1 00:00:12,760 --> 00:00:16,920 Assalamualaikum. Good morning everybody. How are 2 00:00:16,920 --> 00:00:20,380 you today? Good. I don't see many students here. 3 00:00:23,040 --> 00:00:29,140 Right. Today, I'm going to surprise you and slow 4 00:00:29,140 --> 00:00:33,420 down the class. I know that we're expected to have 5 00:00:33,420 --> 00:00:39,860 Sydney, but it seems like we have to slow down 6 00:00:39,860 --> 00:00:44,200 here in order to give time for other classes to 7 00:00:44,200 --> 00:00:49,520 catch up. So it's our chance today to look back 8 00:00:49,520 --> 00:00:55,160 again at rhyme, rhythm, and some areas in the 9 00:00:55,160 --> 00:01:02,520 critical plan. But before we start, you know, as 10 00:01:02,520 --> 00:01:10,100 usual, I need somebody like to read a report. Yes? 11 00:01:20,740 --> 00:01:24,020 Hate you, Mr. Report. At the beginning of my 12 00:01:24,020 --> 00:01:27,780 report, let me begin with admission that I hate 13 00:01:27,780 --> 00:01:30,780 writing reports, even though I like the class of 14 00:01:30,780 --> 00:01:33,660 poetry. Feeling that you have nothing to write 15 00:01:33,660 --> 00:01:38,100 about feeling, that you have nothing to write 16 00:01:38,100 --> 00:01:40,860 about feeling makes me hate the assignment of 17 00:01:40,860 --> 00:01:43,600 writing reports. But I like writing reports 18 00:01:43,600 --> 00:01:48,320 because it is at least has a theme or idea to work 19 00:01:48,320 --> 00:01:52,040 on and write about. To talk about love picture, it 20 00:01:52,040 --> 00:01:55,300 was enjoyable there. I didn't feel the time 21 00:01:55,300 --> 00:01:59,420 passing us. It was a nice lecture to learn about 22 00:01:59,420 --> 00:02:03,060 metaphor, irony, and image. After I just know 23 00:02:03,060 --> 00:02:06,400 little about them, I feel that those figures are 24 00:02:06,400 --> 00:02:09,940 the heart of poetry, that there is no poem without 25 00:02:09,940 --> 00:02:13,660 a figurative language that enhances and 26 00:02:13,660 --> 00:02:17,360 strengthens the idea of the poet, learning the way 27 00:02:19,420 --> 00:02:23,080 to use it makes a joy to use such language in our 28 00:02:23,080 --> 00:02:25,940 everyday language to express our gladness, 29 00:02:26,200 --> 00:02:29,100 sadness, and even sarcastic everyday life 30 00:02:29,100 --> 00:02:33,020 situations. Good, thank you. I do agree sometimes 31 00:02:33,020 --> 00:02:36,480 it gets, you know, a boring process like to write 32 00:02:36,480 --> 00:02:40,580 a report. And here, like, comes the creativity. 33 00:02:41,380 --> 00:02:43,760 When you have, when you don't know what you are 34 00:02:43,760 --> 00:02:45,920 going to write about. So you might look for a 35 00:02:45,920 --> 00:02:50,440 hook. you might find very interesting hook and 36 00:02:50,440 --> 00:02:53,740 then you write report. So the report is like to 37 00:02:53,740 --> 00:02:56,840 get you to write. And don't forget, this is like 38 00:02:56,840 --> 00:02:59,700 the bonus mark. It's not one of the official 39 00:02:59,700 --> 00:03:04,520 assignment. So you don't have to complain, but 40 00:03:04,520 --> 00:03:08,060 it's okay. You can do that. But I need you to 41 00:03:08,060 --> 00:03:11,420 write. Okay, let's see another report. Yes, 42 00:03:11,480 --> 00:03:11,640 please. 43 00:03:19,460 --> 00:03:23,000 Daily Reporter. Description of spring was so nice. 44 00:03:23,140 --> 00:03:25,900 It was the title of the previous month. The 45 00:03:25,900 --> 00:03:30,520 previous lecture was extremely surprising. Gentle 46 00:03:30,520 --> 00:03:33,760 and kind, I tried continuously to make up my mind 47 00:03:33,760 --> 00:03:36,920 and decide, either to share or to be in a side. 48 00:03:37,360 --> 00:03:40,140 Although the lecturer was in a gut mood, the 49 00:03:40,140 --> 00:03:43,500 students were worried and wanted to conclude. He 50 00:03:43,500 --> 00:03:46,180 asked the questions and students replied, but 51 00:03:46,180 --> 00:03:49,320 because of the hot day, they will nearly fly. 52 00:03:49,740 --> 00:03:52,660 Finally, we finished and the teacher said, you 53 00:03:52,660 --> 00:03:56,520 should be prepared, increase your effort a little 54 00:03:56,520 --> 00:04:01,750 bit. Okay, clap for her. Okay, look here, this is 55 00:04:01,750 --> 00:04:04,370 an example of creativity. 56 00:04:06,270 --> 00:04:10,770 But let me choose, yeah, you, you want like, this 57 00:04:10,770 --> 00:04:13,510 is randomly to make sure everybody's writing. 58 00:04:20,950 --> 00:04:24,010 Sometimes it's weird how time passed so fast. It 59 00:04:24,010 --> 00:04:27,650 was just like yesterday when Dr. Akram asked us to 60 00:04:27,650 --> 00:04:30,170 write a daily report, and I remember how confused 61 00:04:30,170 --> 00:04:35,320 I was. But now all my fears disappeared. Now I 62 00:04:35,320 --> 00:04:37,420 know how to write a daily report and how to write 63 00:04:37,420 --> 00:04:39,860 a response. It is unbelievable that we already 64 00:04:39,860 --> 00:04:42,160 finished two poems and about to start the third. 