PL9fwy3NUQKwZ52Wxrug71SHLnFjqhlVJc/Sxd_pCC6h9o_postprocess.srt

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How are you today? Good.

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Why is it hot back there? Is it hot? So I don't

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know like should we open the The doors. Khaled, it

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is very hot here.

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Right. So as I said, we are going to complete

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discussing Better My Heart. And after that, to

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talk a little bit about the midterm exam.

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Before talking, for approaching the poem again. As

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it is the case, we have to listen to one or two

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reports.

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Yes, please.

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Just come here. Black stuff. It doesn't matter who

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you are or what you do. We all have to face many

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difficulties and stressful situations. Life can

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leave us feeling stressed, worried, worried,

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angry, confused and frustrated. The way we feel

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affects everything in our life. When we feel bad,

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everything seems worse than it is. Till now, this

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is around 24 report, the time has passed too fast

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and our exam will be in the next Thursday. And as

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usual, Dr. Habib started to ask us about our

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reports, and some students read these creative

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reports. And after that, he asked about responses.

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Then the students started to read their creative

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responses. Thank you. OK. Thank you. You have,

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like, when you listed some abstract nouns, you say

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angry. It should be anger. It should be confusion.

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I think this is what I observed. when you listed

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some abstract nouns.

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Yes, do you want to redeem yourself?

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Good morning.

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I don't know if you heard about the freedom

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riders. There is something happening currently in

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Jerusalem. In Jerusalem there are many roads that

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Israelis forbid Palestinians to go through. So

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there are a few international solidarity figures,

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people that are coming in order to make a

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statement. They called themselves the freedom

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riders in order to draw a parallel between them or

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the Israeli apartheid system with what happened

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with the black Americans in the 60s because the

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black Americans used to be segregated on buses.

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And they called themselves once the Freedom

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Riders, and they made a statement that, you know,

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there should be equality between people. So now

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they're doing something similar. They're going to

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be boarding Israeli buses on roads today and

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tomorrow. So I wanted to write something about

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this, sort of. Okay. Okay. Better than apartheid

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system, freedom riders on it we go. From the

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blacks in the sixties to Palestinian Jerusalem,

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peacefully we'll force, break and blow. They're

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disguised racist terrorism. Only Israelis in those

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buses and roads they say, but our international

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freedom soldiers with us that blatant apartheid

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they refuse. Imprison me all you like, but in our

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land rights and hearts will always be free. Thank

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you. I think you made use of the... Yeah, clap for

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her. It's good to make use of the poem in encoding

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your experience and your, you know, respect for

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those who came in solidarity with the

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Palestinians.

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But last time, I think most of you enjoyed

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discussing the poem, even though it was difficult.

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Did you or you didn't? Was it easy or difficult?

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We agreed, but you enjoyed the width of the

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paradoxes, the width of the conceit, or of the

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conceits. And I think let us make

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a quick revision about what we did last time. I

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think last time we looked at the main paradoxes in

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the poem, And we listed them like this, batter my

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heart in order to mend it. So this is seemingly it

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is contradictory. However, when we think of a

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guilty person supplicating

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or supplicating God for redemption, for

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forgiveness. We understand like this, or we

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understand that this could be something acceptable

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or rational.

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Knock me down also, that I may rise, overthrow me,

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knock me down. This is a call, or this is again, a

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prayer for inflection. You know what's mean

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inflection? It is sometimes some people ask God to

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inflict them. To, in order like, yeah, to make,

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yeah, to be closer to God, to test their belief,

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to show how they are faithful, it happens.

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Inflection, you know, I was reading or we were

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teaching a text in American Lit, the narrative of

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Mary Rollinson. And she suffered when she was

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taken captive, according to her. And at the end of

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the narrative, she was, I like this is what I

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looked for inflection. Affliction, like suffering,

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disasters, catastrophes, because she thought that

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affliction made her close to her creator, that

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affliction made her very repentant and, you know,

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yeah, like to redeem herself.

