1 00:00:10,320 --> 00:00:13,700 Good. It's nice to see you again today for another 2 00:00:13,700 --> 00:00:18,920 poetry class. I think, you know, now you have 3 00:00:18,920 --> 00:00:22,440 started to change your mind about poetry. Yes. 4 00:00:25,580 --> 00:00:28,320 You are getting more interested in poetry. But 5 00:00:28,320 --> 00:00:31,600 still I believe you are having some hurdles, some 6 00:00:31,600 --> 00:00:35,640 problems. I think by hard work, by perseverance, 7 00:00:36,140 --> 00:00:39,580 you're going to overcome these hurdles. Okay, 8 00:00:39,680 --> 00:00:44,920 today our meeting will be dedicated to Sydney. But 9 00:00:44,920 --> 00:00:47,560 the class will be like this. I'm going to listen 10 00:00:47,560 --> 00:00:53,420 to one or two reports. Then like a response or 11 00:00:53,420 --> 00:00:57,550 two. Later, I'll be eliciting your responses, all 12 00:00:57,550 --> 00:01:01,290 of you. Then I'll have a go about 15 minutes on 13 00:01:01,290 --> 00:01:04,870 the poem. And finally, I'll get you to write a 14 00:01:04,870 --> 00:01:07,950 critique, an initial critique of the poem. So I'll 15 00:01:07,950 --> 00:01:11,730 be leaving you to write this critique. And that's 16 00:01:11,730 --> 00:01:15,710 it for today. So let's start. Yes, you are willing 17 00:01:15,710 --> 00:01:18,730 to read. Is it the first time you're reading? 18 00:01:19,530 --> 00:01:23,100 Okay, good. You know, I like the idea, like, a lot 19 00:01:23,100 --> 00:01:25,960 of students yesterday, many, many students, you 20 00:01:25,960 --> 00:01:28,200 know, were willing to read the reports. And this 21 00:01:28,200 --> 00:01:31,120 is a good indication that they started to like the 22 00:01:31,120 --> 00:01:34,470 reports. Okay. Time passed quickly, passed 23 00:01:34,470 --> 00:01:36,890 quickly. We are in the fourth week at the 24 00:01:36,890 --> 00:01:39,850 university. The teacher finished explaining four 25 00:01:39,850 --> 00:01:43,010 poems, the last poems which is litany. He 26 00:01:43,010 --> 00:01:48,710 explained each stanza and he explains all figure 27 00:01:48,710 --> 00:01:51,530 of speech. Then the assistant Amal began to 28 00:01:51,530 --> 00:01:54,930 explain the sound, rhyme and rhythm. She used the 29 00:01:54,930 --> 00:01:58,330 lab and began to explain. The girl enjoyed of her 30 00:01:58,330 --> 00:02:01,830 explanation. Finally, the teacher asked student to 31 00:02:01,830 --> 00:02:05,090 prepare the next poem well and wrote a report for 32 00:02:05,090 --> 00:02:07,290 lecture and response about the poem. 33 00:02:17,290 --> 00:02:20,690 Thank you very much. Last lecture was quite 34 00:02:20,690 --> 00:02:22,910 intense, though less puzzling than the previous 35 00:02:22,910 --> 00:02:26,130 one. The poem seemed a little bit complicated to 36 00:02:26,130 --> 00:02:28,290 begin with, though the sing-like feature of it 37 00:02:28,290 --> 00:02:30,730 made it quite appealing. To excavate was our 38 00:02:30,730 --> 00:02:32,930 mission, and the poem sure was one to be dug 39 00:02:32,930 --> 00:02:38,530 around. Dr. Akram surprised us with a request of 40 00:02:38,530 --> 00:02:41,070 writing a commentary in the span of 10 minutes on 41 00:02:41,070 --> 00:02:43,490 the third stanza. That marked our beginning in 42 00:02:43,490 --> 00:02:47,470 writing spontaneous poetry critiques. And as 43 00:02:47,470 --> 00:02:51,250 lacking as it was, it was still very terrific. And 44 00:02:51,250 --> 00:02:53,430 we're looking forward to the next one. Good. Thank 45 00:02:53,430 --> 00:02:57,770 you very much. So far, we have positive reports. 46 00:02:58,050 --> 00:03:00,850 But if there is a negative report, I'm ready to 47 00:03:00,850 --> 00:03:04,930 listen. It's not a big deal. It's your right to 48 00:03:04,930 --> 00:03:09,750 criticize, and it's your right to acclaim. Good. 49 00:03:10,650 --> 00:03:14,350 Today, I think we're meeting a new goal. 50 00:03:24,090 --> 00:03:30,170 So today we're going to see a wonderful poet, 51 00:03:30,430 --> 00:03:36,190 Edmund Spencer, a central Elizabethan poet, you 52 00:03:36,190 --> 00:03:41,800 know, who lived most of his life in Ireland, and 53 00:03:41,800 --> 00:03:45,520 who dedicated his poem, his great poem, you could 54 00:03:45,520 --> 00:03:49,820 say, a wonderful epic called