PL9fwy3NUQKwZ52Wxrug71SHLnFjqhlVJc/oQi9wbL59jc.srt

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Okay, good morning everybody. I have to repeat this

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several times, huh? Are you excited like Eid 

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holiday is imminent?

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Have you plans for the holiday? Because usually we 

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do not plan. And because we do not plan, We feel

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very sorry because we have not used, made use of

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time. So I think I strongly recommend that you try 

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to plan your time. It's a long vacation. I think,

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you know, you have, first of all, you have to 

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enjoy yourself at Eid. Do not like busy yourself 

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doing things, reading during the Eid because of 

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the midterm exam, I strongly recommend that you 

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enjoy yourself. However, like after Eid, you have 

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to plan and to work very hard. Anyway, today we

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are going to see, it is an introductory lecture to

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metaphysical poetry because today we're not 

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studying John Donne. So it's going to be a little 

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bit historical background, social background, and 

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perhaps general characteristics of the metaphysical 

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poetry. But before we start this, as usual, I need 

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a report. You read last time, I think. So we need, 

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yes, the lady there.

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Okay, you just come here. Good morning everybody, 

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how are you? Daily report, actually this week I 

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suffered a lot and till this moment I feel

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confused and stressed because of my crowded

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schedule of the unfinished exams. So my

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psychological condition is too bad because of 

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these exams and due crowded schedule of study 

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works. Believe me or not, before two days I began 

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to weep and my tears began to fall down 

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continuously and I began to seem like a mad one,

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like a mad person because of these bad conditions. 

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Coming back to the poetry class, actually although 

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yesterday I was busy in studying because of the

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today's exam and I was pressured and confused. I

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felt all these issues, I left all these issues and 

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decided to think about what is suitable for the

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report of the previous lecture. Consequently, I 

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remembered the lecture with some happiness. As

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usual, it began by saying the daily report and

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after that, the teacher gave us an obvious

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explanation about the two poems of Shakespeare and 

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he ordered us to compare between them after giving 

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us the aesthetic elements in both poems. Okay, 

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thank you very much. And it's good like you have 

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the report as event out. I know like a lot of 

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students are pressured because of the midterm

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exam, but you should know that midterm exams are

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given under the pressure of classes and lectures.

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So those who do not come to class Because of

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midterm, a midterm, for me, it's like, you know,

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cheating, you know, it's not like, honestly, 

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because, you know, we know that we want to test

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you when you are having a lot of lectures, 

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classes, how you function, you function well or

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you need time. Have, if you like are a good time 

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manager, you don't have a problem. But if you are 

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not, you'll be in trouble. Okay. I need another 

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report, another creative report. Creative. Let's

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see. Okay. 

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But people will envy you because you have read 

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like several times. Okay, go ahead. Shakespeare's

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words, of which he's so proud, whistled through my 

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head like rough wind so loud. He was right, 

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though, five decades on, and his words still flow. 

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Through paper and pen, the words remain so. And in 

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poetry class, his immortality does show. And I, 

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for one, I am one to know. Wow. Thank you very

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much. Clap for her. So this is like, yes, it's

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very creative. Good. I know a lot of you wrote 

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even more creative reports, but if anybody is 

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dying to read, I don't mind. If she feels she has 

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a wonderful report, I don't mind. She can read. 

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Okay, so, metaphysical poetry. What have you prepared

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for us? It's a good question. What have you 

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prepared for us? Don't tell me fish and chips. 

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This has nothing to do with metaphysical poetry. 

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I'll be telling you the joke of fish and chips 

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later. Okay, metaphysical poetry, I don't know. 

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The term itself seems to be tough, metaphysical.

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What is physical to say metaphysical? Okay, the 

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metaphysicals, you know, even like Amal say the 

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metaphysicals, you know? She's complicating it

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more and more. Yes, what do you want to tell me? 

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Like, speak. Metaphysical poets? Yes. I'm ready to 

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listen. Yes, please. 

