Okay, Assalamualaikum and welcome back. Last class
we started discussing romanticism, romantic
literature and romantic poets. We spoke about the
major features of Romanticism and how different it
was from the poetry of the Augustan Age, or what
is generally known as the Neoclassical Age or the
Age of Reason. Before I begin, we finished talking
about William Blake. We can't speak enough about
William Blake. And generally, William Blake was a
pre-romantic. He was writing poetry from London
before, I think, the publication of the lyrical
ballads by the two major romantic figures, Samuel
Coleridge and William Wadsworth. Today, we'll see
what William Wadsworth has for us. But before I
begin doing this, I want to do some kind of
revision for last time's class. So could you
please remind me of the major features of
Romanticism? Why is Romantic literature or mainly
Romantic poetry different from the poetry of the
previous age? Yes. What makes Romantic poetry
romantic? Can you tell me, please? Okay, for the
Romantics, the heart controls the head, not vice
versa. Thank you. Please. So the romantics
advocated simplicity, and mainly simplicity in
diction, in language. You don't have to use elite,
highly embellished, sophisticated, powerful
language, language that mainly university educated
people would understand. Simple language. And,
please.
Thank you very much. So the subject matter, again,
is no longer about courtly love, the life in the
court and in the palace about God and kings and
queens and the noble families. It's taken
situations from the common life. And that's why
we'll find many poems about ordinary people, poor
people, about kids, about poor women, about
unnamed people sometimes. Yes, please. So it's
usually right to express themselves. Okay, so
poetry is now self-expression. It's no longer
didactic. In the sense that before this, following
the rules of decorum literature in general, poetry
had to teach and please, to teach and delight. So
the significant point is, what influence is your
poetry going to have on the others, on the
readers, on your audiences? But now poetry is self
-expression. A poet has extra comprehensive
sensibility to use his feelings and his
imagination in order to convey particular emotions
and experiences of his own. That's why generally
the speaker in, for example, William Wadsworth's
poetry, the speaker is William Wadsworth himself.
Because the I is the poet. Self-expressive. The
first person narrator. Yes? Nature was a source of
expression unlike the city, which is a source of
corruption. Thank you. Generally, romantic poetry
is poetry that is described as anti-city. Because
we've seen how the city has become the politics,
the political division, the corruption, the
factories, the industrial revolution, and
everything. So in a way, the romantic said, OK,
This is enough. But instead of fixing the problem,
working on the problems, They make escape. They
kind of escape. And that's why some people
criticize them as escapists. Escapism. Escapism.
Escapism is when you don't have to face the
problem, to come with the problem face to face.
You just leave it somewhere and you go to live
your life somewhere else. So nature was a source
of inspiration. And we've seen nature in
Shakespeare and other poets. But remember
Shakespeare would like Use, utilize, and exploit
nature. Shall I compare thee to a summer's day?
And then he goes on to speak how his beloved, or
the dark lady, is more beautiful than nature, than
a summer's day. But here, nature is the theme.
Nature is the poem itself. And we'll see William
Wordsworth in a bit. More. Please. Say again?
Childhood. OK.
Inspiration. So we have simplicity, purity,
innocence. Inspiration can be taken from
childhood. And childhood, even childhood in the
city was corrupted because kids were also sent to
work in factories here and there and places where
their future, everything was destroyed, ruined. So
those poets believe that the child is the father
of man. And this is actually a line by William
Wadsworth himself, because an adult can learn a
lot from childhood from children. And childhood
doesn't have to be a particular age. It could be a
state of mind, like innocence and experience. It's
a state of mind. You could be innocent. You could
be experienced, depending on the situation, but
generally they were advocating a state of
innocence, which you can find in the countryside.
More, please. For the romantics, the intellect and
reason were dangerous, and like the Augustans, the
imaginations and emotions were dangerous. So for
the romantics, imagination is one of the most
powerful faculties a person could have. And they
were encouraging us to look more inside our hearts
and to use our imagination. And this is connected
with feelings and connected with memory. We've
seen, I think, The Sick Rose last class. What is
it about? We came up with like what, ten themes?
Some of the themes could have been meant by the
poet himself. But even now, today, we can give
extra meanings to the text. And that's why the
reader as an individual is significant to the
romantic poet. We are encouraged to use our
imagination to give our own interpretations to to
the poems we read, to the texts we read. In the
Augustan Age, generally, you read a poem and it
has one meaning, generally, one interpretation.
