1 00:00:13,660 --> 00:00:18,520 Assalamualaikum Good morning everybody How was the 2 00:00:18,520 --> 00:00:26,280 weekend? Not okay? Are you excited like the 3 00:00:26,280 --> 00:00:32,920 semester is over? Who's excited? I'm not excited, 4 00:00:33,060 --> 00:00:36,960 you know, because I think, you know, you're good 5 00:00:36,960 --> 00:00:40,660 students and I should continue. You're going to 6 00:00:40,660 --> 00:00:44,100 miss this class someday. I read some reports and 7 00:00:44,100 --> 00:00:49,440 like the students at the beginning, you know, were 8 00:00:49,440 --> 00:00:52,160 saying, I don't know what, how we are going to 9 00:00:52,160 --> 00:00:55,580 use, make use of this course. And then I looked at 10 00:00:55,580 --> 00:00:59,220 their final report. I found them like praising and 11 00:00:59,220 --> 00:01:01,720 they're going like, they felt very sad that the 12 00:01:01,720 --> 00:01:04,540 course is over. But some students like wanted to 13 00:01:04,540 --> 00:01:09,160 be over, you know. So this is the nature of a 14 00:01:09,160 --> 00:01:13,000 human being. Yes, they want to graduate and we 15 00:01:13,000 --> 00:01:16,040 understand their feelings. Good. Today is the last 16 00:01:16,040 --> 00:01:18,360 class. It should be the last class. I'm not sure 17 00:01:18,360 --> 00:01:21,760 how this class is going to proceed. But if we need 18 00:01:21,760 --> 00:01:24,360 another class, I don't mind giving on Monday. 19 00:01:27,700 --> 00:01:31,940 Today, as you see, we're going to conduct 20 00:01:31,940 --> 00:01:33,740 stylistic analysis 21 00:01:36,310 --> 00:01:39,090 Of course, there will be daily report. This is 22 00:01:39,090 --> 00:01:41,590 after listening to report. So we're going to see 23 00:01:41,590 --> 00:01:48,590 the choices created by, I mean here, we're going 24 00:01:48,590 --> 00:01:53,030 to look at the poem and to see how the words which 25 00:01:53,030 --> 00:01:56,630 were chosen, which were deleted here, and then 26 00:01:56,630 --> 00:01:59,050 suggested 27 00:02:01,500 --> 00:02:05,080 by us, and then like the words chosen by the poet, 28 00:02:05,360 --> 00:02:08,180 how they create certain pattern, which pattern 29 00:02:08,180 --> 00:02:11,820 they are creating, and what is the effect of that. 30 00:02:12,700 --> 00:02:15,720 But before we start, yes, we are going to listen 31 00:02:15,720 --> 00:02:17,420 to a report, yes? 32 00:02:31,760 --> 00:02:34,920 Four months later, time goes so fast. I got my 33 00:02:34,920 --> 00:02:37,520 memories and they will last. I try to keep it 34 00:02:37,520 --> 00:02:40,360 simple because I hate goodbyes by telling myself 35 00:02:40,360 --> 00:02:43,440 that I will remember this class. I remember all 36 00:02:43,440 --> 00:02:45,860 the things I have gone through. There's so much I 37 00:02:45,860 --> 00:02:50,460 can say, but words get in my way. From Wyatt to 38 00:02:50,460 --> 00:02:53,580 Owen, it all seemed once as a never-ending line of 39 00:02:53,580 --> 00:02:56,900 poems. So later on, when I'm sitting on my couch, 40 00:02:57,120 --> 00:02:59,980 I'm recollecting my thoughts in tranquility, and 41 00:02:59,980 --> 00:03:04,480 each class will flash in my memory. Or I'll go 42 00:03:04,480 --> 00:03:07,080 with the easy way and just watch the videos. Thank 43 00:03:07,080 --> 00:03:09,520 you very much. This is very interesting. Clap for 44 00:03:09,520 --> 00:03:15,520 her, please. I like this. Good. Yes? 45 00:03:20,100 --> 00:03:24,360 Good morning. December is the last month of this 46 00:03:24,360 --> 00:03:24,740 semester. 47 00:03:35,150 --> 00:03:39,670 Am I bus driver or train driver? Okay. It's good 48 00:03:39,670 --> 00:03:42,530 to think of the teacher as a bus driver and the 49 00:03:42,530 --> 00:03:46,390 students as passengers because this is metaphoric. 50 00:03:47,120 --> 00:03:50,180 And I think, you know, if you don't give the 51 00:03:50,180 --> 00:03:53,500 students orientation of where about you are going, 52 00:03:53,860 --> 00:03:57,160 they're going to get, you know, astray, they are 53 00:03:57,160 --> 00:04:03,060 going to get lost. The train crossed 40 54 00:04:03,060 --> 00:04:06,580 situations, all of them full of different 55 00:04:06,580 --> 00:04:10,380 features. You mean stations, right? Stations. All 56 00:04:10,380 --> 00:04:14,180 of them full of different features. But now the 57 00:04:14,180 --> 00:04:17,060 train is stopping in the middle of war and there 58 00:04:17,060 --> 00:04:21,560 are soldiers who fight and die for their country. 