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Things that are beyond nature. Yeah, so you are 

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just like looking at metaphysical, something 

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beyond the physical. Yes, they were concerned with 

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highly philosophical issues. Man's relation with

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God, man's experience in life, man's, you know,

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like, relation with death, love, which is a 

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general issue, love to God, love to human beings, 

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yes. Yes. 

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I want to say that there's, at the time, it wasn't 

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really very spread and it wasn't very much read.

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And it later became very prominent and analyzed. 

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But at the time, it was the time of religious,

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like there were a lot of religious beliefs and

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there were the Puritan. Yeah, thank you very much.

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Yes. Like the metaphysical poets were elitist. Yes. 

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They were not writing for, you know, they were not

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like Shakespeare, Spencer, and others. They were 

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not writing for the common people. They were 

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elitist. They were highly educated. And, you know,

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they were a little bit chauvinistic because they 

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wanted to show that they were, you know, very 

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good. So their poetry was inaccessible for lay

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people, for ordinary people. Their poetry was very

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difficult. They used their wit, their mind, their 

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intellect to write poetry. That's why they were 

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not popular. And you know what? It is only just in

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20th century, like it was T.S. Eliot who brought

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them to surface. Samuel Johnson was the critic who 

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was first called them the metaphysical poets. But you 

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mentioned the religious because it's very

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important to talk about the religious background. 

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In 1603, Elizabeth died, and James I, the first

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king from the Stuart family, because Elizabeth was

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Tudor. So we're talking about dynasty, it's a

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different dynasty. James Stuart I, who was of 

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Scottish origin, If you remember, when Shakespeare 

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wrote Macbeth, he was complimenting him, he was

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flattering him, like he was a descendant of, you 

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know, the Scottish, of Banquo, if you remember.

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Like this, the King was religious, and he was

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accredited for translating the Bible, you know, 

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the authorized version of the Bible. So during his 

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time, the Bible was widely read because before, 

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you know, he translated it, you know, from Latin

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into English, you know, a few people like the 

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Bible was limited to a few people. But when it 

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became translated in English, so a lot of people

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started reading the Bible. And when you see a lot 

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of people start to read, it means they become very

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religious and the arguments, the controversy

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start. And this is what happened in that 

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century. So the religious tension began to 

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increase mainly between the Catholic and the

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Protestant. And even in, you know, 1605, there 

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was, you know, the Catholic were trying to blow up 

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the parliament and kill the king. You know, it was 

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called the Gunpowder Plot. the gunpowder which was

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referred in Macbeth. But James was very tough with

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them and he put a lot of them in prison. The 

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Catholic were not treated very well. They did not 

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have their rights or they did not have their 

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rights in employment. I mean, their social rights, 

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they were denied their social rights because of

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their creed. This one thing. Another thing, on the 

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other side, the Protestant themselves had some 

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argument among themselves and the Protestant, some

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of them were very radical, very extremist called

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the Puritans. Those Puritans wanted the king to 

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change more. They wanted to press him to change 

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more, to clean the English church out of the 

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Catholic, you know, churches. So they were 

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pulling, you know, to the extreme. And the king 

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wanted, like, to be in the middle. What happened, 

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like, as a result, he, you know, kicked them out, 

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like about 3,000 of them. They were deported to

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Holland, like it was in 1620, something like this,

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1618, 1819. They were, you know, deported to 

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Holland. And, you know, after one year, they 

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started their journey to America. And they settled 

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in Massachusetts, mainly in Jamestown. And this is 

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how, like, of course, America was explored before 

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that. America after Marlowe and, you know, when

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Marlowe was writing "Come Love With Me", when

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Spencer was writing, America was already 

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discovered. And, like, you know, the literature of 

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that time was promoting people to go to America. 

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So here we have the first, you know, American

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settlement or the first English settlement, which 

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was started by the British themselves on the east

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coast, the northeast coast in Massachusetts, a 

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settlement called Jamestown Settlement. So that 

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was the atmosphere. This atmosphere continued, you

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know, to be complicated more and more until 

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England became in 1942 in a state of civil war. 

