L9fwy3NUQKwYNxhPlUU9pxwfg8zlh4TPZ/LIKvgoqM1PA_raw.srt

1
00:00:22,850 --> 00:00:28,110
Today we start something probably different,

2
00:00:29,030 --> 00:00:33,750
something new, related but still something new.

3
00:00:34,490 --> 00:00:38,150
Last time we finished speaking about major

4
00:00:38,150 --> 00:00:42,090
Renaissance poets and before that we studied major

5
00:00:42,090 --> 00:00:46,910
Renaissance dramatists. We spoke about several

6
00:00:46,910 --> 00:00:50,570
terms that we needed to understand and we still

7
00:00:50,570 --> 00:00:54,950
do. We spoke about censorship, patronage, and we

8
00:00:54,950 --> 00:01:01,110
also spoke about the canon, and last time, the

9
00:01:01,110 --> 00:01:06,320
rules of Decorum. What do you know about the rules

10
00:01:06,320 --> 00:01:08,920
of decorum? Did you read more stuff about the

11
00:01:08,920 --> 00:01:12,400
rules of decorum? What does the term rules of

12
00:01:12,400 --> 00:01:15,400
decorum mean in the context of literature here?

13
00:01:17,260 --> 00:01:22,220
Rules of decorum, yes, please. The rules of

14
00:01:22,220 --> 00:01:26,880
decorum are the rules that the poet has to have in

15
00:01:26,880 --> 00:01:30,160
his personality or in his style of writing to be

16
00:01:30,160 --> 00:01:36,040
in the group of canon. To write great poetry, you

17
00:01:36,040 --> 00:01:41,040
had to follow certain rules, specific rules. And

18
00:01:41,040 --> 00:01:44,480
many of these rules were strict. You had to follow

19
00:01:44,480 --> 00:01:48,560
them. What topic to choose? Universal truths,

20
00:01:48,660 --> 00:01:52,220
remember? The language itself. Not everything can

21
00:01:52,220 --> 00:01:55,120
be poetic. Only highly embellished poetic

22
00:01:55,120 --> 00:01:58,560
language. And then the form itself. You had to

23
00:01:58,560 --> 00:02:02,850
follow a particular structure. a highly organized

24
00:02:02,850 --> 00:02:08,890
form of poetry. And in the 17th century and 18th

25
00:02:08,890 --> 00:02:12,770
century, this became even more famous than now,

26
00:02:12,870 --> 00:02:17,010
more common than now. But during the time of

27
00:02:17,010 --> 00:02:21,050
Elizabeth and later on, we have a group of poets

28
00:02:21,050 --> 00:02:24,750
who did not follow the rules of the Quran, who did

29
00:02:24,750 --> 00:02:28,930
not want to obey these ancient rules of writing

30
00:02:28,930 --> 00:02:33,590
poetry, of versification. Before I explain things,

31
00:02:33,790 --> 00:02:36,910
I'll give you examples from their poetry, and I'll

32
00:02:36,910 --> 00:02:42,010
let you come to certain conclusions yourself. Look

33
00:02:42,010 --> 00:02:45,830
at this poem. And again, I'm not mentioning the

34
00:02:45,830 --> 00:02:48,930
name of the poet, because we care more about the

35
00:02:48,930 --> 00:02:52,150
text itself. We need to appreciate the text

36
00:02:52,150 --> 00:02:57,130
regardless of who the poet is. This is a poem, The

37
00:02:57,130 --> 00:03:01,530
Sun Rising. Look at the shape of the poem and tell

38
00:03:01,530 --> 00:03:02,330
me what you think.

39
00:03:05,090 --> 00:03:13,930
Please. How do you know? Did you count the lines?

40
00:03:15,890 --> 00:03:21,410
How many lines? This is not a sonnet. Ten lines,

41
00:03:21,790 --> 00:03:23,970
not fourteen. So it's not definitely not. By the

42
00:03:23,970 --> 00:03:27,530
way, this is the first stanza of a poem consisting

43
00:03:27,530 --> 00:03:33,540
of Three stanzas. So the sun rising, number one.

44
00:03:33,640 --> 00:03:35,960
Okay, you noticed very quickly the rhyme scheme.

45
00:03:36,140 --> 00:03:40,140
Good, very good of you. And you think it has in

46
00:03:40,140 --> 00:03:43,240
part something from the Italian sonnet Petrarca.

47
00:03:43,860 --> 00:03:48,280
Something clearer than this, please. Oh, remember

48
00:03:48,280 --> 00:03:51,040
the poems before when we studied the sonnets? More

49
00:03:51,040 --> 00:03:53,500
or less they were like this. Oh, sorry. They were

50
00:03:53,500 --> 00:03:57,940
like this. Remember five feet, five feet, five

51
00:03:57,940 --> 00:04:00,120
feet, five feet, ten syllables, ten syllables, ten

52
00:04:00,120 --> 00:04:02,960
syllables. Sometimes four feet, four feet, four

53
00:04:02,960 --> 00:04:04,620
feet, like eight syllables, eight syllables, eight

54
00:04:04,620 --> 00:04:07,480
syllables. So you read a whole poem, a long poem.

55
00:04:07,600 --> 00:04:10,120
And I said this about Shakespeare's sonnet. We

56
00:04:10,120 --> 00:04:16,600
have over 150. Sonnets, and almost all the lines

57
00:04:16,600 --> 00:04:19,440
consist of 10 syllables, because this is the rules

58
00:04:19,440 --> 00:04:23,160
of decorum, this strict, rigid form of poetry in

59
00:04:23,160 --> 00:04:26,220
general, but of the sonnet in particular. So the

60
00:04:26,220 --> 00:04:29,840
first thing we notice is that this poem, this was

61
00:04:29,840 --> 00:04:35,240
written again in the Elizabethan Age. Clearly the

62
00:04:35,240 --> 00:04:40,430
shape is not following the rules of decorum. If

63
00:04:40,430 --> 00:04:42,630
you count the syllables, how many syllables do we

64
00:04:42,630 --> 00:04:46,750
have in the first line? How many syllables in

65
00:04:46,750 --> 00:04:55,050
busy? Busy, happy, two. Okay, one, two, three,

66
00:04:55,210 --> 00:04:58,930
four, five, six, seven, eight. So four feet.

67
00:05:05,010 --> 00:05:11,130
Unruly three. Unruly, like happy, two. Happiness,

68
00:05:11,510 --> 00:05:18,390
three. Happily, three. Ha, pi, li, three. The

69
00:05:18,390 --> 00:05:22,050
syllable depends on how many vowel sounds we have.

70
00:05:22,430 --> 00:05:28,870
And then, why dost thou thus? How do you know the

71
00:05:28,870 --> 00:05:32,850
number of feet generally? You divide the number

72
00:05:32,850 --> 00:05:38,970
seven by two. And then, through windows and

73
00:05:38,970 --> 00:05:43,590
through curtains call on us. One, two, three,

74
00:05:43,990 --> 00:05:51,470
four, five, six, seven, eight, nine, ten. Come on.

75
00:05:53,310 --> 00:05:58,250
Clearly there is an intention to change, to be

76
00:05:58,250 --> 00:06:02,570
different. An intention to not follow the rules.

