1 00:00:13,540 --> 00:00:16,980 How are you today? Good. 2 00:00:19,780 --> 00:00:25,340 Why is it hot back there? Is it hot? So I don't 3 00:00:25,340 --> 00:00:33,040 know like should we open the The doors. Khaled, it 4 00:00:33,040 --> 00:00:33,920 is very hot here. 5 00:00:38,120 --> 00:00:42,660 Right. So as I said, we are going to complete 6 00:00:42,660 --> 00:00:49,040 discussing Better My Heart. And after that, to 7 00:00:49,040 --> 00:00:52,140 talk a little bit about the midterm exam. 8 00:00:55,020 --> 00:01:02,030 Before talking, for approaching the poem again. As 9 00:01:02,030 --> 00:01:07,770 it is the case, we have to listen to one or two 10 00:01:07,770 --> 00:01:08,230 reports. 11 00:01:11,670 --> 00:01:12,730 Yes, please. 12 00:01:20,490 --> 00:01:25,550 Just come here. Black stuff. It doesn't matter who 13 00:01:25,550 --> 00:01:29,090 you are or what you do. We all have to face many 14 00:01:29,090 --> 00:01:32,770 difficulties and stressful situations. Life can 15 00:01:32,770 --> 00:01:35,730 leave us feeling stressed, worried, worried, 16 00:01:36,250 --> 00:01:40,150 angry, confused and frustrated. The way we feel 17 00:01:40,150 --> 00:01:43,410 affects everything in our life. When we feel bad, 18 00:01:43,610 --> 00:01:47,570 everything seems worse than it is. Till now, this 19 00:01:47,570 --> 00:01:52,050 is around 24 report, the time has passed too fast 20 00:01:52,050 --> 00:01:56,980 and our exam will be in the next Thursday. And as 21 00:01:56,980 --> 00:01:59,680 usual, Dr. Habib started to ask us about our 22 00:01:59,680 --> 00:02:03,200 reports, and some students read these creative 23 00:02:03,200 --> 00:02:09,640 reports. And after that, he asked about responses. 24 00:02:10,360 --> 00:02:13,200 Then the students started to read their creative 25 00:02:13,200 --> 00:02:16,800 responses. Thank you. OK. Thank you. You have, 26 00:02:17,020 --> 00:02:20,060 like, when you listed some abstract nouns, you say 27 00:02:20,060 --> 00:02:22,740 angry. It should be anger. It should be confusion. 28 00:02:23,460 --> 00:02:26,600 I think this is what I observed. when you listed 29 00:02:26,600 --> 00:02:27,860 some abstract nouns. 30 00:02:32,560 --> 00:02:34,520 Yes, do you want to redeem yourself? 31 00:02:45,300 --> 00:02:47,280 Good morning. 32 00:02:50,000 --> 00:02:52,120 I don't know if you heard about the freedom 33 00:02:52,120 --> 00:02:54,620 riders. There is something happening currently in 34 00:02:54,620 --> 00:02:58,300 Jerusalem. In Jerusalem there are many roads that 35 00:02:58,300 --> 00:03:01,660 Israelis forbid Palestinians to go through. So 36 00:03:01,660 --> 00:03:04,500 there are a few international solidarity figures, 37 00:03:04,760 --> 00:03:07,750 people that are coming in order to make a 38 00:03:07,750 --> 00:03:09,470 statement. They called themselves the freedom 39 00:03:09,470 --> 00:03:13,450 riders in order to draw a parallel between them or 40 00:03:13,450 --> 00:03:16,490 the Israeli apartheid system with what happened 41 00:03:16,490 --> 00:03:19,310 with the black Americans in the 60s because the 42 00:03:19,310 --> 00:03:21,670 black Americans used to be segregated on buses. 43 00:03:22,020 --> 00:03:23,940 And they called themselves once the Freedom 44 00:03:23,940 --> 00:03:26,020 Riders, and they made a statement that, you know, 45 00:03:26,400 --> 00:03:29,720 there should be equality between people. So now 46 00:03:29,720 --> 00:03:32,140 they're doing something similar. They're going to 47 00:03:32,140 --> 00:03:35,560 be boarding Israeli buses on roads today and 48 00:03:35,560 --> 00:03:38,600 tomorrow. So I wanted to write something about 49 00:03:38,600 --> 00:03:43,790 this, sort of. Okay. Okay. Better than apartheid 50 00:03:43,790 --> 00:03:46,830 system, freedom riders on it we go. From the 51 00:03:46,830 --> 00:03:49,410 blacks in the sixties to Palestinian Jerusalem, 52 00:03:49,790 --> 00:03:53,090 peacefully