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There was a civil war. This continued, this civil

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war continued until 19, sorry, 1651. What 

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happened, you know, because in, I think, in 1635, 

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King James died, and Charles I, his son, took

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over. He was a weak king. And during his time, the 

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Civil War broke out. This is a bit history. It 

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helps us in having a good background to study the

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metaphysical poetry. You know, there was a civil

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war. Of course, the civil war was very bitter. A 

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They were dismissed. They didn't appreciate poetry.

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They didn't appreciate imagination. They didn't

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appreciate this. So poetry had to meet certain

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rules and regulations. It was not like

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Shakespeare, festive, lyrical. So poetry was

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didactic. Poetry was satirical. And those, the

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famous poets of, you know, that time, I mean,

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like Alexander Pope and John Dryden. They are

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missing in our course, you know, we're not

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teaching them, but we'll start from the pre

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-romantic, from William Blake and the Romantics.

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So this is a bit of history about the 17th

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century. Thank you for introducing this. So you

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could say it was an age of uncertainty. But we

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should know also, in spite of this, England was

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progressing in the field of research in the field

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of academia, I mean, you know, scientific. It was

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progressing, you know, in chemistry, in, you know,

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physics, in, you know, there were many

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explorations. New continents were explored. So it

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was the age of exploration. It was the age of

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expansion. And it was the age of scientific

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progress. So it... Everything was changing. So new

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theories, even new theories about the Earth, about

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our reality changed. So those poets, I mean, the

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mythical poets were writing in an age which was

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characterized by a great deal of uncertainty. So

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all theories about the world being, you know,

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like, flat have changed now. And everything, man's

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relation with God, like, has been reconsidered.

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So this is a bit of history. Let me listen to you.

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If you like, speak, tell me, I explain. You know,

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this is me, you know? So, what have you prepared

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for us? Yes?

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Yes, so you are referring to the metaphysical

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poets, yes? Now, we're dealing with a generation.

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Now, in fact, The 17th century was not the century

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of the metaphysical poets. We have three groups of

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poets. We have the metaphysical poets. We have the

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Cavalier poets, the Cavalier, and we have the

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followers of Ben Jonson. So we have the medical

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who were writing in the fashion of John Donne. We

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have the Cavalier who were writing in the fashion

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of George Herbert. And we have the traditional ones

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who were writing in the fashion of Ben Jonson. The

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most obtruse and difficult were the metaphysical

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poets. The Cavalier poets were a little bit

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hedonistic. They were bohemian. Their life was not

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a life of austerity. They wanted to enjoy their

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life. They wanted to enjoy their life before they

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die. Philosophy of life depended on enjoying your

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life before you die, and that was called the theme

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of Carpe Diem. These terms, I'm going to write

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them for you later. But just I'm introducing them.

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Now, the metaphysical poets were poets who wrote

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in a different style. Yes, they were difficult

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00:20:38,990 --> 00:20:42,410
because of their argument. What's wrong with their

280
00:20:42,410 --> 00:20:42,790
argument?

281
00:20:49,030 --> 00:20:54,670
Yes, so like, you know, they were argumentative. I

282
00:20:54,670 --> 00:20:57,710
mean, they introduced an argument, a thesis, and

283
00:20:57,710 --> 00:21:01,740
they continued you know, elaborating it, arguing,

284
00:21:01,960 --> 00:21:07,140
until they convince us about their point of view.

285
00:21:07,440 --> 00:21:09,920
So they were arguing. They were introducing

286
00:21:09,920 --> 00:21:13,220
arguing, and usually when they introduce the

287
00:21:13,220 --> 00:21:20,760
argument, you know, it was very abrupt. So, for

288
00:21:20,760 --> 00:21:24,160
example, John Donne, when John Donne started his

289
00:21:24,160 --> 00:21:28,850
poetry, he started like, you know, in a very

290
00:21:28,850 --> 00:21:32,590
abrupt, like, "Go and catch," you know, the falling

291
00:21:32,590 --> 00:21:37,350
star or, like, the sun rising. The opening of the

292
00:21:37,350 --> 00:21:41,490
sun rising is very, you know, abrupt. The opening