77
00:06:03,230 --> 00:06:07,650
Not write a poem with strictly the same number of

78
00:06:07,650 --> 00:06:09,110
syllables and the same number of feet.

79
00:06:12,430 --> 00:06:15,330
If you code more, you'll find again, I think this

80
00:06:15,330 --> 00:06:20,450
is also 10. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. 1, 2,

81
00:06:20,590 --> 00:06:25,330
3, 4, 5, 6, 7, 8, and then 5 feet, 4 feet. So

82
00:06:25,330 --> 00:06:32,120
number one, we notice the irregular form. The

83
00:06:32,120 --> 00:06:37,480
number of lines, the number of feet in the first

84
00:06:37,480 --> 00:06:40,460
line is not the same, second, third, etc. What

85
00:06:40,460 --> 00:06:43,980
about the rhyme scheme? Can someone do the rhyme

86
00:06:43,980 --> 00:06:48,620
scheme? Can you come here please? Yes?

87
00:06:55,960 --> 00:07:05,070
Sun A Y, tell them why. The first sound takes the

88
00:07:05,070 --> 00:07:12,450
first letter of the alphabet. Okay. Why B? Why not

89
00:07:12,450 --> 00:07:17,210
A? It's different. It's not the same. So we go to

90
00:07:17,210 --> 00:07:19,850
the second letter of the alphabet, which is B.

91
00:07:21,470 --> 00:07:22,830
Okay. A.

92
00:07:32,350 --> 00:07:35,830
New sound, we go to the next letter.

93
00:07:39,450 --> 00:07:45,530
Parenthesis, C? No, definitely not. This is thus,

94
00:07:46,530 --> 00:07:50,970
us, this is parenthesis. This is D.

95
00:08:00,010 --> 00:08:01,050
Offices, parentheses?

96
00:08:04,430 --> 00:08:12,850
No way. This is M. This is D. Not the same sound.

97
00:08:12,910 --> 00:08:16,930
Definitely not the same sound. It's a couplet.

98
00:08:17,830 --> 00:08:24,190
Thank you very much. Thank you. Is it regular? How

99
00:08:24,190 --> 00:08:27,010
can we tell? Is it musical? Does it make a musical

100
00:08:27,010 --> 00:08:34,270
pattern? A, B, B, A, C, D, C, D, E. It is. It is

101
00:08:34,270 --> 00:08:36,770
musical. But we can double check when we look at

102
00:08:36,770 --> 00:08:39,910
the other stanzas. So this is stanza number one,

103
00:08:40,010 --> 00:08:42,650
this is stanza number two. Strong? Someone do it

104
00:08:42,650 --> 00:08:46,070
quickly. Someone. The rhyme scheme. Yeah, quickly

105
00:08:46,070 --> 00:08:53,430
Also

106
00:08:53,430 --> 00:09:01,090
D

107
00:09:01,090 --> 00:09:09,570
E E So the same go here. It's the same. So this is

108
00:09:09,570 --> 00:09:12,210
a regular rhyme scheme regular rhyme scheme

109
00:09:12,210 --> 00:09:18,340
musical but The number of feet in each line is not

110
00:09:18,340 --> 00:09:22,660
the same. But does that mean this is not musical?

111
00:09:23,000 --> 00:09:26,500
Let's read the poem. Someone read the poem. The

112
00:09:26,500 --> 00:09:32,600
first one, someone, please. Yeah, go on. The sun

113
00:09:32,600 --> 00:09:36,380
rising, busy old fool and lonely sun. Why does

114
00:09:36,380 --> 00:09:41,940
thou thus throw windows and throw curtains calm on

115
00:09:41,940 --> 00:09:49,880
us? Must desire motions lovers seasons run saucy

116
00:09:49,880 --> 00:09:56,960
saucy pedantic rich rich gosh child life is cool

117
00:09:56,960 --> 00:10:01,100
boys and princesses princesses princesses go

118
00:10:01,100 --> 00:10:05,520
talker handsome handsome handsome man that the

119
00:10:05,520 --> 00:10:09,860
king will ride cold country ants to harvest

120
00:10:09,860 --> 00:10:15,320
offices. Love all life, no season, no clime, nor

121
00:10:15,320 --> 00:10:21,200
hours, days, months, which are the rags of time. I

122
00:10:21,200 --> 00:10:24,160
think there is some music to this. Can you do it?

123
00:10:24,280 --> 00:10:24,720
Yeah? OK.

124
00:10:28,770 --> 00:10:32,730
It's not throw,

125
00:10:33,130 --> 00:10:41,450
it's like you throwing windows, through windows.

126
00:10:49,350 --> 00:10:52,930
So are apprentices.

127
00:11:17,020 --> 00:11:19,220
Beautiful reading. Thank you very much. Let's see

128
00:11:19,220 --> 00:11:22,100
what the poet is saying here. What is he talking

129
00:11:22,100 --> 00:11:25,100
to? Who is he talking to? Who's he addressing?

130
00:11:27,300 --> 00:11:32,980
Okay, who's that? Is he talking to a woman, to a

131
00:11:32,980 --> 00:11:37,980
person? Yeah, he's talking to the sun. A

132
00:11:37,980 --> 00:11:41,390
personification. And there is, if you don't read

133
00:11:41,390 --> 00:11:43,530
the title here of the poem, and someone tells you,

134
00:11:43,650 --> 00:11:46,530
busy, old, fool, unruly son, I'm sure some of you

135
00:11:46,530 --> 00:11:49,830
will write it this way with O. Because these

136
00:11:49,830 --> 00:11:56,330
features, unruly means naughty. Fool, busy,

137
00:11:57,410 --> 00:12:01,230
adjectives that describe people rather than

138
00:12:01,230 --> 00:12:03,790
things. So there is a personification of the son.

139
00:12:04,070 --> 00:12:10,410
And generally, the son is also a symbol. A symbol

140
00:12:10,410 --> 00:12:13,330
means something that stands for something else. It

141
00:12:13,330 --> 00:12:18,590
symbolizes power. It symbolizes authority.

142
00:12:20,110 --> 00:12:23,390
Probably, a new start, generally. But here, is he

143
00:12:23,390 --> 00:12:27,570
happy with the sun? Remember that text, when the

144
00:12:27,570 --> 00:12:30,010
sun was good because of the winter of discontent?

145
00:12:30,330 --> 00:12:34,290
But here, the guy is attacking the sun, calling it

146
00:12:34,290 --> 00:12:40,560
unruly, old, fool, busy. He's not happy with the

147
00:12:40,560 --> 00:12:43,000
sun because the sun keeps sticking its nose, its

148
00:12:43,000 --> 00:12:46,160
head, through the windows and the curtains. So

149
00:12:46,160 --> 00:12:49,800
he's busy, old fool, unruly sun. Why dost thou?

150
00:12:49,800 --> 00:12:52,420
He's interrogating the sun. Through windows and

151
00:12:52,420 --> 00:12:55,320
through curtains call upon us. Must thy motions

152
00:12:55,320 --> 00:12:59,320
lovers' seasons run? Saucy, pedantic, rich, go.

153
00:12:59,520 --> 00:13:04,700
Go. Get out. That's why I would usually here in

154
00:13:04,700 --> 00:13:07,740
this context take the sun as a symbol of

155
00:13:07,740 --> 00:13:08,200
authority.