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Again, we saw the paradox in imprison me to make

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me free, and we explicated it. How come, like,

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imprisonment can be freedom? Also, the paradox is,

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like, enthrall me, never chase except you ravage

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me, and we criticize this because this is

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something, you know, impolite. It's not, like,

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expected. to be in a text like this. We also

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talked about the conceit, the conceit in, I like a

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usurped town. How come? This is very

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contradictory. Now, it's a simile as you see, but

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there is no similarity. between the vehicle and

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the tenor. They're not similar. The conceit, you

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might have read, if you have read in your reader,

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the conceit is a striking parallelism between two

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dissimilar things. So what are the two dissimilar

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things here? As you see, we have I, and the town,

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and the usurped town. As we said, like I, the

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guilty person, is occupied by Satan, exactly like

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a city which is usurped by an occupier. So this is

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like the conceit. And this conceit runs through

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the poem, but It assumes different shape. Like

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later this conceit, it assumes the image of two

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couple being like drawn together in unholy

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marriage bond. That's why he was asking, divorce

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me. So it is like a sustained metaphor. Like when

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we understand its aptness, we start to say, my

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God, it is very witty, very witty. And we said

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there is another conceit. What is the other

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conceit?

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Yes? Yes.

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But it's captive. What is captive? The soul. The

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soul is like a captive person. Where is it

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captive? In the body. So how is the soul given

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freedom? If here God knocks him down, imprisons

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him, or makes him dead, then he will be free

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again. It is very intellectual. Okay.

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And the last couplet, this is, as you see, it is a

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sonnet. It is written in a sonnet form. Now,

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I think after explicating these paradoxes and the

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similes, the conceits, it becomes easy.

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Let's see now, after reading this, what is the

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theme of this poem? What is the theme of this

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poem? What is the theme of this poem? What is the

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possible theme of this poem? It could be about

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what?

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Christian impasse? Why? I like this, Christian

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impasse.

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Impact. Now I thought impasse. What do you mean by

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Christian impact?

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Yeah, but like if you say it is Christian impact,

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this is very general, like what are you talking

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about? So here it is the need for redemption. What

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does mean the need for redemption?

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Is it only a need for redemption because you say

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it is a need for redemption? What does mean a need

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for redemption? Yes, like I want you to explain

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the words. I don't want you to throw words without

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explaining them. So yes, it is about the need, but

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the strong need for redemption. Why? How? Yes?

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Yes, he

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feels guilty. He feels guilty. And when somebody

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feels guilty, the need for redemption, this is for

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good people, emerges. And this need is very

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compelling need. It is very strong need. It is

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very strong because he feels he is like too much

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guilty, too much sinful.

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And I think If you look at the tone of the poem,

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like you see how the verbs, like the music, the

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strong words, you feel like, I mean, his appeal,

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his supplication, which is very strong, is

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justified because he feels like he's too much a

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sinful man.

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I want to go back to the poem and, you know, to

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look at it, better my heart, three-person God.

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Now, this, I mean, the verb, like if you look at

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the verb, it is imperative.

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But here, as you see, better my heart, it is a

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kind of supplication. It's a kind of prayer. But

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we don't expect, we don't expect a poet to address

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God in this way. See? But this is exactly a

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metaphysical characteristic. Like when they talk

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to God, they talk in a very casual and informal

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manner. In prison, Better my heart, three-person

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God. For you, like three-person, we talk about

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this is something central to the Christian creed.

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You know, like they believed in the Trinity, so

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this is a reference to the Trinity itself. And

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look at the number three, the treble blow is there

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all over the pole. Like Trinity. So if you look at

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the patterns of three, you might find them in one.

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Rise, stand, overthrow. Break, blow, burn. You

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see? So it is like three, three, three. You know?

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So the pattern of Trinity is being referred to in

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the poem as a whole. It's very tricky.

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as yet, but not breathe, shine and seek to mend.

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Look here, we said it is a strong need. It is a

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strong need. Why? Because if you look here, he's

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asking God to violently shatter his heart,

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violently destroy him. And we said, if you are

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asking, if you are seeking for such violent

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action, it means that the sin is deeply rooted in

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you. And this is what is happening in the poet.

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This has to do with the Catholic belief of the

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poet. And it is very strange because John Donne,

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as we said, was forced to convert, to switch

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to Protestantism, but he remained faithful to his

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creed. He remained faithful. He remained loyal to

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his creed. And this poem here, as you see, he's

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not like, what is the way of salvation to him?

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What is the way of salvation? As we said, for a

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Protestant, the way of salvation is just good

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deeds. You have to be nice. You have to be good.

