PL9fwy3NUQKwZ52Wxrug71SHLnFjqhlVJc/kqLN7IsyDI4_raw.srt

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Assalamualaikum. Good morning everybody. How are

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you today? Good. I don't see many students here.

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Right. Today, I'm going to surprise you and slow

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down the class. I know that we're expected to have

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Sydney, but it seems like we have to slow down

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here in order to give time for other classes to

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catch up. So it's our chance today to look back

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again at rhyme, rhythm, and some areas in the

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critical plan. But before we start, you know, as

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usual, I need somebody like to read a report. Yes?

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Hate you, Mr. Report. At the beginning of my

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report, let me begin with admission that I hate

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writing reports, even though I like the class of

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poetry. Feeling that you have nothing to write

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about feeling, that you have nothing to write

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about feeling makes me hate the assignment of

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writing reports. But I like writing reports

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because it is at least has a theme or idea to work

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on and write about. To talk about love picture, it

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was enjoyable there. I didn't feel the time

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passing us. It was a nice lecture to learn about

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metaphor, irony, and image. After I just know

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little about them, I feel that those figures are

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the heart of poetry, that there is no poem without

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a figurative language that enhances and

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strengthens the idea of the poet, learning the way

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to use it makes a joy to use such language in our

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everyday language to express our gladness,

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sadness, and even sarcastic everyday life

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situations. Good, thank you. I do agree sometimes

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it gets, you know, a boring process like to write

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a report. And here, like, comes the creativity.

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When you have, when you don't know what you are

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going to write about. So you might look for a

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hook. you might find very interesting hook and

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then you write report. So the report is like to

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get you to write. And don't forget, this is like

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the bonus mark. It's not one of the official

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assignment. So you don't have to complain, but

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it's okay. You can do that. But I need you to

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write. Okay, let's see another report. Yes,

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please.

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Daily Reporter. Description of spring was so nice.

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It was the title of the previous month. The

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previous lecture was extremely surprising. Gentle

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and kind, I tried continuously to make up my mind

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and decide, either to share or to be in a side.

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Although the lecturer was in a gut mood, the

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students were worried and wanted to conclude. He

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asked the questions and students replied, but

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because of the hot day, they will nearly fly.

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Finally, we finished and the teacher said, you

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should be prepared, increase your effort a little

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bit. Okay, clap for her. Okay, look here, this is

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an example of creativity.

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But let me choose, yeah, you, you want like, this

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is randomly to make sure everybody's writing.

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Sometimes it's weird how time passed so fast. It

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was just like yesterday when Dr. Akram asked us to

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write a daily report, and I remember how confused

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I was. But now all my fears disappeared. Now I

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know how to write a daily report and how to write

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a response. It is unbelievable that we already

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finished two poems and about to start the third.

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I'm so excited to take a poem by Sir Philip Sidney

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because I've heard that he is a very talented boy.

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Good, thank you very much. And we have to clap for

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her as well. It doesn't mean that we don't like

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what Rawan said, but it's okay. Right. Today I

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thought it would be nice to go through two

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important elements, more specifically two more

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elements of poetry, the rhyme and the rhythm. And

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then later we might go back to part two of the

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critical plan. I think, you know, we have taken

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two poems. We spoke about rhyme in general. But

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today, I'll take you to be more specific to talk

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about rhyme. Because we have many types of rhyme.

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You might have read that.

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As you see here, there are many types of rhyme. We

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have perfect rhyme.No perfect rhyme. We have

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imperfect rhyme.

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Sorry.

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Perfect rhyme. Imperfect rhyme. Masculine rhyme.

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Feminine rhyme. I rhyme. Para rhyme. Okay, this is

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more specific. I think most of you, like those who

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read their reports, were writing poetic lines

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using perfect rhyme. Perfect rhyme, as you see,

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this is an example of perfect rhyme. It is like a

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rhyme which has almost the same sound, the same

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sound. Like this is in Spencer. help me to blaze

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her worthy praise. Like he was praising the queen,

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and like, you see, blaze and praise, almost the

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same sound. Okay? So we call this perfect rhyme.

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And another example, I saw Phobias thrust out his

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golden head upon her to gaze, but when he saw how

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broad her beams did spread, you know, so spread

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and hid. So this is perfect rhyme. Now we might

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ask when poets use perfect rhyme or when they use

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imperfect rhyme. Sometimes in certain poems, you

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should stick to perfect rhyme. However, poets

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might variate between perfect and imperfect

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according to their attitude, the atmosphere of the

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poem. Perhaps they want to criticize or they want

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to praise. So using the rhyme, each poet uses the

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rhyme that fits with the topic, the subject

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matter. We cannot now for sure say this rhyme

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serves this purpose. It is according to the poem.