we'll force, break and blow. They're 53 00:03:53,090 --> 00:03:56,170 disguised racist terrorism. Only Israelis in those 54 00:03:56,170 --> 00:03:58,670 buses and roads they say, but our international 55 00:03:58,670 --> 00:04:03,070 freedom soldiers with us that blatant apartheid 56 00:04:03,070 --> 00:04:06,310 they refuse. Imprison me all you like, but in our 57 00:04:06,310 --> 00:04:09,660 land rights and hearts will always be free. Thank 58 00:04:09,660 --> 00:04:13,180 you. I think you made use of the... Yeah, clap for 59 00:04:13,180 --> 00:04:19,940 her. It's good to make use of the poem in encoding 60 00:04:19,940 --> 00:04:24,600 your experience and your, you know, respect for 61 00:04:24,600 --> 00:04:27,120 those who came in solidarity with the 62 00:04:27,120 --> 00:04:27,520 Palestinians. 63 00:04:30,180 --> 00:04:32,540 But last time, I think most of you enjoyed 64 00:04:32,540 --> 00:04:34,800 discussing the poem, even though it was difficult. 65 00:04:35,840 --> 00:04:40,890 Did you or you didn't? Was it easy or difficult? 66 00:04:41,850 --> 00:04:47,710 We agreed, but you enjoyed the width of the 67 00:04:47,710 --> 00:04:53,690 paradoxes, the width of the conceit, or of the 68 00:04:53,690 --> 00:05:00,750 conceits. And I think let us make 69 00:05:00,750 --> 00:05:03,390 a quick revision about what we did last time. I 70 00:05:03,390 --> 00:05:07,810 think last time we looked at the main paradoxes in 71 00:05:07,810 --> 00:05:15,740 the poem, And we listed them like this, batter my 72 00:05:15,740 --> 00:05:21,400 heart in order to mend it. So this is seemingly it 73 00:05:21,400 --> 00:05:26,860 is contradictory. However, when we think of a 74 00:05:26,860 --> 00:05:29,460 guilty person supplicating 75 00:05:31,660 --> 00:05:35,480 or supplicating God for redemption, for 76 00:05:35,480 --> 00:05:39,960 forgiveness. We understand like this, or we 77 00:05:39,960 --> 00:05:42,800 understand that this could be something acceptable 78 00:05:42,800 --> 00:05:43,480 or rational. 79 00:05:46,420 --> 00:05:53,320 Knock me down also, that I may rise, overthrow me, 80 00:05:53,640 --> 00:05:59,200 knock me down. This is a call, or this is again, a 81 00:05:59,200 --> 00:06:02,200 prayer for inflection. You know what's mean 82 00:06:02,200 --> 00:06:07,600 inflection? It is sometimes some people ask God to 83 00:06:07,600 --> 00:06:14,480 inflict them. To, in order like, yeah, to make, 84 00:06:14,660 --> 00:06:17,740 yeah, to be closer to God, to test their belief, 85 00:06:18,340 --> 00:06:21,800 to show how they are faithful, it happens. 86 00:06:22,880 --> 00:06:28,040 Inflection, you know, I was reading or we were 87 00:06:28,040 --> 00:06:31,700 teaching a text in American Lit, the narrative of 88 00:06:31,700 --> 00:06:36,980 Mary Rollinson. And she suffered when she was 89 00:06:36,980 --> 00:06:41,600 taken captive, according to her. And at the end of 90 00:06:41,600 --> 00:06:44,280 the narrative, she was, I like this is what I 91 00:06:44,280 --> 00:06:48,370 looked for inflection. Affliction, like suffering, 92 00:06:49,370 --> 00:06:54,090 disasters, catastrophes, because she thought that 93 00:06:54,090 --> 00:06:58,590 affliction made her close to her creator, that 94 00:06:58,590 --> 00:07:03,110 affliction made her very repentant and, you know, 95 00:07:04,390 --> 00:07:06,570 yeah, like to redeem herself. 