PL9fwy3NUQKwZ52Wxrug71SHLnFjqhlVJc/y6poXfN1NuI_postprocess.srt

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Okay, good morning everybody. How are you? Good. I

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think you are excited because the weekend is

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imminent.

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Last time, we had a nice debate in this class. And

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I think most of you watched the video to see

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yourself debating. And some of you were gratified.

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Others were embarrassed. I don't know. But let's

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see somebody who is going to report, somebody who

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watched. Like, he was not attendant. He did not

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attend the class, but watched the video at home. I

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don't know how she received it. Let's see. Good.

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Before talking about my last lecture, I want to

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say that I really like my friends' reports,

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especially the poetic one, which I don't have the

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skill to write on. Coming back to the lecture, I

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like the doctor method in dividing us into groups

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supporting two different attitudes. If I were in

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the class, I will not be in any part. I will be in

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the middle side. I'm right. I am with a poet. And

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at the same time, I am against him. Because with

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the So you are ambivalent. Yes. Ambivalent. Going

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with him, he went here to go with him and living

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with him in the lovely peaceful atmosphere without

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any problems, without complaining from anything.

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On the contrary, this is away from our Islamic

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perspective at the same time and culture, and

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there is no life without problems. I would like to

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say that the poet's idealism destroyed his

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message. In other words, this idealism prevented

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him from delivering his message. Good, thank you

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very much. Okay. Good. We need to listen to

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another report.

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I think you reported last time? No. Okay, good. Go

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ahead. I'm sorry, I know there are wonderful

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reports, but we cannot give that chance to

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everybody, you know? The last lecture was very

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distinguished one. It had a special flavor.

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First... You come here.

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First, we began with a new poem called, To His

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Love, for Christopher Marlowe. Dr. Habib started

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to ask us about the poem and its theme. The

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lecture was full of interaction and participation.

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Then Dr. Habib suggested to make a new practical

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activity, a debate. We made a wonderful debate

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talking about the atmosphere of the poem, To His

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Love. At last, the lecture ended and we separated

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to attend the other classes. Good, thank you.

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Now.

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What's wrong with this computer? Good, let's see.

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Today we are going to see the aesthetics of the

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thought. You know, the elements of view. Let's

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say, have you read the poem aloud? Okay. How did

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you feel when you read it aloud? I don't know how

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you read it. How did

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it sound when you read it aloud? Was it poetic?

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In what sense? Like, when you read it aloud? Did

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it like amuse you in a sense or not? Were you

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amused or you were not? Yes, let's see.

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So you

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want to say that you were impressed by the images

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itself.

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Can somebody, like, get it? Okay, just Google and

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the poem. Good. So, you like the images? I think,

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you know, this is very significant because we are

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dealing with a kind of poetry which is called, you

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know, or which is written in an Ovid fashion. And

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when I say Ovid, well, it's like a Roman poet, you

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know. For him, he believed in this doctrine that

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poetry is painting, and painting is silent poetry.

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So painting is speaking poetry, and poetry is

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silent painting. Good. This is like what we see in

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the poem. We see an image. Yes, you are right.

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like the poet succeeded in appealing to our

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senses, and in a sense, when we read the poem, we

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enacted, like we succeeded to see in front of our

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eyes, like the trees, the birds, we listened to

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this, and perhaps that was the beauty of the poem.

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Okay, other than this, what did you enjoy while

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reading? Yes, please. When I read the poem, I

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imagined the whole picture that the poet tries to

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tell us about it or draw it to us. And when I read

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it for the first time, I thought it had this code

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of beauty inside the poem. Okay, so you were

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impressed by the beauty. Good. Any other source of

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fascination? Why are you fascinated with the poem?

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It's because of its images. It's because of the

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beauty there. You know, what else? The simple

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language. You like its simplicity. So what do you

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think this simplicity, you know, why is he writing

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in a simple language? To make us understand.

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Because, you know, let's say suppose he wrote his

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poem in a cryptic manner, like the lady would not

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respond. Okay, good. So, yes, it is very simple.

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Yeah, because he's talking about pastoral life,

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and in pastoral life, we expect that everything is

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simple. So, you know, the simplicity of the style

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has to do with the power. Good. Thank you.

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because I feel as if I connect one word. So the

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rhyme has this continuity, you know? Very good.