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Sometimes you have perfect rhyme and suddenly the

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poet changes into imperfect rhyme. Like, you don't

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have this harmony, perhaps because there is no

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harmony in the experience of the poet. See what I

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mean? I remember in Wilfred Owen, Futility, he was

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using imperfect rhyme, he was using I rhyme. And

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why? Because he saw no pattern in life, so he did

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not want to commit himself to any pattern of

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poetry. So why would a poet use this rhyme? This

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depends on the poem itself. Okay, so I think these

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are again here in Epithelium. Epithelium is a poem

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written by Spencer to describe his, it is a

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matrimony poem. Matrimony, wedding. It was to

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describe his wedding. It is a beautiful one,

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Epithelium, if you have time to read it, you know,

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just go and read it. So, now we'll go to another

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type of rhyme, which is imperfect rhyme. You know,

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imperfect rhyme, you see, it is not, it doesn't

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have the same sound. Like you hear, you see, also

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in the same poem of Spencer, you have though

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hidden peril round about me placed, yet hope I

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will that when this storm is passed. So what do

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you think? Placed and passed. Placed and passed.

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They're not almost, yeah, there is something

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similar, but it is not a perfect rhyme. So this is

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what imperfect rhyme.

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Again, why would they use this? This depends on

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the poem, the theme of the poem itself. Then comes

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number three, masculine rhyme. It's very funny,

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huh? Masculine rhyme. There is a rhyme which is

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masculine. And masculine rhyme, like as you see

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here, this is, you know, from The Solitary Reaper,

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I think. The Solitary Reaper, Wordsworth. When he

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says, I listened motionless and still, and as I

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mounted up the hill, the music in my heart I bore,

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long after it was heard no more. Look here, still

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and hill, bore and more. If you look at the words,

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how many syllables do we have in this word? One

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syllable. So, when The rhyming words are

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monosyllabic, like this. This is called masculine

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rhyme. It's a masculine rhyme. It is one syllable.

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It's not more than one syllable. It seems like

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this is very tough, but this is an example of

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masculine rhyme. Of course, when we talk about

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masculine, we should talk about feminine because

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if we call this masculine, there should be

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feminine. But somebody might say, okay, masculine

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means tough and feminine means flexible and more

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lenient.

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Feminine rhyme is the opposite. Of course, these

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are your reader, you can follow them. They are in

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the pamphlet.

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Again, Wordsworth, as if her song, it's in the

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same. So he was, in that poem, variating between a

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masculine rhyme and feminine rhyme. And in fact,

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if you read The Slither Reaper, I was teaching The

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Slither Reaper in other courses, In that poem,

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Wordsworth, I don't know, it seems like he was

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challenging the conventions of the time, I mean

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the past convention. He was romantic, but in this

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poem, he was using neoclassical. He was using

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poetic diction. So he was variating with

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The diction itself with the images sometimes, some

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of the images like I behold her single, behold,

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this is very poetic. Then would anybody tell me

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what she's singing? So he was moving from formal.

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to informal, from poetic diction, and even the

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rhyme. He is in the same poem, he's variating in

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the rhyme. Why he was doing this, some critics say

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because he wanted to challenge, he wanted to

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ridicule those. So this depends on the poem. If

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you look here, as if her song could have no

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ending, I saw her singing at work, at her work,

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and over the sickle bending. So if you look at

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ending and bending, they are two syllables. They

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have almost the same sound and this rhyme called

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feminine rhyme.

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Then I rhyme. I rhyme.

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I rhyme, you know, very deceptive. You know, you

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look at them, like here, some never advanced

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adjustment of their own, but catch the spreading

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notion of the town. So if you look at them, they

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seem to have rhymed, but if you read them, yeah,

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they, you know, do not have the same sound.

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I think the final one is para rhyme. Para, it's

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not like, as you see, it's a rhyme in which you

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have the same consonants, but the inside vowels

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are different. So if you look at this, I seem that

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out of the bottle I escaped. Down some profound

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doltenal I long since scooped, then through grains

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which Titanic wars had grown, yet also the

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encumbered sleepers grown. So what do you see?

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Escaped and scooped. We have the same consonant,

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but different vowel. So para, it is not

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completely, you know? It is not complete. It is

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semi, semi, you know? Semi-rhyme, because it has

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similar consonants, but different vowels. And this

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is again, you know, called para-rhyme.

