1 00:00:13,560 --> 00:00:19,240 Good morning everybody. How are you today? I know 2 00:00:19,240 --> 00:00:21,620 it's the middle of the week and everybody's busy, 3 00:00:21,760 --> 00:00:27,980 yeah? But still, I think you're busy writing 4 00:00:27,980 --> 00:00:33,130 responses and reports. I think last class was 5 00:00:33,130 --> 00:00:40,590 interesting or boring or both. So let's see 6 00:00:40,590 --> 00:00:45,530 somebody who did not attend the class. Is it 7 00:00:45,530 --> 00:00:48,530 difficult to report? You watched the class. Good. 8 00:00:48,770 --> 00:00:51,570 So yes, please come here. 9 00:00:57,240 --> 00:01:00,080 Every some days of pursuit of some change drew me 10 00:01:00,080 --> 00:01:03,060 parallels with Howard's cryptic texts, so I 11 00:01:03,060 --> 00:01:06,610 drafted these lines. An-an-chi-chi-an-chi-an, 12 00:01:06,910 --> 00:01:09,790 there goes my Palestine, proposed at the UN. The 13 00:01:09,790 --> 00:01:12,650 sweet season of spring swept the region, Obama 14 00:01:12,650 --> 00:01:16,590 said, from Tunisia to Egypt to Libya, and Bashar 15 00:01:16,590 --> 00:01:19,210 is about to end. The swift swallow pursues the 16 00:01:19,210 --> 00:01:21,730 dictators. Winter is worn to a spectrum of 17 00:01:21,730 --> 00:01:24,910 rebirth. Palestine is being reborn, Abbas's words 18 00:01:24,910 --> 00:01:28,070 rung. But for my unfortunate land, only sorrow 19 00:01:28,070 --> 00:01:31,360 sprung. Not that I mind a V2 from a snake, for 20 00:01:31,360 --> 00:01:35,040 their hypocrisy is revealed, and my struggle is 21 00:01:35,040 --> 00:01:38,040 never to shake. Wow, thank you. I think we should 22 00:01:38,040 --> 00:01:43,800 clap for her. I like this report. Yes, she did not 23 00:01:43,800 --> 00:01:46,880 attend the class, but she had a chance to watch 24 00:01:46,880 --> 00:01:48,880 the video of that class, and this is like an 25 00:01:48,880 --> 00:01:52,440 advantage of having this class running like this. 26 00:01:53,280 --> 00:01:58,300 Good. I need another report. And this time, I 27 00:01:58,300 --> 00:01:59,740 should choose one, yes. 28 00:02:05,700 --> 00:02:08,680 At the lecture, I sat on my chair, but I didn't 29 00:02:08,680 --> 00:02:12,560 prepare. My teacher pointed at me to read my 30 00:02:12,560 --> 00:02:15,860 report. I hadn't prepared yet, but I forced her to 31 00:02:15,860 --> 00:02:19,400 read it. My face was sore, but I tried to hide it. 32 00:02:19,880 --> 00:02:23,160 My reading was so fast because of my fright. After 33 00:02:23,160 --> 00:02:26,060 my reading in the class, I sat with a relax. Okay, 34 00:02:26,160 --> 00:02:30,890 good. Thank you. So I think everybody is turning 35 00:02:30,890 --> 00:02:34,770 into a poet in this class. But let us remind 36 00:02:34,770 --> 00:02:37,970 ourselves of the things we did in the class last 37 00:02:37,970 --> 00:02:41,750 time. I think we talked about our initial 38 00:02:41,750 --> 00:02:49,190 response. And we just talked about certain 39 00:02:49,190 --> 00:02:54,130 aesthetic elements of the poem in general. Today, 40 00:02:54,230 --> 00:02:58,390 we're going to paraphrase, to come close to the 41 00:02:58,390 --> 00:03:04,650 poem, and to see how the poem is beautiful. Last 42 00:03:04,650 --> 00:03:07,810 time we agreed that, if you remember, 43 00:03:10,970 --> 00:03:16,750 we 44 00:03:16,750 --> 00:03:19,810 agreed that the poem had a wonderful description 45 00:03:19,810 --> 00:03:26,890 of spring, and most of you thought that The 46 00:03:26,890 --> 00:03:29,390 description was wonderful because of the images, 47 00:03:29,750 --> 00:03:34,950 because of the figures of speech, because of the 48 00:03:34,950 --> 00:03:38,230 music, because of the sound. So let us be like 49 00:03:38,230 --> 00:03:45,110 today, more like closer to the poem itself. You 50 00:03:45,110 --> 00:03:48,430 see here the suit season that bud and the bloom 51 00:03:48,430 --> 00:03:53,210 forth brings, with the green that clad the hill 52 00:03:53,210 --> 00:03:57,990 and eke the vale. The nightingale with feathers 53 00:03:57,990 --> 00:04:02,730 now she sings. The turtle to her make hath told 54 00:04:02,730 --> 00:04:09,010 her tale. Summer is coming, for every spray now 55 00:04:09,010 --> 00:04:14,830 springs. The heart hath hung his old head on the 56 00:04:14,830 --> 00:04:19,270 pane. The buck in prey his winter coat he flings. 57 00:04:20,070 --> 00:04:23,840 The fishes float with the new repaired scale. The 58 00:04:23,840 --> 00:04:27,760 other, all her slough away she slings. The swift 59 00:04:27,760 --> 00:04:32,520 swallow pursues the fly's smell. The busy bee, her 60 00:04:32,520 --> 00:04:36,260 honey now she minks. Winter is won. That was the 61 00:04:36,260 --> 00:04:40,920 flowers made. And thus, and thus I see among these 62 00:04:40,920 --> 00:04:45,780 pleasant things. Each care decays, and yet my 63 00:04:45,780 --> 00:04:51,040 sorrow springs. Thing is, you could have, or you 64 00:04:51,040 --> 00:04:54,310 could read it differently. I just read it for 65 00:04:54,310 --> 00:04:54,870 demonstration. 