156
00:13:11,570 --> 00:13:18,490
What's authority? Power. The mainstream. The

157
00:13:18,490 --> 00:13:20,650
mainstream, the official worldview.

158
00:13:23,130 --> 00:13:26,150
The poet, in a way, is personifying the son to

159
00:13:26,150 --> 00:13:29,430
make this idea clear, as if he's talking to a

160
00:13:29,430 --> 00:13:32,690
human being, to, I don't know, the king, or

161
00:13:32,690 --> 00:13:36,730
probably the people, the critics who decide the

162
00:13:36,730 --> 00:13:39,670
rules of poetry. You know what the word pedantic

163
00:13:39,670 --> 00:13:44,300
is? Pedantic is someone who uses language in a way

164
00:13:44,300 --> 00:13:47,580
to show off, like using big words, powerful

165
00:13:47,580 --> 00:13:50,940
language just to show off that I can use better

166
00:13:50,940 --> 00:13:54,400
language than you. So the fact that the poet is

167
00:13:54,400 --> 00:13:57,960
personifying the sun and describing it as pedantic

168
00:13:57,960 --> 00:14:01,500
and as nosy, you know, nosy because it sticks its

169
00:14:01,500 --> 00:14:05,620
nose, curious, waking them up, he's saying, go

170
00:14:05,620 --> 00:14:10,660
out. You're busy, you're old, you're a fool. Don't

171
00:14:10,660 --> 00:14:14,480
disturb us, the lovers, because the lovers must

172
00:14:14,480 --> 00:14:20,680
not or do not obey your rules. In my reading of

173
00:14:20,680 --> 00:14:24,080
this poem, I think the poet is, again, when he

174
00:14:24,080 --> 00:14:27,980
breaks the decorum of the lines here, he's also

175
00:14:27,980 --> 00:14:31,000
breaking the rules by challenging the authority

176
00:14:31,000 --> 00:14:34,120
itself, the sun that stands for power and

177
00:14:34,120 --> 00:14:38,640
authority. The sun here, in my opinion, could be

178
00:14:38,640 --> 00:14:42,240
the authority of criticism and poetry, the rules

179
00:14:42,240 --> 00:14:45,670
of decorum. Because you needed to write. You had

180
00:14:45,670 --> 00:14:48,270
to write poetry in a particular way. And the poet

181
00:14:48,270 --> 00:14:51,730
here is dismissing this. Get out. Don't tell me

182
00:14:51,730 --> 00:14:56,490
what I should do, when I should wake up. Why are

183
00:14:56,490 --> 00:14:58,730
you sticking your head through the windows and

184
00:14:58,730 --> 00:15:02,210
through the curtains? Get out. Go. Go instead of

185
00:15:02,210 --> 00:15:04,890
waking me up, disturbing me, telling me, dictating

186
00:15:04,890 --> 00:15:09,430
things on me. Go child. Let school boys. Go wake

187
00:15:09,430 --> 00:15:14,480
up school children. And sauer apprentices.

188
00:15:14,840 --> 00:15:18,140
Apprentices is originally apprentice. The boys who

189
00:15:18,140 --> 00:15:21,460
work at somebody's place to learn a craft or a

190
00:15:21,460 --> 00:15:25,140
skill. So sauer, you know, sauer is someone who

191
00:15:25,140 --> 00:15:28,040
doesn't want to go to work. Go wake them up. Go

192
00:15:28,040 --> 00:15:30,600
tell the court, the huntsman, the people in the

193
00:15:30,600 --> 00:15:35,200
court that the king is going outside. Go call the

194
00:15:35,200 --> 00:15:38,680
farmers. Tell the farmers, go harvest your crops.

195
00:15:39,100 --> 00:15:44,040
Leave us alone. And then we have the beautiful,

196
00:15:44,100 --> 00:15:47,560
beautiful, beautiful couplet here. Love, this is

197
00:15:47,560 --> 00:15:49,980
so like Shakespeare, probably more beautiful in

198
00:15:49,980 --> 00:15:53,540
many ways. When he says here, must thy emotions,

199
00:15:53,700 --> 00:15:57,880
lovers, seasons run? I shouldn't obey the sun,

200
00:15:58,140 --> 00:16:03,040
because we're more powerful. Love, all alike, no

201
00:16:03,040 --> 00:16:08,080
season knows, nor climb. Love is all the time.

202
00:16:08,340 --> 00:16:09,920
It's not in the morning. It's not at night. It's

203
00:16:09,920 --> 00:16:11,420
not in the afternoon. It's not when you're hungry,

204
00:16:11,560 --> 00:16:14,280
when you're thirsty. It's all the time. The sun

205
00:16:14,280 --> 00:16:19,200
does not dictate this. So in brief, we have a text

206
00:16:19,200 --> 00:16:23,680
here where the poet is clearly breaking the rules.

207
00:16:23,800 --> 00:16:31,420
How? Number one, the form itself. But is the form

208
00:16:31,420 --> 00:16:33,540
related to the meaning? In my opinion, yes. This

209
00:16:33,540 --> 00:16:36,720
is a revolutionary poem in which the poet, the

210
00:16:36,720 --> 00:16:40,580
speaker says, I don't want to obey anybody. And

211
00:16:40,580 --> 00:16:43,680
I'm breaking the rules. I'm breaking the rules.

212
00:16:44,100 --> 00:16:46,640
Look at the language. Remember, we said the

213
00:16:46,640 --> 00:16:48,980
language was especially the language of courtly

214
00:16:48,980 --> 00:16:51,040
love. This is a love poem. The language of courtly

215
00:16:51,040 --> 00:16:54,560
love. Remember the sonnet? Shall I compare thee to

216
00:16:54,560 --> 00:16:56,880
a summer's day? Now what more lovely and more

217
00:16:56,880 --> 00:17:00,550
temperate. Come live with me and be my love, and

218
00:17:00,550 --> 00:17:02,450
we will all the pleasures prove. But this is a

219
00:17:02,450 --> 00:17:06,750
poem about busy old fool and ruly son. Why dost

220
00:17:06,750 --> 00:17:09,310
thou through curtains and through windows call

221
00:17:09,310 --> 00:17:12,090
upon us? It's like there's a powerful beginning

222
00:17:12,090 --> 00:17:15,570
here. There's someone who is dramatic about this,

223
00:17:16,250 --> 00:17:18,710
probably expressing unhappiness or

224
00:17:18,710 --> 00:17:24,850
dissatisfaction. That's example number one. The

225
00:17:24,850 --> 00:17:30,140
same thing applies. to the other standard another

226
00:17:30,140 --> 00:17:35,260
text this is one we have in the book what do you

227
00:17:35,260 --> 00:17:39,300
notice quickly look at the text tell me what you

228
00:17:39,300 --> 00:17:46,480
notice about this raise your hand please remember

229
00:17:46,480 --> 00:17:50,680
generally i do it like this i look at the poem

230
00:17:50,680 --> 00:17:55,090
that's the first thing i do the second thing is I

231
00:17:55,090 --> 00:17:57,450
count the lines because it could be a sonnet if it

232
00:17:57,450 --> 00:18:00,470
is a sonnet there is something I can say out of

233
00:18:00,470 --> 00:18:05,150
the lines the counting I go for the rhyme scheme

234
00:18:05,150 --> 00:18:09,710
so what do you notice please okay

235
00:18:09,710 --> 00:18:16,570
so it's one block 14 lines interesting it is a

236
00:18:16,570 --> 00:18:21,930
sonnet remember the sonnet Italy Petrarch

237
00:18:23,480 --> 00:18:25,700
Particular subject matter, particular rhyme

238
00:18:25,700 --> 00:18:29,740
scheme, Shakespeare? The rhyme scheme. Let's go

239
00:18:29,740 --> 00:18:32,940
for the rhyme scheme. Can someone do it? This is

240
00:18:32,940 --> 00:18:36,760
going to be problematic. Come here please. Yes.