293
00:21:41,490 --> 00:21:45,110
of "A Valediction Forbidding Mourning" is very abrupt. Abrupt

294
00:21:45,110 --> 00:21:49,470
like sudden, you know. Yes. Isn't John Donne a

295
00:21:49,470 --> 00:21:53,850
romantic poet? No, John Donne was a metaphysical

296
00:21:53,850 --> 00:21:54,910
poet. He was

297
00:21:57,990 --> 00:22:02,970
No, no, no, no. No, we don't like, he was, no,

298
00:22:03,190 --> 00:22:08,610
huh? No, no romanticism. You know, the issue of

299
00:22:08,610 --> 00:22:10,550
romanticism is a little bit different, you know?

300
00:22:10,890 --> 00:22:13,550
Once we approach romanticism, we want to talk

301
00:22:13,550 --> 00:22:21,870
about it in a different way. Good. Yes, their

302
00:22:21,870 --> 00:22:24,230
poetry was difficult. Their poetry was

303
00:22:24,230 --> 00:22:29,750
characterized by you know, by imagery which was

304
00:22:29,750 --> 00:22:34,810
drawn from Not the roses, not the summer, but it

305
00:22:34,810 --> 00:22:39,810
was drawn from chemistry, from, you know, from

306
00:22:39,810 --> 00:22:44,410
physics, from astronomy, astrology. So yes, they

307
00:22:44,410 --> 00:22:47,310
were referring, the images were drawn from the

308
00:22:47,310 --> 00:22:50,350
emergent field of knowledge during that time.

309
00:22:53,690 --> 00:22:56,550
Yes, okay, we'll talk about the conceit, the

310
00:22:56,550 --> 00:23:02,940
paradoxes, you know, in a moment. Yes. Okay, let's

311
00:23:02,940 --> 00:23:05,740
see. Now, I don't want to keep asking you. Let's

312
00:23:05,740 --> 00:23:09,300
see here, what do we have? As you say, in

313
00:23:09,300 --> 00:23:13,120
metaphysical poetry, Amal started by just

314
00:23:13,120 --> 00:23:17,960
arranging this. As you see here, we have strange

315
00:23:17,960 --> 00:23:22,300
heterogeneous ideas. like ideas which are

316
00:23:22,300 --> 00:23:25,380
heterogeneous, not homogeneous. And she's

317
00:23:25,380 --> 00:23:32,120
referring to man's relationship with God. So John

318
00:23:32,120 --> 00:23:35,480
Donne was talking to God as if he was talking to a

319
00:23:35,480 --> 00:23:35,840
person.

320
00:23:38,600 --> 00:23:42,700
Surprising and unexpected beginning, like, "Butter

321
00:23:42,700 --> 00:23:46,360
My Heart," "Three-Person God." A man is starting by

322
00:23:46,360 --> 00:23:48,580
asking God to butter his heart.

323
00:23:51,920 --> 00:23:55,760
Okay? You know, riddles, like their poetry is like

324
00:23:55,760 --> 00:23:58,180
riddles because, you know, you have something

325
00:23:58,180 --> 00:24:01,960
like, "We are two but we are one." You know, it's

326
00:24:01,960 --> 00:24:05,140
like a riddle. How come you are, you know, they

327
00:24:05,140 --> 00:24:09,220
invite you to think how, you know, and in Andrew

328
00:24:09,220 --> 00:24:12,360
Marvell, look, Andrew Marvell, he says at the end

329
00:24:12,360 --> 00:24:16,080
of his "To His Coy Mistress," "His Coy Mistress," though we

330
00:24:16,080 --> 00:24:20,380
cannot make ours, we cannot stop our son, but we

331
00:24:20,380 --> 00:24:26,800
can make it run. How can you, you know, you can't

332
00:24:26,800 --> 00:24:30,770
stop The sun, but you can make it run. How? Can

333
00:24:30,770 --> 00:24:34,250
you tell me? Yeah, it's very strange, isn't it?

334
00:24:34,370 --> 00:24:37,110
It's like a riddle. You know, it's like a riddle.