66 00:04:57,410 --> 00:05:00,590 To paraphrase this poem is not to analyze it, you 67 00:05:00,590 --> 00:05:03,410 know, to paraphrase. I want you to understand 68 00:05:03,410 --> 00:05:07,190 that the paraphrasing of the poem is only one part 69 00:05:07,190 --> 00:05:10,970 of the meaning. So it is not like we can 70 00:05:10,970 --> 00:05:14,970 paraphrase in order to comment. As you see here, 71 00:05:15,470 --> 00:05:21,930 like right from the very beginning, the poet shows 72 00:05:21,930 --> 00:05:27,180 how strong, the drive of life is in spring. You 73 00:05:27,180 --> 00:05:31,660 know, spring, as we said, is always associated 74 00:05:31,660 --> 00:05:39,240 with rebirth. And here, like, okay, this season is 75 00:05:39,240 --> 00:05:41,480 budding. You know, the season is budding. And 76 00:05:41,480 --> 00:05:45,200 here, of course, you have a metonymy. When we say 77 00:05:45,200 --> 00:05:49,800 the season, it means like budding. It is like the 78 00:05:49,800 --> 00:05:54,570 whole spring is like a tree, which is budding. But 79 00:05:54,570 --> 00:06:00,090 we see that the season is like a person that is 80 00:06:00,090 --> 00:06:05,590 covering the whole vista with green color. Do you 81 00:06:05,590 --> 00:06:09,770 know what I mean? So the season, the bud and the 82 00:06:09,770 --> 00:06:15,210 bloom forth brings. When the green hath clad the 83 00:06:15,210 --> 00:06:20,140 hill and eke, they fade. So right from the very 84 00:06:20,140 --> 00:06:24,140 beginning, you know, the writer wants to show us 85 00:06:24,140 --> 00:06:30,560 that this beauty or, you know, this revival is 86 00:06:30,560 --> 00:06:34,520 dominating the whole scene. And you see this 87 00:06:34,520 --> 00:06:38,360 personification of the spring itself. The spring is 88 00:06:38,360 --> 00:06:41,660 like what? Like a man who is trying to cover, you 89 00:06:41,660 --> 00:06:48,830 know, with a green color. The Nightingale. with 90 00:06:48,830 --> 00:06:51,890 feathers now she sings." Accordingly, you know, 91 00:06:51,990 --> 00:06:56,610 like, because it is a season of rebirth, so we 92 00:06:56,610 --> 00:07:00,270 expect that everything is going to be jovial, 93 00:07:00,550 --> 00:07:05,230 happy, you know? So it is not like, the 94 00:07:05,230 --> 00:07:07,410 nightingale with feathers now she sings. I'm 95 00:07:07,410 --> 00:07:10,830 paraphrasing. The nightingale is happy and, you 96 00:07:10,830 --> 00:07:15,890 know, singing the most melodious songs. The turtle 97 00:07:15,890 --> 00:07:20,480 to her make hath told her tale. Again, the turtle 98 00:07:20,480 --> 00:07:24,780 dove, like, we have a male and a female, and, you 99 00:07:24,780 --> 00:07:29,320 know, because, you know, they are exchanging, you 100 00:07:29,320 --> 00:07:31,960 know, love relationship, uniting here with 101 00:07:31,960 --> 00:07:34,200 feathers now, she sings, the turtle to her mate 102 00:07:34,200 --> 00:07:40,250 and told her tale. Summer has come, so it's a 103 00:07:40,250 --> 00:07:43,210 declaration, like all the creatures are declaring 104 00:07:43,210 --> 00:07:48,150 that summer is coming. And summer in England is 105 00:07:48,150 --> 00:07:52,870 interchangeable with spring. 106 00:07:53,450 --> 00:07:55,890 So sometimes it is difficult to know which is 107 00:07:55,890 --> 00:07:59,530 summer and spring. So summer is equivalent to 108 00:07:59,530 --> 00:08:02,510 spring in England. Summer has come for every 109 00:08:02,510 --> 00:08:07,500 spring that now springs. Every tree, every branch 110 00:08:07,500 --> 00:08:11,860 of a tree is springing, is sprouting. The heart 111 00:08:11,860 --> 00:08:16,720 has hung his whole, his whole head on the pale. 112 00:08:17,320 --> 00:08:22,420 The heart. You know, a male deer is, you know, I 113 00:08:22,420 --> 00:08:26,100 mean, in winter, usually, a lot of animals 114 00:08:26,100 --> 00:08:28,940 hibernate. You know what means hibernate? Just 115 00:08:28,940 --> 00:08:31,960 they become dormant. They are not active. But when 116 00:08:31,960 --> 00:08:36,540 spring comes, They go and, like, you know, they 117 00:08:36,540 --> 00:08:39,420 are given a new life. And they become very active. 118 00:08:39,980 --> 00:08:42,980 The buck, which is, you know, again, a male deer 119 00:08:42,980 --> 00:08:46,160 or, you know, a rabbit, in break his winter coat, 120 00:08:46,220 --> 00:08:49,860 he flings. It's like rebirth. It's regeneration. 