96 00:07:09,750 --> 00:07:13,610 Again, we saw the paradox in imprison me to make 97 00:07:13,610 --> 00:07:17,660 me free, and we explicated it. How come, like, 98 00:07:17,740 --> 00:07:25,260 imprisonment can be freedom? Also, the paradox is, 99 00:07:26,000 --> 00:07:30,120 like, enthrall me, never chase except you ravage 100 00:07:30,120 --> 00:07:35,680 me, and we criticize this because this is 101 00:07:35,680 --> 00:07:43,020 something, you know, impolite. It's not, like, 102 00:07:43,080 --> 00:07:49,540 expected. to be in a text like this. We also 103 00:07:49,540 --> 00:07:54,620 talked about the conceit, the conceit in, I like a 104 00:07:54,620 --> 00:08:01,180 usurped town. How come? This is very 105 00:08:01,180 --> 00:08:08,160 contradictory. Now, it's a simile as you see, but 106 00:08:08,160 --> 00:08:14,490 there is no similarity. between the vehicle and 107 00:08:14,490 --> 00:08:21,630 the tenor. They're not similar. The conceit, you 108 00:08:21,630 --> 00:08:25,230 might have read, if you have read in your reader, 109 00:08:25,930 --> 00:08:32,490 the conceit is a striking parallelism between two 110 00:08:32,490 --> 00:08:36,490 dissimilar things. So what are the two dissimilar 111 00:08:36,490 --> 00:08:43,130 things here? As you see, we have I, and the town, 112 00:08:44,190 --> 00:08:50,130 and the usurped town. As we said, like I, the 113 00:08:50,130 --> 00:08:56,610 guilty person, is occupied by Satan, exactly like 114 00:08:56,610 --> 00:09:02,270 a city which is usurped by an occupier. So this is 115 00:09:02,270 --> 00:09:07,670 like the conceit. And this conceit runs through 116 00:09:07,670 --> 00:09:15,840 the poem, but It assumes different shape. Like 117 00:09:15,840 --> 00:09:21,880 later this conceit, it assumes the image of two 118 00:09:21,880 --> 00:09:30,160 couple being like drawn together in unholy 119 00:09:30,160 --> 00:09:36,020 marriage bond. That's why he was asking, divorce 120 00:09:36,020 --> 00:09:41,650 me. So it is like a sustained metaphor. Like when 121 00:09:41,650 --> 00:09:46,290 we understand its aptness, we start to say, my 122 00:09:46,290 --> 00:09:53,370 God, it is very witty, very witty. And we said 123 00:09:53,370 --> 00:09:56,150 there is another conceit. What is the other 124 00:09:56,150 --> 00:09:56,690 conceit? 125 00:10:01,910 --> 00:10:05,170 Yes? Yes. 126 00:10:08,160 --> 00:10:13,900 But it's captive. What is captive? The soul. The 127 00:10:13,900 --> 00:10:20,100 soul is like a captive person. Where is it 128 00:10:20,100 --> 00:10:28,260 captive? In the body. So how is the soul given 129 00:10:28,260 --> 00:10:34,060 freedom? If here God knocks him down, imprisons 130 00:10:34,060 --> 00:10:37,540 him, or makes him dead, then he will be free 131 00:10:37,540 --> 00:10:41,320 again. It is very intellectual. Okay. 132 00:10:44,220 --> 00:10:50,080 And the last couplet, this is, as you see, it is a 133 00:10:50,080 --> 00:10:54,600 sonnet. It is written in a sonnet form. Now, 134 00:10:57,820 --> 00:11:03,580 I think after explicating these paradoxes and the 135 00:11:03,580 --> 00:11:08,300 similes, the conceits, it becomes easy. 136 00:11:11,100 --> 00:11:14,960 Let's see now, after reading this, what is the 137 00:11:14,960 --> 00:11:18,240 theme of this poem? What is the theme of this 138 00:11:18,240 --> 00:11:21,340 poem? What is the theme of this poem? What is the 139 00:11:21,340 --> 00:11:25,240 possible theme of this poem? It could be about 140 00:11:25,240 --> 00:11:25,560 what? 141 00:11:33,660 --> 00:11:39,980 Christian impasse? Why? I like this, Christian 142 00:11:39,980 --> 00:11:40,560 impasse. 143 00:11:44,720 --> 00:11:51,140 Impact. Now I thought impasse. What do you mean by 144 00:11:51,140 --> 00:11:51,740 Christian impact? 145 00:11:58,280 --> 00:12:01,840 Yeah, but like if you say it is Christian impact, 146 00:12:02,020 --> 00:12:04,800 this is very general, like what are you talking 147 00:12:04,800 --> 00:12:10,660 about? So here it is the need for redemption. What 148 00:12:10,660 --> 00:12:11,760 does mean the need for redemption? 