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Okay. The poems we are studying have rhyme, and

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each rhyme, for example, in the sonnet of Sir

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Thomas Wyatt, the rhyme was fitting the sonnet. He

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was governed by this sonnet. It was A, if you

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remember, B, B, A. A, B, B, A, C, D, C, D, and E,

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E. So he was governed, but we said like when he

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chose word like behind, you know, we had like that

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long vowel and it has to do with his suffering and

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agony. Okay? So in the sonnet, you are governed by

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certain rhyme, but you have the freedom to play

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Which words to choose? Which words to choose? But

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rhyme is very important. Sometimes we might have

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or we might have a good and a better understanding

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of the poem because of a rhyme thing. The rhyme,

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sometimes they employ it to express certain

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feelings. Again, in Wilfred Owen, when he was

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shocked, by the tragedies of the war. He didn't

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use the perfect rhyme, he used I rhyme, he used

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imperfect rhyme, paradigm. So there was no pattern

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in the poem. And he did that deliberately in order

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to correlate this

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with his horror, his experience of disappointment

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because of the horror of the war itself. So

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sometimes there is kind of, you know, the rhyme

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resonates with the meaning of the poem. Okay? Now,

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we'll go to the problematic area, which is the

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rhythm. And some of you are disturbed because of

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the rhythm. and they think this is too much for

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us. I'm not teaching you scansion or neither

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prosody in this course, but it's very important to

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know the meters. and to know certain feet and how

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they function. Because sometimes again, in certain

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poems, mainly in Shakespeare, he plays with rhythm

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in order to suit perhaps an attitude or to fit

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with a tone or the general atmosphere of the poem.

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We are going to see that in one or two of his

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sonnets. So let's see what is rhythm.

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If you remember at the beginning of the course, we

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spoke about rhythm when we defined poetry. And

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here, these are the feet in English poetry. As we

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said, Most of the English poetry, I mean 80-70

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00:19:34,620 --> 00:19:37,320
percent of the English poetry is written in iambic

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pentameter. Iamb is like this, two syllables. As

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00:19:47,820 --> 00:19:51,520
you see, repeat, the word repeat. What is the

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00:19:51,520 --> 00:19:56,580
stress? Is it on the first or the second? Yes,

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00:19:56,640 --> 00:20:02,120
it's the longer one. Repeat, repeat, repeat. So it

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00:20:02,120 --> 00:20:10,360
is very long. We saw this also in Henry Howard's

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00:20:10,360 --> 00:20:15,380
poem last time. And thus I see among these

254
00:20:15,380 --> 00:20:19,140
pleasant things. It was iambic pentameter. But

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00:20:19,140 --> 00:20:24,680
forget about pentameter. Like this is iamb. Ayam,

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00:20:24,800 --> 00:20:28,060
it's called Ayam. If you have, you know, this

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00:20:28,060 --> 00:20:32,480
pattern in the poem, you know, like repeat, you

258
00:20:32,480 --> 00:20:38,100
know, meet, see, et cetera, you have, this is

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00:20:38,100 --> 00:20:43,840
Ayam. Now, the opposite of it, it's called Troche

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00:20:43,840 --> 00:20:48,240
or Troche. You know, one of them either. And it is

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00:20:48,240 --> 00:20:54,440
like never. Huh? Never. Like, look here, never.

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Where is the stress? It's on the first one.

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00:20:58,000 --> 00:21:03,900
Clever. Never. Huh? Better. Okay, these are, you

264
00:21:03,900 --> 00:21:07,620
know, this is a trochee. It's the opposite of?

265
00:21:08,920 --> 00:21:13,820
Yes. The anabast. Okay, the anabast.

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The anabast. is similar to the iambic, but you

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00:21:25,210 --> 00:21:26,810
have... Sorry.

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00:21:33,510 --> 00:21:43,570
Okay. I have to go back. The anabast

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00:21:47,490 --> 00:21:55,310
is like too unstressed, and then stressed, like

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00:21:55,310 --> 00:22:01,150
interrupt, corrupt. You see? I think you are

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00:22:01,150 --> 00:22:06,230
studying stress with Dr. Walid, okay? So, and Dr.