65 00:04:42,560 --> 00:04:45,540 I'm so excited to take a poem by Sir Philip Sidney 66 00:04:45,540 --> 00:04:48,380 because I've heard that he is a very talented boy. 67 00:04:48,860 --> 00:04:52,280 Good, thank you very much. And we have to clap for 68 00:04:52,280 --> 00:04:57,240 her as well. It doesn't mean that we don't like 69 00:04:57,240 --> 00:05:03,010 what Rawan said, but it's okay. Right. Today I 70 00:05:03,010 --> 00:05:06,490 thought it would be nice to go through two 71 00:05:06,490 --> 00:05:12,350 important elements, more specifically two more 72 00:05:12,350 --> 00:05:17,450 elements of poetry, the rhyme and the rhythm. And 73 00:05:17,450 --> 00:05:23,010 then later we might go back to part two of the 74 00:05:23,010 --> 00:05:28,440 critical plan. I think, you know, we have taken 75 00:05:28,440 --> 00:05:32,580 two poems. We spoke about rhyme in general. But 76 00:05:32,580 --> 00:05:35,740 today, I'll take you to be more specific to talk 77 00:05:35,740 --> 00:05:39,600 about rhyme. Because we have many types of rhyme. 78 00:05:39,880 --> 00:05:42,020 You might have read that. 79 00:05:49,260 --> 00:05:53,720 As you see here, there are many types of rhyme. We 80 00:05:53,720 --> 00:05:59,200 have perfect rhyme.No perfect rhyme. We have 81 00:05:59,200 --> 00:06:00,360 imperfect rhyme. 82 00:06:03,120 --> 00:06:04,120 Sorry. 83 00:06:13,280 --> 00:06:19,020 Perfect rhyme. Imperfect rhyme. Masculine rhyme. 84 00:06:19,880 --> 00:06:25,800 Feminine rhyme. I rhyme. Para rhyme. Okay, this is 85 00:06:25,800 --> 00:06:31,420 more specific. I think most of you, like those who 86 00:06:31,420 --> 00:06:35,560 read their reports, were writing poetic lines 87 00:06:35,560 --> 00:06:39,080 using perfect rhyme. Perfect rhyme, as you see, 88 00:06:39,200 --> 00:06:43,280 this is an example of perfect rhyme. It is like a 89 00:06:43,280 --> 00:06:48,140 rhyme which has almost the same sound, the same 90 00:06:48,140 --> 00:06:53,030 sound. Like this is in Spencer. help me to blaze 91 00:06:53,030 --> 00:06:59,110 her worthy praise. Like he was praising the queen, 92 00:07:00,010 --> 00:07:05,630 and like, you see, blaze and praise, almost the 93 00:07:05,630 --> 00:07:10,690 same sound. Okay? So we call this perfect rhyme. 94 00:07:13,050 --> 00:07:19,250 And another example, I saw Phobias thrust out his 95 00:07:19,250 --> 00:07:24,850 golden head upon her to gaze, but when he saw how 96 00:07:24,850 --> 00:07:29,210 broad her beams did spread, you know, so spread 97 00:07:29,210 --> 00:07:35,550 and hid. So this is perfect rhyme. Now we might 98 00:07:35,550 --> 00:07:40,770 ask when poets use perfect rhyme or when they use 99 00:07:40,770 --> 00:07:45,850 imperfect rhyme. Sometimes in certain poems, you 100 00:07:45,850 --> 00:07:49,130 should stick to perfect rhyme. However, poets 101 00:07:49,130 --> 00:07:52,410 might variate between perfect and imperfect 102 00:07:52,410 --> 00:07:57,250 according to their attitude, the atmosphere of the 103 00:07:57,250 --> 00:08:02,790 poem. Perhaps they want to criticize or they want 104 00:08:02,790 --> 00:08:09,730 to praise. So using the rhyme, each poet uses the 105 00:08:09,730 --> 00:08:12,230 rhyme that fits with the topic, the subject 106 00:08:12,230 --> 00:08:18,810 matter. We cannot now for sure say this rhyme 107 00:08:18,810 --> 00:08:21,710 serves this purpose. It is according to the poem. 108 00:08:22,270 --> 00:08:27,470 Sometimes you have perfect rhyme and suddenly the 109 00:08:27,470 --> 00:08:31,300 poet changes into imperfect rhyme. Like, you don't 110 00:08:31,300 --> 00:08:34,580 have this harmony, perhaps because there is no 111 00:08:34,580 --> 00:08:37,020 harmony in the experience of the poet. See what I 112 00:08:37,020 --> 00:08:42,700 mean? I remember in Wilfred Owen, Futility, he was 113 00:08:42,700 --> 00:08:46,860 using imperfect rhyme, he was using I rhyme. And 114 00:08:46,860 --> 00:08:51,920 why? Because he saw no pattern in life, so he did 115 00:08:51,920 --> 00:08:54,720 not want to commit himself to any pattern of 116 00:08:54,720 --> 00:09:00,290 poetry. So why would a poet use this rhyme? This 117 00:09:00,290 --> 00:09:06,290 depends on the poem itself. Okay, so I think these 118 00:09:06,290 --> 00:09:12,970 are again here in Epithelium. Epithelium is a poem 119 00:09:12,970 --> 00:09:18,890 written by Spencer to describe his, it is a 120 00:09:18,890 --> 00:09:23,830 matrimony poem. Matrimony, wedding. It was to 121 00:09:23,830 --> 00:09:26,530 describe his wedding. It is a beautiful one, 122 00:09:27,170 --> 00:09:29,930 Epithelium, if you have time to read it, you know, 123 00:09:30,030 --> 00:09:36,370 just go and read it. So, now we'll go to another 124 00:09:36,370 --> 00:09:42,150 type of rhyme, which is imperfect rhyme. You know, 125 00:09:42,210 --> 00:09:46,590 imperfect rhyme, you see, it is not, it doesn't 126 00:09:46,590 --> 00:09:49,690 have the same sound. Like you hear, you see, also 127 00:09:49,690 --> 00:09:55,070 in the same poem of Spencer, you have though 128 00:09:55,070 --> 00:10:01,930 hidden peril round about me placed, yet hope I 129 00:10:01,930 --> 00:10:05,910 will that when this storm is passed. So what do 130 00:10:05,910 --> 00:10:09,790 you think? Placed and passed. Placed and passed. 