Assalamualaikum Good morning everybody How was the
weekend? Not okay? Are you excited like the
semester is over? Who's excited? I'm not excited,
you know, because I think, you know, you're good
students and I should continue. You're going to
miss this class someday. I read some reports and
like the students at the beginning, you know, were
saying, I don't know what, how we are going to
use, make use of this course. And then I looked at
their final report. I found them like praising and
they're going like, they felt very sad that the
course is over. But some students like wanted to
be over, you know. So this is the nature of a
human being. Yes, they want to graduate and we
understand their feelings. Good. Today is the last
class. It should be the last class. I'm not sure
how this class is going to proceed. But if we need
another class, I don't mind giving on Monday.
Today, as you see, we're going to conduct
stylistic analysis
Of course, there will be daily report. This is
after listening to report. So we're going to see
the choices created by, I mean here, we're going
to look at the poem and to see how the words which
were chosen, which were deleted here, and then
suggested
by us, and then like the words chosen by the poet,
how they create certain pattern, which pattern
they are creating, and what is the effect of that.
But before we start, yes, we are going to listen
to a report, yes?
Four months later, time goes so fast. I got my
memories and they will last. I try to keep it
simple because I hate goodbyes by telling myself
that I will remember this class. I remember all
the things I have gone through. There's so much I
can say, but words get in my way. From Wyatt to
Owen, it all seemed once as a never-ending line of
poems. So later on, when I'm sitting on my couch,
I'm recollecting my thoughts in tranquility, and
each class will flash in my memory. Or I'll go
with the easy way and just watch the videos. Thank
you very much. This is very interesting. Clap for
her, please. I like this. Good. Yes?
Good morning. December is the last month of this
semester.
Am I bus driver or train driver? Okay. It's good
to think of the teacher as a bus driver and the
students as passengers because this is metaphoric.
And I think, you know, if you don't give the
students orientation of where about you are going,
they're going to get, you know, astray, they are
going to get lost. The train crossed 40
situations, all of them full of different
features. You mean stations, right? Stations. All
of them full of different features. But now the
train is stopping in the middle of war and there
are soldiers who fight and die for their country.
Also there are a sunshine but its beams cannot
able to recover the soldier wound. After this
station, the train will finish its trip and stop
and arrive to the examiner. Next, the passenger
will leave the train. Okay, thank you very much.
So I think this is like the quality of, this is
the importance of the report. It gives you a
chance to reflect, to talk to yourself. It gives
you a chance to develop a unique monologue. And
this is what happened. So my interest was not like
to record what was happening in the class
literally, but perhaps like to reflect, to debate
with yourself.
Good. I know like some people want to read the
reports. Is anybody dying to read her report? Yes.
She's dying to read her report.
Good morning, everybody. Since we reached the last
course of Pottery, actually I began to have some
feeling of grief and I began to feel sorry. For
the first time I liked Pottery course without any
compliment because we learned many things from
this course and we had a lot of enjoyment. When I
remember that we started to approach the end of
that course, My tears began to drop or to fall
down but without any result or cause. Actually, I
admired Putri lecture and I'm not saying that
because of standing here but because this is the
only course I admire and I have some feeling of
fear. And last but not least, I thank Mr. Habib
because of his continual efforts in order to make
us love this lecture and because he provided with
many useful information And because he gave us a
lot about this course, perfect and complete
lecture. So put your lecture and Mr. Habib, I
can't say goodbye because of the case of missing
you. And I'm saying that without being shy. So
thank you very much. But you know, this is a
valediction report. You know what valediction
means? Like farewell, you know? Verification
report. But again, like, I'm not sure whether they
are going, you know, everybody here is sharing you
because we have some different point of views and
I'm interested in those different point of views.
You know, if you want to have a different point of
view, you can come. Or you can, like, let me know
because also I'm interested in those who do not
like the course. You know, this is your right to
like or not to like, you know? And I still
remember many people who started not liking the
course. Then when they told me about this, I made
them like the course. You see what I mean? So if
you have some reservation, you can approach me
even after the course. Good, today, as you see,
we're going to see again Wilfred Owen's utility.
Last time we generally discussed, if you remember,
the possibility of the soldier in the war, was he
dead or not, we paraphrased the poem. Today, we're
going to see the choices here.
and to see how the poet's choice perhaps makes
pattern because when we write a word, we should
link this word with another word in the poem. So
if we succeed, it means like we have certain
patterns created and this is good for poetry. So
now, move him into the sun. Like for this stanza,
I'm going to read for you some choices, you can
write them. Early,
shade, the word early, the word shade, the word
revive, the word old, Yes.
The word restore. The word sun. The word mourning.
The word grave.