149 00:12:17,900 --> 00:12:20,900 Is it only a need for redemption because you say 150 00:12:20,900 --> 00:12:23,420 it is a need for redemption? What does mean a need 151 00:12:23,420 --> 00:12:29,140 for redemption? Yes, like I want you to explain 152 00:12:29,140 --> 00:12:31,820 the words. I don't want you to throw words without 153 00:12:31,820 --> 00:12:36,680 explaining them. So yes, it is about the need, but 154 00:12:36,680 --> 00:12:44,160 the strong need for redemption. Why? How? Yes? 155 00:12:46,680 --> 00:12:51,340 Yes, he 156 00:12:51,340 --> 00:12:56,180 feels guilty. He feels guilty. And when somebody 157 00:12:56,180 --> 00:13:02,140 feels guilty, the need for redemption, this is for 158 00:13:02,140 --> 00:13:06,400 good people, emerges. And this need is very 159 00:13:06,400 --> 00:13:11,160 compelling need. It is very strong need. It is 160 00:13:11,160 --> 00:13:17,480 very strong because he feels he is like too much 161 00:13:17,480 --> 00:13:19,020 guilty, too much sinful. 162 00:13:22,040 --> 00:13:27,600 And I think If you look at the tone of the poem, 163 00:13:29,180 --> 00:13:35,900 like you see how the verbs, like the music, the 164 00:13:35,900 --> 00:13:43,360 strong words, you feel like, I mean, his appeal, 165 00:13:43,500 --> 00:13:45,560 his supplication, which is very strong, is 166 00:13:45,560 --> 00:13:49,680 justified because he feels like he's too much a 167 00:13:49,680 --> 00:13:50,300 sinful man. 168 00:13:53,070 --> 00:13:56,830 I want to go back to the poem and, you know, to 169 00:13:56,830 --> 00:14:00,590 look at it, better my heart, three-person God. 170 00:14:02,670 --> 00:14:07,590 Now, this, I mean, the verb, like if you look at 171 00:14:07,590 --> 00:14:08,630 the verb, it is imperative. 172 00:14:11,410 --> 00:14:15,270 But here, as you see, better my heart, it is a 173 00:14:15,270 --> 00:14:22,090 kind of supplication. It's a kind of prayer. But 174 00:14:22,090 --> 00:14:29,590 we don't expect, we don't expect a poet to address 175 00:14:29,590 --> 00:14:35,530 God in this way. See? But this is exactly a 176 00:14:35,530 --> 00:14:39,070 metaphysical characteristic. Like when they talk 177 00:14:39,070 --> 00:14:45,150 to God, they talk in a very casual and informal 178 00:14:45,150 --> 00:14:49,880 manner. In prison, Better my heart, three-person 179 00:14:49,880 --> 00:14:54,480 God. For you, like three-person, we talk about 180 00:14:54,480 --> 00:14:58,780 this is something central to the Christian creed. 181 00:14:59,700 --> 00:15:02,180 You know, like they believed in the Trinity, so 182 00:15:02,180 --> 00:15:06,040 this is a reference to the Trinity itself. And 183 00:15:06,040 --> 00:15:13,060 look at the number three, the treble blow is there 184 00:15:13,060 --> 00:15:18,590 all over the pole. Like Trinity. So if you look at 185 00:15:18,590 --> 00:15:21,830 the patterns of three, you might find them in one. 186 00:15:23,310 --> 00:15:30,030 Rise, stand, overthrow. Break, blow, burn. You 187 00:15:30,030 --> 00:15:33,950 see? So it is like three, three, three. You know? 188 00:15:34,270 --> 00:15:39,930 So the pattern of Trinity is being referred to in 189 00:15:39,930 --> 00:15:42,970 the poem as a whole. It's very tricky. 190 00:15:46,450 --> 00:15:50,390 as yet, but not breathe, shine and seek to mend. 191 00:15:52,510 --> 00:15:57,650 Look here, we said it is a strong need. It is a 192 00:15:57,650 --> 00:16:01,690 strong need. Why? Because if you look here, he's 193 00:16:01,690 --> 00:16:09,390 asking God to violently shatter his heart, 194 00:16:09,950 --> 00:16:16,170 violently destroy him. And we said, if you are 195 00:16:16,170 --> 00:16:19,430 asking, if you are seeking for such violent 196 00:16:19,430 --> 00:16:24,890 action, it means that the sin is deeply rooted in 197 00:16:24,890 --> 00:16:27,690 you. And this is what is happening in the poet. 198 00:16:28,990 --> 00:16:34,690 This has to do with the Catholic belief of the 199 00:16:34,690 --> 00:16:38,010 poet. And it is very strange because John Donne, 200 00:16:38,590 --> 00:16:43,530 as we said, was forced to convert, to switch 201 00:16:46,200 --> 00:16:50,560 to Protestantism, but he remained faithful to his 202 00:16:50,560 --> 00:16:55,760 creed. He remained faithful. He remained loyal to 203 00:16:55,760 --> 00:17:00,660 his creed. And this poem here, as