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The rhyme, sometimes like it is masculine rhyme,

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sometimes it is feminine rhyme, you know? And so

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like, do you want to say that the poem was

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musical? Did you feel like music? Have you tried

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to read it as if it were a song?

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Have you tried like that? Why? Because it turns

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itself to music, you know? It's very musical. And

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we all the pleasures grow and, you know, it goes.

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If you want, I'm sure you can sing it easily. So

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yes, this poem is musical. Now, let's see. Do you

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like it for other reasons other than this? Okay.

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Now, I think I like it because of, yes, He used

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the simple language to convey his message as the

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simplicity of the nature that he wanted to live

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and stay on it.

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Yes, so he wanted to match between the message and

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the style. This is what he wanted to say. Good. I

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think yes, come live with me. It's like, you know,

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everyday language, come live with me and be my

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love. I know this is very disturbing, but perhaps,

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you know, like if you remember last time when you

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were debating, Some thought that, you know, to his

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love in the Elizabethan time, it means to his

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wife. And we have a poem for Spencer when he, you

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know, wrote one day, I wrote her name upon the

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strand. So, and here again in the poem, we have an

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indication of this chastity because the image of

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Myrtle in Greek mythology has to do with

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virginity. So he's talking about a very formal

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matrimony. He's proposing to her formally. Later,

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we'll see the Myrtle has to do with virginity. The

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Myrtle has to do with formal marriage proposal. So

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again, this would You know, like, not Rob, or this

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would convince us that, you know, Marlow is not

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bohemian. Marlow is not a poet who's, like, just

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going to enjoy his life. No, he's very serious,

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very serious. But there are other reasons. Now,

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come live with me and be my love. I don't know how

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would you read it. Suppose you make a scansion. So

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how do you read? Come, I don't know, come, left,

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is it like this? Come, left, come left, come left,

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come left with me. Or I don't know, it could be

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come left because this is what is happening at the

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poem. I think the poem, you know, Come, come live

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with me and be my love. It goes like this. Come

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live with me and be my love. So right from the

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very beginning, it is, you know, the choice is the

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iambic tetrameter, which is very iambic

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tetrameter. We have four stresses, you know, I

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mean, four syllables, one stressed, you know, one

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unstressed and stressed. Okay. Come live with me

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and be my love. So we are talking about eight

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syllables. And we said that the iambic is very

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musical. I don't want to take you to the meter

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now, but let's see the poem. What is he saying in

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the poem? And we all the pleasures prove. that

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hills and valleys, dale and field, and all the

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craggy mountains yield. You know, I mean, these

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consonants are disturbing, you know, I don't know,

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because here it should be more musical, but he's

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using craggy mountains, you know. The K sound

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has to do with a sense of difficulty. But this

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sense of difficulty, as you see, it is cancelled

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with the yield itself. Everything is going to be

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made smooth. Every obstacle will be surpassed.

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Right from the very beginning, the invitation, you

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know, is like, we all the pleasures prove, we're

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going to enjoy ourselves in the countryside. And

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we will all the pleasures prove. Look here at, you

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know, the syntactical choice of the word will. The

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verb will, you know, it's what? We use it to

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express what? Future and promise. Because here,

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now, This poem is full of persuasion. It has a

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persuasive style. And persuasion is an art of

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marketing. If you remember last time in the

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debate, I wanted either team to persuade the other

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about going or not going. That hills and valleys,

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dale and field, and all the craggy mountains

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yield. There, there, will we sit upon the rocks?

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You know, like this inversion in grammar, you

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know, I mean, there's inversion there because it's

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a place. Usually it doesn't happen like this.

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There, we will sit. But, you know, here he's

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making inversion, he's deviating from grammatical

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rule, and he's taking there as, you know, like,

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you know, as a propositional phrase that, you

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know, which is not, which indicates a place, for

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example, beyond the mountain or beyond the

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mountain lies the house. So this is possible, or

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this is what happens in grammar. At the corner of

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the street stands the policeman. Okay. There we

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will set upon the rocks, we. Now, he's not talking

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about himself, we. as if she agreed. And see the

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shepherds feed their flocks. Very musical, rocks

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and flocks. By shallow rivers to whose folds

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melodious birds sing madrigals. Like here, as you

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see folds and madrigals. Like he's using here What

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is the rhyme? I mean, the rhyme, I mean, as you

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see, love and proof, field and, you know, the

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rhyme is what we call heroic couplet. Heroic

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couplet. And you know, like, what is heroic

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couplet? This is, you know, a rhyme which is, you

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know, commonly known in English poetry called

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heroic couplet.

