go to the poem. Some of you

394
00:32:06,190 --> 00:32:10,670
said that this poem is amazing. Who said that?

395
00:32:13,100 --> 00:32:14,340
Yeah, you said it is amazing.

396
00:32:17,200 --> 00:32:23,580
So you

397
00:32:23,580 --> 00:32:28,400
want to say like this poem has very beautiful and

398
00:32:28,400 --> 00:32:33,560
lively description. Why? Because of the images. We

399
00:32:33,560 --> 00:32:36,100
were talking about the images. We're talking about

400
00:32:36,100 --> 00:32:40,380
words that represent an image. We're talking about

401
00:32:41,230 --> 00:32:45,350
you know, imagery, like visual images, sound

402
00:32:45,350 --> 00:32:52,230
images, you know, kinetic images, thermal images.

403
00:32:53,210 --> 00:32:56,750
Okay? There is something I want you to read, you

404
00:32:56,750 --> 00:32:58,990
know, in the reader. There is something about

405
00:32:58,990 --> 00:33:01,310
imagery, the types of imagery, and I think you

406
00:33:01,310 --> 00:33:05,050
should read because, you know, we might discuss

407
00:33:05,050 --> 00:33:07,710
this further in the next class.

408
00:33:11,650 --> 00:33:17,170
Some of you said like, I was, I liked the poem

409
00:33:17,170 --> 00:33:23,210
because he was shifting from the external to the

410
00:33:23,210 --> 00:33:31,290
internal. He was like, he gave, you know, like the

411
00:33:31,290 --> 00:33:35,070
beautiful description of spring, and suddenly, you

412
00:33:35,070 --> 00:33:36,890
know, he shifted to himself.

413
00:33:40,910 --> 00:33:46,930
If we look at the last couplet, we have a figure

414
00:33:46,930 --> 00:33:50,570
of speech. And thus I see among these pleasant

415
00:33:50,570 --> 00:33:56,050
things each care decays and yet my sorrow springs.

416
00:33:56,470 --> 00:34:00,710
Like we have paradox. What is the paradox?

417
00:34:14,970 --> 00:34:20,550
Yeah, but again, you should be like, what is the

418
00:34:20,550 --> 00:34:24,510
paradox exactly? Yes, like the paradox. Can you

419
00:34:24,510 --> 00:34:27,130
tell me this is the paradox exactly?

420
00:34:29,300 --> 00:34:30,160
Yes, Leila?

421
00:34:32,960 --> 00:34:42,860
It is,

422
00:34:43,040 --> 00:34:45,420
you know, the paradox, that's right. It's the

423
00:34:45,420 --> 00:34:48,600
paradox, you know, the paradox is like in the

424
00:34:48,600 --> 00:34:52,360
sorrow springing. Like we have seen like spring

425
00:34:52,360 --> 00:34:57,560
has this You know, positive connotation, like all

426
00:34:57,560 --> 00:35:01,420
those creatures... ...were influenced by the

427
00:35:01,420 --> 00:35:04,400
spring and everything was springing. The trees

428
00:35:04,400 --> 00:35:09,100
were sprouting, blooming. You know, every creature

429
00:35:09,100 --> 00:35:12,920
was involved in this rebirth. But here, what is

430
00:35:12,920 --> 00:35:15,460
springing, what is sprouting, it is the sorrow.

431
00:35:16,200 --> 00:35:23,040
Which is a paradox. There is an irony. I think

432
00:35:23,040 --> 00:35:26,980
there is an irony. What is the irony? What is the

433
00:35:26,980 --> 00:35:34,060
irony? Look here. Yes, Layla, you're doing a good

434
00:35:34,060 --> 00:35:38,660
job today. The irony is that all the nature was

435
00:35:38,660 --> 00:35:41,900
very beautiful because of the changing in the

436
00:35:41,900 --> 00:35:46,020
atmosphere of the nature. But he himself is not

437
00:35:46,020 --> 00:35:50,280
happy. Excellent. Yes. Excellent. Yes. So there is

438
00:35:50,280 --> 00:35:54,020
disparity. Disparity, you know, it's been

439
00:35:54,020 --> 00:35:57,780
disparity, like difference between the outside and

440
00:35:57,780 --> 00:36:01,670
the inside, you know? So let me give you like

441
00:36:01,670 --> 00:36:05,190
perhaps you're not familiar a lot with the irony.