241
00:18:40,440 --> 00:18:41,700
Okay, no problem.

242
00:18:45,100 --> 00:18:48,470
Tell them what you're doing. Okay, the first one,

243
00:18:48,670 --> 00:18:53,990
first alphabet, A, U meant it's totally different,

244
00:18:54,270 --> 00:18:59,770
bent than meant A, sorry, B. Okay, good. U and U,

245
00:18:59,910 --> 00:19:09,010
A, U, C, and A. U and U are not the same, U, U, U.

246
00:19:09,630 --> 00:19:16,730
They're the same. M and bent B, different.

247
00:19:22,120 --> 00:19:22,560
Okay,

248
00:19:25,980 --> 00:19:28,860
before she continues, what does this remind you

249
00:19:28,860 --> 00:19:33,280
of? Italian sonnet, Petrarch, remember? A, B, B,

250
00:19:33,340 --> 00:19:38,720
A, A, B, B, A, C, D, C, D, C, D. Go on.

251
00:19:49,840 --> 00:19:57,280
I for I are you

252
00:19:57,280 --> 00:20:01,620
sure maybe it is listen we started something

253
00:20:01,620 --> 00:20:05,880
called imperfect rhyme what is an imperfect rhyme

254
00:20:05,880 --> 00:20:10,560
there is rhyme but it doesn't rhyme hundred

255
00:20:10,560 --> 00:20:15,370
percent probably fifty percent so anime Enemy and

256
00:20:15,370 --> 00:20:18,730
I they are close but not close enough to be

257
00:20:18,730 --> 00:20:22,510
perfect rhyme. So it should be DD Before she

258
00:20:22,510 --> 00:20:30,550
continues. This is also Petrarch however Oh,

259
00:20:30,650 --> 00:20:34,490
thank you. What is EE? Couplet. Thank you very

260
00:20:34,490 --> 00:20:39,110
much. Good Listen to me The imperfect rhyme again.

261
00:20:39,250 --> 00:20:42,170
Remember we said this before either it was read in

262
00:20:42,170 --> 00:20:44,810
a particular way or when you read it you just do

263
00:20:44,810 --> 00:20:47,450
it extend it stretch it a little bit so it could

264
00:20:47,450 --> 00:20:51,750
be like anime I in a way a little bit close or

265
00:20:51,750 --> 00:20:54,900
could have been pronounced in a way that But more

266
00:20:54,900 --> 00:20:58,220
important to me is that an imperfect rhyme tells

267
00:20:58,220 --> 00:21:01,200
us, when you read the text, be careful. The poet

268
00:21:01,200 --> 00:21:04,920
is sending us a signal, a particular message. Why

269
00:21:04,920 --> 00:21:07,180
we need to stop and see why there is imperfection

270
00:21:07,180 --> 00:21:10,340
here. Does it reflect a particular idea? And

271
00:21:10,340 --> 00:21:15,500
usually it does. So is this a Shakespearean or a

272
00:21:15,500 --> 00:21:18,540
Petrarchan sonnet? Italian or English? Italian.

273
00:21:19,560 --> 00:21:24,060
Are you sure? Yes. Half and half, mixture.

274
00:21:25,960 --> 00:21:34,840
Generally, we have

275
00:21:34,840 --> 00:21:37,760
several forms, but the most important forms are

276
00:21:37,760 --> 00:21:41,400
again the Italian, the English, Petrarchan,

277
00:21:41,760 --> 00:21:46,000
Shakespeare. We have a person here who's going for

278
00:21:46,000 --> 00:21:50,200
Petrarch, the original, Sonneteer and then at the

279
00:21:50,200 --> 00:21:54,780
end all of a sudden shifts to Shakespeare in a way

280
00:21:54,780 --> 00:21:59,940
creating a new form in a way mixing things and

281
00:21:59,940 --> 00:22:08,080
bringing a new form a bb a a bb a cd cd ee and

282
00:22:08,080 --> 00:22:12,330
remember the sonnet With a couplet, it means

283
00:22:12,330 --> 00:22:14,950
something. Remember we said some people believe

284
00:22:14,950 --> 00:22:18,550
that only Shakespeare could do this, where he

285
00:22:18,550 --> 00:22:21,830
develops in 12 lines a particular problem and

286
00:22:21,830 --> 00:22:25,670
gives us the twist, the resolution, the closure in

287
00:22:25,670 --> 00:22:28,110
two lines. So this is someone saying, I don't want

288
00:22:28,110 --> 00:22:30,950
to follow Shakespeare, but I can be as smart as

289
00:22:30,950 --> 00:22:32,790
Shakespeare, as good as Shakespeare, and this is

290
00:22:32,790 --> 00:22:34,270
the couplet I have here.

291
00:22:37,070 --> 00:22:40,980
So sonnet, different rhyme scheme. What do you

292
00:22:40,980 --> 00:22:43,400
notice? What else do you notice about it? Now

293
00:22:43,400 --> 00:22:43,820
read.

294
00:22:47,640 --> 00:22:51,220
What is the sonnet about? Does anyone want to

295
00:22:51,220 --> 00:22:55,900
read? Probably the first quatrain, yes? batter my

296
00:22:55,900 --> 00:22:59,540
heart, three persons God for you, as yet but not

297
00:22:59,540 --> 00:23:02,700
breathe shine and seek to mend, that I may rise

298
00:23:02,700 --> 00:23:07,260
and stand o'er you, me and them, you're forced to

299
00:23:07,260 --> 00:23:11,160
break, blow, burn and make me new. No, no, read

300
00:23:11,160 --> 00:23:14,300
this again and pay attention to the B B B sound,

301
00:23:14,440 --> 00:23:17,460
the alliteration. You're forced to break, blow,

302
00:23:17,600 --> 00:23:20,000
burn and make me new. Break, break, blow, burn.

303
00:23:20,840 --> 00:23:24,300
Yeah, that's that's part of the strong language

304
00:23:24,300 --> 00:23:30,100
strong opening here. Is this a love poem? There's

305
00:23:30,100 --> 00:23:34,500
God here. You know three persons in Christianity

306
00:23:34,500 --> 00:23:38,700
who have Trinity. The Trinity. This is a religious

307
00:23:38,700 --> 00:23:43,800
poem and the whole poem is about the poet trying

308
00:23:43,800 --> 00:23:49,500
to break free from the sins of God's enemy, Satan,

309
00:23:49,640 --> 00:23:52,860
the devil. He's asking God to break this

310
00:23:52,860 --> 00:23:57,820
relationship between him and Satan, to free him.