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You have to be... It is like in Protestantism,

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like free will is given space. But in Catholicism,

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the only way of salvation is the body. It is, you

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know, the way Jesus Christ, according, you know,

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to them, saved all the people by his body, by

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torturing, by being tortured on the cross. So

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here, as a Catholic, and this is what is called

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substantiation. It's like it is the body which

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secures for you salvation.

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That I may rise and stand, overthrow and bend.

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Your force to break, blow, burn. Like, look here.

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I mean, look at the alliteration. Your force,

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boom, boom, to break, to blow, burn, and make me

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new. This is like he wants to be new. What does he

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mean by new? Yeah, a new person without sin. And

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we said last time here the idea of original sin is

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there in the background. So once he is burned,

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once he is broken, he will be a new person.

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I like an usurped town to another due. So there is

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a conflict here. Do you see a conflict? What is

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the conflict? Like, I like a usurped town to

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another due. Labor to admit you but owe to no end.

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Like, we have a conflict here. What is the

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conflict? We have a running conflict.

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Yes, it's possessing, it's stronger. So now here,

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as he say, to another due and labor to admit you.

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Labor, my deeds are directed to you, but it is in

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vain. So the conflict is like he was trying to be

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loyal you know, obedient to God, but Satan was

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forbidding him all the time. And that was the

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conflict. That's why he asked God to intervene in

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order to release, free, emancipate him from life

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Satan.

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Reason your viceroy in me should defend Reason is

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your viceroy. Here, we said it's a metaphor. And

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we said the conceit starts by analogy.

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Reason, which is like here, it's a metonymy of the

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soul. It is the representative of God in man. It

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is captive. It is captive in the human flower.

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What is the human flower? The body itself. The

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body, the human flower. This is like I'm just

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talking about a poem for Andrew Marvell, I think.

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No, for Henry Vaughan. It's like he was referring

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to the human flower. Reason your viceroy in me

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should defend, but is captive. and proves weak or

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untrue. If you remember when we talked about the

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characteristics of metaphysical poetry, we said

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their poetry is argumentative. Like, look here, if

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you look, but, you know, take, do this. It is like

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argument. He's arguing. But is captive and proves

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weak or untrue. Yet dearly, like, look here, but,

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yet, These are signs of argumentation. It's very

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important like when we are discussing a poem like

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this, and this could be in the final exam, discuss

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this poem with reference to it's metaphysical or

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in the light of the metaphysical characteristics

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of poetry or the characteristics of metaphysical

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poetry. So you have to talk about the conceits,

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you have to talk about the paradoxes, you have to

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talk about the language, the argument, you have to

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talk about the abrupt beginnings because when we

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are talking about metaphysical poetry, when we

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read the poem, We see that the poem starts in a

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very surprising manner. Better my heart three

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person God. This is very surprising. This is very

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abrupt. It is unexpected from a poet to start

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saying better my heart three person God. So this

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is what we call abrupt beginning.

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Yet dearly I love you and would be Loved, feign, I

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mean vain, but I'm betrothed into your enemy. Look

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here, it is the conceit itself, but it is assuming

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another image. So we are moving imagery here.

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Again, it is a little bit homely. It is a little

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bit domestic. It is unusual of John Donne, who was

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always referring in his images to emergent

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sciences like astronomy, astrology, botany. Here,

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he's talking about homely images.

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I don't know why. It could be because the conflict

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is too much. He's referring to himself as a

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sinner. Yet dearly, I love you. Look here. This is

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the casual manner. This is the informal manner we

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talk about. This is how they talk to God. Yet

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dearly, I love you and would be loved in vain, but

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I'm betrothed into your enemy. Betrothed, engaged.

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We're moving from the image of occupation to an

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image of being married or engaged to Satan,

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somebody, you know, a loathsome, a hateful person,

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a person you cannot put up with. Imagine when you

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are like brought, you know, in this relation with

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a person you are not in love with, you just want,

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divorce me, you know, I don't want this.

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So be careful. Divorce me, untie, or break. Like

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look here, the three, divorce me, untie, or break.

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Look at the verbs. Three, three. You know, the

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patterns of the three is repeated all over.

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Divorce me, untie, or break that knot again.