121 00:08:50,160 --> 00:08:52,840 Even the skin. Everything is acquiring a new 122 00:08:52,840 --> 00:08:57,980 garment. The fishes float with a new rebirth. Like 123 00:08:57,980 --> 00:09:01,080 here, you see, it's not only the land, but it is 124 00:09:01,080 --> 00:09:05,420 also the sea. The other, the other, you know, the 125 00:09:05,420 --> 00:09:09,060 snake, all her slough away she slings. You know, 126 00:09:09,140 --> 00:09:13,600 the other gets rid of the old garment. It's called 127 00:09:13,600 --> 00:09:17,560 slough. And the swift swallow pursues, is flying 128 00:09:17,560 --> 00:09:23,480 from one branch of a tree to another in order to 129 00:09:23,480 --> 00:09:30,210 kill a fly. The busy bee, the busy bee, I mean, 130 00:09:30,670 --> 00:09:33,610 the bees, of course, in summer, because, you know, 131 00:09:33,770 --> 00:09:36,430 like there are a lot of flowers, so bees are busy 132 00:09:36,430 --> 00:09:42,650 going to every flower to suck what? The nectar, 133 00:09:42,770 --> 00:09:45,930 not honey, you know? Like before, the nectar is 134 00:09:45,930 --> 00:09:48,670 being processed, it becomes apple, you know? But 135 00:09:48,670 --> 00:09:51,690 again, I think you smell now. Did you start to 136 00:09:51,690 --> 00:09:55,730 smell? Like when you read this poem and I think 137 00:09:55,730 --> 00:10:00,910 you imagine and our senses are invoked. And this 138 00:10:00,910 --> 00:10:03,710 is the beauty of the poem because this poem is 139 00:10:03,710 --> 00:10:09,510 full of sensual imagery, imagery that appeals to 140 00:10:09,510 --> 00:10:13,870 our senses. The busy bee, her honey now she makes, 141 00:10:14,430 --> 00:10:19,170 it's The busy bee is trying to collect nectar. 142 00:10:19,810 --> 00:10:23,470 Very busy. Winter is won again. It is another 143 00:10:23,470 --> 00:10:26,990 declaration to show that everything has changed. 144 00:10:27,550 --> 00:10:31,130 Winter is parallel to summer. Has come and winter 145 00:10:31,130 --> 00:10:34,550 is behind. No more hibernation. No more death. 146 00:10:35,010 --> 00:10:37,710 Everything now is given a new life. So it's a 147 00:10:37,710 --> 00:10:40,830 reminder that this is spring. This is a month of 148 00:10:40,830 --> 00:10:41,130 rebirth. 149 00:10:44,640 --> 00:10:48,360 Winter is warm, that was the flowers pale. And 150 00:10:48,360 --> 00:10:52,540 then, you know, and thus, I see among these 151 00:10:52,540 --> 00:10:56,960 pleasant things. Our poet, you know, is leaving 152 00:10:56,960 --> 00:11:01,120 this behind, and he's talking about himself. And 153 00:11:01,120 --> 00:11:05,480 thus, I see among these pleasant things, each care 154 00:11:05,480 --> 00:11:09,940 decays, each cares come to an end. My sorrow 155 00:11:09,940 --> 00:11:14,270 springs. I think we feel sorry for him. He's very 156 00:11:14,270 --> 00:11:19,070 gentle. He's very polite. Now, let us approach 157 00:11:19,070 --> 00:11:23,610 this poem from 158 00:11:23,610 --> 00:11:26,850 an aesthetic point of view. Let's look at the 159 00:11:26,850 --> 00:11:31,070 rhyme, the rhythm, the figures of speech, the 160 00:11:31,070 --> 00:11:35,670 alliteration. So why is it beautiful? A lot of you 161 00:11:35,670 --> 00:11:38,410 say it's beautiful. I like this description. Why? 162 00:11:40,330 --> 00:11:44,390 You know? How, like, if you look at, you know, 163 00:11:44,430 --> 00:11:48,350 spring here, it is like when you read and, like, 164 00:11:48,630 --> 00:11:53,850 employ, you know, or imagine, so your senses are 165 00:11:53,850 --> 00:11:57,830 invoked, and then you imagine the whole scene, the 166 00:11:57,830 --> 00:11:59,770 whole scene is enacted. You know what I mean, 167 00:11:59,790 --> 00:12:03,810 enacted? Is brought to life by the virtue of our 168 00:12:03,810 --> 00:12:06,990 senses, because, you know, this is full of 169 00:12:06,990 --> 00:12:11,740 imagery. Look at the season. You know, itself, the 170 00:12:11,740 --> 00:12:16,200 color, it's a visual image, which makes us imagine 171 00:12:16,200 --> 00:12:22,300 the whole vista being green. The nightingale with 172 00:12:22,300 --> 00:12:26,620 its melodious songs, the sound image is 173 00:12:26,620 --> 00:12:32,740 introduced. So we are, you know, given an image of 174 00:12:32,740 --> 00:12:38,430 a very lively scene of rebirth. Okay? But what I 175 00:12:38,430 --> 00:12:40,950 noticed, like, in the first slide, this suit 176 00:12:40,950 --> 00:12:44,950 season. Okay, suit season, like, there is sound. 