59 00:04:22,060 --> 00:04:26,920 Also there are a sunshine but its beams cannot 60 00:04:26,920 --> 00:04:30,560 able to recover the soldier wound. After this 61 00:04:30,560 --> 00:04:35,020 station, the train will finish its trip and stop 62 00:04:35,020 --> 00:04:39,020 and arrive to the examiner. Next, the passenger 63 00:04:39,020 --> 00:04:41,250 will leave the train. Okay, thank you very much. 64 00:04:41,670 --> 00:04:44,890 So I think this is like the quality of, this is 65 00:04:44,890 --> 00:04:48,610 the importance of the report. It gives you a 66 00:04:48,610 --> 00:04:51,930 chance to reflect, to talk to yourself. It gives 67 00:04:51,930 --> 00:04:55,690 you a chance to develop a unique monologue. And 68 00:04:55,690 --> 00:04:58,230 this is what happened. So my interest was not like 69 00:04:58,230 --> 00:05:01,750 to record what was happening in the class 70 00:05:01,750 --> 00:05:05,710 literally, but perhaps like to reflect, to debate 71 00:05:05,710 --> 00:05:06,350 with yourself. 72 00:05:09,180 --> 00:05:12,280 Good. I know like some people want to read the 73 00:05:12,280 --> 00:05:15,020 reports. Is anybody dying to read her report? Yes. 74 00:05:17,560 --> 00:05:19,120 She's dying to read her report. 75 00:05:23,560 --> 00:05:28,080 Good morning, everybody. Since we reached the last 76 00:05:28,080 --> 00:05:31,040 course of Pottery, actually I began to have some 77 00:05:31,040 --> 00:05:34,040 feeling of grief and I began to feel sorry. For 78 00:05:34,040 --> 00:05:36,620 the first time I liked Pottery course without any 79 00:05:36,620 --> 00:05:39,380 compliment because we learned many things from 80 00:05:39,380 --> 00:05:44,480 this course and we had a lot of enjoyment. When I 81 00:05:44,480 --> 00:05:47,920 remember that we started to approach the end of 82 00:05:47,920 --> 00:05:51,090 that course, My tears began to drop or to fall 83 00:05:51,090 --> 00:05:54,950 down but without any result or cause. Actually, I 84 00:05:54,950 --> 00:05:58,450 admired Putri lecture and I'm not saying that 85 00:05:58,450 --> 00:06:01,870 because of standing here but because this is the 86 00:06:01,870 --> 00:06:05,390 only course I admire and I have some feeling of 87 00:06:05,390 --> 00:06:08,430 fear. And last but not least, I thank Mr. Habib 88 00:06:08,430 --> 00:06:11,670 because of his continual efforts in order to make 89 00:06:11,670 --> 00:06:15,610 us love this lecture and because he provided with 90 00:06:15,610 --> 00:06:19,230 many useful information And because he gave us a 91 00:06:19,230 --> 00:06:21,630 lot about this course, perfect and complete 92 00:06:21,630 --> 00:06:26,410 lecture. So put your lecture and Mr. Habib, I 93 00:06:26,410 --> 00:06:29,550 can't say goodbye because of the case of missing 94 00:06:29,550 --> 00:06:33,070 you. And I'm saying that without being shy. So 95 00:06:33,070 --> 00:06:35,050 thank you very much. But you know, this is a 96 00:06:35,050 --> 00:06:36,870 valediction report. You know what valediction 97 00:06:36,870 --> 00:06:42,250 means? Like farewell, you know? Verification 98 00:06:42,250 --> 00:06:45,790 report. But again, like, I'm not sure whether they 99 00:06:45,790 --> 00:06:48,410 are going, you know, everybody here is sharing you 100 00:06:48,410 --> 00:06:53,210 because we have some different point of views and 101 00:06:53,210 --> 00:06:55,410 I'm interested in those different point of views. 102 00:06:55,710 --> 00:06:57,690 You know, if you want to have a different point of 103 00:06:57,690 --> 00:07:01,760 view, you can come. Or you can, like, let me know 104 00:07:01,760 --> 00:07:05,440 because also I'm interested in those who do not 105 00:07:05,440 --> 00:07:08,380 like the course. You know, this is your right to 106 00:07:08,380 --> 00:07:12,400 like or not to like, you know? And I still 107 00:07:12,400 --> 00:07:15,160 remember many people who started not liking the 108 00:07:15,160 --> 00:07:19,660 course. Then when they told me about this, I made 109 00:07:19,660 --> 00:07:22,480 them like the course. You see what I mean? So if 110 00:07:22,480 --> 00:07:24,740 you have some reservation, you can approach me 111 00:07:24,740 --> 00:07:28,470 even after the course. Good, today, as you see, 112 00:07:29,070 --> 00:07:34,850 we're going to see again Wilfred Owen's utility. 