1 00:00:11,100 --> 00:00:16,160 Good morning everybody. Are you done with the 2 00:00:16,160 --> 00:00:20,440 quiz? I know today's class is exceptional. It is 3 00:00:20,440 --> 00:00:24,300 very short. Because we started like by doing the 4 00:00:24,300 --> 00:00:28,100 quiz, calling your names. The quiz is like two 5 00:00:28,100 --> 00:00:32,640 marks. It will be added to your midterm. So 6 00:00:32,640 --> 00:00:36,120 hopefully it will improve your midterm exam. Now 7 00:00:36,120 --> 00:00:40,340 we don't want to let this chance go without 8 00:00:40,340 --> 00:00:44,300 videotaping the class. So today we are having 9 00:00:44,300 --> 00:00:47,160 Jehan Farrah. She's going to take over. And she's 10 00:00:47,160 --> 00:00:51,060 going to give a short presentation about the 11 00:00:51,060 --> 00:00:57,090 stylistic analysis of the accent. Good, go ahead. 12 00:00:57,250 --> 00:00:59,670 Okay, I'm not going to do anything new really. I'm 13 00:00:59,670 --> 00:01:03,010 just going to do them quite like, just like a sum 14 00:01:03,010 --> 00:01:08,490 up of what we discussed in the previous class. So, 15 00:01:08,870 --> 00:01:12,570 the oxen, I don't know, we read it before, so I'll 16 00:01:12,570 --> 00:01:15,530 make you listen. After we're done, you can listen 17 00:01:15,530 --> 00:01:19,010 to the Christmas Carol, the oxen itself. Okay, 18 00:01:19,090 --> 00:01:25,860 first of all, we said that in the In the poem, you 19 00:01:25,860 --> 00:01:29,880 have a difference between like the poet separated 20 00:01:29,880 --> 00:01:32,960 between the time of the first two stanzas and the 21 00:01:32,960 --> 00:01:36,900 last two stanzas by saying first he used then and 22 00:01:36,900 --> 00:01:39,820 then he used in these years. So then what does it 23 00:01:39,820 --> 00:01:42,280 signify? It signifies the patterns of life back 24 00:01:42,280 --> 00:01:44,300 then and the ritual supports of the community. 25 00:01:44,600 --> 00:01:47,660 Like everything was like the two stanzas 26 00:01:47,660 --> 00:01:51,850 completely had like this coherent idea of 27 00:01:51,850 --> 00:01:55,070 spirituality and community and stuff like that. 28 00:01:55,350 --> 00:01:58,190 But then in these years, you find a lot of 29 00:01:58,190 --> 00:02:01,010 skepticism, a lot of doubts, a lot of things that 30 00:02:01,010 --> 00:02:03,730 are reflected in the stylistic devices that are 31 00:02:03,730 --> 00:02:06,270 used that we're going to discuss further on. And 32 00:02:06,270 --> 00:02:08,430 you see that the language itself had stylistic 33 00:02:08,430 --> 00:02:10,490 contrast, like the language in the first two 34 00:02:10,490 --> 00:02:13,870 stanzas were contrasting blatantly with the last 35 00:02:13,870 --> 00:02:17,870 two stanzas. So you mean the language, like the 36 00:02:17,870 --> 00:02:20,490 lexical choices? Yeah, we're going to go back to 37 00:02:20,490 --> 00:02:26,030 it. First stylistic contrast was the tense. Like 38 00:02:26,030 --> 00:02:28,030 you see that he drew a parallel. All these 39 00:02:28,030 --> 00:02:32,730 stylistic devices he used are drawing like a 40 00:02:32,730 --> 00:02:35,470 parallel or a parallelism or sort of contrast 41 00:02:35,470 --> 00:02:37,510 between the first two stanzas and the last two 42 00:02:37,510 --> 00:02:40,810 stanzas. The first one was the tense. You find 43 00:02:40,810 --> 00:02:43,530 that in the first two stanzas, The tense he used 44 00:02:43,530 --> 00:02:46,450 was in the past tense. And then in the second, he 45 00:02:46,450 --> 00:02:50,710 used the present tense. Like here you see he's 46 00:02:50,710 --> 00:02:58,330 said, like an elder said, dwelt, all these dead, 47 00:02:58,930 --> 00:03:01,250 all of these were in the past tense. But then he 48 00:03:01,250 --> 00:03:06,860 comes here and he goes, I feel, et cetera. So he 49 00:03:06,860 --> 00:03:10,160 uses the present tense afterwards. So what? So we, 50 00:03:10,380 --> 00:03:12,940 we see that he's drawing a contrast between 51 00:03:12,940 --> 00:03:15,020 before. Yeah, but like, so what? Like, we have to 52 00:03:15,020 --> 00:03:16,960 give meaning to this. Yeah. When we're talking 53 00:03:16,960 --> 00:03:19,500 about, you know, the past which happened and 54 00:03:19,500 --> 00:03:21,700 finished. Yeah. So it's over. It's over. We are no 55 00:03:21,700 --> 00:03:24,300 longer under the pressure of time. Of the time. 56 00:03:24,360 --> 00:03:28,140 You know, it is done. It is behind. But here, it 57 00:03:28,140 --> 00:03:30,440 feels like we are under the pressure of time. 58 00:03:30,600 --> 00:03:33,380 Yeah. We feel, we still have. I feel. We have to 59 00:03:33,380 --> 00:03:36,640 suffer. You see what I mean? And then after that, 60 00:03:36,720 --> 00:03:39,060 we talked about the modal verbs. First of all, we 61 00:03:39,060 --> 00:03:42,860 said, what do they signify? We have the fact that 62 00:03:42,860 --> 00:03:45,580 they reflect greater uncertainty because they're 63 00:03:45,580 --> 00:03:48,100 not like certain verbs. They actually give 64 00:03:48,100 --> 00:03:51,260 uncertainty to the words you're saying. And they 65 00:03:51,260 --> 00:03:54,000 signal subjective orientation towards the events 66 00:03:54,000 --> 00:03:56,460 or the actions that are happening. So in the 67 00:03:56,460 --> 00:03:59,740 second, he didn't use any modal verbs in the first 68 00:03:59,740 --> 00:04:02,240 two stanzas. which give you the impression that 69 00:04:02,240 --> 00:04:04,220 everything was certain they believed in everything 70 00:04:04,220 --> 00:04:06,700 that was said but then he moved in the last two 71 00:04:06,700 --> 00:04:09,820 stanzas he used would should and might and those 72 00:04:09,820 --> 00:04:12,260 are modal verbs so in the second stanzas it 73 00:04:12,260 --> 00:04:15,140 reflects the complexity and the more skeptical 74 00:04:15,140 --> 00:04:17,140 attitude towards things 75 00:04:23,250 --> 00:04:27,610 It's like I, okay. The close structure, we talked 76 00:04:27,610 --> 00:04:30,990 about the shift from a simple structure to a more 77 00:04:30,990 --> 00:04:33,390 complex structure. Like at the beginning you see 78 00:04:33,390 --> 00:04:37,010 just main closes, like there is like a subordinate 79 00:04:37,010 --> 00:04:40,330 close between, but as you carry on, as you move on 80 00:04:40,330 --> 00:04:42,810 in the poem, you see that he actually started 81 00:04:42,810 --> 00:04:46,640 using like defining closes and Like the structure 82 00:04:46,640 --> 00:04:48,700 itself became more complex to reflect the 83 00:04:48,700 --> 00:04:52,920 complexity of the attitude of the nowadays. So 84 00:04:52,920 --> 00:04:55,240 there is parallelism. This is what she wants to 85 00:04:55,240 --> 00:04:58,040 say. There is parallelism between the complexity 86 00:04:58,040 --> 00:05:01,960 of syntax and the complexity of models. of the 87 00:05:01,960 --> 00:05:04,740 meaning he wanted to give. And then the pronouns. 88 00:05:05,120 --> 00:05:07,640 The pronouns, we talked about the we versus the I. 89 00:05:07,740 --> 00:05:10,640 At the beginning, he talked about we, he said we. 90 00:05:11,320 --> 00:05:14,980 And then, like here, we pictured. So he's using 91 00:05:14,980 --> 00:05:18,400 the collective, like he's reflecting the 92 00:05:18,400 --> 00:05:21,660 community. But then he moved on to say I, I feel, 93 00:05:21,760 --> 00:05:25,580 I should go. So this is reflecting the nowadays 94 00:05:25,580 --> 00:05:29,380 more individuality. So there is separation between 95 00:05:29,380 --> 