177 00:12:45,410 --> 00:12:50,010 It's similar. We have this, you know? So it's very 178 00:12:50,010 --> 00:12:52,350 musical, the sound image. And this is parallel 179 00:12:52,350 --> 00:12:56,670 with the bird, like the birds that are twittering 180 00:12:56,670 --> 00:13:01,490 and say, you know? Like, when I read it, I just 181 00:13:01,490 --> 00:13:04,210 imagine like this, you know? They are doing this. 182 00:13:05,780 --> 00:13:09,120 But what attracted my attention to the, you know, 183 00:13:09,160 --> 00:13:12,140 is the alliteration of bud and the bloom and 184 00:13:12,140 --> 00:13:17,620 brings. Bub, bub, bub, you know? Now these, this 185 00:13:17,620 --> 00:13:21,840 alliteration is associated with, you know, power. 186 00:13:22,820 --> 00:13:26,580 Power, you know? And what does this mean? You 187 00:13:26,580 --> 00:13:29,920 know, what does this imply? Yes? 188 00:13:32,390 --> 00:13:35,670 It implies his suffering. Yes. 189 00:13:39,330 --> 00:13:45,590 Yes, that's better. Yeah, the change, the drive of 190 00:13:45,590 --> 00:13: 223 00:16:18,160 --> 00:16:23,160 image. What kind of image is this? Yeah, when 224 00:16:23,160 --> 00:16:29,390 you're like a nightingale. It's sound. Visual. It's 225 00:16:29,390 --> 00:16:33,430 a visual. And even what we call a kinetic image. 226 00:16:33,850 --> 00:16:36,530 Kinetic because there is movement. We imagine, 227 00:16:37,170 --> 00:16:41,750 we see, we listen, like to the nightingale. So the 228 00:16:41,750 --> 00:16:47,430 nightingale is jovial. Why? Because it is, you 229 00:16:47,430 --> 00:16:50,810 know, this is the atmosphere of happiness. This is 230 00:16:50,810 --> 00:16:54,610 the atmosphere of celebration. The nightingale 231 00:16:54,610 --> 00:16:59,850 with feathers. Now, you know, new she sings. New 232 00:16:59,850 --> 00:17:05,490 feathers. You know? Like here, we have this, what 233 00:17:05,490 --> 00:17:11,430 we call, you know, it is molting. So everything is 234 00:17:11,430 --> 00:17:17,150 given a new shape, a new appearance, a new skin, a 235 00:17:17,150 --> 00:17:22,270 new garment. It's regeneration. The turtle to her 236 00:17:22,270 --> 00:17:29,270 make hath told her tale. Here, you know, again, we 237 00:17:29,270 --> 00:17:34,230 said last time if you remember that our friend, I 238 00:17:34,230 --> 00:17:40,420 mean, the poet was you know, noble, and he was 239 00:17:40,420 --> 00:17:43,700 very polite. He was of noble birth, and this is 240 00:17:43,700 --> 00:17:48,820 like a kind of euphemism. Like, he didn't want, 241 00:17:49,140 --> 00:17:51,920 like, to speak about things explicitly, you know, 242 00:17:52,060 --> 00:17:55,380 and we said this is like the, you know, atmosphere 243 00:17:55,380 --> 00:18:00,420 of regeneration. It's, you know, so multiplication 244 00:18:00,420 --> 00:18:04,860 is there because everything is multiplying. 245 00:18:05,140 --> 00:18:10,390 Everything is reproducing. Summer has come for 246 00:18:10,390 --> 00:18:16,570 every now, for every spray now springs. Summer has 247 00:18:16,570 --> 00:18:22,570 come. Again, we are reminded of the advent of 248 00:18:22,570 --> 00:18:25,890 summer. Advent, the arrival of summer. Summer has 249 00:18:25,890 --> 00:18:31,570 come. For every spray now springs. Again, the 250 00:18:31,570 --> 00:18:38,090 alliteration shows how You know, everything was, 251 00:18:39,190 --> 00:18:45,390 it shows how lovely the scene was by itself. The 252 00:18:45,390 --> 00:18:50,410 heart has hung his whole, his whole head on the 253 00:18:50,410 --> 00:18:55,090 pain. Look hard. You know, it's like, you know, 254 00:18:55,190 --> 00:18:58,350 pounding out because everybody is, oh my God, is 255 00:18:58,350 --> 00:19:02,860 taken by surprise. You know, it is everybody is 256 00:19:02,860 --> 00:19:07,320 taken by surprise by this advent and jovial scene. 257 00:19:07,780 --> 00:19:13,140 The heart has hung his old head on the pale buck. 258 00:19:14,260 --> 00:19:18,480 In brain, his winter coat he flings. I think, you 259 00:19:18,480 --> 00:19:21,940 know, all these are personifications. And we said, 260 00:19:22,720 --> 00:19:25,680 what is a personification? It is like assigning 261 00:19:26,470 --> 00:19:27,230 Yes. 262 00:19:35,890 --> 00:19:41,710 You're right. So this description is vivid by the 263 00:19:41,710 --> 00:19:44,550 virtue of imagery and by the virtue of 264 00:19:44,550 --> 00:19:47,990 personification. Because the whole picture is 265 00:19:47,990 --> 00:19:51,790 animated for us. Why? Because we have a lot of 266 00:19:51,790 --> 00:19:54,210 personifications. 267 00:19:56,060 --> 00:20:01,280 The fishes float with a new repaired scale. Again, 268 00:20:02,280 --> 00:20:05,880 you know, here we are, you know, the writer is 269 00:20:05,880 --> 00:20:08,680 like zooming somewhere else. He's zooming the 270 00:20:08,680 --> 00:20:12,480 river, the sea. So he's reminding us that this 271 00:20:12,480 --> 00:20:15,960 change is entire, is comprehensive. It is not 272 00:20:15,960 --> 00:20:20,840 excluded to one area. The fishes float with a new 273 00:20:20,840 --> 00:20:22,040 repaired scale. 