113 00:07:36,010 --> 00:07:40,830 Last time we generally discussed, if you remember, 114 00:07:41,830 --> 00:07:45,490 the possibility of the soldier in the war, was he 115 00:07:45,490 --> 00:07:50,270 dead or not, we paraphrased the poem. Today, we're 116 00:07:50,270 --> 00:07:54,830 going to see the choices here. 117 00:07:58,120 --> 00:08:03,000 and to see how the poet's choice perhaps makes 118 00:08:03,000 --> 00:08:07,360 pattern because when we write a word, we should 119 00:08:07,360 --> 00:08:11,560 link this word with another word in the poem. So 120 00:08:11,560 --> 00:08:16,220 if we succeed, it means like we have certain 121 00:08:16,220 --> 00:08:20,840 patterns created and this is good for poetry. So 122 00:08:20,840 --> 00:08:25,920 now, move him into the sun. Like for this stanza, 123 00:08:26,580 --> 00:08:31,660 I'm going to read for you some choices, you can 124 00:08:31,660 --> 00:08:33,440 write them. Early, 125 00:08:36,400 --> 00:08:44,460 shade, the word early, the word shade, the word 126 00:08:44,460 --> 00:08:52,180 revive, the word old, Yes. 127 00:08:55,260 --> 00:09:02,320 The word restore. The word sun. The word mourning. 128 00:09:04,480 --> 00:09:05,860 The word grave. 129 00:09:08,340 --> 00:09:12,420 The word kind. Rouse. 130 00:09:14,600 --> 00:09:16,280 Bright. Hospital. 131 00:09:19,440 --> 00:09:26,730 Okay. Now, move him into the sun. Yes, that was. 132 00:09:27,810 --> 00:09:32,130 Now, can you substitute this by another like word, 133 00:09:32,390 --> 00:09:35,690 the words I gave you, you know, the word I've just 134 00:09:35,690 --> 00:09:41,530 given you? Yeah, move him into hospital. Move him 135 00:09:41,530 --> 00:09:44,350 into the hospital. Do you think this is a good 136 00:09:44,350 --> 00:09:44,750 choice? 137 00:09:50,640 --> 00:09:55,740 Yeah, but like, do you think, let's see the 138 00:09:55,740 --> 00:09:56,100 hospital. 139 00:09:59,680 --> 00:10:05,680 So you think 140 00:10:05,680 --> 00:10:09,060 hospital is a good choice? Grave is a good choice? 141 00:10:09,260 --> 00:10:12,000 Because he's dead? But I don't think, you know, 142 00:10:12,640 --> 00:10:17,960 this perhaps is a good choice. Why? Because here, 143 00:10:18,840 --> 00:10:26,060 it seems like there was uncertainty about the 144 00:10:26,060 --> 00:10:30,820 soldiers being, you see, and again, this is a 145 00:10:30,820 --> 00:10:36,520 battlefield, and it is unlikely for a soldier, you 146 00:10:36,520 --> 00:10:41,500 know, to have like a funeral, to have the funeral 147 00:10:41,500 --> 00:10:46,250 procession in the battlefield. Soldiers who die in 148 00:10:46,250 --> 00:10:51,510 the battlefield are not given burial soon. They're 149 00:10:51,510 --> 00:10:59,550 not buried soon. Grave, hospital? Again, the word 150 00:10:59,550 --> 00:11:03,730 hospital is not possible. Now the choice, the word 151 00:11:03,730 --> 00:11:08,970 son. Do you think it makes pattern with any of 152 00:11:08,970 --> 00:11:10,770 these words? Son. 153 00:11:13,630 --> 00:11:18,850 Is it a good choice? This is what the poet used. 154 00:11:19,190 --> 00:11:24,630 Why? What does it make pattern with? Where can we 155 00:11:24,630 --> 00:11:27,850 link the word with? Yes, please. Okay, in terms of 156 00:11:27,850 --> 00:11:30,150 the meaning, you can look at the fourth line, 157 00:11:30,310 --> 00:11:33,650 always it awoke him. This is something like the 158 00:11:33,650 --> 00:11:36,730 sun, this is the sun's doing. And also you can see 159 00:11:36,730 --> 00:11:40,510 it when it comes to the poetic aspect, you can see 160 00:11:40,510 --> 00:11:45,590 it rhyming sort of with Anson It is imperfect. 161 00:11:45,770 --> 00:11:48,270 Good, thank you very much. So I think, you know, 162 00:11:49,190 --> 00:11:54,830 the choice sun is a good choice. Why? Because, you 163 00:11:54,830 --> 00:11:57,550 know, here the first stanza, it ends with the sun 164 00:11:57,550 --> 00:12:02,170 and it, sorry, it begins with the sun and ends 165 00:12:02,170 --> 00:12:06,610 with the sun. So if anything might rouse him, you 166 00:12:06,610 --> 00:12:09,650 know, here, the sun will know. So it makes 167 00:12:09,650 --> 00:12:12,890 pattern. Well, you know, it begins with the sun 168 00:12:12,890 --> 00:12:16,690 and ends with the sun. Yes, you're right. It is 169 00:12:16,690 --> 00:12:21,570 like here, always it woke him once because we know 170 00:12:21,570 --> 00:12:25,570 that the sun is linked with the act of awakening. 171 00:12:28,270 --> 00:12:34,470 But here, again, the act of awakening. Is the 172 00:12:34,470 --> 00:12:38,030 soldier like dead or alive? Is he awake or asleep? 