131 00:10:10,470 --> 00:10:12,730 They're not almost, yeah, there is something 132 00:10:12,730 --> 00:10:17,790 similar, but it is not a perfect rhyme. So this is 133 00:10:17,790 --> 00:10:19,510 what imperfect rhyme. 134 00:10:22,210 --> 00:10:25,250 Again, why would they use this? This depends on 135 00:10:25,250 --> 00:10:30,730 the poem, the theme of the poem itself. Then comes 136 00:10:30,730 --> 00:10:34,010 number three, masculine rhyme. It's very funny, 137 00:10:34,170 --> 00:10:37,310 huh? Masculine rhyme. There is a rhyme which is 138 00:10:37,310 --> 00:10:43,490 masculine. And masculine rhyme, like as you see 139 00:10:43,490 --> 00:10:49,630 here, this is, you know, from The Solitary Reaper, 140 00:10:49,950 --> 00:10:53,110 I think. The Solitary Reaper, Wordsworth. When he 141 00:10:53,110 --> 00:10:58,770 says, I listened motionless and still, and as I 142 00:10:58,770 --> 00:11:02,850 mounted up the hill, the music in my heart I bore, 143 00:11:03,250 --> 00:11:06,910 long after it was heard no more. Look here, still 144 00:11:06,910 --> 00:11:10,950 and hill, bore and more. If you look at the words, 145 00:11:11,430 --> 00:11:14,690 how many syllables do we have in this word? One 146 00:11:14,690 --> 00:11:22,690 syllable. So, when The rhyming words are 147 00:11:22,690 --> 00:11:28,090 monosyllabic, like this. This is called masculine 148 00:11:28,090 --> 00:11:31,690 rhyme. It's a masculine rhyme. It is one syllable. 149 00:11:32,770 --> 00:11:38,410 It's not more than one syllable. It seems like 150 00:11:38,410 --> 00:11:44,690 this is very tough, but this is an example of 151 00:11:44,690 --> 00:11:47,810 masculine rhyme. Of course, when we talk about 152 00:11:47,810 --> 00:11:50,050 masculine, we should talk about feminine because 153 00:11:50,050 --> 00:11:53,130 if we call this masculine, there should be 154 00:11:53,130 --> 00:11:57,950 feminine. But somebody might say, okay, masculine 155 00:11:57,950 --> 00:12:06,270 means tough and feminine means flexible and more 156 00:12:06,270 --> 00:12:07,050 lenient. 157 00:12:09,570 --> 00:12:14,040 Feminine rhyme is the opposite. Of course, these 158 00:12:14,040 --> 00:12:17,180 are your reader, you can follow them. They are in 159 00:12:17,180 --> 00:12:17,700 the pamphlet. 160 00:12:22,280 --> 00:12:26,120 Again, Wordsworth, as if her song, it's in the 161 00:12:26,120 --> 00:12:34,480 same. So he was, in that poem, variating between a 162 00:12:34,480 --> 00:12:38,140 masculine rhyme and feminine rhyme. And in fact, 163 00:12:38,620 --> 00:12:41,120 if you read The Slither Reaper, I was teaching The 164 00:12:41,120 --> 00:12:44,730 Slither Reaper in other courses, In that poem, 165 00:12:45,470 --> 00:12:50,750 Wordsworth, I don't know, it seems like he was 166 00:12:50,750 --> 00:12:54,410 challenging the conventions of the time, I mean 167 00:12:54,410 --> 00:12:57,730 the past convention. He was romantic, but in this 168 00:12:57,730 --> 00:13:01,390 poem, he was using neoclassical. He was using 169 00:13:01,390 --> 00:13:05,070 poetic diction. So he was variating with 170 00:13:06,810 --> 00:13:10,910 The diction itself with the images sometimes, some 171 00:13:10,910 --> 00:13:15,270 of the images like I behold her single, behold, 172 00:13:15,530 --> 00:13:21,510 this is very poetic. Then would anybody tell me 173 00:13:21,510 --> 00:13:24,250 what she's singing? So he was moving from formal. 174 00:13:24,730 --> 00:13:28,150 to informal, from poetic diction, and even the 175 00:13:28,150 --> 00:13:31,110 rhyme. He is in the same poem, he's variating in 176 00:13:31,110 --> 00:13:34,330 the rhyme. Why he was doing this, some critics say 177 00:13:34,330 --> 00:13:38,630 because he wanted to challenge, he wanted to 178 00:13:38,630 --> 00:13:44,630 ridicule those. So this depends on the poem. If 179 00:13:44,630 --> 00:13:47,750 you look here, as if her song could have no 180 00:13:47,750 --> 00:13:52,800 ending, I saw her singing at work, at her work, 181 00:13:53,180 --> 00:13:56,260 and over the sickle bending. So if you look at 182 00:13:56,260 --> 00:14:02,080 ending and bending, they are two syllables. They 183 00:14:02,080 --> 00:14:06,120 have almost the same sound and this rhyme called 184 00:14:06,120 --> 00:14:07,640 feminine rhyme. 185 00:14:12,980 --> 00:14:17,780 Then I rhyme. I rhyme. 186 00:14:19,860 --> 00:14:25,560 I rhyme, you know, very deceptive. You know, you 187 00:14:25,560 --> 00:14:29,700 look at them, like here, some never advanced 188 00:14:29,700 --> 00:14:34,020 adjustment of their own, but catch the spreading 189 00:14:34,020 --> 00:14:40,440 notion of the town. So if you look at them, they 190 00:14:40,440 --> 00:14:44,400 seem to have rhymed, but if you read them, yeah, 191 00:14:44,780 --> 00:14:49,160 they, you know, do not have the same sound. 