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Good morning, everybody. How are you? Good. So

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today, I think we are supposed to continue. Shall

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I compare a summer's day? Last time, I think we

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had a chance to listen to the poem from me reading

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it and from other people singing or even reciting

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it. Plus, you had ample time to look at the poem

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and to respond. So today, we're starting by

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listening to one or two of your responses. I'm

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going to further ask you some questions related to

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the poem, related to its content, to its

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aesthetics, and then I'll be discussing the

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aesthetic elements myself. Okay? Let's see. Yes,

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please.

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Shall I compare thee to a summer's day? Sonnet 18

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is one of the best-known sonnets contained in the

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English literary canon. It is a conventional

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Shakespearean sonnet that explores a conventional

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theme in an original way. Shakespeare uses this

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poem or this sonnet to exalt poetry and his

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beloved. The poem begins with a historical

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question to present the suggestion of the

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comparison between his friend and a summer's day.

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The rhetorical question, of course, with no answer

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because no way to compare his friend with the

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summer's day, which in a sense is his friend more

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lovely and temperate, though summer is the most

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lovable season and Shakespeare refused at the same

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time to compare it with his friend. In other

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words, he just picked the summer day, which is

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beautiful and natural scene to manifest that is

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different beauty more than the beauties of the

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summer day, summer's day. Shakespeare in these

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lines, at the first one, especially the first

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lines began to list the unpleasant features that

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are probable to happen during the summer day. As

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Shakespeare has used the eternal means, lines of

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poetry to prove the death, but will not take his

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friend, because as long as his life continues, his

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friend will be of everlasting memorial. Talking

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about the theme, it might be about the immorality

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of his beloved through the eternal lines or in his

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sonnet. The use of the figurative speech is

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clearly seen. The metaphors simulate the

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persification and alliteration. Finally, I want to

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talk about the Shakespearean Sonnet. It is printed

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as an unbroken 14 lines poem rather than as two

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sections of eight lines and six lines. Thank you.

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Okay, thank you very much. This is like more than,

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you know, initial response. You know, she has the

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courage to go and like to look at certain

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aesthetic aspects. Okay, another, like there's

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space for another response. Yes, please. Is it for

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the first time? Okay, you come here.

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Shall I Compare Thee is a poem wrote by

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Shakespeare, the great Elizabethan writer and

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actor and playwriter. And he wrote a sonnet. Wow,

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Shakespeare has a great number of plays and great

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drama and great number of sonnets. Anybody can

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easily know who is Shakespeare. Shakespeare in his

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sonnet make like a nice gift to his friends to

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express his loyalty and how he is care about her.

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He introduced his poem by asking her questions

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which hold lovely and romantic meanings. The poem

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is full of musical tunes. Summer in England is

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beautiful and full of nice roses and blossom trees

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and sunshine and great nice smell from the nature.

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When he makes a question, he introduced his

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respect for his friend and if he found beautiful

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elements, he will remember her and imagine her

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around in a beautiful scene of beauty and happy

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and he will enjoy remembering her. The language

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seems simple and common and he described the

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beauty of summer and he saw her inside the

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sunshine or the blossom trees. The tone of the

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poem reflect his happiness of the beauty and

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shyness of the summer days. Also the boy tries to

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immortalize the beauty of his friend but he cannot

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because life is mortal and we all will die. So he

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decided to immortalize her her beauty by his

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poetry among the generations. In addition, he uses

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a lot of figure of speech to support his happiness

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of summer. I think his friend deserves this

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beautiful poem. It's clear from his respect for

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her and he has enjoyed to share with her the

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beautiful of summer days. Okay, so I think we have

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a poet who is very sincere to his friend and he's

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trying to do something To his friend, you know, I

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say to his because you know this sonnet is

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addressed to his friend William Harvey who was a

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favorite of like Queen Elizabeth. I mean, there

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are a lot of arguments about who's WH, but most of

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the critics agree that it is William Harvey, a

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close friend to Shakespeare, and he was dedicating

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this poem to him. Now, I'm just like, I know it's

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not like the layout, but it's good to look at. If

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you all want to fix it, you can. So, now

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Shakespeare at the beginning of this poem is

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asking question, shall I compare thee to a

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summer's day? Do you think, you know, he's

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comparing? It's a question, but is Shakespeare

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going to compare? Okay, why? So it's very tricky.