311
00:23:58,460 --> 00:24:03,560
Divorce me from who? From his relationship with

312
00:24:03,560 --> 00:24:08,620
the enemy of God, Satan. Because he wants to be

313
00:24:08,620 --> 00:24:12,000
close to God. He wants to be free. And there's a

314
00:24:12,000 --> 00:24:15,660
paradox. I like the paradox here. Imprison me to

315
00:24:15,660 --> 00:24:19,840
make me free. What is a paradox? Saying something

316
00:24:19,840 --> 00:24:22,900
and saying the opposite. That's irony. Paradox is

317
00:24:22,900 --> 00:24:25,820
a sentence that contradicts itself. When someone

318
00:24:25,820 --> 00:24:28,820
says imprison me because I want to be free. What?

319
00:24:32,060 --> 00:24:36,190
Feed me because I want to be hungry. Break me

320
00:24:36,190 --> 00:24:41,750
because I want to be new. Generally, it's a

321
00:24:41,750 --> 00:24:44,770
statement that contradicts itself. When you first

322
00:24:44,770 --> 00:24:47,810
read it, you think it doesn't make sense. But when

323
00:24:47,810 --> 00:24:50,550
you analyze it, when you put it in its context,

324
00:24:51,010 --> 00:24:54,550
you realize how smart and witty this is. So he

325
00:24:54,550 --> 00:24:58,810
wants to break the old him, the sinner, the person

326
00:24:58,810 --> 00:25:02,250
that is close to Satan, to the devil, because he

327
00:25:02,250 --> 00:25:06,270
wants to be new with God. He wants God to imprison

328
00:25:06,270 --> 00:25:10,690
him away from the enemy of God, from him to him.

329
00:25:11,050 --> 00:25:15,010
If you are a prisoner with God, you're still free.

330
00:25:15,830 --> 00:25:18,950
He offers you a lot of freedom. So what is this

331
00:25:18,950 --> 00:25:24,510
poet doing? Again, changing the form, changing the

332
00:25:24,510 --> 00:25:28,130
rhyme scheme, and changing the subject matter of

333
00:25:28,130 --> 00:25:31,310
the most important form of English literature of

334
00:25:31,310 --> 00:25:33,710
that time, the sonnet. So there is a deliberate

335
00:25:35,590 --> 00:25:38,890
Insistence on this, on bringing something new, on

336
00:25:38,890 --> 00:25:41,430
breaking the rules of the Qur'an. This is someone

337
00:25:41,430 --> 00:25:44,130
saying, no, I am more powerful than the rules of

338
00:25:44,130 --> 00:25:46,270
the Qur'an. Because the rules of the Qur'an are

339
00:25:46,270 --> 00:25:50,770
busy old fool and unruly. They keep just calling

340
00:25:50,770 --> 00:25:53,270
upon us, telling us what to do and what not to do.

341
00:25:53,350 --> 00:25:58,690
I'm not going to follow this. OK. One more. This

342
00:25:58,690 --> 00:26:01,490
is another sonnet. Probably I can pass it on. Look

343
00:26:01,490 --> 00:26:07,140
at this poem. it's in the book by the way and the

344
00:26:07,140 --> 00:26:12,540
title is Easter Wings you know not Red Bull this

345
00:26:12,540 --> 00:26:17,840
time but if you look at the text from afar it

346
00:26:17,840 --> 00:26:23,680
sounds like a bird flying or probably two birds

347
00:26:23,680 --> 00:26:27,780
flying because this is body the wings the body the

348
00:26:27,780 --> 00:26:28,300
wings

349
00:26:31,180 --> 00:26:34,540
What was that? The M?

350
00:26:37,520 --> 00:26:41,240
But generally I just turned it this way because I

351
00:26:41,240 --> 00:26:44,680
wanted to show you how it could look like a bird,

352
00:26:44,860 --> 00:26:48,140
like wings. Easter, wings. Also Easter, you know

353
00:26:48,140 --> 00:26:50,400
Easter, we are in March, Easter. This is also a

354
00:26:50,400 --> 00:26:52,860
really just Christian thing here.

355
00:26:57,060 --> 00:27:00,220
This is the poem. Now, the title, Easter Wings,

356
00:27:00,380 --> 00:27:06,400
might sound religious. It is religious. But when

357
00:27:06,400 --> 00:27:11,380
you look at the shape of the poem, remember, when

358
00:27:11,380 --> 00:27:13,440
we go for Shakespeare, for Ben Jonson, even

359
00:27:13,440 --> 00:27:18,280
Marlowe and those poets, same number of syllables

360
00:27:18,280 --> 00:27:22,840
and feet. This looks crazy, because we have long

361
00:27:22,840 --> 00:27:26,600
line, shorter, short, and then the shortest, and

362
00:27:26,600 --> 00:27:31,260
then it gets long. Listen. Now these group, these

363
00:27:31,260 --> 00:27:36,860
poets, this group of poets did something new to

364
00:27:36,860 --> 00:27:41,320
literature, to English poetry. And this is

365
00:27:41,320 --> 00:27:46,880
important because to them, the meaning is more

366
00:27:46,880 --> 00:27:51,860
important than the rule. Again, the meaning is

367
00:27:51,860 --> 00:27:55,360
more important than the rule. If I feel like

368
00:27:55,360 --> 00:27:57,680
writing a religious poem in the sonnet form, you

369
00:27:57,680 --> 00:28:02,620
go for it. If I feel that the line needs five

370
00:28:02,620 --> 00:28:06,000
feet, I go there. If I feel it needs less or more,

371
00:28:06,200 --> 00:28:11,500
I go there. The idea is more important. The idea

372
00:28:11,500 --> 00:28:14,780
is more significant than the rule itself, than the

373
00:28:14,780 --> 00:28:19,680
number of the syllables in many ways. Let's see

374
00:28:19,680 --> 00:28:22,640
how they connect where the meaning and the form

375
00:28:22,640 --> 00:28:26,060
are connected. In the rules of the Quran, like in

376
00:28:26,060 --> 00:28:28,360
Arabic poetry by the way, sometimes when you read

377
00:28:28,360 --> 00:28:30,600
Arabic poetry you find that a particular word

378
00:28:30,600 --> 00:28:33,300
doesn't fit in the context. I'm not sure if I

379
00:28:33,300 --> 00:28:37,970
mentioned this before here. What's his name? Elia

380
00:28:37,970 --> 00:28:42,010
Boumadie, in one of his poems, Kam Tashtaki, He's

381
00:28:42,010 --> 00:28:45,630
inviting people to be optimistic. And in one line,

382
00:28:45,710 --> 00:28:46,190
he says,

383
00:28:50,660 --> 00:28:53,360
So he's saying, like, be happy because the sun is

384
00:28:53,360 --> 00:28:57,640
burning. It doesn't work. Why? Because he chose

385
00:28:57,640 --> 00:28:59,560
this particular word, although it is the wrong

386
00:28:59,560 --> 00:29:02,220
word, because of the rhyme and because of the

387
00:29:02,220 --> 00:29:04,980
meter. It wasn't mulqafiyah. For those

388
00:29:04,980 --> 00:29:08,000
metaphysical poets, for those poets we're studying