274 00:20:24,380 --> 00:20:28,510 The other. It's a reptile. So reptile, animals, 275 00:20:28,650 --> 00:20:33,630 birds, you know, everything. The other, all her 276 00:20:33,630 --> 00:20:38,850 slough, away she slings. Imagine how lovely, you 277 00:20:38,850 --> 00:20:43,010 know, I know it's a frightening image, but still 278 00:20:43,010 --> 00:20:45,750 like there is something beautiful about, you know, 279 00:20:45,950 --> 00:20:49,930 the skin or the slough of a snake. The swift 280 00:20:49,930 --> 00:20:54,800 swallow. The swift swallow. It's a visual, 281 00:20:55,080 --> 00:21:02,300 kinetic, sound image. The swift swallow. Away she 282 00:21:02,300 --> 00:21:06,220 slings. The swift swallow pursues the fly's snail. 283 00:21:07,460 --> 00:21:12,280 It's, you know, this is how regeneration happens. 284 00:21:12,400 --> 00:21:15,520 We have the image of life and death. So as you see 285 00:21:15,520 --> 00:21:21,040 here, you know, okay, Regeneration means like some 286 00:21:21,040 --> 00:21:24,840 creatures feed on the other creatures. So it is 287 00:21:24,840 --> 00:21:28,860 life. The swift swallow pursues the fly, you know? 288 00:21:29,580 --> 00:21:35,640 And perhaps the swallow can be swallowed by what? 289 00:21:36,200 --> 00:21:41,260 By the, you know, the other. So it is, this is 290 00:21:41,260 --> 00:21:46,350 nature. It's the cycle. The busy bee, her honey, 291 00:21:46,430 --> 00:21:52,490 now she sings. It's an image of a busy bee. And we 292 00:21:52,490 --> 00:21:56,630 said this busy bee, it is an example of 293 00:21:56,630 --> 00:21:58,290 onomatopoeia. 294 00:21:59,650 --> 00:22:05,830 Onomatopoeia. You know? It shows how vital and 295 00:22:05,830 --> 00:22:09,770 active, you know, the creatures are. The busy bee, 296 00:22:10,150 --> 00:22:14,280 her honey, now she sings. It's busy. Winter is 297 00:22:14,280 --> 00:22:18,780 war. Were the flowers pale? Winter is behind. It's 298 00:22:18,780 --> 00:22:21,380 another declaration reminding us this is 299 00:22:21,380 --> 00:22:26,660 everything has changed. And then suddenly, you 300 00:22:26,660 --> 00:22:33,200 know, we have the poet drawing attention to his 301 00:22:33,200 --> 00:22:39,140 own situation. And thus, and thus, I see among 302 00:22:39,140 --> 00:22:42,140 these pleasant things, these pleasant things. 303 00:22:42,590 --> 00:22:45,390 Still like they are in front of him, not those. 304 00:22:48,570 --> 00:22:54,630 Each curve decays, and yet my sorrow springs. I 305 00:22:54,630 --> 00:22:58,370 think this line, each curve decays, each curve 306 00:22:58,370 --> 00:23:03,170 comes to an end, yet my sorrow springs. Look here, 307 00:23:03,410 --> 00:23:08,110 the last line is broken. It's broken by the pause. 308 00:23:09,270 --> 00:23:11,590 And the pause is represented by, you know, the 309 00:23:11,590 --> 00:23:14,050 grammatical. There is like a new sentence. So 310 00:23:14,050 --> 00:23:16,490 there's a pause and a new sentence. And this is 311 00:23:16,490 --> 00:23:21,810 what we call in poetry, Suzura. Suzura, it is a 312 00:23:21,810 --> 00:23:25,130 pause. It is something, you know, in the middle of 313 00:23:25,130 --> 00:23:28,210 the line. It's a break. So it could be structural. 314 00:23:28,410 --> 00:23:31,330 It could be, you know, pause. And each care. So 315 00:23:31,330 --> 00:23:36,670 when we read it, we say, and each care decays. And 316 00:23:36,670 --> 00:23:41,890 like there is a pause. My soul springs. It's a 317 00:23:41,890 --> 00:23:47,210 paradox, isn't it? What is the paradox? Paradox 318 00:23:47,210 --> 00:23:50,910 and irony. The paradox is like how, you know, 319 00:23:50,970 --> 00:23:51,330 because 320 00:23:53,990 --> 00:23:57,970 You know, like sorrow is springing. Sorrow is 321 00:23:57,970 --> 00:24:02,850 springing. We like spring. When something springs, 322 00:24:03,590 --> 00:24:07,150 you know, it is changing from, you know, to a 323 00:24:07,150 --> 00:24:10,950 better case. However, like this is, you know, 324 00:24:11,050 --> 00:24:13,370 aggravating. The sorrow is aggravating, springing. 325 00:24:14,350 --> 00:24:18,330 But as we said, here we have a wonderful 326 00:24:18,330 --> 00:24:22,700 technique. You know, in stylistics, we call it the 327 00:24:22,700 --> 00:24:27,800 technique of, you know, juxtaposition. As you see, 328 00:24:28,300 --> 00:24:32,500 like juxtaposed to put things, you know, side by 329 00:24:32,500 --> 00:24:36,360 side. So what is being juxtaposed here? What is 330 00:24:36,360 --> 00:24:42,480 being juxtaposed? The spring? And? And the sorrow 331 00:24:42,480 --> 00:24:45,740 of the poet. Yes, they are juxtaposed. Like, or 332 00:24:45,740 --> 00:24:49,340 spring? You know? And the situation of the poet. 333 00:24:50,160 --> 00:24:53,840 So this spring is changing. Spring is beautiful. 