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He's asking a question, and all of us think that

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he's comparing. Is he comparing? But he's rather

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what? Contrasting. No, he's not showing

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similarities, but he's showing differences. Now,

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the question is, what reasons? Yes. Does

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Shakespeare have for not Comparing. Why, you know,

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does he decline to compare? You know what means

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decline? Just refuse. Why does he decline to

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compare the beauty of his friend to the beauty of

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someone? You can just make a list. Thank you, Ola.

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Yeah, I think it is good. Yes, you can make a

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small list. Why would he, yes, like, Not like to

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compare.

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Why you think?

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You just make a list and you will see.

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Yes?

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Yes? Because Shakespeare thinks that summer's

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beauty is fragile and can fail. Yes. And it's cold

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by winter, so it's not warm. He thinks that... The

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summer beauty is fragile and can be shaken, so

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it's not... Yeah, so what he was like to say that

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summers, like the beauty of summer is evanescent.

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It's short-lived, short-lived. It is brief, it is

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temporal. So the beauty of summer is short-lived.

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Short-lived, very evanescent.

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Very venesant, very temporal, okay? So, okay, this

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one reason, another reason, like why? So what's

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wrong with summer? It is short. What else? It is

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hot. It is, no, it is hot and cold at the same

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time. It is changeable. It is not consistent. So

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when we're talking about summer, it is changeable.

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It is fluctuating. I like the word fluctuating.

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You know, sometimes it is like hot, sometimes it

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is cold, you know, so it is not consistent. What

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else? The wind.

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What's wrong with the wind? Not merciful, the ones

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are cruel. Yes, look at this image. You know, like

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rough winds do shake the darling buds of May.

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Rough winds. Here.

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Rough winds do shake the darling buds of May. It's

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an image of horror. It's an image of death.

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Yeah. And it is, like, massive because, you know,

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the birds... Of course, this is, you know... I

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know it is, you know, it seems like a

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personification, but the whole image is a metonymy

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of death sweeping the lives of people. In the

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Elizabethan time, they were concerned with the

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idea of death. So here, yes, summer. Is what? Is

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cruel. Is cruel. Is ruthless. Ruthless means very

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cruel. Cruel.

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Sorry.

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Means ruthless.

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Yes, what else? Do you have other things? Why he

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wouldn't like to compare? Yes, please. The beauty

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of the summer by the sunshine is not lasting

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because it will be covered and damped by the

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clouds. So the sun, which is part of the summer's

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beauty, is not permanent. It is like sometimes it

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is there, sometimes it disappears. So again, the

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idea of consistency is absent. What else?

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So someone is

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liable to decay. Someone is liable to decay, is

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liable to death. Again, all these ideas are

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repeated, but every time we have a fresh image.

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But it seems like there is a problem here. Don't

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you think like when somebody is having like all

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these forces of death, and he's concerned about

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the beauty of his friend, so he should be looking

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for an alternative. You see? I mean, it's a

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dilemma. You know what's been a dilemma? It's a

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problem, you know? And Shakespeare should find out

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a way out of this dilemma, like to, let's say, to

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keep the beauty of his friend. Because, you know,

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he thinks that his, the beauty of his friend was

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different and it should be preserved also in a

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different way. It is not like The Beauty of

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Summer. I think, you know, this poem is, we might

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admire the poet for his sincerity. You know, this

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is like a very sincere emotion from a friend to a

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friend. Okay, let's look at the poem. And I think

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you read it aloud at home. Now, shall I compare

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thee to a summer's day? Like, this is a question.

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What kind of question it is? It is a rhetorical

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question. Now, okay, it's a rhetorical question,

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but what are the implications of the rhetorical

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questions? When he says, shall I compare thee to a

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summer's day? Okay, there is nowhere to compare.

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Yes. Shakespeare is not sure to compare the summer

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day with the beauty of his friend. Yeah, he's not

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sure to compare because he thinks that the beauty

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of his friend is more consistent. Yes, Anna? He's

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maybe confused or in a dilemma, like you said,

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that if he had the right to compare his friend to

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the summer's day. So yes, I like this, Anna,

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because it seems like he was in the mood of

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reflection, and he was a little bit you know,

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confused, you know, about, like, the best way to,

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you know, immortalize his friend. So he started by

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a reflective mood and saying, shall I compare thee

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to a summer's day? And then suddenly he realized,

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like, nah. No, I'm not going to do that. Why?