The word kind. Rouse.
Bright. Hospital.
Okay. Now, move him into the sun. Yes, that was.
Now, can you substitute this by another like word,
the words I gave you, you know, the word I've just
given you? Yeah, move him into hospital. Move him
into the hospital. Do you think this is a good
choice?
Yeah, but like, do you think, let's see the
hospital.
So you think
hospital is a good choice? Grave is a good choice?
Because he's dead? But I don't think, you know,
this perhaps is a good choice. Why? Because here,
it seems like there was uncertainty about the
soldiers being, you see, and again, this is a
battlefield, and it is unlikely for a soldier, you
know, to have like a funeral, to have the funeral
procession in the battlefield. Soldiers who die in
the battlefield are not given burial soon. They're
not buried soon. Grave, hospital? Again, the word
hospital is not possible. Now the choice, the word
son. Do you think it makes pattern with any of
these words? Son.
Is it a good choice? This is what the poet used.
Why? What does it make pattern with? Where can we
link the word with? Yes, please. Okay, in terms of
the meaning, you can look at the fourth line,
always it awoke him. This is something like the
sun, this is the sun's doing. And also you can see
it when it comes to the poetic aspect, you can see
it rhyming sort of with Anson It is imperfect.
Good, thank you very much. So I think, you know,
the choice sun is a good choice. Why? Because, you
know, here the first stanza, it ends with the sun
and it, sorry, it begins with the sun and ends
with the sun. So if anything might rouse him, you
know, here, the sun will know. So it makes
pattern. Well, you know, it begins with the sun
and ends with the sun. Yes, you're right. It is
like here, always it woke him once because we know
that the sun is linked with the act of awakening.
But here, again, the act of awakening. Is the
soldier like dead or alive? Is he awake or asleep?
Because here in the poem, the idea of awakening is
there, but it is cancelled by the sense of death
and sleep because it is cancelled by the
possibility of death. So when we have awakening
which is cancelled by death, sometimes when we
expect something would happen and it doesn't
happen, how do we feel? We feel disappointed. We
feel frustrated. We feel frustrated. So usually
this is like the effect of the defeat of
expectation. When our expectations are defeated,
when we expect that something would happen and it
doesn't happen, we are disappointed. And we feel
that a life sometimes or things All our waiting or
all our expectation has been futile. You see what
I mean? Concentrate on this word, futile. Good.
Yes, again, you said sun and sun. You said
imperfect rhyme. Like, what would happen if the
rhyme is perfect? because the uncertainty is given
by the imperfection of the rhyme. Like you don't
know there's something wrong going on. You don't
know if he's probably alive or he's just asleep.
So you mean like the perfect rhyme has to do with
sense of certainty. It has affirmative impact on
us. It has positive, but here it seems like You
know, the writer's attitude has nothing to do with
any sense of agreement or musicality at all. We'll
discuss the rhyme there, you know. Good. Move him
into the sun. Gently its touch awoke him once.
At home whispering of fields and so on. always it
woke him even in France until this morning and
this snow. Like if you remember in the previous
class we discussed that it's good I see new faces
today, you know? Faces I have never seen before.
Okay, I'm talking about the sun.
You see, if you remember, last time we said the
sun is introduced as animate and inanimate at the
same time. How? Because the
sun in the grammatical code is what? Animate or
inanimate? Yes, inanimate. But in the poem, in the
context of the poem, It is animate. So here
figuratively, it is animate, but grammatically,
you know, in the language goal, it is inanimate.
So what do we have here? We have a kind of tension
between animate and inanimate, between life and
death. So these contrasts are created animate,
inanimate, And what else? Life and death. What
else? Sun? Sun and? Sun and? Huh? Sun and? No? We
don't have the moon. The star? Okay. Yeah, the
sun. If you don't look at the snow. So again, we
have You know, pattern of contrast between
coldness and warmth. See what I mean? So these are
intention, and nothing is settled. Okay, if
anything might, if anything might, okay, we have
choices I give you. Like, what about restore?
Restore is a good choice. You know, I gave you a
word restore. What about the word restore? It's a
good choice, isn't it? Which is a better choice?
Restore or Rouse? Or revive? I like revive. You
like revive. Why? It's sort of like giving life
into something. Yes. Yeah.
Why revive is a good choice? You like it? Does it
make any pattern with revive?
You know, but I think the word Rouse, the word
Rouse has to do with awakening, you know? More
than with revive. Revive, it has to do with
somebody who's fainted and you revive him. You see
what I mean? Yes. And again, Rouse, does it make
any rhyme with, you know? Rouse. Now. You see?
Don't you think it has assonance? Not like revive.