334 00:24:54,400 --> 00:24:58,020 And the situation of the poet remains as it is. 335 00:24:58,260 --> 00:25:01,720 And even it's getting worse because sorrow is 336 00:25:01,720 --> 00:25:07,580 springing, is increasing. So this kind of 337 00:25:07,580 --> 00:25:13,320 juxtaposition spawns or generates the irony. You 338 00:25:13,320 --> 00:25:16,280 know what I mean? The irony? Now, the situation 339 00:25:16,280 --> 00:25:21,260 has become very ironical. How come? How come 340 00:25:21,260 --> 00:25:25,180 everything is changing and your situation remains 341 00:25:25,180 --> 00:25:28,980 the same? So here, we have a sense of irony. 342 00:25:29,980 --> 00:25:34,520 Everything around the poet is changing, but his 343 00:25:34,520 --> 00:25:41,550 situation is not. Of course, all these, as I told 344 00:25:41,550 --> 00:25:44,870 you, we cannot discuss every single aesthetic 345 00:25:44,870 --> 00:25:49,390 element in every poem we are studying. But we can 346 00:25:49,390 --> 00:25:54,550 have some of these, and you can add something if 347 00:25:54,550 --> 00:26:01,390 you need to add. Now, this is, as we said, it is 348 00:26:01,390 --> 00:26:04,130 not Henry Howard who introduced this subject. 349 00:26:06,910 --> 00:26:12,950 But it was Sir Thomas Wyatt. However, he developed 350 00:26:12,950 --> 00:26:18,470 this on him. And if you look here, you see that 351 00:26:18,470 --> 00:26:21,530 what kind of development he did. What kind of 352 00:26:21,530 --> 00:26:29,090 development? Yes? The division of three quatrains. 353 00:26:29,790 --> 00:26:35,470 So what do you mean by that? Okay. What do you 354 00:26:35,470 --> 00:26:40,990 mean by three quatrains? Yes, like we have three 355 00:26:40,990 --> 00:26:47,390 stanzas. Each stanza is made of four lines and we 356 00:26:47,390 --> 00:26:53,310 have a couplet. So this is a kind of departure, a 357 00:26:53,310 --> 00:26:57,270 departure from the Petrarchan sunnah form. The 358 00:26:57,270 --> 00:27:01,070 Petrarchan was rigid a little bit because you 359 00:27:01,070 --> 00:27:05,270 have the octave and the system here as you see. A, 360 00:27:05,810 --> 00:27:08,530 you know, and here it is made clear. 361 00:27:11,670 --> 00:27:21,770 A, you know, A, B, A, B, and then C, 362 00:27:22,090 --> 00:27:32,020 E, C, R3. A B. A B. Okay, sorry. 363 00:27:36,320 --> 00:27:37,040 Yes. 364 00:27:40,920 --> 00:27:41,940 It's escaping, yeah? 365 00:27:45,840 --> 00:27:59,440 Yes. A B. A, B, you know, A, B, A, B, A, B. So you 366 00:27:59,440 --> 00:28:03,740 have like three quadrants, you know, and, you 367 00:28:03,740 --> 00:28:09,820 know, a couplet, you know, you can say A, A, or if 368 00:28:09,820 --> 00:28:12,980 you want to give it a neuron, you can say E, E. So 369 00:28:12,980 --> 00:28:18,280 like we are having a more flexible form, a more 370 00:28:19,160 --> 00:28:20,120 flexible form. 371 00:28:22,940 --> 00:28:26,340 Henry Howard also, you know, this poem is written 372 00:28:26,340 --> 00:28:29,480 in iambic pentameter. And we said the iambic 373 00:28:29,480 --> 00:28:36,080 pentameter is very musical. So if you look at the, 374 00:28:36,200 --> 00:28:41,680 su, si, za, da, ba, and lu, fourth brains, it is 375 00:28:41,680 --> 00:28:45,580 ti, tam, ti, tam. It should be like this, su, si, 376 00:28:45,740 --> 00:28:49,620 za, da, ba, and lu, fourth brains. It's very 377 00:28:49,620 --> 00:28:54,280 musical. And I think this is apt for the scene 378 00:28:54,280 --> 00:29:00,160 itself. We mentioned, like, when we were doing the 379 00:29:00,160 --> 00:29:04,820 introduction, how iambic pentameter is very, so 380 00:29:04,820 --> 00:29:08,520 this is very systematic. He was fond of using the 381 00:29:08,520 --> 00:29:11,920 iambic pentameter, and even, like, he invented 382 00:29:11,920 --> 00:29:16,660 blank verse, and the blank verse was unrhymed, you 383 00:29:16,660 --> 00:29:18,040 know, unrhymed. 384 00:29:21,190 --> 00:29:24,670 I don't want you to be disturbed, but look here, 385 00:29:24,910 --> 00:29:27,630 you just like look with the green, it is 386 00:29:27,630 --> 00:29:30,530 unstressed, stressed, unstressed, stressed, 387 00:29:30,990 --> 00:29:35,070 unstressed, stressed. Like the choice of this was 388 00:29:35,070 --> 00:29:40,600 like to show some musicality. Some writers might 389 00:29:40,600 --> 00:29:45,760 play with these, you know, with the meter for some 390 00:29:45,760 --> 00:29:48,820 purposes. Here, he's not playing. It is like he's 391 00:29:48,820 --> 00:29:51,480 presenting, you know, the whole Ayurvedic 392 00:29:51,480 --> 00:29:58,980 pentameter. Okay? Now, let us go to the critical 393 00:29:58,980 --> 00:30:04,680 plan. And, you know, I ask you