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Because thou are more lovely and more temperate.

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So he's now he started contrasting. The tricky

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thing is like in refusing to compare, he started

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to contrast, to show how, you know, they are, you

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know, the beauty of summer and the beauty of his

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friend, how they are discrepant. You know what's

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discrepant? Different. Let me write the word

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discrepant.

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Describant.

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Oh, okay.

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Okay.

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Yeah.

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Discrepant, as you see, something different. Is it

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clear? Okay. Discrepant means something different.

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Okay. Okay, it's clear.

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Okay, I don't care. Yes, discrepant means

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different. Okay, in what way? In what way it is

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discrepant?

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It is, no, they are more lovely and more

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temperate. It is like temperate. It is balanced.

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So the idea of balance, we saw the idea of

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balance, if you remember in Spencer, we saw the

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idea of balance in Sydney. So the idea of balance

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was something valuable in the Elizabethan time. So

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to be balanced was something, you know, good.

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Balance, you know? Okay, now let's go back to the

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poem.

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So rough winds do shake the darling. Now he's

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going to justify why he wouldn't compare. He says,

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rough winds do shake the darling buds of May.

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Rough winds. Of course, it's a personification

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here. But if you look at it again, rough winds do

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shake the darling buds of May. It's a very

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frightening image. And we said, yes. that the

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rough wind will destroy everything in the summer

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season. That will destroy the buds of May. So

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summer will be changed, summer will be destroyed,

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but his friend beauty will stay forever. Yeah, but

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like here, he says rough winds in summer because

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in England summer It's not like our summer stable.

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It is fluctuating, as we said. So usually, it is

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very stormy in summer. And what happens to the

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bare jawning, to the newly budding buds? Those

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innocent, those soft buds are fragile. They can be

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easily shaken off. Look here, the disparity. Look,

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the disparity between, like in power, between

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those innocent buds and like those rough winds. Of

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00:19:04,280 --> 00:19:08,240
course, the rough winds might be a metonymy for

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death itself, the forces of death. And the buds is

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00:19:13,000 --> 00:19:17,680
a metonymy of what? People. People. People. You

253
00:19:17,680 --> 00:19:21,440
know? Very, you know, reflective image and very

254
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frightening at the same time. And summer's lease,

255
00:19:26,410 --> 00:19:30,210
again here, he's adding another reason why he

256
00:19:30,210 --> 00:19:36,130
wouldn't compare. And summer's lease has all too

257
00:19:36,130 --> 00:19:40,970
short a date. What does it mean lease? Of course

258
00:19:40,970 --> 00:19:44,290
lease here, it's like a vacation, but he means

259
00:19:44,290 --> 00:19:51,250
time. Summer's time has too short a date. So what

260
00:19:51,250 --> 00:19:55,280
does he mean? Summer is too short. And in England,

261
00:19:55,500 --> 00:19:59,060
summer is like only two months. Summer and spring

262
00:19:59,060 --> 00:20:05,100
are conflated together, and it's only like two

263
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months.

264
00:20:09,200 --> 00:20:14,360
People get excited, but suddenly it disappears.

265
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And here, as you see, one of the reasons or

266
00:20:19,180 --> 00:20:22,440
another reasons why he wouldn't, it is the brevity

267
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of summer. And what is brief also to the

268
00:20:28,280 --> 00:20:32,700
Elizabethan was not valuable. What is brief was

269
00:20:32,700 --> 00:20:33,380
not valuable.

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And summers leave her all too short a date. Again,

271
00:20:43,480 --> 00:20:48,340
he's adding more reasons. Sometime Too hot, the

272
00:20:48,340 --> 00:20:51,460
eye of heaven shines. Look, Shakespeare is playing

273
00:20:51,460 --> 00:20:56,220
with sometime. Sometime, you know? You know, a

274
00:20:56,220 --> 00:21:00,140
certain time. Too hot, and sometimes, you know, we

275
00:21:00,140 --> 00:21:02,400
know that sometimes it's an adverb of frequency.

276
00:21:04,120 --> 00:21:06,820
You know what I mean, adverbs of frequency? What

277
00:21:06,820 --> 00:21:07,900
is an adverb of frequency?