Because when there's satire, someone is
criticizing someone else, and that's it. But here,
you read a poem. Is it about nature? Is it about a
woman? Is it about a child? Is it about childhood?
Is it about the city, the village, because
symbolism here gives it layers and layers of
meanings. And that's why, in a way or another, The
Sick Rose is a poem about the power of
imagination. Because when you depend on your
imagination, when you release your imagination,
you can see things differently. break the rules
imposed upon us. In the past, it was like
mathematical. You had to follow the rules,
remember, but a regular rhyme scheme, particular
language, particular subject matters, particular
number of syllables even. So everything was
restricted, was chained, but not for the
romantics. One more. Teacher, please.
Individualism was also important. And this is
connected with the fact that poetry is self
-expression. You have to express your opinion and
feelings and emotions as an individual, as a
person. And the individual, no matter how poor or
how rich he or she is, is significant. Because in
the city, the individuals were destroyed. People
were like machines, or like slaves. You have to
work from early hours until late at night for just
little money, money enough to keep you alive, but
also to keep you working hard for the factories.
There's one significant thing I always focus on
here, which is In Augustan age, maybe you can
write a poem, but you may not change the whole
society, but in Romantic, you can write a poem and
you can change the race of itself. Okay, this is
interesting. Can literature change lives? Yes. Can
poetry change lives? Sometimes we watch movies and
we become in a way better people. We read
literature. We read fiction. And sometimes we
learn new experiences. We are influenced. And this
is an issue that needs a lot of discussion. For
the Augustans, poetry aims at teaching and
delighting. So there is this emphasis on changing
people's lives. But in a way, poetry was living
somewhere in ivory towers most of the time, in the
court, in the palace. But here, those people
brought it down, believing that the real change
can happen at the grassroots. You know the
grassroots? The masses, the ordinary people.
Improve people's lives, imaginations, their way,
their style, the way of living, and you will
definitely have a better society. But again,
remember, many people believe the romantics were
escapists. They were not interested in fixing the
problem. And others say, and I believe in this,
that writing poetry itself is an act of change.
You don't have to carry weapons or to use
violence. You could change by nonviolent means.
And the most powerful tool of resistance is
writing and poetry and language, yeah? A final
point, yeah? We just said feelings and emotions.
Something else, something I always focus on. We
said that already. More.
The poetic forms, new poetic forms. Like the
romantics, many people will disagree with me, but
the romantics share common features with the
metaphysicals. But the sensibility is different.
But since John Donne was more into argument, more
into intellectuality, here more into simplicity
and more into feelings and emotions and
imagination. But they share the most significant
issue here, which is new poetic forms. You don't
have to follow the rules of decorum. You try to
follow them. If they don't help, you just break
the rules. And that's why we'll see so many new
poetic forms. We already saw some examples, and
we'll see more as we go on with the romantic. So
William Wadsworth. is probably the most
significant romantic poet. Along with his friend
Samuel Coleridge, they published a book called The
Lyrical Ballads. We mentioned last time, The
Lyrical Ballads. And everyone was like amazed,
fascinated, because people were tired and fed up
with the Augustan poetry. And they were like, oh,
We want to know more. What are you doing here?
What is this kind of new poetry? So in the second
edition to the book, they included a preface, a
kind of introduction where they define poetry, and
they explain their romantic theory of what writing
poetry is. So let's see the definition I mentioned
last time in brief, and go on for examples from
William Wildsworth. So what is poetry?
is the flow of feelings or emotions. Feelings,
generally feelings, emotions. But this is not only
feelings or emotions, it's powerful. And it's not
flow of emotions, it's overflow of powerful
emotions. And this overflow is Spontaneous. So you
don't have to sit and like, OK, what kind of
poetry should I write about? I think I should
write something here. And you keep squeezing your
mind and counting the syllables and checking the
rhyme scheme and using difficult language and
using particular imagery or something. It's
spontaneous. You know spontaneous? Like you don't
push yourself. You don't pressure yourself to
write poetry. Poetry just comes out. It overflows.
The spontaneous overflow of powerful feelings.
Many people only use this definition for the
romantics. It's okay, but it's not accurate.
Because the second part is also as significant.