272
00:22:06,290 --> 00:22:09,150
Khader like teaching you like this, so you can

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00:22:09,150 --> 00:22:13,710
make use of them in understanding the rhyme. Okay,

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00:22:13,850 --> 00:22:19,570
then you have something called dactyl. Dactyl as

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00:22:19,570 --> 00:22:26,050
it's like crochet, but instead of stressed, you

276
00:22:26,050 --> 00:22:30,030
have stressed and too unstressed, like Washington,

277
00:22:31,490 --> 00:22:37,910
wasting. It's like, as you see, one stressed, two

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00:22:37,910 --> 00:22:44,130
stressed. Then you have spondee. This is accented.

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00:22:45,460 --> 00:22:50,580
You don't have, it is like two words or two

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00:22:50,580 --> 00:22:54,560
stressed syllables together, heart rate, heart

281
00:22:54,560 --> 00:23:02,780
rate, you know? Then you have pyrrhic, you know,

282
00:23:02,820 --> 00:23:08,080
like it is too unstressed,

283
00:23:08,640 --> 00:23:12,100
like as in the top of the mountain, the morning,

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00:23:12,640 --> 00:23:16,850
you know, in the top of, morning, like too

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00:23:16,850 --> 00:23:23,430
unstressed, too unstressed. Now we say monometer,

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00:23:23,670 --> 00:23:29,690
diameter, why? Because sometimes if we look at the

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00:23:29,690 --> 00:23:33,950
line of pottery, we might find iambic repeated

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00:23:33,950 --> 00:23:38,210
like this, never ever. So what should I say? This

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00:23:38,210 --> 00:23:42,230
is iambic what? Iambic monometer or diameter?

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00:23:44,250 --> 00:23:48,850
Diameter, because it has two. It has two. So we

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00:23:48,850 --> 00:23:56,390
say diameter, trimeter, monometer,

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00:23:56,710 --> 00:23:57,510
diameter,

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00:23:59,850 --> 00:24:04,490
yes, pentameter. It is according to the

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00:24:04,490 --> 00:24:04,850
repetition.

295
00:24:07,710 --> 00:24:12,110
So here you have one foot is called what?

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00:24:12,970 --> 00:24:13,450
Monometer.

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00:24:16,360 --> 00:24:25,820
Two foot, diameter. Three, sorry, two feet. Three

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00:24:25,820 --> 00:24:35,660
feet, trimeter. Four feet, tetrameter. Five,

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00:24:36,500 --> 00:24:41,500
pentameter. That's why we said pentameter. Most of

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00:24:41,500 --> 00:24:44,740
English poetry is written in pentameter, which is

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00:24:44,740 --> 00:24:49,590
very musical. Then hexameter, six feet. Then

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00:24:49,590 --> 00:24:53,690
heptameter, seven feet. And I think here you have

303
00:24:53,690 --> 00:25:00,330
some example. Like this is an example, you know,

304
00:25:00,990 --> 00:25:03,550
of iambic pentameter.

305
00:25:04,930 --> 00:25:09,810
Can anybody read this? Like here, from furthest

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00:25:09,810 --> 00:25:15,680
creature, we desire increase. that their beauties

307
00:25:15,680 --> 00:25:22,080
rose, but never die. Who can read it? From there,

308
00:25:22,620 --> 00:25:27,440
from fair creatures, we desire increase, that

309
00:25:27,440 --> 00:25:33,600
their beauties rose, but never die. See? Titam,

310
00:25:33,880 --> 00:25:39,400
titam. So try to read it according to them, from

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00:25:39,400 --> 00:25:44,940
fair, From fairest creatures, we desire increase,

312
00:25:45,540 --> 00:25:51,320
that their beauties rose, but never die. So it is

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00:25:51,320 --> 00:25:57,160
measured, very musical. As I told you, if we talk

314
00:25:57,160 --> 00:26:00,640
in iambic pentameter, we'll be funny. For example,

315
00:26:01,260 --> 00:26:05,780
please, when you come to my class, write your

316
00:26:05,780 --> 00:26:08,980
report. It's like this, you know, ti tam, ti tam,

317
00:26:09,060 --> 00:26:14,430
ti tam. So another example, this is, you know, a

318
00:26:14,430 --> 00:26:15,010
tetrameter.

319
00:26:18,630 --> 00:26:20,270
Tetrameter, sorry.

320
00:26:30,150 --> 00:26:36,170
This is iambic trimeter, three. It is the evening

321
00:26:36,170 --> 00:26:44,920
hour. How silent all that lie. It is the evening

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00:26:44,920 --> 00:26:53,760
hour. How silent all that lie. See? This is iambic

323
00:26:53,760 --> 00:27:01,580
trimeter. Then we have tetrameter. This is like

324
00:27:01,580 --> 00:27:04,180
Troche. He's...