442
00:36:05,790 --> 00:36:09,190
Irony, we have many types of irony. We have verbal

443
00:36:09,190 --> 00:36:13,050
irony. We have dramatic irony. We have situational

444
00:36:13,050 --> 00:36:16,090
irony. And this is an example of a situational

445
00:36:16,090 --> 00:36:21,610
irony. Why? Because here you see the change is

446
00:36:21,610 --> 00:36:27,690
dominant. It dominates all the vista, but he's not

447
00:36:27,690 --> 00:36:31,530
included. You see what I mean? Martin Luther King,

448
00:36:32,390 --> 00:36:37,130
in his famous speech, I Have a Dream, said, you

449
00:36:37,130 --> 00:36:40,470
know, and here, you know, we are living in an

450
00:36:40,470 --> 00:36:45,350
island of poverty, you know, amidst an ocean of

451
00:36:45,350 --> 00:36:50,780
materialistic prosperity. So how come? You are

452
00:36:50,780 --> 00:36:54,100
impoverished, you are poor, in a world which was

453
00:36:54,100 --> 00:36:58,780
full of opulence and richness. So here there is

454
00:36:58,780 --> 00:37:02,780
disparity. So the disparity here, like the change

455
00:37:02,780 --> 00:37:09,680
in nature, was dominant. It dominated the whole

456
00:37:09,680 --> 00:37:12,980
vista, the whole creatures. But when it comes to

457
00:37:12,980 --> 00:37:17,820
the poet, this reminds me of the rhyme of Ancient

458
00:37:17,820 --> 00:37:23,460
Mariner. when the mariner was like aspiring for

459
00:37:23,460 --> 00:37:26,000
something to drink, but he was in the ocean and he

460
00:37:26,000 --> 00:37:30,660
said, water, water, everywhere. The board did

461
00:37:30,660 --> 00:37:34,080
shrink, but there is no drop to drink. Don't you

462
00:37:34,080 --> 00:37:37,500
think this is an irony? Yes. And here the irony is

463
00:37:37,500 --> 00:37:42,080
like, look here, we started to talk about ironies,

464
00:37:42,200 --> 00:37:46,120
images, you know, and we have not yet read the

465
00:37:46,120 --> 00:37:51,550
poem or even paraphrased it. But you know, when it

466
00:37:51,550 --> 00:37:54,470
comes to me, I like this line, the swift swallow

467
00:37:54,470 --> 00:38:00,070
pursues the fly's mane. I like this. Why should

468
00:38:00,070 --> 00:38:05,350
you like a line like this? Huh? Why should you

469
00:38:05,350 --> 00:38:09,310
like, the swift swallow pursues the fly's mane?

470
00:38:11,270 --> 00:38:19,330
Okay. Yes? The S sound, yes. The alliteration.

471
00:38:24,220 --> 00:38:28,460
And it gives like this sound, the swift swallow.

472
00:38:29,360 --> 00:38:33,580
You know, the swift swallow. It is like the sound

473
00:38:33,580 --> 00:38:37,460
image. The sound image is made this, the swift

474
00:38:37,460 --> 00:38:43,470
swallow. pursues the fly's mate. It's an image.

475
00:38:43,850 --> 00:38:48,370
It's an image of hyperactivity, like the swift

476
00:38:48,370 --> 00:38:52,230
swallow is relentless, is always following, you

477
00:38:52,230 --> 00:38:56,910
know, the flower, like, going there, the flies on

478
00:38:56,910 --> 00:39:00,850
the flower. And I like the buzzy bee as well. The

479
00:39:00,850 --> 00:39:06,640
buzzy bee. Buzzy bee. We have a sound image here,

480
00:39:06,820 --> 00:39:11,320
but we have a figure of speech also. Excellent. We

481
00:39:11,320 --> 00:39:13,480
have onomatopoeia.

482
00:39:15,200 --> 00:39:18,480
Onomatopoeia, it is like, are you familiar with

483
00:39:18,480 --> 00:39:25,140
this term? Onomatopoeia. So I think, you know,

484
00:39:25,200 --> 00:39:29,980
here we have a poet who has musical ear more than,

485
00:39:30,160 --> 00:39:33,440
you know, our like poet.