192 00:14:51,920 --> 00:14:57,880 I think the final one is para rhyme. Para, it's 193 00:14:57,880 --> 00:15:03,860 not like, as you see, it's a rhyme in which you 194 00:15:03,860 --> 00:15:10,640 have the same consonants, but the inside vowels 195 00:15:10,640 --> 00:15:17,820 are different. So if you look at this, I seem that 196 00:15:17,820 --> 00:15:23,190 out of the bottle I escaped. Down some profound 197 00:15:23,190 --> 00:15:28,590 doltenal I long since scooped, then through grains 198 00:15:28,590 --> 00:15:39,330 which Titanic wars had grown, yet also the 199 00:15:39,330 --> 00:15:42,090 encumbered sleepers grown. So what do you see? 200 00:15:42,210 --> 00:15:47,270 Escaped and scooped. We have the same consonant, 201 00:15:47,650 --> 00:15:51,150 but different vowel. So para, it is not 202 00:15:51,150 --> 00:15:54,810 completely, you know? It is not complete. It is 203 00:15:54,810 --> 00:15:59,270 semi, semi, you know? Semi-rhyme, because it has 204 00:15:59,270 --> 00:16:04,290 similar consonants, but different vowels. And this 205 00:16:04,290 --> 00:16:08,790 is again, you know, called para-rhyme. 206 00:16:12,910 --> 00:16:19,280 Okay. The poems we are studying have rhyme, and 207 00:16:19,280 --> 00:16:25,480 each rhyme, for example, in the sonnet of Sir 208 00:16:25,480 --> 00:16:30,560 Thomas Wyatt, the rhyme was fitting the sonnet. He 209 00:16:30,560 --> 00:16:36,100 was governed by this sonnet. It was A, if you 210 00:16:36,100 --> 00:16:44,980 remember, B, B, A. A, B, B, A, C, D, C, D, and E, 211 00:16:45,020 --> 00:16:49,340 E. So he was governed, but we said like when he 212 00:16:49,340 --> 00:16:55,720 chose word like behind, you know, we had like that 213 00:16:55,720 --> 00:17:00,280 long vowel and it has to do with his suffering and 214 00:17:00,280 --> 00:17:05,320 agony. Okay? So in the sonnet, you are governed by 215 00:17:05,320 --> 00:17:08,320 certain rhyme, but you have the freedom to play 216 00:17:08,660 --> 00:17:13,040 Which words to choose? Which words to choose? But 217 00:17:13,040 --> 00:17:18,860 rhyme is very important. Sometimes we might have 218 00:17:18,860 --> 00:17:21,820 or we might have a good and a better understanding 219 00:17:21,820 --> 00:17:26,300 of the poem because of a rhyme thing. The rhyme, 220 00:17:26,520 --> 00:17:29,660 sometimes they employ it to express certain 221 00:17:29,660 --> 00:17:33,820 feelings. Again, in Wilfred Owen, when he was 222 00:17:33,820 --> 00:17:42,670 shocked, by the tragedies of the war. He didn't 223 00:17:42,670 --> 00:17:45,670 use the perfect rhyme, he used I rhyme, he used 224 00:17:45,670 --> 00:17:50,610 imperfect rhyme, paradigm. So there was no pattern 225 00:17:50,610 --> 00:17:55,930 in the poem. And he did that deliberately in order 226 00:17:55,930 --> 00:18:01,090 to correlate this 227 00:18:01,090 --> 00:18:07,710 with his horror, his experience of disappointment 228 00:18:07,710 --> 00:18:10,650 because of the horror of the war itself. So 229 00:18:10,650 --> 00:18:13,890 sometimes there is kind of, you know, the rhyme 230 00:18:13,890 --> 00:18:17,430 resonates with the meaning of the poem. Okay? Now, 231 00:18:18,030 --> 00:18:22,850 we'll go to the problematic area, which is the 232 00:18:22,850 --> 00:18:27,270 rhythm. And some of you are disturbed because of 233 00:18:27,270 --> 00:18:29,640 the rhythm. and they think this is too much for 234 00:18:29,640 --> 00:18:34,660 us. I'm not teaching you scansion or neither 235 00:18:34,660 --> 00:18:37,660 prosody in this course, but it's very important to 236 00:18:37,660 --> 00:18:48,190 know the meters. and to know certain feet and how 237 00:18:48,190 --> 00:18:52,050 they function. Because sometimes again, in certain 238 00:18:52,050 --> 00:18:55,870 poems, mainly in Shakespeare, he plays with rhythm 239 00:18:55,870 --> 00:19:01,770 in order to suit perhaps an attitude or to fit 240 00:19:01,770 --> 00:19:05,870 with a tone or the general atmosphere of the poem. 241 00:19:06,190 --> 00:19:09,570 We are going to see that in one or two of his 242 00:19:09,570 --> 00:19:13,150 sonnets. So let's see what is rhythm. 243 00:19:15,470 --> 00:19:18,090 If you remember at the beginning of the course, we 244 00:19:18,090 --> 00:19:23,410 spoke about rhythm when we defined poetry. And 245 00:19:23,410 --> 00:19:31,170 here, these are the feet in English poetry. As we 246 00:19:31,170 --> 00:19:34,620 said, Most of the English poetry, I mean 80-70 247 00:19:34,620 --> 00:19:37,320 percent of the English poetry is written in iambic 248 00:19:37,320 --> 00:19:47,820 pentameter. Iamb is like this, two syllables. As 249 00:19:47,820 --> 00:19:51,520 you see, repeat, the word repeat. What is the 250 00:19:51,520 --> 00:19:56,580 stress? Is it on the first or the second? Yes, 251 00:19:56,640 --> 00:20:02,120 it's the longer one. Repeat, repeat, repeat. So it 252 00:20:02,120 --> 00:20:10,360 is very long. We saw this also in Henry Howard's 253 00:20:10,360 --> 00:20:15,380 poem last time. And thus I see among these 254 00:20:15,380 --> 00:20:19,140 pleasant things. It was iambic pentameter. But 255 00:20:19,140 --> 00:20:24,680 forget about pentameter. Like this is iamb. Ayam, 256 00:20:24,800 --> 00:20:28,060 it's called Ayam. If you have, you know, this 257 00:20:28,060 --> 00:20:32,480 pattern in the poem, you know, like repeat, you 258 00:20:32,480 --> 00:20:38,100 know, meet, see, et cetera, you have, this is 259 00:20:38,100 --> 00:20:43,840 Ayam. Now, the opposite of it, it's called Troche 260 00:20:43,840 --> 00:20:48,240 or Troche. You know, one of them either. And it is 261 00:20:48,240 --> 00:20:54,440 like never. Huh? Never. Like, look here, never. 