325
00:27:08,450 --> 00:27:10,050
I think it is in the other side.

326
00:27:23,330 --> 00:27:27,550
The iambic tetrameter, it's like, it's a poem we

327
00:27:27,550 --> 00:27:29,870
are going to study. Okay, just like.

328
00:27:42,520 --> 00:27:45,340
Is it clear? Okay.

329
00:27:56,700 --> 00:28:01,180
This is, you know, tricky, but I'm just like, I

330
00:28:01,180 --> 00:28:04,660
want to give you an example of iambic tetrameter.

331
00:28:05,300 --> 00:28:08,500
It's like in Marlowe's, they never reply, come

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00:28:08,500 --> 00:28:13,540
live with me and be my love. It is, you know, Come

333
00:28:13,540 --> 00:28:17,940
live with me and be my love. It is eight

334
00:28:17,940 --> 00:28:22,240
syllables, and it is called iambic pentameter.

335
00:28:22,740 --> 00:28:27,100
This is troche tetrameter. Come, you know, troche,

336
00:28:27,240 --> 00:28:30,920
we said it's the opposite. Come my, what is the

337
00:28:30,920 --> 00:28:36,260
stress? The first one. Come my, Celia, let us

338
00:28:36,260 --> 00:28:40,530
prove why we made this sports of love. You know,

339
00:28:40,770 --> 00:28:43,670
it's like troche, and how many syllables do you

340
00:28:43,670 --> 00:28:48,290
have? You have like, you know, six here, as you

341
00:28:48,290 --> 00:28:52,110
see. Tetra, because we have six syllables.

342
00:28:54,630 --> 00:29:00,490
Tetrameter, like eight, in fact. Cum, cummi, this

343
00:29:00,490 --> 00:29:06,220
is two, cilia two, two, so we have eight. Eight

344
00:29:06,220 --> 00:29:10,900
syllables because the foot, each foot is like two

345
00:29:10,900 --> 00:29:15,060
syllables. So this is called troche, dactyl,

346
00:29:16,660 --> 00:29:22,280
tetrameter. Like this one, you know, women much

347
00:29:22,280 --> 00:29:27,000
missed how you call to me, call to me, saying that

348
00:29:27,000 --> 00:29:34,000
you are not as you were, okay? So this is, and all

349
00:29:34,000 --> 00:29:36,880
these are examples of the meters, just like look

350
00:29:36,880 --> 00:29:39,540
at them, you know, and see the stress, where the

351
00:29:39,540 --> 00:29:43,780
stress, so it is very important that to know In

352
00:29:43,780 --> 00:29:49,060
this course, we might look at the rhythm in some

353
00:29:49,060 --> 00:29:52,920
poems because sometimes the rhythm might have

354
00:29:52,920 --> 00:29:58,360
something to do with poetry. Good. This is

355
00:29:58,360 --> 00:30:05,780
generally about rhythm and rhyme and rhythm. We'll

356
00:30:05,780 --> 00:30:09,880
go back to the critical plan. Yes.

357
00:30:16,760 --> 00:30:20,260
No, I mean it is up to the purpose, like how he

358
00:30:20,260 --> 00:30:24,780
sees. Sometimes certain words, you know, do not

359
00:30:24,780 --> 00:30:30,020
fit with the rhyme. But poets want to be regular.

360
00:30:31,180 --> 00:30:34,640
Like I know some, you know, some students of mine,

361
00:30:35,880 --> 00:30:39,900
write poetry by using rhythm. They go study rhythm

362
00:30:39,900 --> 00:30:43,200
and they write poetry. Even they are not native

363
00:30:43,200 --> 00:30:47,220
speakers, but they still, a student of mine, even

364
00:30:47,220 --> 00:30:51,420
he's like Tawjihi, said, I wrote a poem in Anabas,

365
00:30:51,620 --> 00:30:56,190
which was very surprising to me. So yes, they

366
00:30:56,190 --> 00:31:00,290
choose sometimes like they vary it. Sometimes they

367
00:31:00,290 --> 00:31:05,230
are systematic. It is according to the purpose

368
00:31:05,230 --> 00:31:07,150
they want to establish. Yes, sir. Yes.

369
00:31:12,350 --> 00:31:19,230
Forty love middle-aged couple. Yes. Yes.

370
00:31:22,760 --> 00:31:25,840
It doesn't fit with the rhythm of that.