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By shallow rivers to whose folds melodious birds

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sing madrigals. Like madrigals, songs. Songs. So

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again here, like when you read this, you feel the

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images, the kinetic, the visual, the sound images

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here.

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Okay, there we will sit upon the rocks and see the

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shepherds feed their flocks. Look here, they're

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not going to fret, they're going just to watch.

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It's very simple life, isn't it? Imagine yourself,

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you are not doing anything. I think some people,

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you like this? Come on, very lazy, you know? I

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don't know, I wouldn't imagine myself just

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sitting, you know, on the rocks and watching

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forever. So after one hour, I might like, yeah,

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for a short time, it's okay. Not for a year for a

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while. It's okay. No problem there.

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Okay, there will I make the beds of roses. Look

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here, the poet is trying to entice, you know, the

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lady, you know what's been enticed to tempt the

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lady. And of course, here we see like roses,

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poises, curtains. All these images have to do

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with, you know, they are romantic images. You

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know, the rose, it has romantic connotation. I

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mean, the poises itself, you know, they have these

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romantic connotations. There will I make thee beds

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of roses. It's a promise. Very enticing. And a

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thousand of fragrant roses. Look here, roses and

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poses. It's not like fall and Madrigal. So here,

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because of the rhyme, because to keep the music,

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he's using feminine rhyme. So one time he's using

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masculine and another time he's using feminine.

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Roses and poses. There will I make thee beds of

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roses. Will I make. The shepherd is promising to

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make. and a thousand fragrant poses. Wow. A cup of

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flowers and a curtain. What is a curtain? A cup of

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flowers and a curtain. Yeah, and? Yeah, it's like

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a skirt. A curtain embroidered with leaves of

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myrtle. Embroidered, like the embroidery. Now, we

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the Palestinians are Famous for embroidery. I

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don't know where he got this image from. Because

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as we said, those poets were Renaissance poets,

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and they were influenced by the medieval time, by

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the Arab civilization.

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So, and a thousand fragrant roses, a cup of

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flowers, and a curtain embroidered with leaves of

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myrtle. As I said, myrtle, in Greek mythology, it

250
00:18:29,560 --> 00:18:35,400
has to do with virginity. So this would refute all

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those who would assume that Marlow was just

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calling for illegal relationship. Because as we

253
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said, in Greek mythology, myrtle has to do with

254
00:18:51,080 --> 00:18:54,440
chastity. You know what's mean chastity? Yeah,

255
00:18:54,560 --> 00:18:57,300
chastity, like chastity and purity.

256
00:19:01,040 --> 00:19:06,840
Look here, like in each stanza, he is like giving

257
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promises. So this poem is full of promises. Why?

258
00:19:12,620 --> 00:19:15,780
Because he wants to convince her.

259
00:19:20,040 --> 00:19:23,260
You know, she's reluctant. This is what we, and

260
00:19:23,260 --> 00:19:25,420
she's not talking at all. Is she talking at all?

261
00:19:25,780 --> 00:19:29,860
Is he giving her a voice? No. A gown made of the

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00:19:29,860 --> 00:19:35,380
finest wool. Which from our pretty lamps we pull.

263
00:19:36,560 --> 00:19:43,820
You know, I don't know. This, yeah. Pardon? Yeah,

264
00:19:43,860 --> 00:19:46,340
no, no, he's talking about the wool. I mean, the

265
00:19:46,340 --> 00:19:50,480
wool, which we pull, I mean, take it. But I think,

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you know, very good. It's not like skinning. We're

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00:19:53,680 --> 00:19:55,800
not talking about skinning. Like, we're talking

268
00:19:55,800 --> 00:19:58,860
about, like, the world which is taken. And this

269
00:19:58,860 --> 00:20:01,780
shows how England in the Mesopotamian times, you

270
00:20:01,780 --> 00:20:07,700
know, started to assume, you know, very, you know,