you see, he's 204 00:17:00,660 --> 00:17:04,340 not like, what is the way of salvation to him? 205 00:17:04,460 --> 00:17:07,740 What is the way of salvation? As we said, for a 206 00:17:07,740 --> 00:17:13,800 Protestant, the way of salvation is just good 207 00:17:13,800 --> 00:17:16,990 deeds. You have to be nice. You have to be good. 208 00:17:17,290 --> 00:17:21,050 You have to be... It is like in Protestantism, 209 00:17:21,670 --> 00:17:26,030 like free will is given space. But in Catholicism, 210 00:17:26,510 --> 00:17:31,090 the only way of salvation is the body. It is, you 211 00:17:31,090 --> 00:17:35,570 know, the way Jesus Christ, according, you know, 212 00:17:35,590 --> 00:17:39,150 to them, saved all the people by his body, by 213 00:17:39,150 --> 00:17:42,250 torturing, by being tortured on the cross. So 214 00:17:42,250 --> 00:17:44,650 here, as a Catholic, and this is what is called 215 00:17:44,650 --> 00:17:48,790 substantiation. It's like it is the body which 216 00:17:48,790 --> 00:17:51,170 secures for you salvation. 217 00:17:54,250 --> 00:17:58,130 That I may rise and stand, overthrow and bend. 218 00:17:59,030 --> 00:18:04,570 Your force to break, blow, burn. Like, look here. 219 00:18:05,430 --> 00:18:08,550 I mean, look at the alliteration. Your force, 220 00:18:09,070 --> 00:18:14,570 boom, boom, to break, to blow, burn, and make me 221 00:18:14,570 --> 00:18:20,610 new. This is like he wants to be new. What does he 222 00:18:20,610 --> 00:18:26,570 mean by new? Yeah, a new person without sin. And 223 00:18:26,570 --> 00:18:30,570 we said last time here the idea of original sin is 224 00:18:30,570 --> 00:18:34,100 there in the background. So once he is burned, 225 00:18:34,300 --> 00:18:38,000 once he is broken, he will be a new person. 226 00:18:41,960 --> 00:18:46,540 I like an usurped town to another due. So there is 227 00:18:46,540 --> 00:18:50,540 a conflict here. Do you see a conflict? What is 228 00:18:50,540 --> 00:18:55,360 the conflict? Like, I like a usurped town to 229 00:18:55,360 --> 00:18:58,220 another due. Labor to admit you but owe to no end. 230 00:18:58,900 --> 00:19:00,820 Like, we have a conflict here. What is the 231 00:19:00,820 --> 00:19:03,470 conflict? We have a running conflict. 232 00:19:07,790 --> 00:19:12,670 Yes, it's possessing, it's stronger. So now here, 233 00:19:12,790 --> 00:19:18,130 as he say, to another due and labor to admit you. 234 00:19:19,430 --> 00:19:23,630 Labor, my deeds are directed to you, but it is in 235 00:19:23,630 --> 00:19:27,290 vain. So the conflict is like he was trying to be 236 00:19:27,290 --> 00:19:33,090 loyal you know, obedient to God, but Satan was 237 00:19:33,090 --> 00:19:36,250 forbidding him all the time. And that was the 238 00:19:36,250 --> 00:19:42,070 conflict. That's why he asked God to intervene in 239 00:19:42,070 --> 00:19:47,590 order to release, free, emancipate him from life 240 00:19:47,590 --> 00:19:47,910 Satan. 241 00:19:52,350 --> 00:19:58,730 Reason your viceroy in me should defend Reason is 242 00:19:58,730 --> 00:20:05,710 your viceroy. Here, we said it's a metaphor. And 243 00:20:05,710 --> 00:20:07,950 we said the conceit starts by analogy. 244 00:20:10,690 --> 00:20:15,430 Reason, which is like here, it's a metonymy of the 245 00:20:15,430 --> 00:20:22,550 soul. It is the representative of God in man. It 246 00:20:22,550 --> 00:20:25,790 is captive. It is captive in the human flower. 247 00:20:26,110 --> 00:20:30,450 What is the human flower? The body itself. The 248 00:20:30,450 --> 00:20:33,950 body, the human flower. This is like I'm just 249 00:20:33,950 --> 00:20:36,630 talking about a poem for Andrew Marvell, I think. 