Recollected here means remembered or recalled. You
know to recall something? To remember something in
tranquility. And this emphasizes memory,
especially for William Woodworth. Memory as a
theme. Memory as a tool of recollecting something
when you are in tranquility. And this tranquility,
you know tranquility? Tranquility, tranquil. Like
peace of mind. Like peace of mind, you're living
among the trees in nature, mother nature. You feel
at peace. You're peaceful. There are no troubles,
no problems, no corruption, no city life issues.
You're just in tranquility. That's basically what
tranquility is more or less here. To be alone, in
solitude, all alone, by yourself, somewhere in
nature, among natural elements. So you recollect
this. When you go to the city, you will not be
able to write this kind of poetry according to
William Wordsworth. alone somewhere in nature. So
when you feel this peace, peace of mind, when you
don't have trouble or problems from life and work
and factories and the industry, you can recollect
all the amazing or at least they can spontaneously
flow these powerful emotions or experiences. So
what is poetry according to William Wordsworth? A
spontaneous of a flow of powerful emotions
recollected in tranquility. Difficult? Big words?
Okay, overflow of powerful emotions recollected in
tranquility, recollected in peace. Now the
diction, the language itself is the real language
of men. Men and women, of course. Don't feel
offended. But this is why English generally was
considered the sexist language because many people
were considering women to be second class and
intellectual. And many people would defend this,
saying that men also includes women. So this is
the language of ordinary people, the masses. My
language, your language, everyday language, the
masses. And the subject matter includes situations
from common life. Not from the palace, not from
the court, not from the church, not from heaven
even. We've seen Milton go up to heaven, to God
and Adam and Eve and Satan, to the original sin.
So spontaneous overflow of powerful emotions
recollected in tranquility. And the language of
everyday men, situations from common mind. Let's
see this poem and try to examine the definitions.
The features and William Wordsworth. Theory of
Romanticism. This is a poem, it's called The
Daffodils.
It has four, I'll post this online, so just please
pay attention. It has four stanzas, let me read
them and do some commentary later on. The
Daffodils, you know daffodils? The yellow roses,
flowers. I wandered, I wandered lonely as a cloud
that floats on high o'er vales and hills, when all
at once I saw a crowd, a host of golden daffodils
beside the lake beneath the trees, fluttering and
dancing in the breeze. Continuous as the stars
that shine and twinkle on the Milky Way, they
stretched in never-ending line along the margin of
a bay. Ten thousand saw I at a glance tossing
their heads in sprightly dance. The waves beside
them danced, but they outdid the sparkling waves
in glee. A poet could not but be gay in such a
jocund company. I gazed. and gazed but little
thought what wealth the show to me had brought for
oft when on my couch I lie in vacant or in pensive
mood they flash upon that inward eye which is the
bliss of solitude and then my heart with pleasure
fills and dances with the daffodils And that's a
poem. And that, by the way, this is the most
canonical romantic poem, the most famous romantic
poem. You will study it many times in the future.
Today we're just going to see the major features
of romanticism according to William Wordsworth. So
if you look at the first stanza we have here,
Again, we can see several of the features we're
talking about here. There's nature here, right?
Individualism, I, personal experience, right?
Nature everywhere, floats. Are these difficult
words? Most of them. Even if you don't know what
it means, you can easily guess from the context.
Or at least you can know that this is a natural
element. So what is he saying? He's saying, I
wandered lonely as a cloud. And remember in the
past, We said there's something called a metaphor
and a simile. A simile is where you say something
is like or as something. When you use the word is
or like, this is a simile. And this is how you
write a simile. Where you pronounce the E by the
way. And generally, a simile is easier than a
metaphor. I know people who do research on the
simile and the metaphor. A metaphor is generally
not clear. The meaning is implied. You don't know
when you say, the teacher roared. I'm just being
very simplistic here. The teacher roared. You
know, roar is a word you use to describe a lion.
So what does that indicate? He spoke loudly. He
was angry. He was hungry. You just can't make up
your mind. But when you say the teacher ate like a
lion or spoke like a lion, so the word like makes
it easy for you to know where you're going. So he
chooses here a cloud, which is a natural element.
And cloud, he could have said a tree, right? But a
tree doesn't wander, right? It doesn't move just a
little bit. It's fixed. So he doesn't pick this.
Or he could have said, I wandered lonely as a cow,
or as a sheep, or as a bird. But he chooses a
cloud. A cloud.
Thank you. It's up above. That's one. What else
about cloud that makes it really interesting for
William Wadsworth? It takes water and gives water.
Thank you. What else?
It can easily be reached probably also through...