262 00:20:54,720 --> 00:20:57,620 Where is the stress? It's on the first one. 263 00:20:58,000 --> 00:21:03,900 Clever. Never. Huh? Better. Okay, these are, you 264 00:21:03,900 --> 00:21:07,620 know, this is a trochee. It's the opposite of? 265 00:21:08,920 --> 00:21:13,820 Yes. The anabast. Okay, the anabast. 266 00:21:17,740 --> 00:21:25,210 The anabast. is similar to the iambic, but you 267 00:21:25,210 --> 00:21:26,810 have... Sorry. 268 00:21:33,510 --> 00:21:43,570 Okay. I have to go back. The anabast 269 00:21:47,490 --> 00:21:55,310 is like too unstressed, and then stressed, like 270 00:21:55,310 --> 00:22:01,150 interrupt, corrupt. You see? I think you are 271 00:22:01,150 --> 00:22:06,230 studying stress with Dr. Walid, okay? So, and Dr. 272 00:22:06,290 --> 00:22:09,150 Khader like teaching you like this, so you can 273 00:22:09,150 --> 00:22:13,710 make use of them in understanding the rhyme. Okay, 274 00:22:13,850 --> 00:22:19,570 then you have something called dactyl. Dactyl as 275 00:22:19,570 --> 00:22:26,050 it's like crochet, but instead of stressed, you 276 00:22:26,050 --> 00:22:30,030 have stressed and too unstressed, like Washington, 277 00:22:31,490 --> 00:22:37,910 wasting. It's like, as you see, one stressed, two 278 00:22:37,910 --> 00:22:44,130 stressed. Then you have spondee. This is accented. 279 00:22:45,460 --> 00:22:50,580 You don't have, it is like two words or two 280 00:22:50,580 --> 00:22:54,560 stressed syllables together, heart rate, heart 281 00:22:54,560 --> 00:23:02,780 rate, you know? Then you have pyrrhic, you know, 282 00:23:02,820 --> 00:23:08,080 like it is too unstressed, 283 00:23:08,640 --> 00:23:12,100 like as in the top of the mountain, the morning, 284 00:23:12,640 --> 00:23:16,850 you know, in the top of, morning, like too 285 00:23:16,850 --> 00:23:23,430 unstressed, too unstressed. Now we say monometer, 286 00:23:23,670 --> 00:23:29,690 diameter, why? Because sometimes if we look at the 287 00:23:29,690 --> 00:23:33,950 line of pottery, we might find iambic repeated 288 00:23:33,950 --> 00:23:38,210 like this, never ever. So what should I say? This 289 00:23:38,210 --> 00:23:42,230 is iambic what? Iambic monometer or diameter? 290 00:23:44,250 --> 00:23:48,850 Diameter, because it has two. It has two. So we 291 00:23:48,850 --> 00:23:56,390 say diameter, trimeter, monometer, 292 00:23:56,710 --> 00:23:57,510 diameter, 293 00:23:59,850 --> 00:24:04,490 yes, pentameter. It is according to the 294 00:24:04,490 --> 00:24:04,850 repetition. 295 00:24:07,710 --> 00:24:12,110 So here you have one foot is called what? 296 00:24:12,970 --> 00:24:13,450 Monometer. 297 00:24:16,360 --> 00:24:25,820 Two foot, diameter. Three, sorry, two feet. Three 298 00:24:25,820 --> 00:24:35,660 feet, trimeter. Four feet, tetrameter. Five, 299 00:24:36,500 --> 00:24:41,500 pentameter. That's why we said pentameter. Most of 300 00:24:41,500 --> 00:24:44,740 English poetry is written in pentameter, which is 301 00:24:44,740 --> 00:24:49,590 very musical. Then hexameter, six feet. Then 302 00:24:49,590 --> 00:24:53,690 heptameter, seven feet. And I think here you have 303 00:24:53,690 --> 00:25:00,330 some example. Like this is an example, you know, 304 00:25:00,990 --> 00:25:03,550 of iambic pentameter. 305 00:25:04,930 --> 00:25:09,810 Can anybody read this? Like here, from furthest 306 00:25:09,810 --> 00:25:15,680 creature, we desire increase. that their beauties 307 00:25:15,680 --> 00:25:22,080 rose, but never die. Who can read it? From there, 308 00:25:22,620 --> 00:25:27,440 from fair creatures, we desire increase, that 309 00:25:27,440 --> 00:25:33,600 their beauties rose, but never die. See? Titam, 310 00:25:33,880 --> 00:25:39,400 titam. So try to read it according to them, from 311 00:25:39,400 --> 00:25:44,940 fair, From fairest creatures, we desire increase, 312 00:25:45,540 --> 00:25:51,320 that their beauties rose, but never die. So it is 313 00:25:51,320 --> 00:25:57,160 measured, very musical. As I told you, if we talk 314 00:25:57,160 --> 00:26:00,640 in iambic pentameter, we'll be funny. For example, 315 00:26:01,260 --> 00:26:05,780 please, when you come to my class, write your 316 00:26:05,780 --> 00:26:08,980 report. It's like this, you know, ti tam, ti tam, 317 00:26:09,060 --> 00:26:14,430 ti tam. So another example, this is, you know, a 318 00:26:14,430 --> 00:26:15,010 tetrameter. 319 00:26:18,630 --> 00:26:20,270 Tetrameter, sorry. 320 00:26:30,150 --> 00:26:36,170 This is iambic trimeter, three. It is the evening 321 00:26:36,170 --> 00:26:44,920 hour. How silent all that lie. It is the evening 322 00:26:44,920 --> 00:26:53,760 hour. How silent all that lie. See? This is iambic 323 00:26:53,760 --> 00:27:01,580 trimeter. Then we have tetrameter. This is like 324 00:27:01,580 --> 00:27:04,180 Troche. He's... 325 00:27:08,450 --> 00:27:10,050 I think it is in the other side. 326 00:27:23,330 --> 00:27:27,550 The iambic tetrameter, it's like, it's a poem we 327 00:27:27,550 --> 00:27:29,870 are going to study. Okay, just like. 328 00:27:42,520 --> 00:27:45,340 Is it clear? Okay. 329 00:27:56,700 --> 00:28:01,180 This is, you know, tricky, but I'm just like, I 330 00:28:01,180 --> 00:28:04,660 want to give you an example of iambic tetrameter. 