250 00:20:36,770 --> 00:20:40,430 No, for Henry Vaughan. It's like he was referring 251 00:20:40,430 --> 00:20:46,270 to the human flower. Reason your viceroy in me 252 00:20:46,270 --> 00:20:51,950 should defend, but is captive. and proves weak or 253 00:20:51,950 --> 00:20:54,790 untrue. If you remember when we talked about the 254 00:20:54,790 --> 00:20:58,230 characteristics of metaphysical poetry, we said 255 00:20:58,230 --> 00:21:02,850 their poetry is argumentative. Like, look here, if 256 00:21:02,850 --> 00:21:06,710 you look, but, you know, take, do this. It is like 257 00:21:06,710 --> 00:21:12,430 argument. He's arguing. But is captive and proves 258 00:21:12,430 --> 00:21:18,870 weak or untrue. Yet dearly, like, look here, but, 259 00:21:19,110 --> 00:21:25,670 yet, These are signs of argumentation. It's very 260 00:21:25,670 --> 00:21:27,810 important like when we are discussing a poem like 261 00:21:27,810 --> 00:21:31,370 this, and this could be in the final exam, discuss 262 00:21:31,370 --> 00:21:35,850 this poem with reference to it's metaphysical or 263 00:21:35,850 --> 00:21:38,910 in the light of the metaphysical characteristics 264 00:21:38,910 --> 00:21:41,750 of poetry or the characteristics of metaphysical 265 00:21:41,750 --> 00:21:46,310 poetry. So you have to talk about the conceits, 266 00:21:46,410 --> 00:21:48,090 you have to talk about the paradoxes, you have to 267 00:21:48,090 --> 00:21:50,830 talk about the language, the argument, you have to 268 00:21:50,830 --> 00:21:54,670 talk about the abrupt beginnings because when we 269 00:21:54,670 --> 00:22:00,990 are talking about metaphysical poetry, when we 270 00:22:00,990 --> 00:22:04,710 read the poem, We see that the poem starts in a 271 00:22:04,710 --> 00:22:06,870 very surprising manner. Better my heart three 272 00:22:06,870 --> 00:22:09,450 person God. This is very surprising. This is very 273 00:22:09,450 --> 00:22:13,830 abrupt. It is unexpected from a poet to start 274 00:22:13,830 --> 00:22:17,350 saying better my heart three person God. So this 275 00:22:17,350 --> 00:22:19,210 is what we call abrupt beginning. 276 00:22:23,350 --> 00:22:29,270 Yet dearly I love you and would be Loved, feign, I 277 00:22:29,270 --> 00:22:32,610 mean vain, but I'm betrothed into your enemy. Look 278 00:22:32,610 --> 00:22:38,090 here, it is the conceit itself, but it is assuming 279 00:22:38,090 --> 00:22:41,270 another image. So we are moving imagery here. 280 00:22:42,970 --> 00:22:47,530 Again, it is a little bit homely. It is a little 281 00:22:47,530 --> 00:22:53,440 bit domestic. It is unusual of John Donne, who was 282 00:22:53,440 --> 00:22:57,860 always referring in his images to emergent 283 00:22:57,860 --> 00:23:05,120 sciences like astronomy, astrology, botany. Here, 284 00:23:05,480 --> 00:23:09,140 he's talking about homely images. 285 00:23:12,140 --> 00:23:15,100 I don't know why. It could be because the conflict 286 00:23:15,100 --> 00:23:18,420 is too much. He's referring to himself as a 287 00:23:18,420 --> 00:23:24,410 sinner. Yet dearly, I love you. Look here. This is 288 00:23:24,410 --> 00:23:27,190 the casual manner. This is the informal manner we 289 00:23:27,190 --> 00:23:31,830 talk about. This is how they talk to God. Yet 290 00:23:31,830 --> 00:23:34,990 dearly, I love you and would be loved in vain, but 291 00:23:34,990 --> 00:23:39,450 I'm betrothed into your enemy. Betrothed, engaged. 292 00:23:41,610 --> 00:23:46,580 We're moving from the image of occupation to an 293 00:23:46,580 --> 00:23:52,340 image of being married or engaged to Satan, 294 00:23:52,820 --> 00:23:57,580 somebody, you know, a loathsome, a hateful person, 295 00:23:58,300 --> 00:24:02,780 a person you cannot put up with. Imagine when you 296 00:24:02,780 --> 00:24:07,240 are like brought, you know, in this relation with 297 00:24:07,240 --> 00:24:10,380 a person you are not in love with, you just want, 298 00:24:10,640 --> 00:24:13,000 divorce me, you know, I don't want this. 299 00:24:15,940 --> 00:24:24,040 So be careful. Divorce me, untie, or break. Like 300 00:24:24,040 --> 00:24:28,080 look here, the three, divorce me, untie, or break. 