278
00:21:10,920 --> 00:21:15,380
What is an adverb of frequency? Could you just

279
00:21:15,380 --> 00:21:19,220
tell me what are the adverbs of frequency? Yes.

280
00:21:21,100 --> 00:21:22,740
Like always?

281
00:21:25,320 --> 00:21:29,800
Can you just like arrange them by order? Which is

282
00:21:29,800 --> 00:21:32,500
more like frequent? Usually?

283
00:21:35,920 --> 00:21:44,670
No, always usually? Often? Sometimes? No, we have

284
00:21:44,670 --> 00:21:48,390
between them, we have repeatedly, occasionally,

285
00:21:49,170 --> 00:21:51,590
and then rarely and you know, so repeatedly.

286
00:21:56,810 --> 00:21:58,030
Frequently, sorry.

287
00:22:01,310 --> 00:22:05,290
Okay, okay Khaled, don't worry.

288
00:22:09,730 --> 00:22:10,370
Repeatedly.

289
00:22:14,810 --> 00:22:18,670
Okay. Do not respond, leave me alone.

290
00:22:25,050 --> 00:22:26,430
I don't know what happened.

291
00:22:30,010 --> 00:22:33,970
Okay, and so on. These are adverbs of frequency.

292
00:22:35,630 --> 00:22:39,630
Repeatedly, hardly, okay, you know? So when he

293
00:22:39,630 --> 00:22:44,410
says sometimes, it means like, This has to do with

294
00:22:44,410 --> 00:22:50,290
what? Fluctuation. This has to do with, you know,

295
00:22:50,390 --> 00:22:52,990
changeability. Like the beauty of summer is not

296
00:22:52,990 --> 00:22:58,510
stable, is not fixed. So what is not stable, what

297
00:22:58,510 --> 00:23:02,910
is not brief, what is, you know, is not valued in

298
00:23:02,910 --> 00:23:07,630
the lesbian time. And oven, you know, sometimes

299
00:23:07,630 --> 00:23:13,090
too hot, too hot, the eye of heaven shines. and

300
00:23:13,090 --> 00:23:18,810
often his old complexion dimmed. So he's talking

301
00:23:18,810 --> 00:23:21,650
about the sun. What kind of figure of speech do

302
00:23:21,650 --> 00:23:22,110
you have here?

303
00:23:25,190 --> 00:23:29,630
Yeah, the eye of heaven, you know, here, it's a

304
00:23:29,630 --> 00:23:34,370
metaphor. But culturally,

305
00:23:34,910 --> 00:23:39,970
when you think of the sun as an eye of heaven, I

306
00:23:39,970 --> 00:23:46,050
know it's a metaphor, What does this mean to us or

307
00:23:46,050 --> 00:23:50,010
to English people? Do you think we might share the

308
00:23:50,010 --> 00:23:53,870
same cultural connotation or? Yeah, because, yes.

309
00:23:57,370 --> 00:24:02,210
Yes, I know, but like here, the sun, I mean, the

310
00:24:02,210 --> 00:24:06,730
eye of heaven, the sun. You think, you know, here,

311
00:24:06,990 --> 00:24:10,810
they value the sun very much. Why? Because in

312
00:24:10,810 --> 00:24:18,080
England, The sun is always dim. It doesn't appear

313
00:24:18,080 --> 00:24:23,600
a lot. So they say the eye of heaven sometimes,

314
00:24:24,060 --> 00:24:27,060
sometimes too hot, the eye of heaven shines. And

315
00:24:27,060 --> 00:24:31,860
often his old complexion dimmed. So the idea of

316
00:24:31,860 --> 00:24:36,120
changeability is there. The idea of brevity is

317
00:24:36,120 --> 00:24:42,500
there. And every fair from fair, I see, and every

318
00:24:42,500 --> 00:24:48,240
fair, and every fair from fair sometimes declines.

319
00:24:48,420 --> 00:24:51,580
How should we read this line? How should we read

320
00:24:51,580 --> 00:24:56,540
this line? I know, but how should we read it? And

321
00:24:56,540 --> 00:24:59,500
every fair from fair sometimes declines like this?