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00:20:07,820 --> 00:20:11,340
interesting and very, you know, rich industrial

272
00:20:11,340 --> 00:20:14,280
image because during the Mesopotamia and after the

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00:20:14,280 --> 00:20:19,060
Mesopotamia, England it became the workshop or a

274
00:20:19,060 --> 00:20:23,940
factory for the best wool. And it is like up till

275
00:20:23,940 --> 00:20:27,320
now England is known or is famous for its wool

276
00:20:27,320 --> 00:20:32,960
industry. So here, as you see, but who's going to

277
00:20:32,960 --> 00:20:37,460
do that? Who's going to pull? Who's going to make

278
00:20:37,460 --> 00:20:40,680
the bed of roses? Do you think making the bed of

279
00:20:40,680 --> 00:20:43,960
roses is like an easy thing? No. Do you think

280
00:20:43,960 --> 00:20:47,170
pulling and processing You know, the world is an

281
00:20:47,170 --> 00:20:51,190
easy thing. So I think, you know, here, we

282
00:20:51,190 --> 00:20:54,850
understand, like, there is, you know, life is

283
00:20:54,850 --> 00:20:58,990
difficult, and it seems like, you know, these

284
00:20:58,990 --> 00:21:01,690
images do not have the power. Because, you know,

285
00:21:01,790 --> 00:21:05,930
the assumption is that countryside is rustic, you

286
00:21:05,930 --> 00:21:11,110
know, is ideal, idyllic, either idyllic, like,

287
00:21:11,450 --> 00:21:14,610
it's equivalent to, you know, rustic. It's idle

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00:21:14,610 --> 00:21:18,390
life where you can do nothing. A gown made of the

289
00:21:18,390 --> 00:21:22,170
finest wool, which from our pretty lambs we pawn.

290
00:21:22,790 --> 00:21:25,430
Our pretty lambs. Like this is, you know, the

291
00:21:25,430 --> 00:21:30,090
spirit of nationalism. Our, you know, our lamb.

292
00:21:30,870 --> 00:21:34,150
You know, he's talking about himself as an

293
00:21:34,150 --> 00:21:36,250
English, as a shepherd, but not an English

294
00:21:36,250 --> 00:21:41,780
shepherd. So, you know, which is general, but you

295
00:21:41,780 --> 00:21:45,000
know, we have regional interest here, which is our

296
00:21:45,000 --> 00:21:48,680
lamp. Which from our pretty lamps, we pull. So

297
00:21:48,680 --> 00:21:53,240
wool and pull. You know, look at this. It has to

298
00:21:53,240 --> 00:21:56,240
do with, you know, the action itself. Pull because

299
00:21:56,240 --> 00:22:00,600
it needs some, you know, movement. You know, pull.

300
00:22:01,340 --> 00:22:04,500
Fair-lined slippers for the cold. Fair-lined

301
00:22:04,500 --> 00:22:07,180
slippers. You know, these are feminine things,

302
00:22:07,280 --> 00:22:11,900
like fair-lined slippers. It's an image of how,

303
00:22:12,080 --> 00:22:15,920
like, the slippers, you know, are not with, you

304
00:22:15,920 --> 00:22:18,180
know, thick lines, but they are fair lines glowing

305
00:22:18,180 --> 00:22:20,620
like this. And everything, as you see, is

306
00:22:20,620 --> 00:22:23,240
artificial. And this is what is happening in the

307
00:22:23,240 --> 00:22:26,580
pastoral pool with buckles of the purest gold.

308
00:22:27,400 --> 00:22:30,300
Buckles, you know, they buckle something which

309
00:22:30,300 --> 00:22:33,420
closes the slippers and makes it tight.

310
00:22:40,820 --> 00:22:43,240
I think he's becoming more convincing. A belt of

311
00:22:43,240 --> 00:22:51,800
straw? A belt of straw and ivy buds. A belt of

312
00:22:51,800 --> 00:22:56,360
straw. So what does this mean? Do you think this

313
00:22:56,360 --> 00:23:01,540
is like cheap or expensive? Do you think this is a

314
00:23:01,540 --> 00:23:04,680
belt of straw? I think sometimes we have the

315
00:23:04,680 --> 00:23:10,040
tendency for something natural. I think when you

316
00:23:10,040 --> 00:23:13,750
go You know, you find yourself instinctively

317
00:23:13,750 --> 00:23:16,810
inclined, like, to buy something which is rustic.