301 00:24:28,220 --> 00:24:31,240 Look at the verbs. Three, three. You know, the 302 00:24:31,240 --> 00:24:33,360 patterns of the three is repeated all over. 303 00:24:34,600 --> 00:24:39,420 Divorce me, untie, or break that knot again. 304 00:24:40,040 --> 00:24:46,380 Untie, or break. It's a simple language. Divorce, 305 00:24:46,700 --> 00:24:52,300 anti, you know, but the idea is very subtle. You 306 00:24:52,300 --> 00:24:54,920 know, it's been very subtle, very witty. Why? 307 00:24:55,000 --> 00:24:59,540 Because it's a paradox. When you are asking God to 308 00:24:59,540 --> 00:25:03,400 divorce you, it means like divorce here is seen as 309 00:25:03,400 --> 00:25:06,320 something good because you are going to get rid of 310 00:25:07,460 --> 00:25:12,960 You know, Satan. Divorce me, untie or break that 311 00:25:12,960 --> 00:25:19,060 knot again. That knot again. Break it. Take me to 312 00:25:19,060 --> 00:25:25,480 you. Imprison me. Yes. So now you understand what 313 00:25:25,480 --> 00:25:32,100 is a paradox easily. Take me to you. Imprison me. 314 00:25:32,440 --> 00:25:39,060 For I accept you. Enthrone me. never shall be 315 00:25:39,060 --> 00:25:46,940 free, nor ever chaste, except you ravish me. Now, 316 00:25:47,880 --> 00:25:55,920 the last line is irksome, disturbing. However, it 317 00:25:55,920 --> 00:26:00,140 should be understood within the Christian context 318 00:26:00,140 --> 00:26:08,280 of divinity like Mary and Jesus, how Jesus came 319 00:26:08,280 --> 00:26:15,060 when God blew his spirit in Mary. So here, this 320 00:26:15,060 --> 00:26:20,240 ravishing is seen as an act of chastity because 321 00:26:20,240 --> 00:26:27,130 Mary was made chaste when God blew his spirit in 322 00:26:27,130 --> 00:26:31,950 her. She was, and even in Quran, she was a chaste 323 00:26:31,950 --> 00:26:36,870 woman, a purified woman. But like he's using it, 324 00:26:36,950 --> 00:26:42,610 and this is like, again, a characteristic of the 325 00:26:42,610 --> 00:26:44,650 Medieval Skalp poetry in general, and a 326 00:26:44,650 --> 00:26:48,190 characteristic of John Donne in particular. They 327 00:26:48,190 --> 00:26:53,550 were using erotic images. These are erotic images. 328 00:26:53,650 --> 00:26:55,290 When I say erotic, you know, 329 00:27:01,900 --> 00:27:04,940 They have to do with obscene images. 330 00:27:07,840 --> 00:27:14,980 Now, the form of the poem, what is the form of the 331 00:27:14,980 --> 00:27:20,560 poem? It is a sonnet. And what kind of sonnet it 332 00:27:20,560 --> 00:27:27,180 is? Is it a Shakespearean sonnet? It is what? So 333 00:27:27,180 --> 00:27:43,640 A, B, B, A, huh? No, D, U, A, huh? B, B, A, C, D, 334 00:27:44,320 --> 00:27:52,900 C, D, E, E. What kind of, you know? It doesn't 335 00:27:52,900 --> 00:27:56,900 sound to be, huh? It is Petrarchan. It is 336 00:27:56,900 --> 00:28:01,960 Petrarchan. And as we saw at the beginning of the 337 00:28:01,960 --> 00:28:03,740 course, the patriarchal sonnet was used. 338 00:28:07,380 --> 00:28:14,940 Yeah. Yes, it has two parts. But here the part, it 339 00:28:14,940 --> 00:28:22,260 has the octave and the system. What is he doing 340 00:28:22,260 --> 00:28:25,940 here and what is he doing here? You see here, he's 341 00:28:25,940 --> 00:28:29,340 supplicating. He admits that he's a sinner. And 342 00:28:29,340 --> 00:28:35,180 here, he's supplicating further. But in the 343 00:28:35,180 --> 00:28:38,840 couplet, he concludes the whole argument. 344 00:28:42,420 --> 00:28:47,300 He summarizes the whole argument by saying, except 345 00:28:47,300 --> 00:28:50,690 you enthrall me, you never shall be free. Or never 346 00:28:50,690 --> 00:28:53,910 chase except you ravish me. It is a conclusion. 