322
00:25:00,040 --> 00:25:05,840
Sadly? Yes, how would you read it? I want somebody

323
00:25:05,840 --> 00:25:09,120
to come here and to read it. Do you have the

324
00:25:09,120 --> 00:25:12,400
nerves to come here? Let's see. Who has the nerves

325
00:25:12,400 --> 00:25:15,600
to come here and to read this line? And every fair

326
00:25:15,600 --> 00:25:21,260
from fair sometime declines, yes? No, no, I want

327
00:25:21,260 --> 00:25:24,360
like you to come and say, to read this, yes? I say

328
00:25:24,360 --> 00:25:29,100
who has the courage? Who has the nerves? Okay, I

329
00:25:29,100 --> 00:25:31,740
read it like differently and you vote for which

330
00:25:31,740 --> 00:25:31,980
one.

331
00:25:35,620 --> 00:25:40,180
And every fur from fur sometimes declines. No.

332
00:25:40,900 --> 00:25:45,700
Okay. And every fur from fur sometimes declines.

333
00:25:46,260 --> 00:25:52,460
So why not? Why not? You think there is sadness?

334
00:25:53,560 --> 00:25:59,320
And every fur from fur sometimes declines. Is it

335
00:25:59,320 --> 00:26:04,760
like this? Okay. I don't think he's sad about

336
00:26:04,760 --> 00:26:08,900
summer. It's like... No, he's here when he say,

337
00:26:09,020 --> 00:26:13,300
and every fair from fair sometime declines. But

338
00:26:13,300 --> 00:26:16,240
the eternal beauty of his friend will never fade.

339
00:26:16,500 --> 00:26:19,960
So he's like comparing that his friend will not

340
00:26:19,960 --> 00:26:23,040
fade. So he's not sad about this. He's happy about

341
00:26:23,040 --> 00:26:25,460
that things will... So it should be like, and

342
00:26:25,460 --> 00:26:28,720
every fair from fair sometime declines? I don't

343
00:26:28,720 --> 00:26:32,880
think so, because here he's in a mood of

344
00:26:32,880 --> 00:26:36,440
reflection because this is a frightening thing. I

345
00:26:36,440 --> 00:26:39,840
don't think he's relaxed. This is very

346
00:26:39,840 --> 00:26:43,200
disconcerting. This is very worrying. So it should

347
00:26:43,200 --> 00:26:49,760
be, and every fear from fear sometimes declines.

348
00:26:51,170 --> 00:26:55,690
Very, you know, he's meditating. He's meditating.

349
00:26:56,170 --> 00:27:00,350
And look at the alliteration. And every fair from

350
00:27:00,350 --> 00:27:04,670
fair sometime declines. Very disgusting, very

351
00:27:04,670 --> 00:27:08,490
frightening. I think, you know, you can translate

352
00:27:08,490 --> 00:27:11,150
this into Arabic. Anybody can translate into

353
00:27:11,150 --> 00:27:18,630
Arabic, like this line, yes? Okay. Can you improve

354
00:27:18,630 --> 00:27:25,050
that translation? Yes? I like, wa kullu jamal ila

355
00:27:25,050 --> 00:27:29,070
zawal. It's very musical. Wa kullu jamalin ila

356
00:27:29,070 --> 00:27:33,470
zawal. You know? Yes, it should be like this. And

357
00:27:33,470 --> 00:27:36,990
every fur from fur sometime declines.

358
00:27:39,590 --> 00:27:45,890
How? Shakespeare is telling us by chance or

359
00:27:45,890 --> 00:27:49,630
nature's changing course untrimmed.

360
00:27:51,370 --> 00:28:00,970
By chance. Who's a chance? Chance. Yes. Fate. It

361
00:28:00,970 --> 00:28:06,930
is a medieval image of a blind woman sitting

362
00:28:06,930 --> 00:28:13,140
behind a wheel and turning the wheel. So it is not

363
00:28:13,140 --> 00:28:16,560
sure where your place, it is something random,

364
00:28:17,140 --> 00:28:20,860
chance. So chance means like things are

365
00:28:20,860 --> 00:28:23,140
unpredictable, you don't know for sure what will

366
00:28:23,140 --> 00:28:28,720
happen to you. So chance is like very frightening

367
00:28:28,720 --> 00:28:36,900
thing, or nature's changing course untrimmed. So