389
00:29:08,000 --> 00:29:11,100
today, the meaning is more important. They can

390
00:29:11,100 --> 00:29:13,680
break the rule for the right word, for the right

391
00:29:13,680 --> 00:29:18,240
idea. Let's see how the meaning, the theme, is

392
00:29:18,240 --> 00:29:19,420
connected with

393
00:29:22,470 --> 00:29:28,490
The form. So this is the longest line, right? And

394
00:29:28,490 --> 00:29:32,690
this is the shortest line. Same here, two lines,

395
00:29:32,790 --> 00:29:35,830
very short, long, long. The first line says, Lord,

396
00:29:35,950 --> 00:29:42,730
again, God, religious. Lord who created man in

397
00:29:42,730 --> 00:29:44,870
wealth and store. And that's why we have the

398
00:29:44,870 --> 00:29:49,350
longest line. He's saying, God gave man

399
00:29:49,350 --> 00:29:54,450
everything. This big, the biggest thing. God

400
00:29:54,450 --> 00:29:59,710
created man in wealth and store. And that's why

401
00:29:59,710 --> 00:30:04,270
it's the longest line. What happens next? Man

402
00:30:04,270 --> 00:30:06,930
begins to lose.

403
00:30:08,750 --> 00:30:12,390
And then because there is loss here, the line

404
00:30:12,390 --> 00:30:17,240
shrinks. Thank you for the word, shrinks. And then

405
00:30:17,240 --> 00:30:21,440
decay, you know, decay decline, fades, decaying

406
00:30:21,440 --> 00:30:28,320
even more and more till he became most poor, most

407
00:30:28,320 --> 00:30:33,200
poor and we have the shortest line. But what

408
00:30:33,200 --> 00:30:37,900
happens next with thee, thee here, Lord. Let me

409
00:30:37,900 --> 00:30:40,980
rise. Because there's rising, it grows again

410
00:30:40,980 --> 00:30:43,940
bigger because you connect, you go back to God. As

411
00:30:43,940 --> 00:30:46,960
larks, as birds. You know the lark? Harmoniously

412
00:30:46,960 --> 00:30:50,920
and sing this day thy victories. Then shall the

413
00:30:50,920 --> 00:30:55,260
fall further the flight in me. Oh, thank you. I

414
00:30:55,260 --> 00:31:00,660
love the further alliteration. The fall further

415
00:31:00,660 --> 00:31:05,790
the flight. It's alliteration where the sound It's

416
00:31:05,790 --> 00:31:11,210
like, it's like wings fluttering. Similar to this

417
00:31:11,210 --> 00:31:15,710
in a way, fluttering. The fall, further, the

418
00:31:15,710 --> 00:31:20,110
flight, there is alliteration here, but also there

419
00:31:20,110 --> 00:31:27,910
is a paradox. What's a paradox? A sentence that is

420
00:31:27,910 --> 00:31:32,190
self-contradictory. How does the fall further the

421
00:31:32,190 --> 00:31:36,030
flight? If you fall, you fall. But here he says,

422
00:31:36,530 --> 00:31:41,030
if I fall, I rise up above. Because this is a

423
00:31:41,030 --> 00:31:44,470
religious concept here. If you commit a sin and

424
00:31:44,470 --> 00:31:49,150
you repent, you go back to God, you will rise

425
00:31:49,150 --> 00:31:52,270
higher than ever before. If you count the number

426
00:31:52,270 --> 00:31:57,310
of syllables here, Ten. Can you say how that

427
00:31:57,310 --> 00:32:05,530
worked with you? One, two, three, four,

428
00:32:05,790 --> 00:32:07,610
five, six, seven, eight, nine, ten. One, two,

429
00:32:07,810 --> 00:32:10,030
three, four, five, six, seven, eight, nine, ten.

430
00:32:10,030 --> 00:32:10,030
One, two, three, four, five, six, seven, eight,

431
00:32:10,030 --> 00:32:11,050
nine, ten. One, two, three, four, five, six,

432
00:32:11,050 --> 00:32:11,590
seven, eight, nine, ten. One, two, three, four,

433
00:32:11,590 --> 00:32:11,990
five, six, seven, eight, nine, ten. One, two,

434
00:32:11,990 --> 00:32:11,990
three, four, five, six, seven, eight, nine, ten.

435
00:32:12,090 --> 00:32:12,090
One, two, three, four, five, six, seven, eight,

436
00:32:12,090 --> 00:32:13,010
nine, ten. One, two, three, four, five, six,

437
00:32:13,010 --> 00:32:14,750
seven, eight, nine, ten. One, two, three, four,

438
00:32:14,750 --> 00:32:15,250
five, six, seven, eight, nine, ten. One, two,

439
00:32:15,250 --> 00:32:15,250
three, four, five, six, seven, eight, nine, ten.

440
00:32:16,670 --> 00:32:17,150
One, two,

441
00:32:19,930 --> 00:32:21,470
three, four, five, six, seven

442
00:32:24,690 --> 00:32:28,870
One foot. One foot. No, two syllables, one foot.

443
00:32:29,770 --> 00:32:35,270
Plural of foot. And then one, two, three, four,

444
00:32:35,510 --> 00:32:39,950
five. The same thing happens again and again. But

445
00:32:39,950 --> 00:32:42,250
again, what I'm saying here is that the longest

446
00:32:42,250 --> 00:32:46,330
line corresponds, is connected with what it means.

447
00:32:47,030 --> 00:32:51,930
Wealth and store. God gave man everything. And

448
00:32:51,930 --> 00:32:55,930
when man lost everything, became the most, most

449
00:32:55,930 --> 00:33:00,930
poor. Same thing happens again. Most thin, because

450
00:33:00,930 --> 00:33:03,210
this is the most thin physically, it's the most

451
00:33:03,210 --> 00:33:07,930
thin. But the poet is saying that I want to imp.

452
00:33:08,030 --> 00:33:12,230
Imp means like link, glue, connect. My wing on

453
00:33:12,230 --> 00:33:14,850
thine. And that's why we have here, this is a bird

454
00:33:14,850 --> 00:33:18,220
probably standing for man. And this is another

455
00:33:18,220 --> 00:33:23,040
bird standing for Jesus or God. And he wants the

456
00:33:23,040 --> 00:33:27,920
wings to be connected so they can... Affliction,

457
00:33:28,140 --> 00:33:31,680
pain shall advance the flight in me. I want to go

458
00:33:31,680 --> 00:33:34,840
back to you, God. Forgive my sins. I love you,

459
00:33:34,960 --> 00:33:38,380
God. I'm coming back to you. Look at the rhyme

460
00:33:38,380 --> 00:33:48,240
scheme here. We have Thor. Same. B, more, A, B,

461
00:33:48,780 --> 00:33:56,820
Puro, so A, D, C, rise, D, listen, harmoniously

462
00:33:56,820 --> 00:34:02,660
rhymes with D but imperfectly. So C, also rise and

463
00:34:02,660 --> 00:34:07,640
victories, they rhyme but imperfect rhyme. So D

464
00:34:07,640 --> 00:34:09,600
and C.