331 00:28:05,300 --> 00:28:08,500 It's like in Marlowe's, they never reply, come 332 00:28:08,500 --> 00:28:13,540 live with me and be my love. It is, you know, Come 333 00:28:13,540 --> 00:28:17,940 live with me and be my love. It is eight 334 00:28:17,940 --> 00:28:22,240 syllables, and it is called iambic pentameter. 335 00:28:22,740 --> 00:28:27,100 This is troche tetrameter. Come, you know, troche, 336 00:28:27,240 --> 00:28:30,920 we said it's the opposite. Come my, what is the 337 00:28:30,920 --> 00:28:36,260 stress? The first one. Come my, Celia, let us 338 00:28:36,260 --> 00:28:40,530 prove why we made this sports of love. You know, 339 00:28:40,770 --> 00:28:43,670 it's like troche, and how many syllables do you 340 00:28:43,670 --> 00:28:48,290 have? You have like, you know, six here, as you 341 00:28:48,290 --> 00:28:52,110 see. Tetra, because we have six syllables. 342 00:28:54,630 --> 00:29:00,490 Tetrameter, like eight, in fact. Cum, cummi, this 343 00:29:00,490 --> 00:29:06,220 is two, cilia two, two, so we have eight. Eight 344 00:29:06,220 --> 00:29:10,900 syllables because the foot, each foot is like two 345 00:29:10,900 --> 00:29:15,060 syllables. So this is called troche, dactyl, 346 00:29:16,660 --> 00:29:22,280 tetrameter. Like this one, you know, women much 347 00:29:22,280 --> 00:29:27,000 missed how you call to me, call to me, saying that 348 00:29:27,000 --> 00:29:34,000 you are not as you were, okay? So this is, and all 349 00:29:34,000 --> 00:29:36,880 these are examples of the meters, just like look 350 00:29:36,880 --> 00:29:39,540 at them, you know, and see the stress, where the 351 00:29:39,540 --> 00:29:43,780 stress, so it is very important that to know In 352 00:29:43,780 --> 00:29:49,060 this course, we might look at the rhythm in some 353 00:29:49,060 --> 00:29:52,920 poems because sometimes the rhythm might have 354 00:29:52,920 --> 00:29:58,360 something to do with poetry. Good. This is 355 00:29:58,360 --> 00:30:05,780 generally about rhythm and rhyme and rhythm. We'll 356 00:30:05,780 --> 00:30:09,880 go back to the critical plan. Yes. 357 00:30:16,760 --> 00:30:20,260 No, I mean it is up to the purpose, like how he 358 00:30:20,260 --> 00:30:24,780 sees. Sometimes certain words, you know, do not 359 00:30:24,780 --> 00:30:30,020 fit with the rhyme. But poets want to be regular. 360 00:30:31,180 --> 00:30:34,640 Like I know some, you know, some students of mine, 361 00:30:35,880 --> 00:30:39,900 write poetry by using rhythm. They go study rhythm 362 00:30:39,900 --> 00:30:43,200 and they write poetry. Even they are not native 363 00:30:43,200 --> 00:30:47,220 speakers, but they still, a student of mine, even 364 00:30:47,220 --> 00:30:51,420 he's like Tawjihi, said, I wrote a poem in Anabas, 365 00:30:51,620 --> 00:30:56,190 which was very surprising to me. So yes, they 366 00:30:56,190 --> 00:31:00,290 choose sometimes like they vary it. Sometimes they 367 00:31:00,290 --> 00:31:05,230 are systematic. It is according to the purpose 368 00:31:05,230 --> 00:31:07,150 they want to establish. Yes, sir. Yes. 369 00:31:12,350 --> 00:31:19,230 Forty love middle-aged couple. Yes. Yes. 370 00:31:22,760 --> 00:31:25,840 It doesn't fit with the rhythm of that. 371 00:31:29,100 --> 00:31:32,920 Yeah, but no, 40 love, 40 love, you have two 372 00:31:32,920 --> 00:31:37,680 syllables. We have two syllables in each one. 40 373 00:31:37,680 --> 00:31:41,660 love, it's like iambic. All of it, it is iambic 374 00:31:41,660 --> 00:31:45,440 diameter. 40 love, middle-aged couple playing 375 00:31:45,440 --> 00:31:48,620 tennis, it's iambic pentameter. 376 00:31:50,550 --> 00:31:53,730 Yeah, that was, you know, I mean at the beginning 377 00:31:53,730 --> 00:31:56,750 of the course I gave you two poems which are 378 00:31:56,750 --> 00:32:00,990 modern. Sometimes some poets do not follow rhyme 379 00:32:00,990 --> 00:32:04,990 at all, and this is called free verse. They do not 380 00:32:04,990 --> 00:32:07,630 follow rhyme, and sometimes they vary it with 381 00:32:07,630 --> 00:32:12,100 rhythm. See? But those poems I gave you at the 382 00:32:12,100 --> 00:32:18,420 beginning of the course were just 383 00:32:18,420 --> 00:32:24,100 very modern or very postmodern, in which the poets 384 00:32:24,100 --> 00:32:31,360 did not commit themselves to the tradition of 385 00:32:31,360 --> 00:32:32,300 English poetry. 