486
00:39:44,210 --> 00:39:46,290
Okay, I can write it.

487
00:39:54,230 --> 00:39:59,550
Onomatopoeia. Onomatopoeia, it means the sound

488
00:39:59,550 --> 00:40:06,130
suggests the meaning. And the Meze B, okay, I just

489
00:40:06,130 --> 00:40:06,870
write it here.

490
00:40:09,590 --> 00:40:10,290
Okay.

491
00:40:17,290 --> 00:40:22,450
We mentioned like, perhaps like poetry, like uses

492
00:40:22,450 --> 00:40:26,070
onomatopoeia. And I think we once talked about

493
00:40:26,070 --> 00:40:29,750
onomatopoeia.

494
00:40:33,140 --> 00:40:37,880
Onomatopoeia, like onomatopoeic words like tick,

495
00:40:38,560 --> 00:40:46,500
tick, like splash, you know, like kick, like hiss,

496
00:40:47,340 --> 00:40:51,840
like whisper, you know, these are onomatopoeic

497
00:40:51,840 --> 00:40:52,460
words.

498
00:40:55,080 --> 00:41:00,960
Okay, let's look at the poem again. Were you

499
00:41:00,960 --> 00:41:05,060
disturbed a little bit by, because some people

500
00:41:05,060 --> 00:41:09,280
were disturbed by the soot. This is like Chaucer,

501
00:41:09,360 --> 00:41:12,180
huh? Have you ever read something from Chaucer?

502
00:41:14,000 --> 00:41:19,380
The soot season, it means the sweet season. Now,

503
00:41:19,720 --> 00:41:25,760
the soot and the word eek, like what's been eek?

504
00:41:26,720 --> 00:41:33,050
Also, you know? So these words are archaic words,

505
00:41:34,490 --> 00:41:38,090
archaic words. And when we say archaic words,

506
00:41:40,190 --> 00:41:47,610
words which are old words, archaic,

507
00:41:56,300 --> 00:42:00,760
So poets sometimes embellish. You know what's mean

508
00:42:00,760 --> 00:42:05,920
embellish? Embellish, beautify. Embellishment,

509
00:42:06,320 --> 00:42:15,080
like to beautify, embellish their

510
00:42:15,080 --> 00:42:21,380
poetry by using archaic words. And archaism gives

511
00:42:21,380 --> 00:42:29,560
a sense of oldness, a rustic nature to the poem.

512
00:42:30,640 --> 00:42:35,380
It's like it makes it very poetic. And I think

513
00:42:35,380 --> 00:42:39,560
later this use of archaism will be developed more

514
00:42:39,560 --> 00:42:43,800
and more by the famous Elizabethan poet, I mean

515
00:42:43,800 --> 00:42:48,840
Edmund Spencer. I know we don't have time, but

516
00:42:48,840 --> 00:42:55,870
I'll do my best to paraphrase with you the poem in

517
00:42:55,870 --> 00:42:59,630
order to reconsider, like the poem next time, in a

518
00:42:59,630 --> 00:43:03,310
very critical manner.

519
00:43:04,990 --> 00:43:08,870
Let's read the poem. The soot season that bud and

520
00:43:08,870 --> 00:43:14,990
bloom forth springs with green hath clad the hill

521
00:43:14,990 --> 00:43:22,270
and eke the vale. It is, see here, The season of

522
00:43:22,270 --> 00:43:26,510
spring is dominating the whole vista. It's

523
00:43:26,510 --> 00:43:29,890
dominating the whole vista. And this shows how

524
00:43:29,890 --> 00:43:36,530
entire the change is. How entire. It is very

525
00:43:36,530 --> 00:43:41,430
panoramic. Very panoramic. We're talking about a

526
00:43:41,430 --> 00:43:45,670
change in nature. So it included every creature

527
00:43:45,670 --> 00:43:48,130
and every aspect of nature. With the greenhouse

528
00:43:48,130 --> 00:43:52,440
cloud, the hill and the lake, the vale. Okay, now

529
00:43:52,440 --> 00:43:54,140
we'll talk about personification, figures of

530
00:43:54,140 --> 00:43:57,540
speech, imagery next time, but this is like to

531
00:43:57,540 --> 00:44:00,900
preface the poem. The nightingale with feather now