The Fair Queen. to 55 00:03:49,820 --> 00:03:53,260 the Queen, but instead of being patronized by the 56 00:03:53,260 --> 00:03:56,520 Queen, he was given a little pension, you know, 57 00:03:56,580 --> 00:04:02,820 like a yearly salary for that. Okay, so what can 58 00:04:02,820 --> 00:04:06,260 you tell me about like Spencer? Again, I need a 59 00:04:06,260 --> 00:04:10,780 response, a written response. Okay, yes. 60 00:04:18,490 --> 00:04:21,670 He writes her name on the sand, expecting for her 61 00:04:21,670 --> 00:04:25,350 name to stay, but the tide washes it away. Then he 62 00:04:25,350 --> 00:04:28,750 writes it with a second hand, but again the tide 63 00:04:28,750 --> 00:04:32,770 washes it away. She goes on to say, why are you 64 00:04:32,770 --> 00:04:35,830 still writing my name? All your tries will be in 65 00:04:35,830 --> 00:04:40,140 vain. Although she tried to do the same, but he 66 00:04:40,140 --> 00:04:43,660 wanted to show her how much he cares, so he 67 00:04:43,660 --> 00:04:47,640 immortalized in verse that he's hers, and even if 68 00:04:47,640 --> 00:04:50,720 they die, their love will be waiting up in the 69 00:04:50,720 --> 00:04:53,800 sky, they will be together, their love will last 70 00:04:53,800 --> 00:04:59,040 forever. I figured last night that he was not he 71 00:04:59,040 --> 00:05:01,800 was I figured last night that he was right The 72 00:05:01,800 --> 00:05:05,020 love didn't decay for this for his writings is 73 00:05:05,020 --> 00:05:09,580 still be read today It's not 74 00:05:13,150 --> 00:05:15,770 Versification, it's a response, it's a critique. 75 00:05:16,170 --> 00:05:18,550 And they challenge it that she is, you know, 76 00:05:18,610 --> 00:05:21,090 writing it in poetry, you know. Thank you very 77 00:05:21,090 --> 00:05:24,650 much. What's your name again? Rawan. You know, 78 00:05:24,670 --> 00:05:28,130 it's amazing. And I think you have a chance. Don't 79 00:05:28,130 --> 00:05:31,030 worry. I'm sure your response will be also 80 00:05:31,030 --> 00:05:36,190 wonderful. I think I should be proud of you. Yes? 81 00:05:36,910 --> 00:05:40,290 Because you are doing a wonderful job. Good. 82 00:05:42,860 --> 00:05:45,280 First, I want to talk about the poet. Edmund 83 00:05:45,280 --> 00:05:49,760 Spencer was born in 1552 in London. He educated in 84 00:05:49,760 --> 00:05:53,000 Cambridge University. He was most famous for his 85 00:05:53,000 --> 00:05:56,300 long allegorical romance, The Fairy Queen. He was 86 00:05:56,300 --> 00:05:59,160 an example of an Elizabethan poet concerned with 87 00:05:59,160 --> 00:06:02,500 the theme of immortality. He wrote a poem called 88 00:06:02,500 --> 00:06:06,280 To His Love. In this poem, he talked about the 89 00:06:06,280 --> 00:06:09,190 immortality of his love. He tried to immortalize 90 00:06:09,190 --> 00:06:12,230 his beloved snail, but he failed in that because 91 00:06:12,230 --> 00:06:15,570 the waves came and made it disappear. He found 92 00:06:15,570 --> 00:06:18,130 another way to immortalize his love, which is his 93 00:06:18,130 --> 00:06:23,210 photo. Good. Thank you. I think, you know, he must 94 00:06:23,210 --> 00:06:25,870 be very interesting poet. He must be very noble. 95 00:06:26,530 --> 00:06:29,550 Let me see, because we don't have time to listen 96 00:06:29,550 --> 00:06:34,010 to the response. I know some of you have written 97 00:06:34,010 --> 00:06:39,650 wonderful responses, but Let us see orally what 98 00:06:39,650 --> 00:06:43,970 you think of the poem, what you think of the poem. 99 00:06:44,670 --> 00:06:47,030 You know, just one, let me know. Yes, please. 100 00:06:54,250 --> 00:06:59,850 So I 101 00:06:59,850 --> 00:07:03,690 like what you say, he wanted to tell us, like he 102 00:07:03,690 --> 00:07:07,110 wanted to tell us a story. And this is what 103 00:07:07,110 --> 00:07:09,770 happens in the poem. Because this poem, I don't 104 00:07:09,770 --> 00:07:12,770 want to start criticizing, but this poem is a 105 00:07:12,770 --> 00:07:17,470 little bit different. Because it's only one day I 106 00:07:17,470 --> 00:07:20,150 wrote, and then in the middle of the poem, you 107 00:07:20,150 --> 00:07:25,010 have this not so caught eye. So it is mixing 108 00:07:25,010 --> 00:07:28,350 between drama and narration. And this is a