386 00:32:34,920 --> 00:32:38,460 If you remember last time, I gave you, quickly at 387 00:32:38,460 --> 00:32:45,520 the end of the lecture, the leveler. And part two 388 00:32:45,520 --> 00:32:50,240 of the critical plan was discussing some areas we, 389 00:32:50,820 --> 00:32:57,190 as readers, might face when we read a poem. And as 390 00:32:57,190 --> 00:33:02,270 you see, the first area was 391 00:33:02,270 --> 00:33:05,430 like, we don't have to be very hasty. Some people 392 00:33:05,430 --> 00:33:09,750 are hasty. This is part two. It's meaning, 393 00:33:10,790 --> 00:33:18,950 intention, and idea. And here, as you see, we are 394 00:33:18,950 --> 00:33:21,950 strongly advised 395 00:33:31,380 --> 00:33:34,280 These are areas gaining balanced development of 396 00:33:34,280 --> 00:33:38,000 the theme, maintaining the total experience of the 397 00:33:38,000 --> 00:33:42,280 poem, and judging the poem on the basis of the 398 00:33:42,280 --> 00:33:43,100 poet's intention. 399 00:33:46,300 --> 00:33:49,740 We said, you know, gaining a balanced development 400 00:33:49,740 --> 00:33:52,960 of the theme. We do not have to base our judgment 401 00:33:52,960 --> 00:34:01,470 on one part of the poem, we have to follow or to 402 00:34:01,470 --> 00:34:06,890 read the entire poem and to test this theme. Is it 403 00:34:06,890 --> 00:34:10,370 like, does it fit with the whole poem or not? So 404 00:34:10,370 --> 00:34:15,590 we don't have to be very hasty. And we gave you 405 00:34:15,590 --> 00:34:19,490 the example of Deliverer, which was similar to the 406 00:34:19,490 --> 00:34:22,350 example of the poem, Who's Lost to Hunt, if you 407 00:34:22,350 --> 00:34:27,410 remember. So this is an area we should be careful. 408 00:34:29,070 --> 00:34:34,150 Of course, we cannot say what is the poem about 409 00:34:34,150 --> 00:34:38,890 unless we read it several times. The second 410 00:34:38,890 --> 00:34:42,370 problem area like here, as you say, we have to 411 00:34:42,370 --> 00:34:46,910 maintain the total experience. Here, the second 412 00:34:46,910 --> 00:34:52,650 area is called the total meaning and the prose 413 00:34:52,650 --> 00:34:54,590 meaning. There is something called the prose 414 00:34:54,590 --> 00:34:58,710 meaning and the total meaning. What is the 415 00:34:58,710 --> 00:35:01,250 difference between the prose meaning and the total 416 00:35:01,250 --> 00:35:05,950 meaning? The prose meaning of the poem means the 417 00:35:05,950 --> 00:35:12,830 dictionary meaning. It is the paraphrase. So if 418 00:35:12,830 --> 00:35:15,470 you say spring, 419 00:35:18,460 --> 00:35:22,380 has bloom and everything is beautiful, you are 420 00:35:22,380 --> 00:35:25,800 paraphrasing. But when you link this description 421 00:35:25,800 --> 00:35:29,620 with experience, you are talking about the total 422 00:35:29,620 --> 00:35:32,480 experience. So the total experience is different 423 00:35:32,480 --> 00:35:36,860 from the prose meaning. 424 00:35:39,580 --> 00:35:44,560 This is the leveler we read last time. I wish you 425 00:35:44,560 --> 00:35:47,930 look at it again. It's a very interesting poem, 426 00:35:48,930 --> 00:35:53,450 and we saw how sarcastic the poet was. 427 00:35:56,590 --> 00:36:01,950 Mainly here in the last two stanzas, when he said, 428 00:36:03,250 --> 00:36:08,710 Old Sergeant Smith, kindness of man, wrote out two 429 00:36:08,710 --> 00:36:12,550 copies there and then of his accustomed speech to 430 00:36:12,550 --> 00:36:17,380 cheer the women folk of each. He died a hero's 431 00:36:17,380 --> 00:36:25,020 death, and here we saw how sarcastic the poet was, 432 00:36:25,560 --> 00:36:30,720 how cynical he was. He didn't believe in the idea 433 00:36:30,720 --> 00:36:35,920 of heroism. The second area, this is like, do not 434 00:36:35,920 --> 00:36:43,800 give hasty adjustment. This is the second problem. 435 00:36:44,580 --> 00:36:46,720 to understand the poet's thoughts and emotions. 436 00:36:48,100 --> 00:36:52,120 Now, yes, we have to understand the poet's 437 00:36:52,120 --> 00:36:54,600 thoughts and emotions. And in order to understand 438 00:36:54,600 --> 00:36:58,280 this, we have to be open. Now, sometimes we might 439 00:36:58,280 --> 00:37:02,820 not like or we might find a poem difficult. Some 440 00:37:02,820 --> 00:37:05,120 words are difficult and we say, damn, I'm not 441 00:37:05,120 --> 00:37:08,760 going to read this poem. This is not good. Okay? 442 00:37:10,020 --> 00:37:15,530 You have to be sympathetic. At least while you are 443 00:37:15,530 --> 00:37:18,610 reading the poem, you have to be, because you 444 00:37:18,610 --> 00:37:22,170 won't have access to the experience, to the total 445 00:37:22,170 --> 00:37:26,230 experience of the poet unless you are sympathetic. 446 00:37:26,930 --> 00:37:29,230 You have to understand. You have to live the 447 00:37:29,230 --> 00:37:33,390 experience of the poet in order to appreciate the 448 00:37:33,390 --> 00:37:38,610 poem. And as you see, sometimes we don't have to 449 00:37:38,610 --> 00:37:41,810 judge the poem according to our initial feeling. 450 00:37:43,410 --> 00:37:46,430 And we hear, be sure you go to the author to get 451 00:37:46,430 --> 00:37:51,630 his meaning, not to find yours. Sometimes we are 452 00:37:51,630 --> 00:37:56,790 blinded by a certain idea in our mind, and we keep 453 00:37:56,790 --> 00:38:01,010 developing this and forget what the poem is about. 