318
00:23:18,370 --> 00:23:21,870
But nowadays we have leather. Nobody is interested

319
00:23:21,870 --> 00:23:24,750
in straw, you know, because nobody wants to be,

320
00:23:24,950 --> 00:23:30,530
like, to live a fairy life, you know. Okay. A belt

321
00:23:30,530 --> 00:23:35,350
of straw and ivy buds with coral clasp and amber

322
00:23:35,350 --> 00:23:38,530
studs. Look at the images, how they are lovely. a

323
00:23:38,530 --> 00:23:42,910
belt of straw, and ivory buds, ivory. Again, all

324
00:23:42,910 --> 00:23:49,070
these things are natural, you know, with coral

325
00:23:49,070 --> 00:23:52,810
clasts and amber studs. Amber studs, we're talking

326
00:23:52,810 --> 00:23:57,210
about like, you know, gems, you know, like very

327
00:23:57,210 --> 00:24:03,130
precious stones. And if these pleasures may, may

328
00:24:03,130 --> 00:24:08,410
thee move, come live with me and be my love. So

329
00:24:08,410 --> 00:24:11,370
again, why is he saying and if? What do you think

330
00:24:11,370 --> 00:24:16,310
he's saying and if? He's not sure. Yeah, you're

331
00:24:16,310 --> 00:24:19,850
right. He's not sure. He still thinks that the

332
00:24:19,850 --> 00:24:26,830
lady is reluctant, is unwilling. So he's just like

333
00:24:26,830 --> 00:24:29,630
this, you know, giving a promise after a promise

334
00:24:29,630 --> 00:24:32,550
and try to test, you know, if she would come or

335
00:24:32,550 --> 00:24:36,720
not. But we see or we understand that she's not.

336
00:24:37,440 --> 00:24:44,080
Thy silver dishes for thy meat, as precious as the

337
00:24:44,080 --> 00:24:52,320
gods to eat. Okay? This is very enticing for lazy,

338
00:24:52,840 --> 00:24:56,580
you know, people. who want everything to be like,

339
00:24:57,160 --> 00:25:00,180
you know, last year I asked, what would, you know,

340
00:25:00,820 --> 00:25:04,760
the most enticing thing in this poem? And, like,

341
00:25:05,440 --> 00:25:08,940
they said, okay, I like, you know, this idea of

342
00:25:08,940 --> 00:25:11,760
having the meat coming to me without cooking,

343
00:25:11,900 --> 00:25:15,140
without going through all this process of cooking.

344
00:25:16,070 --> 00:25:19,470
Yes, they're silver dishes for thy meal, as

345
00:25:19,470 --> 00:25:22,450
precious as the gods do eat. So she's going to

346
00:25:22,450 --> 00:25:26,210
have eternal life. Like look at this simile here,

347
00:25:27,010 --> 00:25:31,070
you know, she will be like a goddess, a goddess.

348
00:25:34,270 --> 00:25:41,250
Shall on either table be prepared each day for

349
00:25:41,250 --> 00:25:46,620
thee and me. Prepared, like What is like, you

350
00:25:46,620 --> 00:25:50,940
know, here, look here, you see the aspect of the

351
00:25:50,940 --> 00:25:53,160
verb. What is the aspect? Is it active or passive?

352
00:25:54,000 --> 00:25:58,240
Passive. What does this mean? Yeah, we don't know.

353
00:25:58,580 --> 00:26:00,700
We don't know who's going to do that. But we know

354
00:26:00,700 --> 00:26:03,700
that everything will be, they will be like doing

355
00:26:03,700 --> 00:26:08,460
nothing. Just like, yes, they will be idle. They

356
00:26:08,460 --> 00:26:11,800
will do nothing. Everything will be prepared for

357
00:26:11,800 --> 00:26:14,480
them. So the passive, you know, shows that the

358
00:26:14,480 --> 00:26:18,660
life there, you know, is going to be without, you

359
00:26:18,660 --> 00:26:22,960
know, work, without hard work. Prepared each day

360
00:26:22,960 --> 00:26:24,060
for thee and me.