465
00:34:12,280 --> 00:34:18,680
So A, B, A, B, A. C, D, C, D, C. And the same

466
00:34:18,680 --> 00:34:25,760
thing happens later on. What do we see here again

467
00:34:25,760 --> 00:34:31,100
is that a poet deliberately, on purpose, changing

468
00:34:31,100 --> 00:34:35,460
the form. And the form is not random. It's

469
00:34:35,460 --> 00:34:39,830
connected with the meaning in many ways. If you

470
00:34:39,830 --> 00:34:42,610
notice, we have in one stanza, we have two

471
00:34:42,610 --> 00:34:46,090
imperfect rhymes here. So they don't look for the

472
00:34:46,090 --> 00:34:47,950
perfect rhyme. They don't look for the most

473
00:34:47,950 --> 00:34:51,030
beautiful, most elegant, most powerful, most

474
00:34:51,030 --> 00:34:55,590
highly, you know. Like a word that really is

475
00:34:55,590 --> 00:34:59,110
poetic that only poets and only people who go to

476
00:34:59,110 --> 00:35:02,430
university know. The right word in the right place

477
00:35:02,430 --> 00:35:06,070
is usually used. Because the meaning is more

478
00:35:06,070 --> 00:35:10,610
important than the rule. What is this?

479
00:35:13,410 --> 00:35:17,550
Okay, see, this is clearer here. What is this?

480
00:35:17,750 --> 00:35:25,890
This is John Donne and his school of poets. John

481
00:35:25,890 --> 00:35:31,910
Donne. John Donne. And his followers, George

482
00:35:31,910 --> 00:35:35,710
Herbert. The Easter Wings poem is a poem by

483
00:35:37,930 --> 00:35:44,450
Someone named George Herbert. So in brief, to wrap

484
00:35:44,450 --> 00:35:48,850
things up, John Donne as a poet clearly was

485
00:35:48,850 --> 00:35:51,830
dissatisfied with the way English poetry was

486
00:35:51,830 --> 00:35:54,270
written during his time. He didn't like the rules

487
00:35:54,270 --> 00:35:57,470
of decorum, so he broke them. He changed many

488
00:35:57,470 --> 00:36:00,270
things. He changed something about the form, about

489
00:36:00,270 --> 00:36:05,210
the language, about the rules, the meter. For this

490
00:36:05,210 --> 00:36:08,150
poet, the idea is more important than the rule. So

491
00:36:08,150 --> 00:36:11,570
he would break the rule just to convey the right

492
00:36:11,570 --> 00:36:12,010
idea.

493
00:36:15,150 --> 00:36:18,330
And what does that mean? Does it mean that it was

494
00:36:18,330 --> 00:36:24,390
okay to do this then? Of course not. Remember,

495
00:36:24,510 --> 00:36:27,450
this is the heyday of Renaissance. And then we

496
00:36:27,450 --> 00:36:30,950
will be having the neoclassical age, the age that

497
00:36:30,950 --> 00:36:34,970
emphasized rules over meanings in so many ways.

498
00:36:35,810 --> 00:36:37,810
The rules of decorum were sacred. You had to

499
00:36:37,810 --> 00:36:40,790
follow them. And when someone comes to do this,

500
00:36:41,210 --> 00:36:45,300
number one, he's viewed as a threat. Writing

501
00:36:45,300 --> 00:36:47,960
something different, writing something new could

502
00:36:47,960 --> 00:36:51,640
be viewed as a threat because some patrons might

503
00:36:51,640 --> 00:36:53,880
find this interesting and would be, oh, I want

504
00:36:53,880 --> 00:36:57,260
this poet who writes different poetry. And I want

505
00:36:57,260 --> 00:37:00,020
to give him money. I want to bring him. So

506
00:37:00,020 --> 00:37:03,940
probably some critics of that time viewed this as

507
00:37:03,940 --> 00:37:06,700
a threat. But definitely, they didn't like

508
00:37:06,700 --> 00:37:10,980
Diondan. But not because Diondan was writing bad

509
00:37:10,980 --> 00:37:17,700
poetry. or difficult poetry, or complex poetry. It

510
00:37:17,700 --> 00:37:20,260
was because John Donne was breaking the rules. And

511
00:37:20,260 --> 00:37:22,760
the rules for them are the most important things.

512
00:37:24,640 --> 00:37:27,160
One critic, Johnson, we studied Johnson already as

513
00:37:27,160 --> 00:37:29,560
a dramatist and a poet, he said, John Donne

514
00:37:29,560 --> 00:37:35,260
deserves hanging. Yeah, that's extreme. He

515
00:37:35,260 --> 00:37:38,040
deserves hanging.

516
00:37:38,740 --> 00:37:43,210
For what? For writing different poetry? Where's

517
00:37:43,210 --> 00:37:46,070
the freedom of speech, right? And he said, John

518
00:37:46,070 --> 00:37:50,310
Donne will perish. You know perish? He will

519
00:37:50,310 --> 00:37:55,030
decline. He will be forgotten. Perish. No one will

520
00:37:55,030 --> 00:38:01,130
remember him. Perish. He will vanish. He will

521
00:38:01,130 --> 00:38:03,630
disappear because no one will like his poetry.

522
00:38:03,730 --> 00:38:06,550
Actually, many people liked his poetry, but the

523
00:38:06,550 --> 00:38:10,790
mainstream critics The critics who called for the

524
00:38:10,790 --> 00:38:12,470
rules of the Quran did it like this, and they

525
00:38:12,470 --> 00:38:14,450
kicked John Donne and his followers from the

526
00:38:14,450 --> 00:38:18,590
canon. They would also not talk about them, ignore

527
00:38:18,590 --> 00:38:20,710
them, and when they talk about them, they would

528
00:38:20,710 --> 00:38:23,110
negatively frame them. Remember the word frame?

529
00:38:24,190 --> 00:38:28,370
Important word here. Frame? to describe somebody

530
00:38:28,370 --> 00:38:31,130
in a negative way or a positive way. But here,

531
00:38:31,210 --> 00:38:35,310
John Donne was negatively framed by the mainstream

532
00:38:35,310 --> 00:38:39,210
critics. How? Someone said, he deserves hanging.

533
00:38:39,430 --> 00:38:43,810
Someone said, he will perish. Someone said, he

534
00:38:43,810 --> 00:38:47,650
writes a perplexing poetry. Someone said, John

535
00:38:47,650 --> 00:38:49,650
Donne, this is not poetry, this is verse.

536
00:38:52,340 --> 00:38:55,620
Someone said even, because a lot of critics agree

537
00:38:55,620 --> 00:38:59,520
that John Donne is smart, witty. Alexander Pope

538
00:38:59,520 --> 00:39:05,060
said, no, he doesn't have an extraordinary kind of

539
00:39:05,060 --> 00:39:09,240
wit. All poets have the same level of wit like

540
00:39:09,240 --> 00:39:14,120
Donne. So John Donne and his followers, for about

541
00:39:14,120 --> 00:39:20,390
200 years, was in a way marginalized, was not in

542
00:39:20,390 --> 00:39:24,790
the canon, was kicked out. And thanks to a very

543
00:39:24,790 --> 00:39:28,790
important man, a very important critic, a very

544
00:39:28,790 --> 00:39:32,130
important poet in the 20th century, early 20th

545
00:39:32,130 --> 00:39:38,930
century, T.S. Eliot. The Wasteland, April is the

546
00:39:38,930 --> 00:39:44,390
cruelest month. When he was reading poetry, he

547
00:39:44,390 --> 00:39:48,530
came across the metaphysical poets, John Donne.