unique 109 00:07:28,350 --> 00:07:33,850 style. But OK, I don't want to go and critique the 110 00:07:33,850 --> 00:07:37,520 poem without reading it. I'm still asking about 111 00:07:37,520 --> 00:07:39,160 your response. Yes? 112 00:07:41,920 --> 00:07:46,980 I think the writer here, he marks a change in the 113 00:07:46,980 --> 00:07:49,640 attitude of the writers of that period because 114 00:07:49,640 --> 00:07:52,800 usually what we used to read about was themes of 115 00:07:52,800 --> 00:07:56,440 course they love and kind of criticizing women, et 116 00:07:56,440 --> 00:07:58,780 cetera. But here we see that he's actually trying 117 00:07:58,780 --> 00:08:00,720 to immortalize the woman. He's trying to 118 00:08:00,720 --> 00:08:03,970 immortalize I think it is more than this, you 119 00:08:03,970 --> 00:08:06,030 know, if you are looking, it is more than this. 120 00:08:06,330 --> 00:08:10,710 Yes, the concern is the idea of immortality. He 121 00:08:10,710 --> 00:08:15,210 uses verse because he stresses at the end, he 122 00:08:15,210 --> 00:08:18,050 says, where when at death shall all the worlds of 123 00:08:18,050 --> 00:08:21,970 you are loved? No, no, not that. The one to die in 124 00:08:21,970 --> 00:08:24,530 Dacia, but you shall live by fame, my verse, your 125 00:08:24,530 --> 00:08:27,710 virtue rare shall eternize. So he stresses that 126 00:08:27,710 --> 00:08:30,510 verse is what actually immortalizes them. Wow, 127 00:08:30,510 --> 00:08:32,750 this is how the Mesopotamians thought of that 128 00:08:32,750 --> 00:08:39,030 verse. It's a means which will make them reach 129 00:08:39,030 --> 00:08:43,280 immortality. Do you buy this? Yeah, yes, it's 130 00:08:43,280 --> 00:08:46,060 right. We are reading the book today. Ah, but like 131 00:08:46,060 --> 00:08:48,900 what kind of immortality? Okay, you know, this is 132 00:08:48,900 --> 00:08:52,060 what this is the question, but it's okay. Good. 133 00:08:52,220 --> 00:08:56,440 Let's see someone else. Yes, please. The sponsor 134 00:08:56,440 --> 00:09:00,580 told me that I think he is in the high level 135 00:09:00,580 --> 00:09:03,560 because he used a simple words and he is really 136 00:09:03,560 --> 00:09:07,590 wrong. yeah he he's like a great poet he's using 137 00:09:07,590 --> 00:09:09,790 similar language like what one day i wrote her 138 00:09:09,790 --> 00:09:12,930 name upon this ladder but came the waves and 139 00:09:12,930 --> 00:09:15,590 washed it away i think this is very nice image 140 00:09:15,590 --> 00:09:18,580 isn't it You like the image? Yes. It brought you 141 00:09:18,580 --> 00:09:21,380 back to your early childhood, huh? When you were 142 00:09:21,380 --> 00:09:24,480 on the sand and you were playing the games, you 143 00:09:24,480 --> 00:09:27,600 know? Like the mice one. Do you remember the mice 144 00:09:27,600 --> 00:09:30,620 one? Yeah, you should remember that. Okay. 145 00:09:36,480 --> 00:09:36,720 Yeah. 146 00:09:44,920 --> 00:09:47,360 Very good. So you like, you know, the 147 00:09:47,360 --> 00:09:51,700 organization. And it seems like this is a 148 00:09:51,700 --> 00:09:54,780 Spencerian sonnet, and it seems like he's making 149 00:09:54,780 --> 00:09:59,720 use of the form, you know, by doing, you know, a 150 00:09:59,720 --> 00:10:03,380 different thing in each stanza. So he was using 151 00:10:03,380 --> 00:10:05,180 the form enough, for instance, he was not 152 00:10:05,180 --> 00:10:09,400 arbitrary in exposing his argument. You know, he 153 00:10:09,400 --> 00:10:13,900 was very organized. Good. Yes, please. I like the 154 00:10:13,900 --> 00:10:18,720 transferring part of the central image in the 155 00:10:18,720 --> 00:10:22,560 poem, which is writing her name. Her name 156 00:10:22,560 --> 00:10:27,160 transferred from the immortal place, which is the 157 00:10:27,160 --> 00:10:31,200 earth, and then it's transferred to the heaven, 158 00:10:32,240 --> 00:10:37,680 which is an immortal place. So you like the 159 00:10:37,680 --> 00:10:41,520 movement from mundane, earthy, 160 00:10:45,010 --> 00:10:48,950 The vehicle or the means, you know, of 161 00:10:48,950 --> 00:10:52,030 transportation is like the verse. Okay. This is 162 00:10:52,030 --> 00:10:55,150 how, I mean, some people, because they are 163 00:10:55,150 --> 00:10:58,890 