371
00:31:29,100 --> 00:31:32,920
Yeah, but no, 40 love, 40 love, you have two

372
00:31:32,920 --> 00:31:37,680
syllables. We have two syllables in each one. 40

373
00:31:37,680 --> 00:31:41,660
love, it's like iambic. All of it, it is iambic

374
00:31:41,660 --> 00:31:45,440
diameter. 40 love, middle-aged couple playing

375
00:31:45,440 --> 00:31:48,620
tennis, it's iambic pentameter.

376
00:31:50,550 --> 00:31:53,730
Yeah, that was, you know, I mean at the beginning

377
00:31:53,730 --> 00:31:56,750
of the course I gave you two poems which are

378
00:31:56,750 --> 00:32:00,990
modern. Sometimes some poets do not follow rhyme

379
00:32:00,990 --> 00:32:04,990
at all, and this is called free verse. They do not

380
00:32:04,990 --> 00:32:07,630
follow rhyme, and sometimes they vary it with

381
00:32:07,630 --> 00:32:12,100
rhythm. See? But those poems I gave you at the

382
00:32:12,100 --> 00:32:18,420
beginning of the course were just

383
00:32:18,420 --> 00:32:24,100
very modern or very postmodern, in which the poets

384
00:32:24,100 --> 00:32:31,360
did not commit themselves to the tradition of

385
00:32:31,360 --> 00:32:32,300
English poetry.

386
00:32:34,920 --> 00:32:38,460
If you remember last time, I gave you, quickly at

387
00:32:38,460 --> 00:32:45,520
the end of the lecture, the leveler. And part two

388
00:32:45,520 --> 00:32:50,240
of the critical plan was discussing some areas we,

389
00:32:50,820 --> 00:32:57,190
as readers, might face when we read a poem. And as

390
00:32:57,190 --> 00:33:02,270
you see, the first area was

391
00:33:02,270 --> 00:33:05,430
like, we don't have to be very hasty. Some people

392
00:33:05,430 --> 00:33:09,750
are hasty. This is part two. It's meaning,

393
00:33:10,790 --> 00:33:18,950
intention, and idea. And here, as you see, we are

394
00:33:18,950 --> 00:33:21,950
strongly advised

395
00:33:31,380 --> 00:33:34,280
These are areas gaining balanced development of

396
00:33:34,280 --> 00:33:38,000
the theme, maintaining the total experience of the

397
00:33:38,000 --> 00:33:42,280
poem, and judging the poem on the basis of the

398
00:33:42,280 --> 00:33:43,100
poet's intention.

399
00:33:46,300 --> 00:33:49,740
We said, you know, gaining a balanced development

400
00:33:49,740 --> 00:33:52,960
of the theme. We do not have to base our judgment

401
00:33:52,960 --> 00:34:01,470
on one part of the poem, we have to follow or to

402
00:34:01,470 --> 00:34:06,890
read the entire poem and to test this theme. Is it

403
00:34:06,890 --> 00:34:10,370
like, does it fit with the whole poem or not? So

404
00:34:10,370 --> 00:34:15,590
we don't have to be very hasty. And we gave you

405
00:34:15,590 --> 00:34:19,490
the example of Deliverer, which was similar to the

406
00:34:19,490 --> 00:34:22,350
example of the poem, Who's Lost to Hunt, if you

407
00:34:22,350 --> 00:34:27,410
remember. So this is an area we should be careful.

408
00:34:29,070 --> 00:34:34,150
Of course, we cannot say what is the poem about

409
00:34:34,150 --> 00:34:38,890
unless we read it several times. The second

410
00:34:38,890 --> 00:34:42,370
problem area like here, as you say, we have to

411
00:34:42,370 --> 00:34:46,910
maintain the total experience. Here, the second

412
00:34:46,910 --> 00:34:52,650
area is called the total meaning and the prose

413
00:34:52,650 --> 00:34:54,590
meaning. There is something called the prose

414
00:34:54,590 --> 00:34:58,710
meaning and the total meaning. What is the

415
00:34:58,710 --> 00:35:01,250
difference between the prose meaning and the total

416
00:35:01,250 --> 00:35:05,950
meaning? The prose meaning of the poem means the

417
00:35:05,950 --> 00:35:12,830
dictionary meaning. It is the paraphrase. So if

418
00:35:12,830 --> 00:35:15,470
you say spring,

419
00:35:18,460 --> 00:35:22,380
has bloom and everything is beautiful, you are

420
00:35:22,380 --> 00:35:25,800
paraphrasing. But when you link this description

421
00:35:25,800 --> 00:35:29,620
with experience, you are talking about the total

422
00:35:29,620 --> 00:35:32,480
experience. So the total experience is different

423
00:35:32,480 --> 00:35:36,860
from the prose meaning.