548
00:39:49,510 --> 00:39:52,190
And he said, wow, these are important poets. He

549
00:39:52,190 --> 00:39:57,030
showed how important their poetry was, to the

550
00:39:57,030 --> 00:40:00,770
extent that in the 20th century, John Donne and

551
00:40:00,770 --> 00:40:03,630
his followers became more important than Johnson,

552
00:40:04,370 --> 00:40:06,790
than Dryden, than Samuel Johnson, and then

553
00:40:06,790 --> 00:40:10,810
Alexander Pope combined. Many poets in the 20th

554
00:40:10,810 --> 00:40:13,510
century started to imitate them in a way. That's

555
00:40:13,510 --> 00:40:17,530
why John Donne is considered a modernist. What is

556
00:40:17,530 --> 00:40:18,190
a modernist?

557
00:40:22,130 --> 00:40:25,750
Modernism. He brings new ideas, he experiments, he

558
00:40:25,750 --> 00:40:30,870
changes. The 20th century went back to the poets

559
00:40:30,870 --> 00:40:34,030
like John Donne to imitate them, to learn from

560
00:40:34,030 --> 00:40:39,540
them. And finally, when we read the literature

561
00:40:39,540 --> 00:40:42,480
box, we will come across the term metaphysical.

562
00:40:43,040 --> 00:40:46,780
Listen to this again. Metaphysical poetry,

563
00:40:46,900 --> 00:40:48,860
metaphysical poets. This is an ugly term. Look at

564
00:40:48,860 --> 00:40:51,900
it. It's horrible, right? Metaphysical poetry. It

565
00:40:51,900 --> 00:40:57,580
sounds terrorizing, intimidating, spooky. Now,

566
00:40:57,920 --> 00:41:00,900
this term was used again by the mainstream critics

567
00:41:00,900 --> 00:41:04,220
Dryden and Johnson to describe John Donne and his

568
00:41:04,220 --> 00:41:07,340
followers. What does it mean, metaphysical?

569
00:41:07,620 --> 00:41:10,180
Believe me, it doesn't mean much. It doesn't mean

570
00:41:10,180 --> 00:41:16,360
anything. But it was used in order to, again, make

571
00:41:16,360 --> 00:41:19,740
people just, in a way, hate those poets, not read

572
00:41:19,740 --> 00:41:23,840
them. Because I want to read poetry. Oh, yeah.

573
00:41:24,830 --> 00:41:27,070
Metaphysical, it sounds, the name even sounds

574
00:41:27,070 --> 00:41:29,950
difficult. So this is also negative framing. So

575
00:41:29,950 --> 00:41:34,290
according to T.S. Eliot, the term metaphysical was

576
00:41:34,290 --> 00:41:41,870
a term of abuse. What's abuse? As an insult. So it

577
00:41:41,870 --> 00:41:44,710
wasn't used to describe them, but it was used to

578
00:41:44,710 --> 00:41:48,510
insult them. To tell people, don't read this

579
00:41:48,510 --> 00:41:48,830
poetry.

580
00:41:53,340 --> 00:41:57,380
I'll stop here. I will continue this later on. But

581
00:41:57,380 --> 00:42:00,480
let me just summarize the last point here and see

582
00:42:00,480 --> 00:42:05,160
how funny literature is and how life works against

583
00:42:05,160 --> 00:42:12,160
certain ideologies and ideas. Ben Jonson said John

584
00:42:12,160 --> 00:42:14,260
Donne will perish for breaking the rules.

585
00:42:15,640 --> 00:42:17,880
Ironically, nowadays John Donne is more important

586
00:42:17,880 --> 00:42:22,470
than Ben Jonson. and probably other mainstream

587
00:42:22,470 --> 00:42:27,090
critics, neoclassical critics of that type. So no

588
00:42:27,090 --> 00:42:29,710
matter how much sometimes the official mainstream

589
00:42:29,710 --> 00:42:34,790
critics and poets try to dismiss some poetry, not

590
00:42:34,790 --> 00:42:37,250
because it's bad, but because it's against their

591
00:42:37,250 --> 00:42:40,590
ideology, against their rules, because it

592
00:42:40,590 --> 00:42:43,670
threatens them, no matter how much, how hard they

593
00:42:43,670 --> 00:42:48,420
try. Later on, people will have the chance to read

594
00:42:48,420 --> 00:42:51,980
this poetry and appreciate it for its beauty and

595
00:42:51,980 --> 00:42:57,500
its contribution. Okay? So these are the major

596
00:42:57,500 --> 00:43:00,700
points I just discussed here.

597
00:43:04,260 --> 00:43:06,300
You don't have to write them down. You can see

598
00:43:06,300 --> 00:43:07,360
them in the video, by the way.

599
00:43:13,450 --> 00:43:17,270
Our next class will continue doing John Donne,

600
00:43:17,970 --> 00:43:21,770
George Herbert, and Andrew Marvel. And I'll repeat

601
00:43:21,770 --> 00:43:24,510
these ideas and speak about the features of

602
00:43:24,510 --> 00:43:27,250
metaphysical portrait. Do you have any question?

603
00:43:27,730 --> 00:43:33,030
Please. How we can know the irregular rhyme scheme

604
00:43:33,030 --> 00:43:40,390
like this? When you look at the poem and trace the

605
00:43:40,390 --> 00:43:41,590
rhyme

606
00:43:45,760 --> 00:43:51,360
Generally, go with your gut, meaning like, what do

607
00:43:51,360 --> 00:43:54,580
you feel here? How do you feel? And then go

608
00:43:54,580 --> 00:43:57,800
through it again and try to see whether two rhymes

609
00:43:57,800 --> 00:44:02,560
are close, not close enough to be perfect rhymes,

610
00:44:03,000 --> 00:44:06,260
but probably 50% and you bring them together. So

611
00:44:06,260 --> 00:44:09,390
here, generally, when I first read this, I didn't

612
00:44:09,390 --> 00:44:13,870
like rise with victories. Because rise is

613
00:44:13,870 --> 00:44:16,290
different from victories. But does it sound like

614
00:44:16,290 --> 00:44:22,030
it? In a way, yes. A little bit. Not 100%. So we

615
00:44:22,030 --> 00:44:24,190
go for imperfect rhyme. When we remember these are

616
00:44:24,190 --> 00:44:25,930
the metaphysical powers, we say, oh, they didn't

617
00:44:25,930 --> 00:44:29,270
want to follow the rules 100%. But there is more

618
00:44:29,270 --> 00:44:31,970
to this. When you study the imperfect rhyme, I

619
00:44:31,970 --> 00:44:34,690
think you will find more reasons why this is

620
00:44:34,690 --> 00:44:37,310
imperfect. There's something going on. We need to

621
00:44:37,310 --> 00:44:39,860
analyze. Okay, thank you. If you have any

622
00:44:39,860 --> 00:44:42,480
question, we can continue after this. Thank you

623
00:44:42,480 --> 00:44:42,960
and good luck.