368
00:28:36,900 --> 00:28:40,020
the course of nature, this is a metonymy of

369
00:28:40,020 --> 00:28:46,100
natural disasters. Natural disasters are

370
00:28:46,100 --> 00:28:50,000
untrimmed. You know what's been trimmed? When

371
00:28:50,000 --> 00:28:53,620
things, like when you go and like when we go and

372
00:28:53,620 --> 00:28:57,960
trim our hair or our, like we trim, we make it

373
00:28:57,960 --> 00:29:05,440
equal. So when things are untrimmed, It means some

374
00:29:05,440 --> 00:29:10,920
of them are large, small, so they are unequal. So

375
00:29:10,920 --> 00:29:14,120
what he wants to say that the disasters, the

376
00:29:14,120 --> 00:29:18,360
natural disasters are unpredictable and they are

377
00:29:18,360 --> 00:29:21,820
not similar in size. So some disaster are

378
00:29:21,820 --> 00:29:27,900
horrifying like tsunamis, earthquakes. All these

379
00:29:27,900 --> 00:29:35,710
are untrimmed, natural disasters or catastrophes.

380
00:29:36,870 --> 00:29:42,650
Now, in this stanza, Shakespeare, in front of all

381
00:29:42,650 --> 00:29:50,890
those meditative images, he said, but thy eternal

382
00:29:50,890 --> 00:29:57,450
summer shall not fade. Yeah, but thy eternal

383
00:29:57,450 --> 00:30:01,280
summer. Look here. The summer, you know, the

384
00:30:01,280 --> 00:30:04,500
beauty of his friend is becoming summer itself.

385
00:30:05,960 --> 00:30:10,640
Summer. He started by, you know, comparing the

386
00:30:10,640 --> 00:30:14,180
beauty, but like, the beauty of his friend is

387
00:30:14,180 --> 00:30:19,120
becoming a different summer. But thy eternal

388
00:30:19,120 --> 00:30:24,320
summer. Why? Look here, thy eternal. So this is

389
00:30:24,320 --> 00:30:29,220
very assertive mood. but thy eternal summer shall

390
00:30:29,220 --> 00:30:33,140
not fade. Do you think, you know, when we read

391
00:30:33,140 --> 00:30:36,460
this, how should we read it? Thy eternal, but thy

392
00:30:36,460 --> 00:30:41,440
eternal summer shall not fade? It should have a

393
00:30:41,440 --> 00:30:46,720
strong. Why? Because he's confident. He's

394
00:30:46,720 --> 00:30:49,520
pledging. You know what it means, pledging? To

395
00:30:49,520 --> 00:30:57,330
pledge. To pledge. To vow. He's vowing. So it

396
00:30:57,330 --> 00:31:00,850
should be like, yeah, I want you to help me

397
00:31:00,850 --> 00:31:07,730
reading it. Come on. But thy, but thy eternal

398
00:31:07,730 --> 00:31:15,550
summer shall not fade. But thy, yes? But thy

399
00:31:15,550 --> 00:31:20,430
eternal summer shall not fade. Is it like this? Or

400
00:31:20,430 --> 00:31:24,430
stronger. But thy eternal summer shall not fade.

401
00:31:25,610 --> 00:31:32,410
nor lose possession of that fair thou owest. You

402
00:31:32,410 --> 00:31:39,330
know? So your beauty, your eternal summer will

403
00:31:39,330 --> 00:31:46,670
never fade. So summer is compared to a plant, look

404
00:31:46,670 --> 00:31:52,690
at this metaphor, which will never fade. Why it is

405
00:31:52,690 --> 00:31:58,150
eternal? Because it will never fade. Why will it

406
00:31:58,150 --> 00:32:02,170
never fade? Because it is eternal. Okay, because

407
00:32:02,170 --> 00:32:05,410
it is eternal. But why it is eternal is the other

408
00:32:05,410 --> 00:32:08,990
question, and I think the answer will be revealed

409
00:32:08,990 --> 00:32:14,650
at the end of the poem. But thy eternal summer

410
00:32:14,650 --> 00:32:18,650
shall not fade, nor lose position of that fair

411
00:32:18,650 --> 00:32:23,010
thou owest, thou you have. Nor shall death brag

412
00:32:23,010 --> 00:32:27,530
that wondrous is its shape. Nor death, nor shall

413
00:32:27,530 --> 00:32:32,090
death. Death, you know, in the Mesopotamian time

414
00:32:32,090 --> 00:32:37,050
was very frightening. And Shakespeare here is

415
00:32:37,050 --> 00:32:42,440
using a biblical image. Nor shall death brag that

416
00:32:42,440 --> 00:32:46,220
wondrous in his shade. Because death, according to

417
00:32:46,220 --> 00:32:51,320
the Bible, death will be conceited. Look at them,

418
00:32:52,060 --> 00:32:56,120
I inflicted all of them dead. Shakespeare imagined

419
00:32:56,120 --> 00:32:58,760
that and he was terrified.