532
00:44:00,900 --> 00:44:04,640
she sings. The nightingale with feather now she

533
00:44:04,640 --> 00:44:11,860
sings. Okay? The turtle to her make hath told her

534
00:44:11,860 --> 00:44:17,030
tale. Summer is coming. For every spring now

535
00:44:17,030 --> 00:44:21,270
springs. Again spring and spring. It is full of

536
00:44:21,270 --> 00:44:26,350
sound, you know. The heart has hung his old head

537
00:44:26,350 --> 00:44:32,770
on the... What is the heart? The male deer. The

538
00:44:32,770 --> 00:44:36,450
buck. It breaks. What is the buck? Also a deer,

539
00:44:36,750 --> 00:44:41,610
but it's a male. Look here. Some of the creatures

540
00:44:41,610 --> 00:44:46,810
are male, and we know that males are not always

541
00:44:46,810 --> 00:44:52,810
associated with rebirth. But here, why do you

542
00:44:52,810 --> 00:44:54,930
think that mentioning the male is significant?

543
00:44:56,630 --> 00:45:02,210
This shows How powerful the thrust of life is. You

544
00:45:02,210 --> 00:45:04,690
know what it means? The thrust of life. The power

545
00:45:04,690 --> 00:45:08,010
of life. It is very powerful. The motive of life

546
00:45:08,010 --> 00:45:12,630
is powerful. It is so powerful that it included

547
00:45:12,630 --> 00:45:16,250
even the male creatures... ...who are not

548
00:45:16,250 --> 00:45:19,610
associated with rebirth. Because rebirth is all

549
00:45:19,610 --> 00:45:22,850
the time associated with the feminine. With female

550
00:45:22,850 --> 00:45:30,280
rather than male. Okay, the fishes float with new

551
00:45:30,280 --> 00:45:33,880
repaired scale. What a wonderful image is this.

552
00:45:35,120 --> 00:45:39,200
The other, all her slough away she slinks. The

553
00:45:39,200 --> 00:45:44,360
other, the snake, the swift swallow pursues the

554
00:45:44,360 --> 00:45:49,720
fly's male. Swallow is moving from one branch of

555
00:45:49,720 --> 00:45:54,420
tree to another to follow, you know, the fly. The

556
00:45:54,420 --> 00:45:59,520
busy bee here, honey now, she minks. Minks, mixes.

557
00:46:00,180 --> 00:46:04,160
It is mingles, you know. Winter is one that was

558
00:46:04,160 --> 00:46:08,980
flowers big. So here, the whole stanza is

559
00:46:08,980 --> 00:46:14,220
recapitulated by this line. Winter is behind.

560
00:46:14,640 --> 00:46:21,320
Winter is behind now. And thus, I see among these

561
00:46:21,320 --> 00:46:26,190
pleasant things Each care decays, and yet my

562
00:46:26,190 --> 00:46:31,250
sorrow springs. Very sad. So look here, it's a

563
00:46:31,250 --> 00:46:37,170
shift. It is like, as if you see here, like we

564
00:46:37,170 --> 00:46:40,990
have parallelism. Each line, there is, you know,

565
00:46:41,530 --> 00:46:45,870
something changing from death to life. But

566
00:46:45,870 --> 00:46:51,530
suddenly, you know, something is immune to change.

567
00:46:52,300 --> 00:46:57,180
is not susceptible to change, which is like the

568
00:46:57,180 --> 00:47:01,980
misery and the agony. Okay, so you see we have a

569
00:47:01,980 --> 00:47:05,820
novel man who's talking about his suffering in a

570
00:47:05,820 --> 00:47:11,360
very polite and gentle manner. So I think we have

571
00:47:11,360 --> 00:47:14,960
a a better idea about the poem. Next time, we're

572
00:47:14,960 --> 00:47:20,200
going to concentrate on this poem more, to explore

573
00:47:20,200 --> 00:47:23,160
it further, to see the figures of speech, to see

574
00:47:23,160 --> 00:47:28,860
the rhyme, the rhythm, the sonic, and so on. Side

575
00:47:28,860 --> 00:47:33,740
by side, I want you also to prepare the second

576
00:47:33,740 --> 00:47:38,660
part of the critical plan, okay? So do you have

577
00:47:38,660 --> 00:47:40,880
any question? Thank you.