White? It's also wild. White. White probably
signifies, but not always white, but could be gray
sometimes or dark or black. And sometimes,
generally, it's free. The issue of being free here
is highlighted. It moves freely. No human being
can control it in a way. It's up above from the,
what is going on down, that floats on high ore
veils and hills. The high places, the low places.
Or the low places, high places. When all at once,
I, I saw, I also saw, notice the tense here is
past simple, right? I saw a crowd, and a crowd
generally a crowd of people, a crowd of something.
Crowd could be negative, right? If it's crowded,
not always, but if it's crowded, it's bad. There
is a good crowd, like a lot of people are coming.
And then he repeats the same word in other words,
in a more positive word, a host. Someone who hosts
you, someone who takes care of you, hospitability
here. A host of golden daffodils. So the daffodils
are described as golden and they are personified
as welcoming, hosting you. They attract you. They
make you feel at home, at peace, tranquility and
solitude. Where? Where did he see them? Beside the
lake beneath the trees. Although he was up above,
he saw them like the clouds because the power of
imagination, the onward eye, fluttering and
dancing in the breeze. Dancing is also a
personification. Generally, people dance, not
flowers. So what is happening here is the man, the
poet, is depersonified. He is likened to... A
cloud. But nature is personified. And that's an
interesting mixture of exchanging of places. If
you go for the rhyme scheme, it should be A, B, A,
B, C, C. So A, B, A, B, and then we have a couplet
here. Yeah, trees and breeze. So what happens
next? Continuous. So the scene of daffodils were
continuous as, again, another simile, as the stars
that shine and twinkle in the milky way, they,
again referring to the daffodils, stretched past
simple never-ending line along the margin of a bay
near the water, 10,000 so high at once. At a
glance? Yeah. Saw I at a glance. Just one glance
and 10,000 daffodils. That's how overwhelmingly
beautiful nature is. 10,000, it should be I saw 10
,000 at a glance. But the emphasis on the nature
rather than on the man himself seeing this.
Because nature will make you in a way react to
this. Saw I at once at a glance tossing their
heads, emphasizing what? The personification here,
tossing their heads in a sprightly dance again.
And that's how beautiful and pure nature is. The
waves, so because of this scene, the waves were
dancing. The waves beside them danced, also past
simple, but they, referring to the daffodils,
outdid the, also past simple, the sparkling waves
in glee, A poet could not but be gay in such a
jocund company. I gazed and gazed, but little
thought. You remember? The feelings, the senses,
the emotions, the heart just You're looking at the
amazing magical magisterial scene. He didn't
think. If it is an ordinary poet, like an Augustan
poet, they would think more than gazing, like, ah,
what an interesting rose or daffodil or flower.
Maybe this looks like something. He doesn't care
about what it looks like. He cares much about the
inspiration, the imagination, the feelings, the
beauty. I gazed and gazed. But little thought what
wealth the show to me had brought. I didn't care
about what it brought to me. All I cared about was
the scene and gazing and absorbing the beauty of
nature. Look also at the past simple and past
simple. Now, if you go to the rhyme scheme, the
rhyme scheme was A, B, A, B, C, C. Second
syllable, second sounds are the same. And here we
have they, B, B, K, Company. Company. Company.
Company. Company. Company. Company. Company.
company. company. company.
company. company. company. company. company.
company.
Because the poet is indicating that there is
something wrong with this symmetry. It looks
symmetrical and perfect, but in reality it has
trouble. It has problems. The second stanza had
also a perfect rhyme, and the last stanza had a
perfect rhyme. So this is the only stanza that has
Imperfect rhyme, there could be a reason. But more
interesting to me is the fact that the poet shifts
from I, I, I, I wandered lonely, so I, and then he
moves to say a poet could not but be gay to
generally he or she. Why did he shift from he,
from I to he or to she?
The word gay means happy. So it's not about he's
ashamed that people will say he's gay. Gay is
happy. In the past, it meant happy. So a poet
could not, could not, but there's emphasis here.
In Arabic, we call this hasr wa qasr, right, for
emphasis. So I couldn't but be happy means I am
happy, very happy actually. There's no way I can't
be happy. So there is negative here for emphasis.
There's an imperfect rhyme here. in this area, and
there is a shift from the first-person narrator to
the third-person narrator. To show that this
perfect scene could make any person's emotions
especially good because... They have more
sensitivity. Yes, make him happy. Thank you.