420
00:33:00,640 --> 00:33:06,140
No, no, no, death shall never brag. What's mean

421
00:33:06,140 --> 00:33:12,800
brag? Like to feel proud, to boast, look at me, to

422
00:33:12,800 --> 00:33:17,840
be arrogant, bragging. Is it good to brag? No? So

423
00:33:17,840 --> 00:33:21,480
don't brag next time. But you can say, okay, I am

424
00:33:21,480 --> 00:33:25,720
the most brilliant student. You can brag. Not for

425
00:33:25,720 --> 00:33:31,560
a long time. Nor shall death brag. Look here, nor,

426
00:33:31,720 --> 00:33:35,180
nor. Because he's vowing. Shakespeare here is

427
00:33:35,180 --> 00:33:38,800
asserting. But thy eternal summer shall not fade,

428
00:33:39,140 --> 00:33:42,780
nor lose position of that fair thou ow'st, nor

429
00:33:42,780 --> 00:33:47,360
shall death brag that wonders in his shape. Where

430
00:33:47,360 --> 00:33:51,680
in eternal lines

431
00:33:51,680 --> 00:33:56,060
to time thou grow'st. He's explaining how. You are

432
00:33:56,060 --> 00:34:03,070
going to live to grow in my poultry. Look here,

433
00:34:03,890 --> 00:34:07,790
he's using a metaphor which we call grafting

434
00:34:07,790 --> 00:34:10,330
metaphor. You know what's mean grafting? What is

435
00:34:10,330 --> 00:34:10,690
grafting?

436
00:34:13,450 --> 00:34:19,670
To graft something,

437
00:34:21,090 --> 00:34:26,970
like farmers, if they want to add, to graft, to

438
00:34:26,970 --> 00:34:33,780
connect two types of plants, they might graft it

439
00:34:33,780 --> 00:34:38,140
and do it together. This is grafting. You have

440
00:34:38,140 --> 00:34:43,120
here one branch and then they add another stem and

441
00:34:43,120 --> 00:34:48,140
this is grafting. So here, this newly grafted will

442
00:34:48,140 --> 00:34:51,900
sprout, will go large. Why? Because it will take

443
00:34:51,900 --> 00:34:57,750
here. So here, the image that this summer, of his

444
00:34:57,750 --> 00:35:03,010
friend will grow. Why? Because it is going to be

445
00:35:03,010 --> 00:35:07,170
grafted in his poetry. That's why we call this is

446
00:35:07,170 --> 00:35:12,190
a grafting metaphor. When in eternal lines to time

447
00:35:12,190 --> 00:35:16,070
that growest. And the eternal lines, it's a

448
00:35:16,070 --> 00:35:21,790
metonymy of his poetry. Thank you. It's a metonymy

449
00:35:21,790 --> 00:35:26,250
of his poetry. So long. Now this is the couplet.

450
00:35:27,820 --> 00:35:35,280
So long as men can breathe or eyes can see, so

451
00:35:35,280 --> 00:35:43,280
long live this and this gives life to thee. You

452
00:35:43,280 --> 00:35:46,180
see? It's the conclusion. Do you believe

453
00:35:46,180 --> 00:35:54,240
Shakespeare? Why? Shakespeare here is very

454
00:35:54,240 --> 00:35:59,410
rational. Because he thinks that the beauty of his

455
00:35:59,410 --> 00:36:05,050
friend will be remembered, eternalized, as long as

456
00:36:05,050 --> 00:36:11,290
his poetry, as long as people do exist on this

457
00:36:11,290 --> 00:36:14,950
earth. You see what I mean? So I think Shakespeare

458
00:36:14,950 --> 00:36:20,970
here, is he exaggerating? He's confident. Why?