361
00:26:26,990 --> 00:26:30,310
I don't know why he's saying not for us. He's

362
00:26:30,310 --> 00:26:35,570
still, like, he's not sure. Okay. The shepherds

363
00:26:35,570 --> 00:26:39,590
swayed. Of course, during that time, they had no

364
00:26:39,590 --> 00:26:42,890
television. They had no satellite, you know,

365
00:26:42,930 --> 00:26:45,530
nothing. So they had what? I mean, in the

366
00:26:45,530 --> 00:26:47,790
countryside, this is how they would spend their

367
00:26:47,790 --> 00:26:53,030
evening. Thy shepherds swayed shall dance and sing

368
00:26:53,030 --> 00:26:58,080
for thy delight each May morning. Look at me

369
00:26:58,080 --> 00:27:05,860
mourning. It's again, it's very musical, for thy

370
00:27:05,860 --> 00:27:08,920
delight each may mourning, be mourning, you know?

371
00:27:09,520 --> 00:27:13,660
And the stress here, you know, even there is small

372
00:27:13,660 --> 00:27:18,140
variation. So it is stress, stress, stress. If

373
00:27:18,140 --> 00:27:25,260
these delights, thy mind may move, still is not

374
00:27:25,260 --> 00:27:31,630
sure. Then live with me and be my love. Then live

375
00:27:31,630 --> 00:27:35,570
with me and be my love. I think here, you know,

376
00:27:35,990 --> 00:27:38,490
then live with me and be my love. He's changing

377
00:27:38,490 --> 00:27:41,410
the iambic tetrameter. Then live, so it is

378
00:27:41,410 --> 00:27:45,430
becoming troche. They live with me, you know,

379
00:27:45,510 --> 00:27:48,590
here, they live two stresses, two stresses and

380
00:27:48,590 --> 00:27:52,750
then iambic pentameter. So he's using Troche and

381
00:27:52,750 --> 00:27:55,930
then iambic pentameter. And I think, you know,

382
00:27:56,030 --> 00:28:01,230
here, just to alert her, hey, you come, they live

383
00:28:01,230 --> 00:28:04,790
with me, you know, he's impatient with her not

384
00:28:04,790 --> 00:28:10,460
responding to him, you know. As you see, the poem

385
00:28:10,460 --> 00:28:16,820
is not full of static elements, figures of speech.

386
00:28:17,460 --> 00:28:23,160
So the poet here encoded his message in a symbol

387
00:28:23,160 --> 00:28:26,900
in a very musical. He was careful for the rhyme

388
00:28:26,900 --> 00:28:29,000
under it in order to

389
00:28:32,120 --> 00:28:35,260
But you see, what makes the poem very beautiful,

390
00:28:35,860 --> 00:28:42,380
it's genre, which is pastoral life. You know, it's

391
00:28:42,380 --> 00:28:46,920
music. It's images, because this poem is full of

392
00:28:46,920 --> 00:28:52,560
imagery. I don't know. I noticed in your debate,

393
00:28:52,720 --> 00:28:54,940
or like if you remember in the debate last time,

394
00:28:55,480 --> 00:28:57,820
because we want to go to the critique of the poem.

395
00:29:01,720 --> 00:29:07,120
Like somebody complained that Marlow was inviting

396
00:29:07,120 --> 00:29:10,960
a lady to go to a land which is not his own land,

397
00:29:11,700 --> 00:29:16,560
you know? And that was a complaint, legitimate

398
00:29:16,560 --> 00:29:20,640
complaint, because, you know, this type of

399
00:29:20,640 --> 00:29:24,030
literature, which is pastoral poetry, in fact, It

400
00:29:24,030 --> 00:29:28,870
was, you know, like to fit or to, you know, to

401
00:29:28,870 --> 00:29:32,710
appeal to the courtly life, courtly life. But at

402
00:29:32,710 --> 00:29:37,470
the same time, this was part of, you know, an

403
00:29:37,470 --> 00:29:40,970
immersion discourse in the Elizabethan time and

404
00:29:40,970 --> 00:29:43,770
even before the Elizabethan time. It is an

405
00:29:43,770 --> 00:29:48,080
extension to Thomas More's Utopia, you know. The

406
00:29:48,080 --> 00:29:51,600
Utopia, like, they were thinking of the ideal, the