confident, they might cherish their poetry. They 164 00:10:58,890 --> 00:11:01,350 think that their poetry will be read, will be 165 00:11:01,350 --> 00:11:07,820 enjoyed, and my people will be reading. Yes. I 166 00:11:07,820 --> 00:11:11,960 like when he uses the voice of a woman, and she 167 00:11:11,960 --> 00:11:14,560 speaks to him as if she is warning him that 168 00:11:14,560 --> 00:11:18,060 nothing will be allowed. And as if she wants to be 169 00:11:18,060 --> 00:11:22,220 sure that he is really loving her. Yeah, like the 170 00:11:22,220 --> 00:11:26,740 way he responded is not so codified. Like he was 171 00:11:26,740 --> 00:11:32,840 determined. Yes, please. As they say, I read that 172 00:11:32,840 --> 00:11:38,110 it's a lovely poem, a lovely poem. If I read his 173 00:11:38,110 --> 00:11:40,910 memoir, I see that there's a kind of conflict. Uh 174 00:11:40,910 --> 00:11:43,950 -huh. What is the conflict? Who's conflicting? As 175 00:11:43,950 --> 00:11:47,130 the sea is his enemy, he wanted the sea. Whenever 176 00:11:47,130 --> 00:11:50,010 he writes his name, the sea comes. Very good. I 177 00:11:50,010 --> 00:11:53,890 like this point because this mind helped us to 178 00:11:53,890 --> 00:11:57,330 reveal the real theme of the poem. But you know 179 00:11:57,330 --> 00:12:03,170 what? I don't like discussing the poem. I know 180 00:12:03,170 --> 00:12:06,270 that this is your response. But let us read the 181 00:12:06,270 --> 00:12:09,040 poem. Allowed? Did anybody read the poem aloud? 182 00:12:09,320 --> 00:12:14,740 Yes. Okay. Yes? I read it at home. Huh? I read it 183 00:12:14,740 --> 00:12:17,100 at home. I'm a loud person. Do you want to read it 184 00:12:17,100 --> 00:12:20,640 now? Okay. Okay, go ahead. You come here. 185 00:12:25,860 --> 00:12:29,780 One day I wrote her name over the stars, but come 186 00:12:29,780 --> 00:12:32,440 the waves and washed it away. Again I wrote it 187 00:12:32,440 --> 00:12:35,520 with the second hand, but come the tide and made 188 00:12:35,520 --> 00:12:40,810 my baby's brain. She said she, that dust in vain 189 00:12:40,810 --> 00:12:45,850 is a immortal thing, so that to immortalize. For I 190 00:12:45,850 --> 00:12:49,710 myself shall lie to this design, and each my name 191 00:12:49,710 --> 00:12:51,490 be waved up likewise. 192 00:12:54,220 --> 00:12:59,400 You are cut-eye, lit by the taste of eyes, to die 193 00:12:59,400 --> 00:13:02,920 in dust, but you shall live for fame, by first 194 00:13:02,920 --> 00:13:07,620 your virtues shall interlice, 195 00:13:08,020 --> 00:13:10,680 and in the heavens write your glorious name, 196 00:13:11,180 --> 00:13:17,260 wherein, as death shall over the world subdue, our 197 00:13:17,260 --> 00:13:19,920 love shall live and later lie on you. 198 00:13:24,970 --> 00:13:28,230 I felt like they didn't have a chance in this 199 00:13:28,230 --> 00:13:30,550 life. Maybe they will get another chance in 200 00:13:30,550 --> 00:13:34,430 another life. Okay, so you think that in their 201 00:13:34,430 --> 00:13:38,170 life they did not have a chance and they did not 202 00:13:38,170 --> 00:13:43,410 enjoy their life? Okay, but no, when you were 203 00:13:43,410 --> 00:13:46,970 reading my, you know, I felt like you were 204 00:13:46,970 --> 00:13:49,670 interacting with him, yes? Actually, I thought the 205 00:13:49,670 --> 00:13:52,050 conflict was not between the sea, it was between 206 00:13:52,050 --> 00:13:55,670 the time itself as life. Ah, the time, so the 207 00:13:55,670 --> 00:13:58,110 conflict is with time. Time, it reminds me like 208 00:13:58,110 --> 00:14:00,710 the sand. Is he mentioning time here? No. I think 209 00:14:00,710 --> 00:14:04,490 yes, because the word time, you know, in 210 00:14:04,490 --> 00:14:07,270 Elizabethan time, it was interchangeable with 211 00:14:07,270 --> 00:14:11,310 time. So yes, he's in conflict with time. You 212 00:14:11,310 --> 00:14:14,150 know, the time, in the Mesopotamian time, you 213 00:14:14,150 --> 00:14:17,790 know, was named, time was named sad immortality. 