173 00:12:39,580 --> 00:12:43,400 Because here in the poem, the idea of awakening is 174 00:12:43,400 --> 00:12:51,800 there, but it is cancelled by the sense of death 175 00:12:51,800 --> 00:12:55,120 and sleep because it is cancelled by the 176 00:12:55,120 --> 00:12:59,820 possibility of death. So when we have awakening 177 00:12:59,820 --> 00:13:05,120 which is cancelled by death, sometimes when we 178 00:13:05,120 --> 00:13:07,240 expect something would happen and it doesn't 179 00:13:07,240 --> 00:13:11,480 happen, how do we feel? We feel disappointed. We 180 00:13:11,480 --> 00:13:16,020 feel frustrated. We feel frustrated. So usually 181 00:13:16,020 --> 00:13:21,260 this is like the effect of the defeat of 182 00:13:21,260 --> 00:13:24,440 expectation. When our expectations are defeated, 183 00:13:25,260 --> 00:13:28,880 when we expect that something would happen and it 184 00:13:28,880 --> 00:13:34,660 doesn't happen, we are disappointed. And we feel 185 00:13:34,660 --> 00:13:41,290 that a life sometimes or things All our waiting or 186 00:13:41,290 --> 00:13:46,270 all our expectation has been futile. You see what 187 00:13:46,270 --> 00:13:51,210 I mean? Concentrate on this word, futile. Good. 188 00:13:51,790 --> 00:13:59,630 Yes, again, you said sun and sun. You said 189 00:13:59,630 --> 00:14:04,230 imperfect rhyme. Like, what would happen if the 190 00:14:04,230 --> 00:14:09,720 rhyme is perfect? because the uncertainty is given 191 00:14:09,720 --> 00:14:12,940 by the imperfection of the rhyme. Like you don't 192 00:14:12,940 --> 00:14:14,940 know there's something wrong going on. You don't 193 00:14:14,940 --> 00:14:19,520 know if he's probably alive or he's just asleep. 194 00:14:20,120 --> 00:14:25,900 So you mean like the perfect rhyme has to do with 195 00:14:25,900 --> 00:14:33,080 sense of certainty. It has affirmative impact on 196 00:14:33,080 --> 00:14:38,170 us. It has positive, but here it seems like You 197 00:14:38,170 --> 00:14:42,510 know, the writer's attitude has nothing to do with 198 00:14:42,510 --> 00:14:49,670 any sense of agreement or musicality at all. We'll 199 00:14:49,670 --> 00:14:53,270 discuss the rhyme there, you know. Good. Move him 200 00:14:53,270 --> 00:14:57,210 into the sun. Gently its touch awoke him once. 201 00:14:59,830 --> 00:15:04,540 At home whispering of fields and so on. always it 202 00:15:04,540 --> 00:15:08,400 woke him even in France until this morning and 203 00:15:08,400 --> 00:15:12,260 this snow. Like if you remember in the previous 204 00:15:12,260 --> 00:15:16,540 class we discussed that it's good I see new faces 205 00:15:16,540 --> 00:15:20,020 today, you know? Faces I have never seen before. 206 00:15:23,180 --> 00:15:25,460 Okay, I'm talking about the sun. 207 00:15:30,740 --> 00:15:35,600 You see, if you remember, last time we said the 208 00:15:35,600 --> 00:15:41,440 sun is introduced as animate and inanimate at the 209 00:15:41,440 --> 00:15:47,620 same time. How? Because the 210 00:15:47,620 --> 00:15:53,800 sun in the grammatical code is what? Animate or 211 00:15:53,800 --> 00:15:57,540 inanimate? Yes, inanimate. But in the poem, in the 212 00:15:57,540 --> 00:16:01,840 context of the poem, It is animate. So here 213 00:16:01,840 --> 00:16:06,220 figuratively, it is animate, but grammatically, 214 00:16:06,740 --> 00:16:09,320 you know, in the language goal, it is inanimate. 215 00:16:09,700 --> 00:16:15,700 So what do we have here? We have a kind of tension 216 00:16:15,700 --> 00:16:21,640 between animate and inanimate, between life and 217 00:16:21,640 --> 00:16:27,160 death. So these contrasts are created animate, 218 00:16:28,140 --> 00:16:32,670 inanimate, And what else? Life and death. What 219 00:16:32,670 --> 00:16:45,630 else? Sun? Sun and? Sun and? Huh? Sun and? No? We 220 00:16:45,630 --> 00:16:51,110 don't have the moon. The star? Okay. Yeah, the 221 00:16:51,110 --> 00:16:55,730 sun. If you don't look at the snow. So again, we 222 00:16:55,730 --> 00:16:58,390 have You know, pattern of contrast between 223 00:16:58,390 --> 00:17:05,730 coldness and warmth. See what I mean? So these are 224 00:17:05,730 --> 00:17:12,090 intention, and nothing is settled. Okay, if 225 00:17:12,090 --> 00:17:21,150 anything might, if anything might, okay, we have 226 00:17:21,150 --> 00:17:24,450 choices I give you. Like, what about restore? 227 00:17:26,330 --> 00:17:31,450 Restore is a good choice. You know, I gave you a 228 00:17:31,450 --> 00:17:35,170 word restore. What about the word restore? It's a 229 00:17:35,170 --> 00:17:38,470 good choice, isn't it? Which is a better choice? 230 00:17:38,790 --> 00:17:44,090 Restore or Rouse? Or revive? I like revive. You 231 00:17:44,090 --> 00:17:48,850 like revive. Why? It's sort of like giving life 232 00:17:48,850 --> 00:17:51,750 into something. Yes. Yeah. 233 00:17:59,690 --> 00:18:05,430 Why revive is a good choice? You like it? Does it 234 00:18:05,430 --> 00:18:07,210 make any pattern with revive? 