Interesting. Yes? The bias came from B or A? A, B,
A, B.
They and gay is different. This is the sound.
You will learn how to do the phonemic
transcription hopefully next year. Yes? So we have
a suggestion here, because this is all poets. All
poets, because poets especially have the
sensibility, the emotions, the extra emotions to
do, to react to this beautiful scene in nature. So
all people, especially poets, will be happy. That
is true, but I think there is more to this. Let me
go back to this after I finish the last sentence,
OK? So we'll go back to a poet could not but be
gay, because he could have easily said, I was gay.
I was happy. The last stanza, this is how it ends.
Notice there is a change in what? The first thing.
He shifts
to the present and also we have something back. We
have the I back.
Why is, again, the poem is part past simple and
part present simple? So what's going on now?
How?
So how did the story happen? Where is the poet
now? Very now? He's in the present. What is he
doing? Oh, recollecting tranquility. And that's an
interesting romantic issue here. You need to pay
attention to the tenses to know what's going on.
So what is the poet doing? He says, for oft, when
on my couch I lie. When I lie, I lie down.
Remember, tranquility, peace of mind, carefree,
carefree, nothing to bother him, nothing to
trouble him. What happens? Whether he is in vacant
or in pensive mood, They, referring to? The
daffodils. They flash, not something he sees first
experience. They flash upon the inward eye, in his
imagination, inside him. His mind's eye, his
heart's eye, I would say. They flash upon the
inward eye, which is the bliss of solitude.
Solitude from solo. From being alone. Being alone.
Not emotionally, just no one around you. Bliss.
This is a bliss of solitude. This is, as a result,
this is a good advantage of being alone in nature,
individuality. What happens then? How does the
poet, the I, react? His heart with pleasure fills
and then my heart with pleasure fills and dances
with the daffodils. When we speak normally,
naturally, the determiners, the articles, the
prepositions, the auxiliaries are not generally
stressed. When I say, I went with him. I went with
her. She came with me. You don't say, she came
with me. But here, when you count the stressed and
unstressed syllables, something you'll study later
on, this with is emphasized, is stressed. It
becomes and dances with the daffodils, because the
theme is withness with nature, togetherness with
nature, unity, melting down, becoming nature, and
nature overwhelmingly
claiming you, controlling you. So this is the
reaction of the poet. His heart with pleasure
fills. It overflows with pleasure. And he, it's
not clear here whether he says like he himself
dances with the daffodils or his heart, both. But
here it's probably more his heart doing this and
dances with the daffodils. So this is a reaction.
What is the difference between this reaction and
this reaction. This is a romantic poet, in my
opinion. You just don't react. You just fill your
heart with pleasure, with beauty and innocence of
nature. And as a result, you become a totally
different person. You remember. You recollect. Not
once. Not an instant reaction. You just don't look
at the daffodils and then You react in this
particular way. A romantic poet generally
encounters something, sees something. They don't
react instantly, because this is going to be
artificial. If you see a beautiful scene, nature,
element, something, and you write poetry
instantly, according to the romantics generally,
this is not good poetry. So you just absorb
everything. You store this. You know store? You
bear it. He used the word bear, actually. There
was bear in this or that was another poem. So he
keeps it somewhere. When he is in solitude, alone,
in vacant or impulsive mood, when he's lying on
his couch all alone, he recollects. He remembers.
He recalls this experience and then starts to live
it again. And this is more powerful for the
romantics than reacting to a scene you just see.
So what's going on here? In my opinion, this is a
direct criticism from William Wordsworth to
classical Augustan poets. He's saying any ordinary
poet would just only feel happy. but not William
Wordsworth, the romantic poet. So a poet, this is
the shift. This is the negative here. And this is
the imperfect trying. This is an imperfect
reaction on nature. If you just react to nature by
being happy, that's not what it, you know, it
takes more to be a romantic poet, to be like us,
the romantics. And that's why in the end, the poem
ends with, and then, my heart with pleasure fills.
and dances with the daffodils. There is an
interesting fact here. William Wordsworth, when he
saw the daffodils, he saw them for real. He had
his sister Dorothy with him. And in her diaries,
you know, diaries, there is an entry where she
tells us something about, I was working with Will,
Willie, or Bill, I don't know what she called him,
but William Wadsworth, and we saw this beautiful,
magical, it was magisterial, the daffodils,
everything. She describes this in prose, very
beautiful. But here, where is she in the poem? Is
she in the poem? He kicks her out because two is a
company. Two is a company, and this is more about
a personal, self-expressive experience about
individuality. Some people would hate him for
doing this. He's silencing her. Hey, Dorothy, get
out of this, which is an anti-feminist thing.