335
00:24:37,290 --> 00:24:40,270
How can't you make the sun? And this is like the,

336
00:24:40,770 --> 00:24:44,170
this is a paradox, of course. Yeah, it is very

337
00:24:44,170 --> 00:24:47,610
perplexing. I don't know. Of course, this is the

338
00:24:47,610 --> 00:24:51,110
paradox is easy. But when it comes to the conceit,

339
00:24:51,230 --> 00:24:55,850
it is more obtruse. It's more complicated. And in

340
00:24:55,850 --> 00:25:01,090
a moment, I'll be talking about the conceit. So

341
00:25:01,090 --> 00:25:06,970
how come you cannot stop your son, but you can

342
00:25:06,970 --> 00:25:11,090
make it run? I'm telling you because, in fact, to

343
00:25:11,090 --> 00:25:16,110
"His Coy Mistress," which is very vulgar and you're

344
00:25:16,110 --> 00:25:20,170
not going to study it, At the end, he was like

345
00:25:20,170 --> 00:25:23,510
inviting, you know, or he wanted to enjoy his

346
00:25:23,510 --> 00:25:26,930
life. So he was trying to persuade, you know, a

347
00:25:26,930 --> 00:25:30,870
lady to enjoy his life. But she was, you know,

348
00:25:30,950 --> 00:25:34,450
adamant. So in the poem, he said, "We cannot," yes,

349
00:25:34,530 --> 00:25:37,590
"we cannot stop." We don't have control over our

350
00:25:37,590 --> 00:25:41,070
life. We cannot stop, you know, the sun, the time

351
00:25:41,070 --> 00:25:43,740
itself. Because we cannot stop. We have no

352
00:25:43,740 --> 00:25:46,560
control, but we can make it run. By enjoying

353
00:25:46,560 --> 00:25:49,780
ourselves, we can make it run. See what I mean? So

354
00:25:49,780 --> 00:25:53,280
this is the paradox. Okay? We, by enjoying

355
00:25:53,280 --> 00:25:58,810
ourselves, we can make our son run. I don't know,

356
00:25:59,010 --> 00:26:03,770
all these are epithets which apply for, yes,

357
00:26:04,030 --> 00:26:07,930
surprise, strange ideas, surprising or unexpected,

358
00:26:08,670 --> 00:26:12,470
you know, unexpected beginning,

359
00:26:13,230 --> 00:26:16,390
you know, of the poems.

360
00:26:19,280 --> 00:26:24,300
Poetry and verses, they don't have this smooth

361
00:26:24,300 --> 00:26:29,920
lyrical tone. Their poetry is harsh, you know? It

362
00:26:29,920 --> 00:26:33,880
is harsh. It is very noisy, like what we are going

363
00:26:33,880 --> 00:26:38,200
to see in "Butter My Heart." "Blow, burn, boo, boo,"

364
00:26:38,280 --> 00:26:42,320
you know? It's like very noisy poetry, you know?

365
00:26:44,590 --> 00:26:47,890
They are exaggerating, they are revolutionary, far

366
00:26:47,890 --> 00:26:52,370
-fetched, it's the conceit itself. What is the

367
00:26:52,370 --> 00:26:56,030
conceit? The conceit is what?

368
00:26:58,950 --> 00:27:02,410
What is a conceit? Do you have an example of a

369
00:27:02,410 --> 00:27:02,770
conceit?

370
00:27:06,230 --> 00:27:08,850
"The Flea," okay. I don't want to like to talk about

371
00:27:08,850 --> 00:27:11,830
the flea, but I want like to give you an example

372
00:27:11,830 --> 00:27:17,930
of a conceit. A conceit is what? It is an analogy,

373
00:27:19,050 --> 00:27:23,670
you know, analogy. It is a strange analogy or a

374
00:27:23,670 --> 00:27:28,570
strange simile or a metaphor in which the

375
00:27:28,570 --> 00:27:34,470
relationship between the vehicle and the tenor is

376
00:27:34,470 --> 00:27:39,090
very remote, is unexpected. You see what I mean?