to prepare the 394 00:30:04,680 --> 00:30:09,330 critical plan. And in the critical plan, if you 395 00:30:09,330 --> 00:30:13,510 remember this part, we are warned, we are 396 00:30:13,510 --> 00:30:20,090 admonished not to be hasty. So, because, you know, 397 00:30:20,230 --> 00:30:23,610 I thought some of you, when you read Description 398 00:30:23,610 --> 00:30:27,870 of Spring, you jump to this conclusion that, you 399 00:30:27,870 --> 00:30:33,670 know, this poem is about spring, and you fail to 400 00:30:33,670 --> 00:30:38,070 read the last couplet. Did it happen to you? Did 401 00:30:38,070 --> 00:30:42,220 it happen to you? Yeah, at the beginning, the poem 402 00:30:42,220 --> 00:30:45,040 is intriguing. You just look and you say, wow, 403 00:30:45,440 --> 00:30:48,660 this is a wonderful description of spring. And 404 00:30:48,660 --> 00:30:53,390 suddenly you ignore. Like, you know, certain lines. 405 00:30:53,870 --> 00:30:56,590 In the critical plan, you are admonished, like the 406 00:30:56,590 --> 00:31:00,350 part I gave you. We should read the poem from the 407 00:31:00,350 --> 00:31:04,830 very beginning, you know, before we give a 408 00:31:04,830 --> 00:31:07,690 judgment or before we talk about, you know, the 409 00:31:07,690 --> 00:31:11,010 theme of the poem. We have to read the poem as a 410 00:31:11,010 --> 00:31 445 00:33:38,880 --> 00:33:43,780 And those students who came to that conclusion 446 00:33:43,780 --> 00:33:48,860 have not read the poem, have not looked at the 447 00:33:48,860 --> 00:33:53,380 final, you know, two stanzas or the penultimate 448 00:33:53,380 --> 00:33:56,780 and the final stanza. Yes, they are two soldiers. 449 00:33:57,940 --> 00:34:01,720 They were tumbled by the same ship. You know, 450 00:34:01,780 --> 00:34:05,860 these students failed to see the irony. They 451 00:34:05,860 --> 00:34:11,580 failed to, you know, feel the sarcastic tone of 452 00:34:11,580 --> 00:34:15,540 the writer. Like, yes, they died. One was a hero. 453 00:34:16,880 --> 00:34:22,000 He died as a hero, and one died as a hero, and the 454 00:34:22,000 --> 00:34:26,580 other died as a coward. But what did Sgt. Smith 455 00:34:26,580 --> 00:34:32,380 say about him? What did he do? Old Sgt. Smith, 456 00:34:32,640 --> 00:34:39,420 kindest of men, wrote out two copies of his 457 00:34:39,420 --> 00:34:43,800 accustomed speech. Like he was writing, You know, 458 00:34:44,060 --> 00:34:46,300 this is his way of writing speech. You know, when 459 00:34:46,300 --> 00:34:50,300 a soldier dies, speeches and funerals are given, 460 00:34:50,520 --> 00:34:54,720 you know, memorials, you know, just to speak 461 00:34:54,720 --> 00:34:59,120 about, like, the person who died. To cheer, like, 462 00:34:59,160 --> 00:35:01,840 what was the purpose? To cheer the womenfolk of 463 00:35:01,840 --> 00:35:06,840 each. So the purpose was sentimental. It was not 464 00:35:06,840 --> 00:35:12,440 genuine at all. And what did he say? Each one, he 465 00:35:12,440 --> 00:35:19,020 died a hero's death. Do you think each one died as 466 00:35:19,020 --> 00:35:22,360 a hero? Because one said, mother, mother, he was 467 00:35:22,360 --> 00:35:25,440 like a child. And others say, oh God, and you 468 00:35:25,440 --> 00:35:28,660 know, he was cursed. This is what happened. So 469 00:35:28,660 --> 00:35:33,880 look here, is he true? Is he honest? Or is he a 470 00:35:33,880 --> 00:35:39,590 liar? He's a liar. He died a hero's death. And we 471 00:35:39,590 --> 00:35:42,950 all his comrades of our company, look how he is a 472 00:35:42,950 --> 00:35:46,690 liar. Look how he is sentimental. You know what it 473 00:35:46,690 --> 00:35:49,990 means? He wants us to cry. He wants to force us to 474 00:35:49,990 --> 00:35:54,830 cry. We deeply regret his death. We shall all 475 00:35:54,830 --> 00:35:57,830 deeply miss Surah Al-Bukhari. 476 00:35:59,810 --> 00:36:04,710 Very rare. Very, a liar. Hypocrisy. So I think, 477 00:36:05,010 --> 00:36:08,390 you know, reading the two lines will make us 478 00:36:08,390 --> 00:36:12,810 change our mind about the whole poem. So we cannot 479 00:36:12,810 --> 00:36:16,690 say that this poem is about the reversal of, you 480 00:36:16,690 --> 00:36:20,330 know, the fortune of the two soldiers. We cannot 481 00:36:20,330 --> 00:36:24,510 say. Who can tell me what is it about then? After 482 00:36:24,510 --> 00:36:28,670 reading. Like here, the story is clear, as you 483 00:36:28,670 --> 00:36:34,050 see. Here, he's like assigning the place. It is a 484 00:36:34,050 --> 00:36:38,810 place, you know, Martin Puce's Night of Hell. Two 485 00:36:38,810 --> 00:36:41,150 men were struck by the same shell. It was a shell, 486 00:36:41,310 --> 00:36:44,370 artillery shell, together tumbling in one heap. 487 