214 00:14:17,890 --> 00:14:20,470 Later, Shakespeare's poem, we're going to see, 215 00:14:20,590 --> 00:14:24,850 like, time is referred to as sad immortality, as 216 00:14:24,850 --> 00:14:29,710 the most, you know, ferocious, you know, thing 217 00:14:29,710 --> 00:14:34,730 which devours all the gains and pleasures of life. 218 00:14:35,130 --> 00:14:37,310 You see what I mean? So, it would be very 219 00:14:37,310 --> 00:14:40,880 disturbing to them. Actually, the use of sand also 220 00:14:40,880 --> 00:14:43,700 might be with you know, the sand clock like it's 221 00:14:43,700 --> 00:14:46,020 had to be ended at the time. So it was 222 00:14:46,020 --> 00:14:51,480 challenging. Yes. But I like to focus on the woman 223 00:14:51,480 --> 00:14:54,400 thing because I felt like this is the first time a 224 00:14:54,400 --> 00:14:57,260 woman is given a voice in the world. Excellent. I 225 00:14:57,260 --> 00:14:58,900 like this. Yeah, 226 00:15:01,500 --> 00:15:04,780 she's given a voice. Yeah. You know, I think I 227 00:15:04,780 --> 00:15:09,150 feel the spirit of liberalism here you know like 228 00:15:09,150 --> 00:15:11,570 it seems like these people are getting more 229 00:15:11,570 --> 00:15:16,290 liberal are not like they are not in the cloak of 230 00:15:16,290 --> 00:15:19,970 a cordial love where a woman is like deprived you 231 00:15:19,970 --> 00:15:23,930 know she's her voice is subdued but here we have a 232 00:15:23,930 --> 00:15:27,430 woman who's given a voice but still like this 233 00:15:27,430 --> 00:15:31,050 voice is very faint because she's being shut up by 234 00:15:31,050 --> 00:15:35,110 a man saying not so could I you know I'm not like 235 00:15:35,110 --> 00:15:38,660 you to interact further with the poem and like, 236 00:15:39,260 --> 00:15:44,820 you know, just read. Yes, the narrative, you know, 237 00:15:44,900 --> 00:15:48,040 and then the drama. So does anybody want to give a 238 00:15:48,040 --> 00:15:55,740 try before I myself improvise? Yes, sure. One day 239 00:15:55,740 --> 00:16:00,610 I wrote her name upon a stamp, a strand. but came 240 00:16:00,610 --> 00:16:05,610 waves and wished it away. Again I wrote it with a 241 00:16:05,610 --> 00:16:09,990 second hand, but came the tide and made my pain 242 00:16:09,990 --> 00:16:15,970 his free. Vain man, she said, said she, the dust 243 00:16:15,970 --> 00:16:21,850 in vain I say, a mortal thing so to mortalize, for 244 00:16:21,850 --> 00:16:27,260 I myself shall like to this decay. And did my name 245 00:16:27,260 --> 00:16:34,620 be wiped out likewise? Not so, could I. Let base 246 00:16:34,620 --> 00:16:38,680 of things devise, To die in dust, but you shall 247 00:16:38,680 --> 00:16:42,900 live by fame, By this your virtues will shall 248 00:16:42,900 --> 00:16:47,340 eternize, And in the heavens write your glorious 249 00:16:47,340 --> 00:16:51,740 name, Where, when, as death shall all the world 250 00:16:51,740 --> 00:16:57,800 subdue. Allah shall live and let her life free 251 00:16:57,800 --> 00:17:03,680 you. I think you captured the spirit of the poem. 252 00:17:04,500 --> 00:17:06,540 How about let me stretch it a little bit, you 253 00:17:06,540 --> 00:17:09,920 know, to stretch because, you know, I'm going to 254 00:17:09,920 --> 00:17:13,080 stretch it perhaps to make you get into the poem 255 00:17:13,080 --> 00:17:18,640 more and more. So one day I wrote her name upon 256 00:17:18,640 --> 00:17:22,420 this track, marking the waves and washed it away. 257 00:17:23,440 --> 00:17:27,400 Again, I wrote it with a second pen. My kidney 258 00:17:27,400 --> 00:17:32,480 tied and made my veins vain. The vain man, said 259 00:17:32,480 --> 00:17:36,400 she, the dust in vain, a saint, a mortal thing 260 00:17:36,400 --> 00:17:39,840 sought to immortalize? Could I myself lie to this 261 00:17:39,840 --> 00:17:45,100 decay and keep my name revived likewise? Not so, 262 00:17:45,200 --> 00:17:49,460 could I. Lit bays of things devised to die in 263 00:17:49,460 --> 00:17:53,820 dust, but you shall live by fame. My verse? My 264 00:17:53,820 --> 00:17:57,820 virtue of virtues, prayer shall eternize, and in 265 00:17:57,820 --> 00:18:01,600 the heavens rise to a glorious name, where as 266 00:18:01,600 --> 00:18:05,740 death shall all the worlds subdue, our love shall 267 00:18:05,740 --> 00:18:11,360 live and later life renew. I wanted to make it 268 00:18:11,360 --> 00:18:15,460 more dramatic, but as you see here, it's a very 269 00:18:15,460 --> 00:18:20,500 interesting image. And I think we might like the 270 00:18:20,500 --> 00:18:23,210 sincerity of the poem. What is the flower doing on 271 00:18:23,210 --> 00:18:27,870 the, you know? It's a childish behavior, isn't it? 272 00:18:28,650 --> 00:18:32,590 It's childish. Like this is what we usually do, 273 00:18:32,890 --> 00:18:35,690 like, it's very childish. So he tried to write her 274 00:18:35,690 --> 00:18:40,550 name. But what happened? One day I wrote her name 275 00:18:40,550 --> 00:18:46,510 upon this map. But came the waves and washed away. 276 00:18:47,990 --> 00:18:50,710 Okay, you know, this is like the literal meaning. 