454 00:38:01,510 --> 00:38:04,950 So I think this is something we have to be 455 00:38:04,950 --> 00:38:05,830 cautious of. 456 00:38:09,450 --> 00:38:12,190 As you see here, the meaning of the poem is the 457 00:38:12,190 --> 00:38:15,530 experience it expresses. It is the experience. So 458 00:38:15,530 --> 00:38:18,150 this is the meaning. What kind of experience? This 459 00:38:18,150 --> 00:38:21,530 is the experience of happiness, sadness, 460 00:38:21,930 --> 00:38:25,230 frustration. So this is the meaning of the poem. 461 00:38:25,510 --> 00:38:28,250 It is not the prose meaning of the poem. It is not 462 00:38:28,250 --> 00:38:33,350 the paraphrase of the poem. Okay, you just go read 463 00:38:33,350 --> 00:38:39,590 this part because sometimes we like We might be 464 00:38:39,590 --> 00:38:43,470 worried that the poem has no ideas. It discusses 465 00:38:43,470 --> 00:38:48,810 no ideas. And we say, why? Sometimes we have a 466 00:38:48,810 --> 00:38:52,850 poem which is meaningful because it is only a 467 00:38:52,850 --> 00:38:56,150 description. And this description records the 468 00:38:56,150 --> 00:38:59,450 experience. And if you see here, you have a poem, 469 00:38:59,570 --> 00:39:05,180 The Eagle. The eagle is an example. Here, it's a 470 00:39:05,180 --> 00:39:09,560 description of an eagle which goes up high and 471 00:39:09,560 --> 00:39:16,420 then comes down as a thunderbolt. Like, look here. 472 00:39:17,160 --> 00:39:20,200 This is the eagle. It's a description. He clasped 473 00:39:20,200 --> 00:39:26,260 the crag with crocked hands, close to the sun in 474 00:39:26,260 --> 00:39:29,500 lonely lands. Ringed with the azure word, he 475 00:39:29,500 --> 00:39:33,730 stands. The wrinkled sea beneath him crawls. He 476 00:39:33,730 --> 00:39:36,510 watches from his mountain walls. And like 477 00:39:36,510 --> 00:39:42,510 thunderbolt, he falls. It's a description of 478 00:39:42,510 --> 00:39:44,890 eagle. 479 00:39:46,090 --> 00:39:51,510 This poem was written by Tennyson. Tennyson was a 480 00:39:51,510 --> 00:39:58,630 Victorian poet. And in the Victorian time, the 481 00:39:58,630 --> 00:40:02,370 world was changing. people started to lose 482 00:40:02,370 --> 00:40:06,410 certainty about, you know, no social patterns like 483 00:40:06,410 --> 00:40:10,530 laissez-faire or, you know, like there was 484 00:40:10,530 --> 00:40:14,150 corruption, utilitarianism, you know, people, I 485 00:40:14,150 --> 00:40:17,390 mean, materialism was governing everything. So the 486 00:40:17,390 --> 00:40:20,290 sense of society, the social patterns, you know, 487 00:40:20,290 --> 00:40:25,310 vanished. And in fact, even like religion, I mean, 488 00:40:25,390 --> 00:40:30,690 religious values retreated and retreated and Here 489 00:40:30,690 --> 00:40:32,710 the poet, what is the experience of the poet 490 00:40:32,710 --> 00:40:37,330 exactly? He was looking, he looked at the eagle. 491 00:40:37,530 --> 00:40:40,990 The eagle had the power to go up to leave this 492 00:40:40,990 --> 00:40:45,770 land, to go and come down, while the poet himself 493 00:40:45,770 --> 00:40:52,410 was mentally, psychologically entrapped. So he was 494 00:40:52,410 --> 00:40:58,590 looking at this bird with some feeling of envy. He 495 00:40:58,590 --> 00:41:03,240 was trapped. But look at this. He clasped the crag 496 00:41:03,240 --> 00:41:06,300 with crooked hands. Look how he admires it. Close 497 00:41:06,300 --> 00:41:09,360 to the sun in lonely lands. Ringed with azure. He 498 00:41:09,360 --> 00:41:14,040 envies the freedom of this creature. The wrinkled 499 00:41:14,040 --> 00:41:17,320 sea beneath. Look at him, how powerful. Him 500 00:41:17,320 --> 00:41:20,220 crawls. He watches from his mountain walls. And 501 00:41:20,220 --> 00:41:24,180 like a thunderbolt, he falls. So here, okay, the 502 00:41:24,180 --> 00:41:27,920 description is wonderful. We might look at this 503 00:41:27,920 --> 00:41:31,160 for more aesthetic consideration, but as you see 504 00:41:31,160 --> 00:41:36,820 here, the experience of the poet was like he, he 505 00:41:36,820 --> 00:41:43,940 was not Like, he didn't have the ability to leave 506 00:41:43,940 --> 00:41:47,840 because psychologically, mentally, he was trapped. 507 00:41:48,380 --> 00:41:53,020 His age was like an age of corruption, or an age 508 00:41:53,020 --> 00:41:55,520 of materialism. So people felt they were trapped. 509 00:41:55,680 --> 00:41:58,660 They could not go nowhere. And here, he's just 510 00:41:58,660 --> 00:42:01,920 looking at this eagle who's having that ability to 511 00:42:01,920 --> 00:42:08,040 escape. To escape, not like the poet. I think, you 512 00:42:08,040 --> 00:42:12,500 know, today, this is enough for today. I'm giving 513 00:42:12,500 --> 00:42:17,220 chance to other classes to catch up. Next time, as 514 00:42:17,220 --> 00:42:22,960 I said, you have to bring, like, you know, your 515 00:42:22,960 --> 00:42:28,440 response to Sidney and Spencer. You know, Spencer 516 00:42:28,440 --> 00:42:32,540 to his, you know, there is a sonnet for Spencer. 517 00:42:33,440 --> 00:42:38,200 So, but we are going to discuss first Sydney and 518 00:42:38,200 --> 00:42:42,740 then Spencer, okay? Thank you very much.