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Untie, or break. It's a simple language. Divorce,

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anti, you know, but the idea is very subtle. You

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know, it's been very subtle, very witty. Why?

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Because it's a paradox. When you are asking God to

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divorce you, it means like divorce here is seen as

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something good because you are going to get rid of

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You know, Satan. Divorce me, untie or break that

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knot again. That knot again. Break it. Take me to

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you. Imprison me. Yes. So now you understand what

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is a paradox easily. Take me to you. Imprison me.

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For I accept you. Enthrone me. never shall be

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free, nor ever chaste, except you ravish me. Now,

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the last line is irksome, disturbing. However, it

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should be understood within the Christian context

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of divinity like Mary and Jesus, how Jesus came

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when God blew his spirit in Mary. So here, this

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ravishing is seen as an act of chastity because

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Mary was made chaste when God blew his spirit in

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her. She was, and even in Quran, she was a chaste

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woman, a purified woman. But like he's using it,

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and this is like, again, a characteristic of the

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Medieval Skalp poetry in general, and a

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characteristic of John Donne in particular. They

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were using erotic images. These are erotic images.

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When I say erotic, you know,

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They have to do with obscene images.

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Now, the form of the poem, what is the form of the

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poem? It is a sonnet. And what kind of sonnet it

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is? Is it a Shakespearean sonnet? It is what? So

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A, B, B, A, huh? No, D, U, A, huh? B, B, A, C, D,

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C, D, E, E. What kind of, you know? It doesn't

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sound to be, huh? It is Petrarchan. It is

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Petrarchan. And as we saw at the beginning of the

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course, the patriarchal sonnet was used.

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Yeah. Yes, it has two parts. But here the part, it

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has the octave and the system. What is he doing

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here and what is he doing here? You see here, he's

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supplicating. He admits that he's a sinner. And

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here, he's supplicating further. But in the

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couplet, he concludes the whole argument.

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He summarizes the whole argument by saying, except

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you enthrall me, you never shall be free. Or never

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chase except you ravish me. It is a conclusion.

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But it's very interesting because one student told

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me yesterday like, look here, I like this on it

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because it is a mixture between Italian, the form

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and the English, you know. Like because this state

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is similar to the system of Shakespeare. I mean,

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like Shakespeare when he was creating this and

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this is similar to Petrarch or like Sir Thomas

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Wyatt. I think he was using very traditional way

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because this is a love. A love poem, a love poem

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between man and God. So he was using that. And in

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fact, he was in this poem also and in other poems

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satirizing courtly lovers. John Donne didn't like

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courtly lovers. They thought they were crazy. He

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thought they were not good people.

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Yes. I think the meter, again, it is iambic

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pentameter. But what happens if you look at the

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verb here, blow, rise, stand, overthrow, like

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sometimes you have the, he variates and you have

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like here, burn, So he variates three stresses.

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Divorce me. Take me. Take me to you. Imprison me.

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Divorce me. Divorce me. Untie. Break. So he's

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variating with the rhythm just to suit. It is a

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very noisy poem. And as we said at the beginning,

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the sentiment of the poem cannot be felt unless

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you read this poem aloud. So you might have

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observed me reading it aloud and you can listen to

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on YouTube you find some people reading it. So it

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starts by being like this, Bear my heart, three

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person God, like somebody who's gasping, who's

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like in a real crisis situation, who's aspiring

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for redemption. And then, at the end, take me to

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you, imprison me for I, except you enthrall me,

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never shall be free, nor ever chaste, except you

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ravish me. So it should go like this, because this

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is the only way. But this is, as you see, it is

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very Catholic, isn't it? You know, I wish we had

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time to study like George Herbert and to see how

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George Herbert ended his poem not like this. He

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ended his poem by showing that man should have

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this submission to God, this obedience. He was

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rebelling, and at the end of a poem called The

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Caller, he heard, like, somebody calling because

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he was rebelling, and he said, I don't want to be

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a priest anymore. It's a prison to me. And at the

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end of the poem, he heard me thought I heard

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somebody calling, child. And I replied, my lord,

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it's an act of obedience. Okay, I want you to be

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obedient, obedient. Want you to have obedience and

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to study hard. And if you have any question now,

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you can ask before we switch off and talk about

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the midterm exam. Do you have any question? Okay.