235 00:18:14,830 --> 00:18:18,030 You know, but I think the word Rouse, the word 236 00:18:18,030 --> 00:18:22,310 Rouse has to do with awakening, you know? More 237 00:18:22,310 --> 00:18:25,290 than with revive. Revive, it has to do with 238 00:18:25,290 --> 00:18:30,310 somebody who's fainted and you revive him. You see 239 00:18:30,310 --> 00:18:36,770 what I mean? Yes. And again, Rouse, does it make 240 00:18:36,770 --> 00:18:44,800 any rhyme with, you know? Rouse. Now. You see? 241 00:18:49,180 --> 00:18:54,440 Don't you think it has assonance? Not like revive. 242 00:18:55,080 --> 00:18:58,000 There is assonance. It makes some assonance. And 243 00:18:58,000 --> 00:19:00,360 this assonance has to do with complaint. 244 00:19:03,580 --> 00:19:08,780 Okay, then the son will know. The early son. 245 00:19:12,760 --> 00:19:15,320 The early, what about the early sun? Or the 246 00:19:15,320 --> 00:19:15,820 morning sun? 247 00:19:19,320 --> 00:19:23,680 Do you think the early sun is a good choice? The 248 00:19:23,680 --> 00:19:27,100 bright sun? Yeah. 249 00:19:30,600 --> 00:19:34,640 Yeah, so you think, you know here, because it 250 00:19:34,640 --> 00:19:39,340 seems like to us, like the soldier is dead and the 251 00:19:39,340 --> 00:19:44,460 poet is sarcastic. So the bright sun, I think the 252 00:19:44,460 --> 00:19:46,560 bright sun might be also sarcastic. 253 00:19:49,580 --> 00:19:52,000 The bright sun, the bright, 254 00:19:55,360 --> 00:20:05,700 you know. The old, ah, old with no old. And old 255 00:20:05,700 --> 00:20:10,180 has to do with the sense of weakness, inability. 256 00:20:12,720 --> 00:20:15,640 The meter, what do you mean the meter? The kind 257 00:20:15,640 --> 00:20:18,200 old sun will know, or the bright sun will know. 258 00:20:18,360 --> 00:20:22,980 It's like, it's a less, like one feet element. 259 00:20:23,920 --> 00:20:26,340 Less syllable, you mean? The syllable itself. 260 00:20:26,660 --> 00:20:29,980 Yeah, two syllables or one syllable. Yeah, think 261 00:20:29,980 --> 00:20:39,820 how it wakes the seeds. Sorry, I say the old kind. 262 00:20:40,620 --> 00:20:44,270 If we say the bright kind, It doesn't make the 263 00:20:44,270 --> 00:20:52,190 irony. But the old kind, antithesis, you know, how 264 00:20:52,190 --> 00:20:55,570 come you are old? Because old has to do with the 265 00:20:55,570 --> 00:21:00,330 sense of ineffectiveness, the sense of inability, 266 00:21:00,850 --> 00:21:08,110 and the sense of futility as well. Because if the 267 00:21:08,110 --> 00:21:14,430 sun is unable to rouse, to awake, we feel there is 268 00:21:14,430 --> 00:21:19,510 nothing in the world. We feel there is a sense of 269 00:21:19,510 --> 00:21:23,790 futility. And all of this makes pattern with the 270 00:21:23,790 --> 00:21:28,970 title of the poem, Futility. Okay, let's see the 271 00:21:28,970 --> 00:21:29,710 second stanza. 272 00:21:34,030 --> 00:21:41,210 It starts with think. How does like move in the 273 00:21:41,210 --> 00:21:45,710 first stanza differ from thinking? 274 00:21:48,830 --> 00:21:55,090 Move, move him into the sun. It's like an order. 275 00:21:56,410 --> 00:22:00,210 It seems like the poet is indignant, is very 276 00:22:00,210 --> 00:22:07,450 angry. But now, once, You know, the poet made sure 277 00:22:07,450 --> 00:22:12,750 that the soldier was dead. He's no longer angry, 278 00:22:12,870 --> 00:22:18,790 but rather he's inviting us to meditate, to think. 279 00:22:19,350 --> 00:22:25,450 Think. Think with me. How? So he is in the mood of 280 00:22:25,450 --> 00:22:32,420 meditating. You know, like what? Think how it once 281 00:22:32,420 --> 00:22:38,040 wakes the seeds, how the sun wakes the seed. So 282 00:22:38,040 --> 00:22:44,080 he's inviting us to think about what? About 283 00:22:44,080 --> 00:22:49,040 ourselves? About what? About the sun doing what? 284 00:22:50,600 --> 00:22:55,220 Waking, how it was giving life. So now he started 285 00:22:55,220 --> 00:23:01,220 to ask questions about Life. Life. Think how it 286 00:23:01,220 --> 00:23:05,240 wakes the seeds once they glaze on a cold star. 287 00:23:08,440 --> 00:23:11,360 We say here, what? 288 00:23:14,100 --> 00:23:23,440 Move, or stare, or walk. What about move? Think 289 00:23:23,440 --> 00:23:24,340 how the sun moves? 290 00:23:26,990 --> 00:23:30,170 Yeah, we have redundancy. So I think, you know 291 00:23:30,170 --> 00:23:36,510 here, woke, because again, it makes pattern with 292 00:23:36,510 --> 00:23:42,090 waking, you know, the sense of waking. Because 293 00:23:42,090 --> 00:23:48,910 here, as we said, waking is an issue. Is he awake 294 00:23:48,910 --> 00:23:53,390 or is he asleep? Woke, the clays of a cold star. 295 00:23:53,490 --> 00:23:58,950 This is like a nice metaphor. And we're talking 296 00:23:58,950 --> 00:24:03,310 about the clays of a cold star. What is it a 297 00:24:03,310 --> 00:24:07,530 metaphor of? This is like a metonymy. What is the 298 00:24:07,530 --> 00:24:13,890 cold star? It is the earth. So here he is inviting 299 00:24:13,890 --> 00:24:19,690 us to question the meaning of what? Of life on 300 00:24:19,690 --> 00:24:25,570 earth. So the death of a soldier made him question 301 00:24:25,570 --> 00:24:32,270 the meaning of life in general, of cosmic life, 302 00:24:32,570 --> 00:24:37,950 how it started. Think how it once worked, once the 303 00:24:37,950 --> 00:24:43,270 clays of a cold star. And then our limbs so dear 304 00:24:43,270 --> 00:24:50,070 achieved our sides full-nerved, still warm, too 305 00:24:50,070 --> 00:24:54,170 hard to stir. 306 00:24:56,520 --> 00:24:59,340 Do you think star is a good choice? 