00:05:34,480 the, community and individualism. And then you see 96 00:05:34,480 --> 00:05:37,620 the points of reference it further illustrates the 97 00:05:37,620 --> 00:05:39,780 same point which is for example at the beginning 98 00:05:39,780 --> 00:05:42,420 he used elder and then in the second two stances 99 00:05:42,420 --> 00:05:46,300 he used someone and this reflects also at the 100 00:05:46,300 --> 00:05:48,460 beginning like they knew there is an elder 101 00:05:48,460 --> 00:05:51,180 everyone believed in the wisdom of the elder 102 00:05:51,180 --> 00:05:53,760 everyone believed in this and it was a community 103 00:05:53,760 --> 00:05:56,520 and then he moved to someone there's more doubts 104 00:05:56,520 --> 00:06:04,700 more skepticism if you may. Yeah, yeah And also 105 00:06:04,700 --> 00:06:08,800 here you see like the word yonder, he signified, 106 00:06:08,920 --> 00:06:12,020 like he said, come and then yonder. But then in 107 00:06:12,020 --> 00:06:15,900 the second later, he went like at the beginning, 108 00:06:16,160 --> 00:06:18,700 there's like childhood. It wasn't something 109 00:06:18,700 --> 00:06:23,580 specific. So it's more vague, more general. So as 110 00:06:23,580 --> 00:06:26,440 you move on, there's more particular, like they 111 00:06:26,440 --> 00:06:28,980 pay attention to more particular things. At the 112 00:06:28,980 --> 00:06:30,620 beginning, they used to take things for granted. 113 00:06:32,730 --> 00:06:35,490 It lacks clarity, it lacks any vein, you know? 114 00:06:36,130 --> 00:06:39,010 Yeah, so this is basically what I wanted to say. 115 00:06:39,250 --> 00:06:42,990 And you can add also like the lexical choices. 116 00:06:43,250 --> 00:06:47,950 Yeah, for example here, like he put hard side and 117 00:06:47,950 --> 00:06:53,200 he put childhood, but then he used gloom. Do you 118 00:06:53,200 --> 00:06:57,640 mean meek, mild, creatures, flock? All these words 119 00:06:57,640 --> 00:07:01,140 have positive connotations. But if you go to 120 00:07:01,140 --> 00:07:04,880 gloom, goo, and even like, the sound itself is 121 00:07:04,880 --> 00:07:08,880 like, not very musical. But there is one thing, 122 00:07:08,920 --> 00:07:11,880 you know, I want all of you to think about. Now, 123 00:07:11,940 --> 00:07:15,840 yes, the two, the first two stanzas sharply 124 00:07:15,840 --> 00:07:19,810 contrast with the second two stanzas. However, 125 00:07:19,810 --> 00:07:22,350 there is something I noticed in the poem, and I'm 126 00:07:22,350 --> 00:07:25,590 not sure. Like you have the rhyme, it's perfect 127 00:07:25,590 --> 00:07:29,010 rhyme. You see what I mean? There's a couple, 128 00:07:29,190 --> 00:07:32,310 couplets. What does it mean? Can you give meaning 129 00:07:32,310 --> 00:07:36,850 to this? Now, you have here two words, two 130 00:07:36,850 --> 00:07:40,210 contrasting words. But when it comes to the rhyme, 131 00:07:40,610 --> 00:07:44,750 you know, it is perfect. It is regular. So here, 132 00:07:45,370 --> 00:07:50,260 now if I were him, I would Use like I rhyme, 133 00:07:50,460 --> 00:07:54,340 imperfect rhyme, in order to parallel this word, 134 00:07:54,700 --> 00:08:00,140 but hardly, you know, just like give us this. Yes. 135 00:08:02,840 --> 00:08:06,620 Everything will be okay and that's even if there 136 00:08:06,620 --> 00:08:09,200 is some complications. So do you want to say that 137 00:08:09,200 --> 00:08:12,540 he wants to give some hope? Yes. Okay, good. Thank 138 00:08:12,540 --> 00:08:15,220 you. It's a good, I haven't thought about this. 139 00:08:15,440 --> 00:08:18,420 Yes? Maybe he was affected by the last days or the 140 00:08:18,420 --> 00:08:21,880 last. Yeah, he's still like affected by like. He's 141 00:08:21,880 --> 00:08:24,280 recalling. He