There is assonance. It makes some assonance. And
this assonance has to do with complaint.
Okay, then the son will know. The early son.
The early, what about the early sun? Or the
morning sun?
Do you think the early sun is a good choice? The
bright sun? Yeah.
Yeah, so you think, you know here, because it
seems like to us, like the soldier is dead and the
poet is sarcastic. So the bright sun, I think the
bright sun might be also sarcastic.
The bright sun, the bright,
you know. The old, ah, old with no old. And old
has to do with the sense of weakness, inability.
The meter, what do you mean the meter? The kind
old sun will know, or the bright sun will know.
It's like, it's a less, like one feet element.
Less syllable, you mean? The syllable itself.
Yeah, two syllables or one syllable. Yeah, think
how it wakes the seeds. Sorry, I say the old kind.
If we say the bright kind, It doesn't make the
irony. But the old kind, antithesis, you know, how
come you are old? Because old has to do with the
sense of ineffectiveness, the sense of inability,
and the sense of futility as well. Because if the
sun is unable to rouse, to awake, we feel there is
nothing in the world. We feel there is a sense of
futility. And all of this makes pattern with the
title of the poem, Futility. Okay, let's see the
second stanza.
It starts with think. How does like move in the
first stanza differ from thinking?
Move, move him into the sun. It's like an order.
It seems like the poet is indignant, is very
angry. But now, once, You know, the poet made sure
that the soldier was dead. He's no longer angry,
but rather he's inviting us to meditate, to think.
Think. Think with me. How? So he is in the mood of
meditating. You know, like what? Think how it once
wakes the seeds, how the sun wakes the seed. So
he's inviting us to think about what? About
ourselves? About what? About the sun doing what?
Waking, how it was giving life. So now he started
to ask questions about Life. Life. Think how it
wakes the seeds once they glaze on a cold star.
We say here, what?
Move, or stare, or walk. What about move? Think
how the sun moves?
Yeah, we have redundancy. So I think, you know
here, woke, because again, it makes pattern with
waking, you know, the sense of waking. Because
here, as we said, waking is an issue. Is he awake
or is he asleep? Woke, the clays of a cold star.
This is like a nice metaphor. And we're talking
about the clays of a cold star. What is it a
metaphor of? This is like a metonymy. What is the
cold star? It is the earth. So here he is inviting
us to question the meaning of what? Of life on
earth. So the death of a soldier made him question
the meaning of life in general, of cosmic life,
how it started. Think how it once worked, once the
clays of a cold star. And then our limbs so dear
achieved our sides full-nerved, still warm, too
hard to stir.
Do you think star is a good choice?
Why a good choice? Because it makes imperfect
rhyme with star. So here, as I told you, there is
nothing perfect. So choosing the imperfect rhyme
has to create a sense of futility. Because here
we're not dealing with, you know, perfect tribe.
Was it for this? The what? Was it for this? The
soldier?
The clay? Why the clay?
It's a metonymy of what? What is he? Yeah, because
he's linking this soldier, the death of this
soldier, you know, or the life of this soldier to
the life of the universe. And the death of this
soldier to the death of the whole universe. Was it
for this? The clay grew tall. Was it for this? Are
we Created to die like this? This is what he is
asking. Or what made, what made futile?
I think this is very important because it is the
only, what made futile?
Friendly? Sunbeams? Is it friendly sunbeams? No.
Friendly is good, I think. Why not? Because it
doesn't go with the context. So here the poet
chose what? Fatuous. It is the only word which
deviates from all the words in the poem. Because
this is most of the words in the poem or all of
the words are monosyllabic. And this is the word
fatuous, fatuous. It is like three or four
syllables, fatuous. And we kept, what is fatuous?
So this is like here, he's inviting us. And I
think the only pattern it patterns with is the
title itself, fatuous.
to break Earth's sleep at all. So this is a
rhetorical question. He's asking about the meaning
of life from the very beginning. Life on Earth.
What is the meaning of this life? Why? You know,
what made fatuous sunbeams? Like here, the sun
which woke the seeds was fatuous. Why? Because you
work very hard to revive, to give life, and then
People are dead.
I relied on you to read the commentary at the end
of the stylistic analysis, and I want to share it
with you quickly. Commentary A, commentary B,
commentary C. Perhaps, you know, the many
references to awakening in the poem are poignantly
ironic. It's page 110. It's in the appendices.
Just as we know that it will do no good to move
the soldier, so we realize that he cannot be
woken. He's in a sleep of death. It is death which
ends a short life in a word which comes to seem
increasingly futile. Perhaps the son should never
have awoken this word in the first place. Then
these agonies and the futilities would not have to
be suffered. And this is what the poet wanted to
say. Perhaps like there was no need for life from
the very beginning, then we would not have
suffered all of this.