347 00:28:54,390 --> 00:28:56,430 But it's very interesting because one student told 348 00:28:56,430 --> 00:29:00,070 me yesterday like, look here, I like this on it 349 00:29:00,070 --> 00:29:03,750 because it is a mixture between Italian, the form 350 00:29:03,750 --> 00:29:06,780 and the English, you know. Like because this state 351 00:29:06,780 --> 00:29:10,680 is similar to the system of Shakespeare. I mean, 352 00:29:10,840 --> 00:29:14,820 like Shakespeare when he was creating this and 353 00:29:14,820 --> 00:29:19,500 this is similar to Petrarch or like Sir Thomas 354 00:29:19,500 --> 00:29:26,860 Wyatt. I think he was using very traditional way 355 00:29:26,860 --> 00:29:31,760 because this is a love. A love poem, a love poem 356 00:29:31,760 --> 00:29:37,720 between man and God. So he was using that. And in 357 00:29:37,720 --> 00:29:41,080 fact, he was in this poem also and in other poems 358 00:29:41,080 --> 00:29:44,580 satirizing courtly lovers. John Donne didn't like 359 00:29:44,580 --> 00:29:47,980 courtly lovers. They thought they were crazy. He 360 00:29:47,980 --> 00:29:51,500 thought they were not good people. 361 00:29:54,940 --> 00:30:00,790 Yes. I think the meter, again, it is iambic 362 00:30:00,790 --> 00:30:04,310 pentameter. But what happens if you look at the 363 00:30:04,310 --> 00:30:10,770 verb here, blow, rise, stand, overthrow, like 364 00:30:10,770 --> 00:30:15,110 sometimes you have the, he variates and you have 365 00:30:15,110 --> 00:30:20,830 like here, burn, So he variates three stresses. 366 00:30:23,270 --> 00:30:27,530 Divorce me. Take me. Take me to you. Imprison me. 367 00:30:28,810 --> 00:30:33,930 Divorce me. Divorce me. Untie. Break. So he's 368 00:30:33,930 --> 00:30:37,390 variating with the rhythm just to suit. It is a 369 00:30:37,390 --> 00:30:41,850 very noisy poem. And as we said at the beginning, 370 00:30:42,600 --> 00:30:46,280 the sentiment of the poem cannot be felt unless 371 00:30:46,280 --> 00:30:49,800 you read this poem aloud. So you might have 372 00:30:49,800 --> 00:30:53,640 observed me reading it aloud and you can listen to 373 00:30:53,640 --> 00:30:57,080 on YouTube you find some people reading it. So it 374 00:30:57,080 --> 00:31:00,500 starts by being like this, Bear my heart, three 375 00:31:00,500 --> 00:31:03,160 person God, like somebody who's gasping, who's 376 00:31:03,160 --> 00:31:08,260 like in a real crisis situation, who's aspiring 377 00:31:08,260 --> 00:31:12,600 for redemption. And then, at the end, take me to 378 00:31:12,600 --> 00:31:16,120 you, imprison me for I, except you enthrall me, 379 00:31:16,520 --> 00:31:20,200 never shall be free, nor ever chaste, except you 380 00:31:20,200 --> 00:31:23,480 ravish me. So it should go like this, because this 381 00:31:23,480 --> 00:31:27,500 is the only way. But this is, as you see, it is 382 00:31:27,500 --> 00:31:32,690 very Catholic, isn't it? You know, I wish we had 383 00:31:32,690 --> 00:31:36,910 time to study like George Herbert and to see how 384 00:31:36,910 --> 00:31:43,020 George Herbert ended his poem not like this. He 385 00:31:43,020 --> 00:31:46,880 ended his poem by showing that man should have 386 00:31:46,880 --> 00:31:50,320 this submission to God, this obedience. He was 387 00:31:50,320 --> 00:31:53,200 rebelling, and at the end of a poem called The 388 00:31:53,200 --> 00:31:57,240 Caller, he heard, like, somebody calling because 389 00:31:57,240 --> 00:31:59,140 he was rebelling, and he said, I don't want to be 390 00:31:59,140 --> 00:32:03,440 a priest anymore. It's a prison to me. And at the 391 00:32:03,440 --> 00:32:06,880 end of the poem, he heard me thought I heard 392 00:32:06,880 --> 00:32:11,330 somebody calling, child. And I replied, my lord, 393 00:32:11,630 --> 00:32:16,390 it's an act of obedience. Okay, I want you to be 394 00:32:16,390 --> 00:32:21,090 obedient, obedient. Want you to have obedience and 395 00:32:21,090 --> 00:32:24,730 to study hard. And if you have any question now, 396 00:32:24,790 --> 00:32:29,910 you can ask before we switch off and talk about 397 00:32:29,910 --> 00:32:35,790 the midterm exam. Do you have any question? Okay.