407
00:29:51,600 --> 00:29:54,820
imaginative world. So the Elizabethan, and even

408
00:29:54,820 --> 00:29:58,380
before the Elizabethan, they kept, you know,

409
00:29:58,900 --> 00:30:02,160
speculating, conjecturing about a new world, a

410
00:30:02,160 --> 00:30:05,000
world full of, you know, pleasure, a world full of

411
00:30:05,000 --> 00:30:08,820
joy, a world And they continued, like, doing like

412
00:30:08,820 --> 00:30:11,080
this, writing pastoral poetry. Sidney wrote

413
00:30:11,080 --> 00:30:17,300
pastoral poetry, you know. Also Shakespeare wrote,

414
00:30:17,420 --> 00:30:20,020
you know, some narrative which is full of

415
00:30:20,020 --> 00:30:24,300
pastoral. Even in The Tempest, he was conjecturing

416
00:30:24,300 --> 00:30:28,930
about the encounter between like the English

417
00:30:28,930 --> 00:30:31,610
people and the indigenous people. I mean the

418
00:30:31,610 --> 00:30:35,710
indigenous people of this imaginary world. See

419
00:30:35,710 --> 00:30:39,530
what I mean? So this was, you could say, this was

420
00:30:39,530 --> 00:30:44,810
part of the promotional literature. Nowadays, if

421
00:30:44,810 --> 00:30:48,190
you want like imagine like in 10 years time, they

422
00:30:48,190 --> 00:30:52,130
will succeed to discover that there is life on

423
00:30:52,130 --> 00:30:57,130
Mars, for example. So I think, you know, TV media

424
00:30:57,130 --> 00:31:01,030
will start promoting for that. So this you could

425
00:31:01,030 --> 00:31:06,010
classify this was kind of promotional literature,

426
00:31:07,290 --> 00:31:10,570
promotional poetry, like it was a poetry which

427
00:31:10,570 --> 00:31:16,190
promoted like encouraging people to go. So it is

428
00:31:16,190 --> 00:31:18,830
more than pastoral if you want to talk about the

429
00:31:18,830 --> 00:31:23,930
theme itself. Some say the theme could be about

430
00:31:23,930 --> 00:31:31,150
what? Idyllic life, natural, simple life, in

431
00:31:31,150 --> 00:31:35,480
contrast with the complicated city life. Other

432
00:31:35,480 --> 00:31:39,700
people would take it, yeah, and they say, you

433
00:31:39,700 --> 00:31:42,200
know, this poem is part of the colonial discourse,

434
00:31:42,940 --> 00:31:46,800
which was prevalent, like, in the Elizabethan

435
00:31:46,800 --> 00:31:51,900
time. You know, they wanted, like, all the time

436
00:31:51,900 --> 00:31:58,480
they spoke about this imaginative word. And at the

437
00:31:58,480 --> 00:32:01,240
end of the day, that imaginative word turned out

438
00:32:01,240 --> 00:32:06,400
to be the new word, which is American. And like

439
00:32:06,400 --> 00:32:10,480
some critics said, if America had not been

440
00:32:10,480 --> 00:32:14,040
discovered, it would have been invented because it

441
00:32:14,040 --> 00:32:17,660
was the occupation, the worry, you know, like the

442
00:32:17,660 --> 00:32:21,680
concern of those in Azerbaijan. As you see, the

443
00:32:21,680 --> 00:32:27,920
poem is lovely, isn't it? Very simple. And it's

444
00:32:27,920 --> 00:32:33,560
beautiful. Some of you Like, wanted to rob the

445
00:32:33,560 --> 00:32:38,800
poem, It's Beauty, last time by parodizing. You

446
00:32:38,800 --> 00:32:42,880
know, by parodizing. And I didn't want to give you

447
00:32:42,880 --> 00:32:49,420
a rally before you take this one. Because I want

448
00:32:49,420 --> 00:32:55,140
you, like, later to see how rally it brought,

449
00:32:55,400 --> 00:33:01,740
like, the lady, I mean, to respond to it. Okay,

450
00:33:01,800 --> 00:33:08,840
I'll just give you now perhaps 10 minutes, you

451
00:33:08,840 --> 00:33:10,380
know, what is the remaining part of the lecture,

452
00:33:11,060 --> 00:33:13,720
to write a paragraph about the theme of the

453
00:33:13,720 --> 00:33:16,760
program, the theme. And you know, just a paragraph

454
00:33:16,760 --> 00:33:21,140
to write about the theme and try to support this

455
00:33:21,140 --> 00:33:25,360
theme by whatever images we have. Okay, you can

456
00:33:25,360 --> 00:33:31,800
work in pairs or you can work individually. Okay,

457
00:33:32,720 --> 00:33:33,440
let's see.