307 00:25:01,700 --> 00:25:08,520 Why a good choice? Because it makes imperfect 308 00:25:08,520 --> 00:25:13,580 rhyme with star. So here, as I told you, there is 309 00:25:13,580 --> 00:25:17,360 nothing perfect. So choosing the imperfect rhyme 310 00:25:17,360 --> 00:25:25,850 has to create a sense of futility. Because here 311 00:25:25,850 --> 00:25:28,810 we're not dealing with, you know, perfect tribe. 312 00:25:30,030 --> 00:25:39,970 Was it for this? The what? Was it for this? The 313 00:25:39,970 --> 00:25:41,350 soldier? 314 00:25:43,110 --> 00:25:44,610 The clay? Why the clay? 315 00:25:47,770 --> 00:25:54,340 It's a metonymy of what? What is he? Yeah, because 316 00:25:54,340 --> 00:25:57,720 he's linking this soldier, the death of this 317 00:25:57,720 --> 00:26:03,160 soldier, you know, or the life of this soldier to 318 00:26:03,160 --> 00:26:07,040 the life of the universe. And the death of this 319 00:26:07,040 --> 00:26:09,820 soldier to the death of the whole universe. Was it 320 00:26:09,820 --> 00:26:18,660 for this? The clay grew tall. Was it for this? Are 321 00:26:18,660 --> 00:26:24,250 we Created to die like this? This is what he is 322 00:26:24,250 --> 00:26:34,810 asking. Or what made, what made futile? 323 00:26:36,990 --> 00:26:39,290 I think this is very important because it is the 324 00:26:39,290 --> 00:26:43,550 only, what made futile? 325 00:26:45,830 --> 00:26:51,970 Friendly? Sunbeams? Is it friendly sunbeams? No. 326 00:26:52,890 --> 00:26:57,690 Friendly is good, I think. Why not? Because it 327 00:26:57,690 --> 00:27:01,670 doesn't go with the context. So here the poet 328 00:27:01,670 --> 00:27:09,690 chose what? Fatuous. It is the only word which 329 00:27:09,690 --> 00:27:14,960 deviates from all the words in the poem. Because 330 00:27:14,960 --> 00:27:17,860 this is most of the words in the poem or all of 331 00:27:17,860 --> 00:27:21,340 the words are monosyllabic. And this is the word 332 00:27:21,340 --> 00:27:25,560 fatuous, fatuous. It is like three or four 333 00:27:25,560 --> 00:27:29,220 syllables, fatuous. And we kept, what is fatuous? 334 00:27:31,800 --> 00:27:35,680 So this is like here, he's inviting us. And I 335 00:27:35,680 --> 00:27:39,520 think the only pattern it patterns with is the 336 00:27:39,520 --> 00:27:41,600 title itself, fatuous. 337 00:27:44,450 --> 00:27:48,550 to break Earth's sleep at all. So this is a 338 00:27:48,550 --> 00:27:51,310 rhetorical question. He's asking about the meaning 339 00:27:51,310 --> 00:27:56,010 of life from the very beginning. Life on Earth. 340 00:27:56,270 --> 00:27:59,290 What is the meaning of this life? Why? You know, 341 00:27:59,710 --> 00:28:03,410 what made fatuous sunbeams? Like here, the sun 342 00:28:03,410 --> 00:28:09,210 which woke the seeds was fatuous. Why? Because you 343 00:28:09,210 --> 00:28:13,030 work very hard to revive, to give life, and then 344 00:28:13,890 --> 00:28:14,750 People are dead. 345 00:28:18,370 --> 00:28:22,450 I relied on you to read the commentary at the end 346 00:28:22,450 --> 00:28:24,810 of the stylistic analysis, and I want to share it 347 00:28:24,810 --> 00:28:28,010 with you quickly. Commentary A, commentary B, 348 00:28:28,530 --> 00:28:33,790 commentary C. Perhaps, you know, the many 349 00:28:33,790 --> 00:28:38,570 references to awakening in the poem are poignantly 350 00:28:38,570 --> 00:28:45,240 ironic. It's page 110. It's in the appendices. 