377
00:27:39,710 --> 00:27:44,250
So, John Donne, in one of his poems called,

378
00:27:44,350 --> 00:27:49,710
"A Valediction: Forbidding Mourning," he compared

379
00:27:49,710 --> 00:27:54,530
himself and his wife to the two legs of a compass.

380
00:27:56,270 --> 00:27:59,790
And he said, like, you know what is a compass? The

381
00:27:59,790 --> 00:28:03,370
two legs of a compass, like here, it's like this.

382
00:28:07,090 --> 00:28:12,010
This is a compass, the two legs of a compass. And

383
00:28:12,010 --> 00:28:16,230
he said, like, "If they are two, they are, they be

384
00:28:16,230 --> 00:28:18,930
two. If they be two, they are two." Like twin

385
00:28:18,930 --> 00:28:23,810
compasses are two. They are the fixed soul and the

386
00:28:23,810 --> 00:28:27,490
fixed thought, you know, makes no show to move,

387
00:28:27,810 --> 00:28:31,380
but does the other do. You see what I mean? Like

388
00:28:31,380 --> 00:28:34,680
whatever he wants to say, like you and I are like

389
00:28:34,680 --> 00:28:37,280
the two legs of a compass. This is very

390
00:28:37,280 --> 00:28:41,140
surprising. I think, you know, the surprising

391
00:28:41,140 --> 00:28:44,080
thing, you know, if you want to understand the

392
00:28:44,080 --> 00:28:47,920
poetry of John Donne, you have to have a

393
00:28:47,920 --> 00:28:51,760
calculator. You have to measure. Yes. That's why,

394
00:28:51,960 --> 00:28:57,300
you know, John Dryden, a 17th and 18th century

395
00:28:57,300 --> 00:29:01,480
poet, said that John Donne should have been

396
00:29:01,480 --> 00:29:05,670
hanged. Why? Because he kept perplexing the mind

397
00:29:05,670 --> 00:29:10,090
of the fair sex, I mean the ladies, by his witty

398
00:29:10,090 --> 00:29:14,690
and strange philosophical, you know, speculations

399
00:29:14,690 --> 00:29:20,830
and by his conceits, you know? Now, let me, like,

400
00:29:21,670 --> 00:29:25,950
in the poem, John Donne was elaborating, was

401
00:29:25,950 --> 00:29:30,430
explaining. And, you know, to explain in the

402
00:29:30,430 --> 00:29:32,450
metaphysical poetry when they wanted, because

403
00:29:32,450 --> 00:29:35,390
sometimes you want to convince the people about

404
00:29:35,390 --> 00:29:38,330
the appropriateness of this image, about the

405
00:29:38,330 --> 00:29:41,370
aptness of this image, so you have to keep

406
00:29:41,370 --> 00:29:45,550
persuading them. How, you know? How come, like,

407
00:29:45,870 --> 00:29:48,850
this? You know, once I told my wife, you know,

408
00:29:48,850 --> 00:29:51,390
"This is personal, you are like the wall." She was

409
00:29:51,390 --> 00:29:55,990
upset with me. You know? "You are like this wall."

410
00:29:56,770 --> 00:2

445
00:32:50,280 --> 00:32:55,120
them metaphysical poetry. And, in fact, it was,

446
00:32:56,180 --> 00:33:00,020
you know, he named them not out of veneration or 

447
00:33:00,020 --> 00:33:04,940
respect, but out of disrespect. You know? You know,

448
00:33:04,980 --> 00:33:08,300
sometimes when we don't respect people, we say...

449
00:33:08,300 --> 00:33:13,310
You know? You know, the... the nasty, you know? 

450
00:33:13,630 --> 00:33:17,510
And, like, Samuel Johnson, you know, used this,

451
00:33:17,710 --> 00:33:22,250
you know, as a kind of disrespect. It was

452
00:33:22,250 --> 00:33:25,050
disparaging, the metaphysical, the crazy people,

453
00:33:25,510 --> 00:33:28,810
you know? So usually, like, they were turned, 

454
00:33:28,910 --> 00:33:36,550
like, metaphysical. Why? Because they were... When 

455
00:33:36,550 --> 00:33:41,180
they wanted to persuade you They tried to yoke

456
00:33:41,180 --> 00:33:43,040
together. You know what I mean? Yoke, bring

457
00:33:43,040 --> 00:33:47,960
together two things which are not likely to be 

458
00:33:47,960 --> 00:33:52,040
connected. And that was the cleverness. So they 

459
00:33:52,040 --> 00:33:55,440
were yoking together heterogeneous ideas. 