424
00:35:39,580 --> 00:35:44,560
This is the leveler we read last time. I wish you

425
00:35:44,560 --> 00:35:47,930
look at it again. It's a very interesting poem,

426
00:35:48,930 --> 00:35:53,450
and we saw how sarcastic the poet was.

427
00:35:56,590 --> 00:36:01,950
Mainly here in the last two stanzas, when he said,

428
00:36:03,250 --> 00:36:08,710
Old Sergeant Smith, kindness of man, wrote out two

429
00:36:08,710 --> 00:36:12,550
copies there and then of his accustomed speech to

430
00:36:12,550 --> 00:36:17,380
cheer the women folk of each. He died a hero's

431
00:36:17,380 --> 00:36:25,020
death, and here we saw how sarcastic the poet was,

432
00:36:25,560 --> 00:36:30,720
how cynical he was. He didn't believe in the idea

433
00:36:30,720 --> 00:36:35,920
of heroism. The second area, this is like, do not

434
00:36:35,920 --> 00:36:43,800
give hasty adjustment. This is the second problem.

435
00:36:44,580 --> 00:36:46,720
to understand the poet's thoughts and emotions.

436
00:36:48,100 --> 00:36:52,120
Now, yes, we have to understand the poet's

437
00:36:52,120 --> 00:36:54,600
thoughts and emotions. And in order to understand

438
00:36:54,600 --> 00:36:58,280
this, we have to be open. Now, sometimes we might

439
00:36:58,280 --> 00:37:02,820
not like or we might find a poem difficult. Some

440
00:37:02,820 --> 00:37:05,120
words are difficult and we say, damn, I'm not

441
00:37:05,120 --> 00:37:08,760
going to read this poem. This is not good. Okay?

442
00:37:10,020 --> 00:37:15,530
You have to be sympathetic. At least while you are

443
00:37:15,530 --> 00:37:18,610
reading the poem, you have to be, because you

444
00:37:18,610 --> 00:37:22,170
won't have access to the experience, to the total

445
00:37:22,170 --> 00:37:26,230
experience of the poet unless you are sympathetic.

446
00:37:26,930 --> 00:37:29,230
You have to understand. You have to live the

447
00:37:29,230 --> 00:37:33,390
experience of the poet in order to appreciate the

448
00:37:33,390 --> 00:37:38,610
poem. And as you see, sometimes we don't have to

449
00:37:38,610 --> 00:37:41,810
judge the poem according to our initial feeling.

450
00:37:43,410 --> 00:37:46,430
And we hear, be sure you go to the author to get

451
00:37:46,430 --> 00:37:51,630
his meaning, not to find yours. Sometimes we are

452
00:37:51,630 --> 00:37:56,790
blinded by a certain idea in our mind, and we keep

453
00:37:56,790 --> 00:38:01,010
developing this and forget what the poem is about.

454
00:38:01,510 --> 00:38:04,950
So I think this is something we have to be

455
00:38:04,950 --> 00:38:05,830
cautious of.

456
00:38:09,450 --> 00:38:12,190
As you see here, the meaning of the poem is the

457
00:38:12,190 --> 00:38:15,530
experience it expresses. It is the experience. So

458
00:38:15,530 --> 00:38:18,150
this is the meaning. What kind of experience? This

459
00:38:18,150 --> 00:38:21,530
is the experience of happiness, sadness,

460
00:38:21,930 --> 00:38:25,230
frustration. So this is the meaning of the poem.

461
00:38:25,510 --> 00:38:28,250
It is not the prose meaning of the poem. It is not

462
00:38:28,250 --> 00:38:33,350
the paraphrase of the poem. Okay, you just go read

463
00:38:33,350 --> 00:38:39,590
this part because sometimes we like We might be

464
00:38:39,590 --> 00:38:43,470
worried that the poem has no ideas. It discusses

465
00:38:43,470 --> 00:38:48,810
no ideas. And we say, why? Sometimes we have a

466
00:38:48,810 --> 00:38:52,850
poem which is meaningful because it is only a

467
00:38:52,850 --> 00:38:56,150
description. And this description records the

468
00:38:56,150 --> 00:38:59,450
experience. And if you see here, you have a poem,

469
00:38:59,570 --> 00:39:05,180
The Eagle. The eagle is an example. Here, it's a

470
00:39:05,180 --> 00:39:09,560
description of an eagle which goes up high and

471
00:39:09,560 --> 00:39:16,420
then comes down as a thunderbolt. Like, look here.