351 00:28:46,980 --> 00:28:51,160 Just as we know that it will do no good to move 352 00:28:51,160 --> 00:28:55,080 the soldier, so we realize that he cannot be 353 00:28:55,080 --> 00:29:00,180 woken. He's in a sleep of death. It is death which 354 00:29:00,180 --> 00:29:03,920 ends a short life in a word which comes to seem 355 00:29:03,920 --> 00:29:08,020 increasingly futile. Perhaps the son should never 356 00:29:08,020 --> 00:29:11,940 have awoken this word in the first place. Then 357 00:29:11,940 --> 00:29:15,860 these agonies and the futilities would not have to 358 00:29:15,860 --> 00:29:18,460 be suffered. And this is what the poet wanted to 359 00:29:18,460 --> 00:29:22,180 say. Perhaps like there was no need for life from 360 00:29:22,180 --> 00:29:24,400 the very beginning, then we would not have 361 00:29:24,400 --> 00:29:25,740 suffered all of this. 362 00:29:28,600 --> 00:29:34,550 These contrasts seem to cancel each other. like 363 00:29:34,550 --> 00:29:39,790 life and death, working and sleeping, cold and 364 00:29:39,790 --> 00:29:44,790 hot. These contrasts seem to cancel each other out 365 00:29:44,790 --> 00:29:48,190 and they produce a feeling of emptiness and 366 00:29:48,190 --> 00:29:52,240 nothingness. When we have expectation, when we 367 00:29:52,240 --> 00:29:56,620 have things which we are counseled by each other. 368 00:29:56,960 --> 00:30:00,060 You have snow, it is counseled by the sun. You 369 00:30:00,060 --> 00:30:03,300 have life, it is counseled by death. So this 370 00:30:03,300 --> 00:30:07,240 counseling effect leaves us with sense of 371 00:30:07,240 --> 00:30:10,000 nothingness. Think of emptiness. 372 00:30:13,620 --> 00:30:16,400 And this is what the poet wanted us to share with 373 00:30:16,400 --> 00:30:21,440 him. Like life, which starts like this, is futile. 374 00:30:21,760 --> 00:30:26,520 Life is meaningless. These contrasts seem to 375 00:30:26,520 --> 00:30:31,240 cancel each other out and produce a feeling of 376 00:30:31,240 --> 00:30:34,480 emptiness and nothingness. Most prominent among 377 00:30:34,480 --> 00:30:38,160 these contrasts is that of waking and sleeping. 378 00:30:40,050 --> 00:30:42,470 Commentary B, it has to do with the sun, which I 379 00:30:42,470 --> 00:30:47,530 remarked because the sun was introduced as 380 00:30:47,530 --> 00:30:51,230 inanimate 381 00:30:51,230 --> 00:30:54,470 and inanimate. And again, we have this contrast. 382 00:30:55,190 --> 00:31:00,750 You can read it. It is there. Commentary C. Notice 383 00:31:00,750 --> 00:31:03,910 the very characteristic of use of assonance. Sun, 384 00:31:04,790 --> 00:31:12,490 Son, Once, France, Snow, Now, No, Seeds, Sides, 385 00:31:12,910 --> 00:31:19,650 Star, Stir, Tol, Toil, All. These half rhymes, 386 00:31:20,310 --> 00:31:24,090 they are not full rhymes. Leave a sense of 387 00:31:24,090 --> 00:31:31,200 incompleteness on the ear. Cheated of our 388 00:31:31,200 --> 00:31:34,820 expectations of a rhyme, we are referred back from 389 00:31:34,820 --> 00:31:38,820 the poem itself as a formal triumph, which it is 390 00:31:38,820 --> 00:31:42,660 to the poem's theme, to the frustration of the 391 00:31:42,660 --> 00:31:46,240 form. We have frustration on the form, of pattern, 392 00:31:47,460 --> 00:31:51,500 you know, because everything is frustrated in the 393 00:31:51,500 --> 00:31:56,600 ruthless destructiveness of war. It is war. So in 394 00:31:56,600 --> 00:32:00,100 war, we don't expect to see patterns. We expect 395 00:32:00,100 --> 00:32:05,840 that everything is shattered. Okay, this is, you 396 00:32:05,840 --> 00:32:08,860 know, a mini stylistic analysis. And I think you 397 00:32:08,860 --> 00:32:11,820 have the full stylistic analysis in your reader. 398 00:32:12,180 --> 00:32:16,340 You can read it along with the auction. And, you 399 00:32:16,340 --> 00:32:21,200 know, that's it for this poem. I think we still 400 00:32:21,200 --> 00:32:26,360 have 10 minutes to talk about miscellaneous things 401 00:32:26,360 --> 00:32:31,960 before we finish. Okay, this is your reflection as 402 00:32:31,960 --> 00:32:34,580 I promised. I'm going to look at this reflection. 403 00:32:35,320 --> 00:32:40,860 If your mark here in this reflection let's say, is 404 00:32:40,860 --> 00:32:44,760 higher than the mark in the first reflection, I'll 405 00:32:44,760 --> 00:32:48,420 stick to this. If it is less, I'll just combine 406 00:32:48,420 --> 00:32:52,040 both of them and take the average. So this would 407 00:32:52,040 --> 00:32:58,300 be part of the final exam, your reflection. I 408 00:32:58,300 --> 00:33:02,400 mean, I'm not returning this to you, but I'll be 409 00:33:02,400 --> 00:33:05,880 returning for you the response and the report. 410 00:33:07,150 --> 00:33:11,110 Concerning the exam, first of all, before the 411 00:33:11,110 --> 00:33:15,490 exam, if you give me your response and report, I'm 412 00:33:15,490 --> 00:33:19,730 not going to give it today. So tomorrow if we have 413 00:33:19,730 --> 00:33:21,490 school, I'm not sure whether we have school 414 00:33:21,490 --> 00:33:26,990 tomorrow or not. We do? So if we have school 415 00:33:26,990 --> 00:33:30,730 tomorrow, I'll be bringing them. If not, they will 416 00:33:30,730 --> 00:33:36,950 be in the teacher's room. We have, you know, I 417 00:33:36,950 --> 00:33:40,230 mean, a room for the female teachers here. I can 418 00:33:40,230 --> 00:33:45,510 put them there and pass them to you, okay? This is 419 00:33:45,510 --> 00:33:50,170 for like your notebooks. Concerning the exam, I 420 00:33:50,170 --> 00:33:54,620 know you want to see which poems should not be. 421 00:33:55,460 --> 00:33:59,520 Like what we have been examined in the midterm 422 00:33:59,520 --> 00:34:01,720 exam will be deleted. 