Maybe you can take it this way, but generally,
because this is what the romanticist is saying,
his own experience, and the sister can say her own
experience in a way or another. A final point, we
don't have time to go for Lucy Gray, another
beautiful poem, but next class we can do Lucy Gray
and we go back to Blake's London. We'll have time
to do that. One final thing I want to say about
the romantics is the fact that there's something
called, not baby actually, childlike experience.
Childlike experience. What is this? The romantics
say the most beautiful, important, significant
thing about city, about the romantics themselves,
is they have this romantic childlike reaction to
life. They believe because of corruption and
pollution in the city and the factories and the
industrial revolution, people go out early in the
morning, they keep working until late hours, and
they don't have time to appreciate life themselves
or nature or the environment, right? They're
always busy. They believe that the city has a
veil. You know what veil is? Veil. Veil, like
hijab. A veil of familiarity. You know familiar?
Familiarity? What is familiarity in Arabic? Ulfa.
Thank you. Yeah, yeah. So the city life adds a
veil of familiarity. Like here, you for example,
us. We're always rushing and busy and competing
and running. We have classes. We have exams. We
have quizzes. We have to read, right? We have to
do assignments. We have to take a taxi. We care
about our parents and the salaries and the work.
And what should I do when I finish this? There is
a lot. of care here, a lot of trouble, a lot of
problems, that we don't sometimes stop to
appreciate the moon or appreciate the flowers or
the roses or even the cats here at campus, right?
Maybe you play with the cats once in a while, but
how many times did you stop to appreciate a rose
or a flower? And even these roses and flowers,
they are artificial. They are man-made in a way
that man controls them and keeps trimming them. If
your friend tells you, hey, look at the moon.
There's a super moon. It's beautiful. Maybe you
don't even see the moon through your window. And
maybe you don't have the time because you are on
social media spending time and chatting. Maybe
because you only have four hours of electricity
here in Gaza that you just want to do your stuff
that requires electricity, that you don't care
about nature. So the romantics say life,
especially in the city, has added some sort of
avail of familiarity. where we don't see things as
they should be seen, beautiful and majestic. So
they invite us to have this childlike experience.
Children, they always react to the same thing.
They see the same thing for a hundred times and
they're like, Wow, this is a childlike reaction.
When kids start learning words, for example, and
they see the lights, they keep referring to it
like a hundred times every day. Right? When they
go out, when you are in a taxi or something, they
see a donkey and they were like, more right like I
know but this is how children generally react to
things they see again and again but for us adults
experience deprives us of this beautiful child not
childish childlike reaction where every time you
see something you just So he shifts from the past
to the present because he's recollecting and
because he's telling us, I relive this beautiful
moment every time I want to relive this. So
beautiful encounter, kind of flashbacking on
something. Please, put this in mind. When I teach
literature, I always invite my students to
reconsider their lives. This is not about exams.
Yeah, I know you want to get high marks. You
should. And you study. But also think of how
literature can change you, can change your lives,
can make you better human beings, can make you
think, can make you grow. Exactly like movies. And
poetry here invites us to be different, to care
about others, to like, to love.
And this is part of the question you need to
answer. How literature influences life. Literature
is a criticism of life and a tool of empowerment.
It makes us better people, more powerful people,
especially for people like us here oppressed and
occupied by the Israeli occupation, especially if
we are women and we need to raise our voices and
reach out to people and break the barriers, break
the glass ceiling, break the unfavorable rules
around us here or there. So this is one poem by
William Wordsworth that has almost all the
features of romanticism. Nature, tick.
Individuality, tick. Imagination, tick. Man and
nature, simplicity, tick. I think you'll find two,
three words. Imagine yourself a native speaker in
grade seven in England or America. You will get
most of the words, if not all of them. Subject
matter, common life, flowers from nature, also
tick. What else? Recalling memory, tick. How you
break the rules in order to, you know, sometimes
to get to convey a message with the imperfect
rhyme, also tick. I'll stop here. And if you have
any question, you can definitely ask. Next class,
we'll continue doing Lucy Gray by William
Wordsworth, and we will have time to do London by
William Blake. Thank you very much. And hopefully
this will change something in you.