277 00:18:51,150 --> 00:18:55,970 The waves, okay, we're talking about the waves as 278 00:18:55,970 --> 00:19:00,850 being antagonistic to the poets, you know, like 279 00:19:00,850 --> 00:19:05,410 attempts to write the name, okay? But here we 280 00:19:05,410 --> 00:19:08,510 have, you know, to see that it doesn't mean the 281 00:19:08,510 --> 00:19:13,130 waves. Later, the waves might be a metonymy, you 282 00:19:13,130 --> 00:19:15,810 know? Because as you said, there is a conflict 283 00:19:15,810 --> 00:19:18,930 here. You know, the poet is disturbed, so we don't 284 00:19:18,930 --> 00:19:22,410 have to think of the waves as the waves, you know? 285 00:19:22,790 --> 00:19:28,110 They might be metonymy for like forces, some 286 00:19:28,110 --> 00:19:32,550 obstacles, some problems, you know, certain 287 00:19:32,550 --> 00:19:36,650 concerns, but let's take it literally first and 288 00:19:36,650 --> 00:19:40,410 then start to think, because here we need to think 289 00:19:40,410 --> 00:19:44,290 again of like the philosophical background of the 290 00:19:44,290 --> 00:19:48,450 Elizabethan, the ideal of immortality, and like a 291 00:19:48,450 --> 00:19:52,450 famous theme called the theme of mutability, like 292 00:19:52,450 --> 00:19:56,510 changeability, which was a very central theme to 293 00:19:56,510 --> 00:20:00,470 the Aztec mythology. One day I wrote her name upon 294 00:20:00,470 --> 00:20:04,390 this hand, but came the waves and washed it away. 295 00:20:07,390 --> 00:20:12,110 Again, I wrote it with a second hand. So when you 296 00:20:12,110 --> 00:20:14,050 say, again, I wrote it with a second hand, what do 297 00:20:14,050 --> 00:20:17,850 you understand about the poem? He is what? Yeah, 298 00:20:17,870 --> 00:20:23,570 he's persistent. He persists. He doesn't give up. 299 00:20:24,150 --> 00:20:28,290 Again, I wrote it with a second hand. But came the 300 00:20:28,290 --> 00:20:33,890 tide and made my pains his prey. Look at the tide. 301 00:20:38,390 --> 00:20:43,750 Tide is very gracious, very wild, isn't it? Look 302 00:20:43,750 --> 00:20:47,450 at the image here. Tide is like what? like a 303 00:20:47,450 --> 00:20:54,310 beast, a wild beast, which plays on the humble 304 00:20:54,310 --> 00:20:59,790 efforts of the poet to immortalize the name of his 305 00:20:59,790 --> 00:21:03,630 wife. It is, you know, he's here like it is his 306 00:21:03,630 --> 00:21:06,650 wife, you know, which makes the poet more 307 00:21:06,650 --> 00:21:09,730 attractive, you know, because he was sincere. 308 00:21:11,510 --> 00:21:16,280 Again, I wrote it with a second hand, but came He 309 00:21:16,280 --> 00:21:19,880 tied and made my pants his grave. Very 310 00:21:19,880 --> 00:21:24,320 frustrating, isn't it? So this poem ends with the 311 00:21:24,320 --> 00:21:29,120 image of what? A frustrated man who was trying 312 00:21:29,120 --> 00:21:33,820 many times to engrave, to write the name of his 313 00:21:33,820 --> 00:21:38,020 wife on this strand with the hope of immortalizing 314 00:21:38,020 --> 00:21:43,920 her. But all these attempts were foiled. You know 315 00:21:43,920 --> 00:21:46,210 what's been foiled? did not succeed, were fooled 316 00:21:46,210 --> 00:21:50,770 by the waves and the tide, which were very, you 317 00:21:50,770 --> 00:21:54,210 know, tough, and they damaged everything, you 318 00:21:54,210 --> 00:21:58,030 know? Now, I think, yes, she's given a voice. 