460
00:33:56,620 --> 00:33:58,200
Heterogeneous ideas.

461
00:34:05,740 --> 00:34:10,380
Like what Eliot said about, you know, them. Eliot 

462
00:34:10,380 --> 00:34:15,780
said that those poets were a generation more often

463
00:34:15,780 --> 00:34:19,440
named than read, and more often read than

464
00:34:19,440 --> 00:34:23,960
profitably studied. Like, they were neglected. He

465
00:34:23,960 --> 00:34:28,990
admired them. Because C.S. Eliot was a poet who 

466
00:34:28,990 --> 00:34:35,090
evaluated poetry of ideas, poetry of strong ideas,

467
00:34:35,550 --> 00:34:40,330
of, you know, difficult ideas. And, of course, he

468
00:34:40,330 --> 00:34:43,310
thought that, you know, the Middlesex poets were

469
00:34:43,310 --> 00:34:48,070
modern because of their conceits and paradoxes. 

470
00:34:51,300 --> 00:34:53,580
So as you see here, the phrase metaphysical has

471
00:34:53,580 --> 00:34:56,700
long done duty as a term of abuse. They were 

472
00:34:56,700 --> 00:35:00,220
abusing them. It was not a kind of respect.

473
00:35:09,620 --> 00:35:15,210
So they had their reputation. because their poetry 

474
00:35:15,210 --> 00:35:19,050
was very strong. And even though critics continued 

475
00:35:19,050 --> 00:35:24,270
criticizing them, they were very strong. Here,

476
00:35:25,070 --> 00:35:27,830
this is the first characteristic, the wit or the

477
00:35:27,830 --> 00:35:31,390
conceit. What is the conceit here? It is a 

478
00:35:31,390 --> 00:35:37,210
combination of dissimilar images or discovery of 

479
00:35:37,210 --> 00:35:42,270
occult resemblance. Occult, like you see, it is

480
00:35:42,270 --> 00:35:44,690
very, you know, not straightforward. It's the

481
00:35:44,690 --> 00:35:47,890
opposite. A resemblance in things apparently

482
00:35:47,890 --> 00:35:52,590
unlike. So, like in The Flea, which you gave an 

483
00:35:52,590 --> 00:35:59,010
example. Here we have a poem. This is The Flea. In 

484
00:35:59,010 --> 00:36:05,020
fact this poem seems to be you know He talks about

485
00:36:05,020 --> 00:36:08,600
what is strange about John Donne. Like, when he 

486
00:36:08,600 --> 00:36:11,080
was talking about religion, he was talking about

487
00:36:11,080 --> 00:36:13,900
religion in terms of love. And when he was talking

488
00:36:13,900 --> 00:36:17,000
about love, he was talking about, you know, love

489
00:36:17,000 --> 00:36:23,300
in terms of religion. So here, like, he was trying

490
00:36:23,300 --> 00:36:27,420
to persuade, you know, like, I don't know, a lady.

491
00:36:27,980 --> 00:36:32,240
And he said, you and I are like a flea. You know?

492
00:36:32,900 --> 00:36:39,240
So you and I, we are three in one. You and I. Why? 

493
00:36:39,360 --> 00:36:42,860
Because this flea sucked your blood and it sucked

494
00:36:42,860 --> 00:36:47,900
my blood. So we are three in one. But all of this,

495
00:36:48,620 --> 00:36:52,860
You know, like what he wanted to say, like, you

496
00:36:52,860 --> 00:36:56,400
know, he wanted to express a very central

497
00:36:56,400 --> 00:37:00,160
Christian notion of the idea of a Trinity, you

498
00:37:00,160 --> 00:37:03,400
know, God three in one. Which, of course, as a

499
00:37:03,400 --> 00:37:08,840
Muslim, we don't buy this at all. So he was using

500
00:37:08,840 --> 00:37:12,380
this conceit, but he was using it in a very, you

501
00:37:12,380 --> 00:37:16,080
know, vulgar manner, in a very, you know, erotic. 