458
00:33:40,500 --> 00:33:46,320
Okay, let's see a student who succeeded in writing

459
00:33:46,320 --> 00:33:49,160
a small paragraph about the theme. Yes, please.

460
00:33:53,060 --> 00:33:55,800
Did you work alone or with somebody? Okay, good.

461
00:33:57,870 --> 00:34:00,330
Boom can be about pastoral life where the poet is

462
00:34:00,330 --> 00:34:02,450
inviting his love to come with him in the

463
00:34:02,450 --> 00:34:05,150
countryside, away from the complex city life.

464
00:34:05,470 --> 00:34:08,090
Malou uses a very simple language and images which

465
00:34:08,090 --> 00:34:11,070
relate to the theme. Some of these images were too

466
00:34:11,070 --> 00:34:15,330
idle which connects with the idea of utopia and

467
00:34:15,330 --> 00:34:17,770
the imaginative words which some critics thought

468
00:34:17,770 --> 00:34:21,330
it might be America. Okay, good, so I think you

469
00:34:21,330 --> 00:34:24,050
are mixing between the two, between the two

470
00:34:24,050 --> 00:34:27,190
themes, and whenever you want to criticize, I

471
00:34:27,190 --> 00:34:32,190
advise you to stick to one theme, okay? Again, if

472
00:34:32,190 --> 00:34:37,490
you say, the poem is part of the pastoral poetry

473
00:34:37,490 --> 00:34:42,090
which celebrates the simplicity of this, the rural

474
00:34:42,090 --> 00:34:46,030
life, you know, contrasted to the complexity of

475
00:34:46,030 --> 00:34:51,290
the city life. Okay, so this could be like easier.

476
00:34:51,550 --> 00:34:53,610
Yes, Jihan, the last one.

477
00:34:59,100 --> 00:35:01,920
It's really short. Marlow's The Passionate Shiver

478
00:35:01,920 --> 00:35:04,940
to His Love captures one of the most recurrent

479
00:35:04,940 --> 00:35:07,900
themes in Elizabethan discourse, as the lovely

480
00:35:07,900 --> 00:35:12,060
images from the pastoral life that he packed his

481
00:35:12,060 --> 00:35:14,320
poem with definitely functioned so as to incite

482
00:35:14,320 --> 00:35:17,360
the woman to nature and to promote it, grabbing

483
00:35:17,360 --> 00:35:20,080
the reader away from the city's concerns and

484
00:35:20,080 --> 00:35:23,080
chaos. Yeah, this is very sophisticated, you know,

485
00:35:23,160 --> 00:35:26,520
and very eloquent. You know, she mentions talking

486
00:35:26,520 --> 00:35:30,460
about the, you know, him like how he, you know,

487
00:35:30,520 --> 00:35:33,840
like he wanted to talk about a recurrent theme, a

488
00:35:33,840 --> 00:35:37,400
theme which was repeated again and again in the

489
00:35:37,400 --> 00:35:41,900
Elizabethan time. Okay, I don't know when we

490
00:35:41,900 --> 00:35:47,790
approach like Raleigh, We might not find this poem

491
00:35:47,790 --> 00:35:50,910
as beautiful as it is. It might be different. So

492
00:35:50,910 --> 00:35:54,230
let's see and wait for next time to see Raleigh.

493
00:35:54,970 --> 00:35:58,810
And who's winner? Who's going to win, Raleigh or

494
00:35:58,810 --> 00:36:03,710
Marlow? Yeah. I think Raleigh was, you know,

495
00:36:03,910 --> 00:36:08,370
expeditioner himself. But Marlow won. I bet Marlow

496
00:36:08,370 --> 00:36:11,130
won, not Raleigh. Yeah. We'll see you next time.

497
00:36:11,350 --> 00:36:13,510
Thank you very much and see you next time.