319 00:21:59,570 --> 00:22:04,010 She's commenting. So the lady, or his wife, must 320 00:22:04,010 --> 00:22:07,190 have been watching him, you know? And right here, 321 00:22:07,570 --> 00:22:10,590 the authority of, you know, a wife, so what did 322 00:22:10,590 --> 00:22:13,990 she say? Vain man, what are you doing? You are 323 00:22:13,990 --> 00:22:17,990 doing a vague thing, you know? As you see, like, 324 00:22:18,290 --> 00:22:22,150 so she is underestimating what he's doing. She's 325 00:22:22,150 --> 00:22:26,670 saying, vain man that does in vain a say. A say, 326 00:22:26,810 --> 00:22:30,870 this is like, it is a French, it's a French verb 327 00:22:30,870 --> 00:22:35,470 would mean try, a say, you know, like a say. I 328 00:22:35,470 --> 00:22:40,230 think it was the fashion of those poets to season 329 00:22:40,230 --> 00:22:44,930 their poetry with some French words, with some 330 00:22:44,930 --> 00:22:49,130 Latin references, with some archaic words. And I 331 00:22:49,130 --> 00:22:52,110 think we have archaic language here, like eek, the 332 00:22:52,110 --> 00:22:56,830 word eek, which we saw in the other poem later, 333 00:22:57,590 --> 00:23:01,470 the previous poem. A mortal thing sought to 334 00:23:01,470 --> 00:23:05,390 immortalize. So she was referring to herself. As 335 00:23:05,390 --> 00:23:10,150 what? As an immortal. Sorry, as immortality. As a 336 00:23:10,150 --> 00:23:15,430 mortal, something which is, you know, subject to 337 00:23:15,430 --> 00:23:19,050 decay, to death and disintegration. This is like 338 00:23:19,050 --> 00:23:23,150 how we are referring to ourselves. Even as 339 00:23:23,150 --> 00:23:25,870 Muslims, we are referring to ourselves as mortal. 340 00:23:26,650 --> 00:23:31,350 But still, we have the image of immortality. We 341 00:23:31,350 --> 00:23:34,600 have, as Muslims, you know it is revealed to us 342 00:23:34,600 --> 00:23:37,840 like in Quran like what kind of life we're going 343 00:23:37,840 --> 00:23:42,420 to have you know after this mundane life so again 344 00:23:42,420 --> 00:23:45,960 here he has a vision of immortality but it might 345 00:23:45,960 --> 00:23:49,320 not be like our vision you know we know like we 346 00:23:49,320 --> 00:23:52,880 can reach immortality by being you know dedicated 347 00:23:52,880 --> 00:23:57,060 by being you know honest sincere loyal to our 348 00:23:57,060 --> 00:24:00,540 creator and being followers to the teachings of 349 00:24:00,540 --> 00:24:04,040 our prophet Muhammad peace be upon him We know 350 00:24:04,040 --> 00:24:08,760 that all these will make us reach that life of 351 00:24:08,760 --> 00:24:14,120 immortality. But here, it is like verse. It is 352 00:24:14,120 --> 00:24:18,860 verse. It is poetry. And it seems like poetry, 353 00:24:19,060 --> 00:24:21,380 because he's going to write her name, as you see 354 00:24:21,380 --> 00:24:24,000 at the end of the poem, in Hemet. So we are 355 00:24:24,000 --> 00:24:28,240 talking about a poet who was trying to 356 00:24:28,240 --> 00:24:30,540 immortalize. 357 00:24:31,330 --> 00:24:33,850 by his pottery, which he thinks that his pottery 358 00:24:33,850 --> 00:24:35,170 was divine. 359 00:24:40,310 --> 00:24:44,650 And eek my name, be wide likewise. Not so, quote 360 00:24:44,650 --> 00:24:49,030 I. Like, look how he's affirmative here. Not so, 361 00:24:49,470 --> 00:24:53,510 quote I. Now he disagrees with him. So it's not a 362 00:24:53,510 --> 00:24:56,350 problem, like, to disagree. But it seems like this 363 00:24:56,350 --> 00:24:58,630 is a dialogue, and they are trying 364 00:25:01,770 --> 00:25:06,310 Not so the poet, quote, I, lit by their things, 365 00:25:06,990 --> 00:25:10,610 device. Lit by their things, assume many different 366 00:25:10,610 --> 00:25:14,170 shapes, and whatever they want. To die in dust, 367 00:25:14,890 --> 00:25:19,250 let them die in dust, but you shall live by faith. 368 00:25:19,750 --> 00:25:25,170 It's very surprising how you'll be famous. My 369 00:25:25,170 --> 00:25:28,730 verse, your virtues, rare shall eternize. My 370 00:25:28,730 --> 00:25:34,610 verse, my poetry, it will eternize your virtues. 