These contrasts seem to cancel each other. like
life and death, working and sleeping, cold and
hot. These contrasts seem to cancel each other out
and they produce a feeling of emptiness and
nothingness. When we have expectation, when we
have things which we are counseled by each other.
You have snow, it is counseled by the sun. You
have life, it is counseled by death. So this
counseling effect leaves us with sense of
nothingness. Think of emptiness.
And this is what the poet wanted us to share with
him. Like life, which starts like this, is futile.
Life is meaningless. These contrasts seem to
cancel each other out and produce a feeling of
emptiness and nothingness. Most prominent among
these contrasts is that of waking and sleeping.
Commentary B, it has to do with the sun, which I
remarked because the sun was introduced as
inanimate
and inanimate. And again, we have this contrast.
You can read it. It is there. Commentary C. Notice
the very characteristic of use of assonance. Sun,
Son, Once, France, Snow, Now, No, Seeds, Sides,
Star, Stir, Tol, Toil, All. These half rhymes,
they are not full rhymes. Leave a sense of
incompleteness on the ear. Cheated of our
expectations of a rhyme, we are referred back from
the poem itself as a formal triumph, which it is
to the poem's theme, to the frustration of the
form. We have frustration on the form, of pattern,
you know, because everything is frustrated in the
ruthless destructiveness of war. It is war. So in
war, we don't expect to see patterns. We expect
that everything is shattered. Okay, this is, you
know, a mini stylistic analysis. And I think you
have the full stylistic analysis in your reader.
You can read it along with the auction. And, you
know, that's it for this poem. I think we still
have 10 minutes to talk about miscellaneous things
before we finish. Okay, this is your reflection as
I promised. I'm going to look at this reflection.
If your mark here in this reflection let's say, is
higher than the mark in the first reflection, I'll
stick to this. If it is less, I'll just combine
both of them and take the average. So this would
be part of the final exam, your reflection. I
mean, I'm not returning this to you, but I'll be
returning for you the response and the report.
Concerning the exam, first of all, before the
exam, if you give me your response and report, I'm
not going to give it today. So tomorrow if we have
school, I'm not sure whether we have school
tomorrow or not. We do? So if we have school
tomorrow, I'll be bringing them. If not, they will
be in the teacher's room. We have, you know, I
mean, a room for the female teachers here. I can
put them there and pass them to you, okay? This is
for like your notebooks. Concerning the exam, I
know you want to see which poems should not be.
Like what we have been examined in the midterm
exam will be deleted.
Yes. So we'll start from Shakespeare. Yes.
And like the first question in the exam will be
will be comment, it is similar to the midterm
question. It is similar. I give you a model, you
have to follow the model. Do not escape by writing
about the poem. Stick to the extract, show its
relevance, show its stylistic value and like its
meaning. Explain, concentrate on the extract. The
second question would be essay questions. essay
questions. I'll be giving you a statement to talk,
you know, about the features of a school and to
demonstrate, for example, romanticism,
metaphysical, Elizabethan, you know, for example,
the theme of immortality has been, and Elizabethan
discussed this with reference to the poems, you
know, you have studied. You might refer to the
poem with counsel, if you want. You might want to
refer. But it could be metaphysical, it could be
romantic, it could be Victorian, it could be pre
-romantic. See? This is an ASIC question. The most
important thing is to substantiate. to give
evidence from what you say from the poems. And I
might tell you two or three poems, you know. I
might decide, yes, in reference to one or two. I'm
not sure how many poems. The last question, you
know, usually it is unseen.
A poem. But usually it is unseen, and it is good.
But sometimes I do give a change, you know? So I'm
not sure what I'm going to do. I might change this
question. It might remain the same. Because each
exam has, you know, a surprise. You know,
something. Okay, so we'll see. It might be similar
to the, the mid question, which, you know. Huh?
Bitter? No, the unseen poem will be fine. So let's
see. Let's see, because you know, you didn't do
well with the question in the midterm. But I
think, you know, it might, it is a possibility. It
could be within it. You see? Two questions lie
together. Now at the end, I have nothing except
thanking you. I know I was very hard, very tough
with those students who were not coming. I
succeeded. And this is what I felt in making you
work hard. And this is what I wanted. And I wish
all of you that you would succeed. If you need
anything, just let me know either by sending an
email or like seeing me in my office. Okay, I
might add additional office hours like to meet
you. So I'll be like on Sunday as well. I'm
Monday, as you know, from 11 to 12, but I'll be on
Sunday also from 9.30 to 12. I'll be waiting for
you if you need anything. Sunday and Tuesday.
Thank you very much.