472
00:39:17,160 --> 00:39:20,200
This is the eagle. It's a description. He clasped

473
00:39:20,200 --> 00:39:26,260
the crag with crocked hands, close to the sun in

474
00:39:26,260 --> 00:39:29,500
lonely lands. Ringed with the azure word, he

475
00:39:29,500 --> 00:39:33,730
stands. The wrinkled sea beneath him crawls. He

476
00:39:33,730 --> 00:39:36,510
watches from his mountain walls. And like

477
00:39:36,510 --> 00:39:42,510
thunderbolt, he falls. It's a description of

478
00:39:42,510 --> 00:39:44,890
eagle.

479
00:39:46,090 --> 00:39:51,510
This poem was written by Tennyson. Tennyson was a

480
00:39:51,510 --> 00:39:58,630
Victorian poet. And in the Victorian time, the

481
00:39:58,630 --> 00:40:02,370
world was changing. people started to lose

482
00:40:02,370 --> 00:40:06,410
certainty about, you know, no social patterns like

483
00:40:06,410 --> 00:40:10,530
laissez-faire or, you know, like there was

484
00:40:10,530 --> 00:40:14,150
corruption, utilitarianism, you know, people, I

485
00:40:14,150 --> 00:40:17,390
mean, materialism was governing everything. So the

486
00:40:17,390 --> 00:40:20,290
sense of society, the social patterns, you know,

487
00:40:20,290 --> 00:40:25,310
vanished. And in fact, even like religion, I mean,

488
00:40:25,390 --> 00:40:30,690
religious values retreated and retreated and Here

489
00:40:30,690 --> 00:40:32,710
the poet, what is the experience of the poet

490
00:40:32,710 --> 00:40:37,330
exactly? He was looking, he looked at the eagle.

491
00:40:37,530 --> 00:40:40,990
The eagle had the power to go up to leave this

492
00:40:40,990 --> 00:40:45,770
land, to go and come down, while the poet himself

493
00:40:45,770 --> 00:40:52,410
was mentally, psychologically entrapped. So he was

494
00:40:52,410 --> 00:40:58,590
looking at this bird with some feeling of envy. He

495
00:40:58,590 --> 00:41:03,240
was trapped. But look at this. He clasped the crag

496
00:41:03,240 --> 00:41:06,300
with crooked hands. Look how he admires it. Close

497
00:41:06,300 --> 00:41:09,360
to the sun in lonely lands. Ringed with azure. He

498
00:41:09,360 --> 00:41:14,040
envies the freedom of this creature. The wrinkled

499
00:41:14,040 --> 00:41:17,320
sea beneath. Look at him, how powerful. Him

500
00:41:17,320 --> 00:41:20,220
crawls. He watches from his mountain walls. And

501
00:41:20,220 --> 00:41:24,180
like a thunderbolt, he falls. So here, okay, the

502
00:41:24,180 --> 00:41:27,920
description is wonderful. We might look at this

503
00:41:27,920 --> 00:41:31,160
for more aesthetic consideration, but as you see

504
00:41:31,160 --> 00:41:36,820
here, the experience of the poet was like he, he

505
00:41:36,820 --> 00:41:43,940
was not Like, he didn't have the ability to leave

506
00:41:43,940 --> 00:41:47,840
because psychologically, mentally, he was trapped.

507
00:41:48,380 --> 00:41:53,020
His age was like an age of corruption, or an age

508
00:41:53,020 --> 00:41:55,520
of materialism. So people felt they were trapped.

509
00:41:55,680 --> 00:41:58,660
They could not go nowhere. And here, he's just

510
00:41:58,660 --> 00:42:01,920
looking at this eagle who's having that ability to

511
00:42:01,920 --> 00:42:08,040
escape. To escape, not like the poet. I think, you

512
00:42:08,040 --> 00:42:12,500
know, today, this is enough for today. I'm giving

513
00:42:12,500 --> 00:42:17,220
chance to other classes to catch up. Next time, as

514
00:42:17,220 --> 00:42:22,960
I said, you have to bring, like, you know, your

515
00:42:22,960 --> 00:42:28,440
response to Sidney and Spencer. You know, Spencer

516
00:42:28,440 --> 00:42:32,540
to his, you know, there is a sonnet for Spencer.

517
00:42:33,440 --> 00:42:38,200
So, but we are going to discuss first Sydney and

518
00:42:38,200 --> 00:42:42,740
then Spencer, okay? Thank you very much.