502
00:37:16,360 --> 00:37:20,620
These are erotic images, you know? So yes, one

503
00:37:20,620 --> 00:37:23,980
characteristic of the metaphysical poetry, they

504
00:37:23,980 --> 00:37:26,040
were using erotic images.

505
00:37:30,350 --> 00:37:33,090
Now, this is better my heart is the poem which we

506
00:37:33,090 --> 00:37:36,930
want to study. But of course, the list I have just

507
00:37:36,930 --> 00:37:40,870
given you is not complete because there are more 

508
00:37:40,870 --> 00:37:47,610
characteristics. So I prefer to read this poem and

509
00:37:47,610 --> 00:37:52,230
to consider more characteristics after Eid. But I

510
00:37:52,230 --> 00:37:58,030
want to read this poem aloud for you And then, you

511
00:37:58,030 --> 00:38:01,390
know, you consider how you analyze this and how 

512
00:38:01,390 --> 00:38:03,870
you prepare it and how you respond for it. Okay?

513
00:38:05,950 --> 00:38:10,310
Better my heart, three-person God, for you as yet 

514
00:38:10,310 --> 00:38:14,310
but not breathe shine and seek to mend that I may

515
00:38:14,310 --> 00:38:18,190
rise and stand, overthrow me and bend your force

516
00:38:18,190 --> 00:38:23,030
to break, blow, burn, and make me new. I, like an 

517
00:38:23,030 --> 00:38:26,810
usurped town, to another due? Labor to admit you,

518
00:38:26,950 --> 00:38:32,410
but owe to no end? Reason your viceroy in me. Me 

519
00:38:32,410 --> 00:38:36,630
should defend what is captive and proves weak or 

520
00:38:36,630 --> 00:38:40,750
untrue? Yet dearly I love you, and would be loved

521
00:38:40,750 --> 00:38:46,190
thin. But I'm betrothed into your enemy. Divorce

522
00:38:46,190 --> 00:38:50,700
me, untie, break that knot again. Take to me, 

523
00:38:50,900 --> 00:38:57,300
imprison me, for I accept you, for I accept you

524
00:38:57,300 --> 00:39:02,140
enthrall me, never shall be free, nor ever chased, 

525
00:39:03,020 --> 00:39:08,170
except you ravage me. It could be read, like, also

526
00:39:08,170 --> 00:39:10,670
in a different way. It could be read like this. By 

527
00:39:10,670 --> 00:39:13,830
my heart, three-person God for you as yet but not

528
00:39:13,830 --> 00:39:17,190
brave shine and seek to men that I may rise. It

529
00:39:17,190 --> 00:39:19,670
could be like something like this. It's very 

530
00:39:19,670 --> 00:39:24,790
noisy. It's like, you know, like crab. You know? 

531
00:39:25,010 --> 00:39:28,370
Okay. Divorce me, untie or break that knot again.

532
00:39:28,970 --> 00:39:33,310
Take me to you. Imprison me, for I accept. You

533
00:39:33,310 --> 00:39:36,790
enthrall me, never shall be free, never chase

534
00:39:36,790 --> 00:39:39,690
except you ravage me. So read it, respond to it,

535
00:39:40,130 --> 00:39:43,170
and then inshallah after Eid, we're going to 

536
00:39:43,170 --> 00:39:45,730
consider this, reconsider, we are going to 

537
00:39:45,730 --> 00:39:49,510
reconsider. Thank you for listening. I wish you a

538
00:39:49,510 --> 00:39:52,510
happy Eid. I wish you enjoy your Eid as I

539
00:39:52,510 --> 00:39:56,010
recommended. Enjoy your Eid, and then study hard. 

540
00:39:56,390 --> 00:39:56,870
Thanks a lot.