371 00:25:36,050 --> 00:25:40,450 And in heaven write your glorious names. Look 372 00:25:40,450 --> 00:25:46,430 here. You know, the poet is given a voice. The 373 00:25:46,430 --> 00:25:49,530 poet is given a voice. It's the voice of the poet. 374 00:25:50,230 --> 00:25:55,130 Now, when we are talking about you know, the 375 00:25:55,130 --> 00:25:57,590 Elizabethan, we are talking about a new value 376 00:25:57,590 --> 00:26:01,170 called the value of individualism, which I think 377 00:26:01,170 --> 00:26:05,710 will later develop and culminates when we reach 378 00:26:05,710 --> 00:26:10,230 Romanticism. Like here, you know, the person, the 379 00:26:10,230 --> 00:26:13,650 poet, is given a voice to express himself, not 380 00:26:13,650 --> 00:26:17,850 soak or die, live based on things, to die in dust, 381 00:26:18,010 --> 00:26:21,430 but you shall live by faith, by verse. It's a 382 00:26:21,430 --> 00:26:25,180 lyrical poem. It's, you know, like, this is like 383 00:26:25,180 --> 00:26:28,280 the expression of an individual. My verse, your 384 00:26:28,280 --> 00:26:32,960 virtues, where shall it arise? And in the heavens, 385 00:26:33,520 --> 00:26:36,720 write your glorious name. And then, in the 386 00:26:36,720 --> 00:26:41,500 couplet, where, where in heaven? When as death 387 00:26:41,500 --> 00:26:46,040 shall all the world subdue? You know? Not in 388 00:26:46,040 --> 00:26:48,960 heaven, of course, like here on earth. When death, 389 00:26:49,100 --> 00:26:51,740 look at death, how it is there. Capitalized. 390 00:26:54,360 --> 00:26:58,360 Our love shall live and later life renew. So it 391 00:26:58,360 --> 00:27:02,720 seems like he is very ambitious. It is like he's 392 00:27:02,720 --> 00:27:06,080 talking about after death, what will happen after 393 00:27:06,080 --> 00:27:12,820 death. Very interesting poem. And I tried to 394 00:27:12,820 --> 00:27:17,720 paraphrase it and to add some interpretation, but 395 00:27:17,720 --> 00:27:21,780 I think we have to go back to the poem and to 396 00:27:21,780 --> 00:27:25,780 interpret it Criticize it, you know, because here 397 00:27:25,780 --> 00:27:28,920 we have frustration, we have complaint, we have, 398 00:27:29,060 --> 00:27:33,160 you know, persistence, we have promises, we have 399 00:27:33,160 --> 00:27:39,120 decisions taken. So for each, let's say, attitude, 400 00:27:39,580 --> 00:27:43,960 like the poet, you know, was trying to employ the 401 00:27:43,960 --> 00:27:46,260 language, employ the figures of speech, employ the 402 00:27:46,260 --> 00:27:49,800 words. For example, here, if you, in the last 403 00:27:49,800 --> 00:27:54,030 couplet, look at him when he were, you know, using 404 00:27:54,030 --> 00:27:58,810 VV, you know, where when as death shall all the 405 00:27:58,810 --> 00:28:02,970 words of you our love shall live and later right 406 00:28:02,970 --> 00:28:07,810 in you and like here my verse your virtues shall 407 00:28:07,810 --> 00:28:11,010 turn ice. I think these alliterations are the 408 00:28:11,010 --> 00:28:14,530 alliteration here have to do with his sense of 409 00:28:14,530 --> 00:28:19,700 persistence. I want to go further to this poem, 410 00:28:19,880 --> 00:28:25,980 but I have to stop here. I'd like to ask you to 411 00:28:25,980 --> 00:28:30,520 write a critique about this poem, an initial 412 00:28:30,520 --> 00:28:36,400 critique. You can do this now. And next week, 413 00:28:36,460 --> 00:28:40,120 we're going to look at it. But next week, I mean, 414 00:28:40,720 --> 00:28:43,300 we're going to dedicate one class to explain this. 415 00:28:43,620 --> 00:28:47,390 But next week, we are reading Marlow. And Marlow 416 00:28:47,390 --> 00:28:50,190 is very interesting because I want you, when you 417 00:28:50,190 --> 00:28:53,910 respond to Marlow, to respond in poetry. So you 418 00:28:53,910 --> 00:28:57,010 can do this, Rohan, very well, you know, respond 419 00:28:57,010 --> 00:29:01,010 in poetry. So it is like he's inviting, you know, 420 00:29:01,150 --> 00:29:03,650 so I say, I'm not coming with you. Come live with 421 00:29:03,650 --> 00:29:06,010 me and be. No, I'm not coming with you. You're 422 00:29:06,010 --> 00:29:08,990 crazy. You know, you're lazy. You can do it in 423 00:29:08,990 --> 00:29:12,190 poetry. Yeah, correspond in poetry, and it will be 424 00:29:12,190 --> 00:29:15,250 a lot of fun. But as I said, the first class will 425 00:29:15,250 --> 00:29:20,210 be dedicated to, you know, deep analysis of this 426 00:29:20,210 --> 00:29:22,890 poem. Thank you. I'm giving you today like a short 427 00:29:22,890 --> 00:29:26,190 lecture, but, you know, after this, you can write 428 00:29:26,190 --> 00:29:27,370 your comment. Thank you.