has some, you know, something to 142 00:08:24,280 --> 00:08:29,880 offer like good. Perhaps, yes. Sir, maybe, I don't 143 00:08:29,880 --> 00:08:33,140 know, it could be wrong, but maybe he like, he 144 00:08:33,140 --> 00:08:36,020 feels like we didn't really feel this change, like 145 00:08:36,020 --> 00:08:38,800 during the days, like it passed on really quickly 146 00:08:38,800 --> 00:08:41,780 that we didn't feel it, so it felt to us it's like 147 00:08:41,780 --> 00:08:44,500 it's happening very eventual, it's happening 148 00:08:44,500 --> 00:08:50,100 very... Yes, it's a good idea. More, why? This is 149 00:08:50,100 --> 00:08:52,400 a good question, you know, this is a good exam 150 00:08:52,400 --> 00:08:55,890 question. Okay, I don't want to ask you difficult 151 00:08:55,890 --> 00:09:00,670 questions like this. Okay, it's easy. Look here. I 152 00:09:00,670 --> 00:09:05,530 think Hardy, you know, as a poet, the poet works 153 00:09:05,530 --> 00:09:08,210 with rhyme, rhythm, you know? And here, you know, 154 00:09:08,270 --> 00:09:13,510 just like putting perfect rhyme now is an 155 00:09:13,510 --> 00:09:17,110 indication that he himself doesn't point himself 156 00:09:17,110 --> 00:09:21,030 to either words. He's ambivalent. you don't he 157 00:09:21,030 --> 00:09:24,310 doesn't show his attitude he doesn't commit 158 00:09:24,310 --> 00:09:29,890 himself to either of these words to the past or to 159 00:09:29,890 --> 00:09:35,370 the present so himself like he is like not showing 160 00:09:35,370 --> 00:09:38,790 where he is siding with the past or with the 161 00:09:38,790 --> 00:09:43,510 present and this adds more uncertainty to the poem 162 00:09:43,510 --> 00:09:48,450 so he doesn't want to commit himself to an 163 00:09:48,450 --> 00:09:52,430 attitude, to which word he is belonging, and this 164 00:09:52,430 --> 00:09:56,770 adds more ambivalence and more uncertainty to the 165 00:09:56,770 --> 00:09:59,930 poem. In fact, yes, as I told you, you have to 166 00:09:59,930 --> 00:10:04,250 read the stylistic analysis carefully, and if you 167 00:10:04,250 --> 00:10:09,070 have any question, we can answer it easily. 168 00:10:10,590 --> 00:10:13,230 Thank you. I don't know if there's time to show 169 00:10:13,230 --> 00:10:16,750 them Is there a movie? No, it's like a two-minute 170 00:10:16,750 --> 00:10:22,790 Christmas Carol. I don't know if you hear it. We 171 00:10:22,790 --> 00:10:25,550 don't have a voice. Okay. 172 00:10:33,570 --> 00:10:36,830 Yeah, Christmas in a few days. We should have 173 00:10:36,830 --> 00:10:40,050 waited to teach, you know, the accent like next 174 00:10:40,050 --> 00:10:44,230 week. You can't hear it? I think, you know, last 175 00:10:44,230 --> 00:10:52,010 year it coincided with Christmas Like 176 00:10:52,010 --> 00:10:55,950 they sing it as a Christmas carol Yeah, like if 177 00:10:55,950 --> 00:10:59,750 you go to YouTube, I think you can find it sung in 178 00:10:59,750 --> 00:11:00,370 a different way 179 00:11:11,470 --> 00:11:14,510 Thank you very much. Next time we are doing 180 00:11:14,510 --> 00:11:18,270 futility. And in order to understand futility, I 181 00:11:18,270 --> 00:11:22,650 want also you to read The Soldier for Brook. It 182 00:11:22,650 --> 00:11:25,770 will be an introduction. The Soldier. There is a 183 00:11:25,770 --> 00:11:29,350 poem called The Soldier Before Futility. And 184 00:11:29,350 --> 00:11:34,090 again, futility, we are going to conduct stylistic 185 00:11:34,090 --> 00:11:37,830 analysis. So we might finish the course either 186 00:11:37,830 --> 00:11:42,740 Saturday at maximum Monday. But let's hope we 187 00:11:42,740 --> 00:11:45,680 finish on Saturday. Let's hope. Thank you very 188 00:11:45,680 --> 00:11:47,320 much and take care. Bye.