423 00:34:04,260 --> 00:34:11,660 Yes. So we'll start from Shakespeare. Yes. 424 00:34:14,740 --> 00:34:19,620 And like the first question in the exam will be 425 00:34:22,600 --> 00:34:26,160 will be comment, it is similar to the midterm 426 00:34:26,160 --> 00:34:30,840 question. It is similar. I give you a model, you 427 00:34:30,840 --> 00:34:34,620 have to follow the model. Do not escape by writing 428 00:34:34,620 --> 00:34:37,900 about the poem. Stick to the extract, show its 429 00:34:37,900 --> 00:34:42,720 relevance, show its stylistic value and like its 430 00:34:42,720 --> 00:34:47,640 meaning. Explain, concentrate on the extract. The 431 00:34:47,640 --> 00:34:52,100 second question would be essay questions. essay 432 00:34:52,100 --> 00:34:55,920 questions. I'll be giving you a statement to talk, 433 00:34:56,180 --> 00:34:59,520 you know, about the features of a school and to 434 00:34:59,520 --> 00:35:01,580 demonstrate, for example, romanticism, 435 00:35:01,780 --> 00:35:04,960 metaphysical, Elizabethan, you know, for example, 436 00:35:04,980 --> 00:35:07,940 the theme of immortality has been, and Elizabethan 437 00:35:07,940 --> 00:35:11,300 discussed this with reference to the poems, you 438 00:35:11,300 --> 00:35:14,180 know, you have studied. You might refer to the 439 00:35:14,180 --> 00:35:18,800 poem with counsel, if you want. You might want to 440 00:35:18,800 --> 00:35:22,860 refer. But it could be metaphysical, it could be 441 00:35:22,860 --> 00:35:27,120 romantic, it could be Victorian, it could be pre 442 00:35:27,120 --> 00:35:31,640 -romantic. See? This is an ASIC question. The most 443 00:35:31,640 --> 00:35:36,330 important thing is to substantiate. to give 444 00:35:36,330 --> 00:35:40,670 evidence from what you say from the poems. And I 445 00:35:40,670 --> 00:35:44,110 might tell you two or three poems, you know. I 446 00:35:44,110 --> 00:35:49,450 might decide, yes, in reference to one or two. I'm 447 00:35:49,450 --> 00:35:56,090 not sure how many poems. The last question, you 448 00:35:56,090 --> 00:35:59,750 know, usually it is unseen. 449 00:36:01,170 --> 00:36:06,690 A poem. But usually it is unseen, and it is good. 450 00:36:07,490 --> 00:36:11,670 But sometimes I do give a change, you know? So I'm 451 00:36:11,670 --> 00:36:14,890 not sure what I'm going to do. I might change this 452 00:36:14,890 --> 00:36:20,730 question. It might remain the same. Because each 453 00:36:20,730 --> 00:36:26,310 exam has, you know, a surprise. You know, 454 00:36:26,350 --> 00:36:30,830 something. Okay, so we'll see. It might be similar 455 00:36:30,830 --> 00:36:37,090 to the, the mid question, which, you know. Huh? 456 00:36:37,530 --> 00:36:42,470 Bitter? No, the unseen poem will be fine. So let's 457 00:36:42,470 --> 00:36:45,690 see. Let's see, because you know, you didn't do 458 00:36:45,690 --> 00:36:49,950 well with the question in the midterm. But I 459 00:36:49,950 --> 00:36:53,390 think, you know, it might, it is a possibility. It 460 00:36:53,390 --> 00:36:57,700 could be within it. You see? Two questions lie 461 00:36:57,700 --> 00:37:01,480 together. Now at the end, I have nothing except 462 00:37:01,480 --> 00:37:09,120 thanking you. I know I was very hard, very tough 463 00:37:09,120 --> 00:37:13,380 with those students who were not coming. I 464 00:37:13,380 --> 00:37:17,060 succeeded. And this is what I felt in making you 465 00:37:17,060 --> 00:37:20,220 work hard. And this is what I wanted. And I wish 466 00:37:20,220 --> 00:37:23,220 all of you that you would succeed. If you need 467 00:37:23,220 --> 00:37:26,460 anything, just let me know either by sending an 468 00:37:26,460 --> 00:37:32,170 email or like seeing me in my office. Okay, I 469 00:37:32,170 --> 00:37:35,890 might add additional office hours like to meet 470 00:37:35,890 --> 00:37:39,550 you. So I'll be like on Sunday as well. I'm 471 00:37:39,550 --> 00:37:45,130 Monday, as you know, from 11 to 12, but I'll be on 472 00:37:45,130 --> 00:37:52,610 Sunday also from 9.30 to 12. I'll be waiting for 473 00:37:52,610 --> 00:37:55,690 you if you need anything. Sunday and Tuesday. 474 00:37:56,090 --> 00:37:56,790 Thank you very much.