459
00:36:21,090 --> 00:36:23,970
Because he thinks He thinks that his poetry will

460
00:36:23,970 --> 00:36:27,870
be read. He was confident of his artistic skill.

461
00:36:28,510 --> 00:36:32,130
He thought that people would continue reading. And

462
00:36:32,130 --> 00:36:35,290
here Shakespeare is being read, reproduced. His

463
00:36:35,290 --> 00:36:38,790
plays are reproduced every year. Now it's been for

464
00:36:38,790 --> 00:36:42,570
more than 500 years, and England and Shakespeare

465
00:36:42,570 --> 00:36:45,430
are conflated together. So Shakespeare was

466
00:36:45,430 --> 00:36:50,030
confident that his poetry will be read, and when

467
00:36:50,030 --> 00:36:53,390
it will be read, his friend. Now we kept asking,

468
00:36:53,530 --> 00:36:57,270
who is this friend? You know? Why? And, you know,

469
00:36:57,430 --> 00:37:01,090
so this is how he immortalized. But look here.

470
00:37:01,250 --> 00:37:05,750
Yes, lucky friend. So long as men can breathe, as

471
00:37:05,750 --> 00:37:12,570
long as breathe or eyes can see. So he's limiting

472
00:37:12,570 --> 00:37:18,450
his, you know, hopes for immortality Like, only to

473
00:37:18,450 --> 00:37:22,290
the life on this earth. So he was more rational

474
00:37:22,290 --> 00:37:26,790
and less ambitious than, you know, Spencer, if you

475
00:37:26,790 --> 00:37:32,030
remember. So long live this, and this gives life

476
00:37:32,030 --> 00:37:34,770
to thee. See?

477
00:37:38,190 --> 00:37:43,110
So here in the couplet, he's giving his final

478
00:37:43,110 --> 00:37:48,270
solution. Like, yes, my poetry will eternize you.

479
00:37:49,410 --> 00:37:53,430
So we discover then that the poem is about what?

480
00:37:54,650 --> 00:37:57,930
So after reading the poem and after analyzing it,

481
00:37:58,110 --> 00:38:03,110
it's about what? It's about... Yeah, it could be

482
00:38:03,110 --> 00:38:05,330
about friendship. It could be about beauty. But,

483
00:38:05,410 --> 00:38:06,990
you know, like at the end of the day, you

484
00:38:06,990 --> 00:38:10,650
understand that Shakespeare here, you know, is

485
00:38:10,650 --> 00:38:17,330
like... trying to immortalize his, you know, the

486
00:38:17,330 --> 00:38:19,950
beauty of his friends through his poetry. But I

487
00:38:19,950 --> 00:38:23,170
think if we look at it narrowly, Shakespeare is

488
00:38:23,170 --> 00:38:26,090
cherishing his poetry, and he thinks that his

489
00:38:26,090 --> 00:38:30,250
poetry is, you know, very artistic, and people

490
00:38:30,250 --> 00:38:33,790
will be reading it, you know, as long as they...

491
00:38:33,790 --> 00:38:40,240
Why? Because it is poetry in a full sense. Now, I

492
00:38:40,240 --> 00:38:43,340
think, you know, we explored the poem, but we have

493
00:38:43,340 --> 00:38:47,340
not explored it at all. You have something to

494
00:38:47,340 --> 00:38:50,960
film, you know? This poem, you have to look at,

495
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you know, the rhyme and the rhythm. It's a

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Shakespearean sonnet made of three quatrains and a

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couplet. Now, I want you, like, to look at it and

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to see what he's doing in each quatrain and how

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he's developing the argument. You know? In the

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first quatrain, what is he doing? And in the

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second quatrain, is he repeating the same idea? Is

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he repeating himself in the third quatrain? And

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then in the couplet? Okay? So this is what you

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have to look at. You have to look at also the

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rhythm itself. You see? The rhyme, okay. It's a

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sonnet. The rhythm and the rhyme. And try it

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like... to write a paragraph, just a small

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paragraph analyzing, you know, like the theme of

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this poem. This is like could be as a homework, a

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small paragraph. And next time we are reading

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another poem for Shakespeare, and we might also

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like compare and contrast both of them. Do you

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have any question? Okay, no questions? Thank you.