00:36:45,950 --> 00:36:48,390 Senseless and limbless, without limbs, like 488 00:36:48,390 --> 00:36:52,050 slaughtered sheep. One was pale, 18. He's telling 489 00:36:52,050 --> 00:36:56,830 about each one. One was pale, 18 years, and he was 490 00:36:56,830 --> 00:37:02,490 blue-eyed, very handsome. And he was pressed when 491 00:37:02,490 --> 00:37:06,050 he was young to the war. And the other came and 492 00:37:06,050 --> 00:37:09,770 was like veteran, experienced. He was fighting 493 00:37:09,770 --> 00:37:13,130 everywhere, like the soldiers of Gaddafi. They 494 00:37:13,130 --> 00:37:16,670 were brought from Africa, you know? So he was 495 00:37:16,670 --> 00:37:20,670 fighting everywhere. But when they died, this You 496 00:37:20,670 --> 00:37:26,310 know, this one said, he was like a child. You see? 497 00:37:28,410 --> 00:37:31,510 But you know what the surgeon said, that he was a 498 00:37:31,510 --> 00:37:40,330 hero. So now you come to understand that this poem 499 00:37:40,330 --> 00:37:41,010 is about. 500 00:37:44,430 --> 00:37:49,820 It is? It's about political hypocrisy. It's about 501 00:37:49,820 --> 00:37:58,780 the false idea of heroism. Because sometimes we 502 00:37:58,780 --> 00:38:04,200 exaggerate the achievement of some people. They're 503 00:38:04,200 --> 00:38:08,360 not heroes. They're not heroes. But we think that 504 00:38:08,360 --> 00:38:13,280 they are heroes. You see what I mean? So whenever 505 00:38:13,280 --> 00:38:15,400 you come to 506 00:38:18,510 --> 00:38:21,330 To give a general statement, you have to make sure 507 00:38:21,330 --> 00:38:25,890 to read the poem. This applies to our poem, you 508 00:38:25,890 --> 00:38:29,770 know, like a description of spring. We don't have 509 00:38:29,770 --> 00:38:34,630 to be very hasty. We have to think deeply, you 510 00:38:34,630 --> 00:38:38,440 know. Okay. As you see, we don't have to jump to 511 00:38:38,440 --> 00:38:41,320 this conclusion. This poem is lovely. I like it 512 00:38:41,320 --> 00:38:43,660 very much because it's about regeneration, 513 00:38:44,020 --> 00:38:48,700 rebirth. What about this? And thus I see among 514 00:38:48,700 --> 00:38:52,420 these special things, each care decays and yet my 515 00:38:52,420 --> 00:38:59,180 sorrow spreads. So now, of course, like the title, 516 00:39:01,230 --> 00:39:05,550 Reading this and reading the title would make you 517 00:39:05,550 --> 00:39:08,370 come to this conclusion that this poem seems to be 518 00:39:08,370 --> 00:39:14,070 about court love. But we see here like he's a 519 00:39:14,070 --> 00:39:16,550 little bit different from our previous poet 520 00:39:16,550 --> 00:39:20,150 because he's less offensive. He's very polite. 521 00:39:20,590 --> 00:39:23,950 He's very gentle. He's not a degrading woman. He 522 00:39:23,950 --> 00:39:28,340 is implying. And thus I see among these pleasant 523 00:39:28,340 --> 00:39:34,320 things each care decays, and yet my soul springs." 524 00:39:34,320 --> 00:39:39,500 You know? He just like won our hearts, won our 525 00:39:39,500 --> 00:39:42,900 compassion by this novel. He's very novel, huh? 526 00:39:43,600 --> 00:39:48,320 Okay. Now, you know, some of you might, I say it 527 00:39:48,320 --> 00:39:50,840 seems to be about courtly love. Because in the 528 00:39:50,840 --> 00:39:54,600 morning, you know, when I was reading this poem, I 529 00:39:54,600 --> 00:39:59,090 said, wait a minute. It might not be about court 530 00:39:59,090 --> 00:40:04,790 life. It might be about the king's relationship 531 00:40:04,790 --> 00:40:09,830 with other courtiers. It could be about the court 532 00:40:09,830 --> 00:40:17,650 life. And because he was in prison, he was like 533 00:40:17,650 --> 00:40:22,810 the king was angry with him all the time. So he 534 00:40:22,810 --> 00:40:27,520 was referring to the life Of the court, everybody 535 00:40:27,520 --> 00:40:32,900 in the court was having his place except him. So 536 00:40:32,900 --> 00:40:38,140 this is another reading of the poem. He might be 537 00:40:38,140 --> 00:40:41,680 referring to his political or unsuccessful 538 00:40:41,680 --> 00:40:46,280 political career in the court of Henry VIII, 539 00:40:46,600 --> 00:40:51,430 because Henry VIII, as I told you, was you know, 540 00:40:51,690 --> 00:40:55,070 very changeable, was very whimsical, eccentric, 541 00:40:55,670 --> 00:40:58,790 his behavior, he was not like, he didn't like 542 00:40:58,790 --> 00:41:03,990 anybody to rival him, and this man, like, was a 543 00:41:03,990 --> 00:41:08,190 rival, that's why he was beheaded. And in fact, I 544 00:41:08,190 --> 00:41:11,350 wanted to show you today like the scene of his 545 00:41:11,350 --> 00:41:14,970 trial, but hopefully next time before we start 546 00:41:14,970 --> 00:41:18,970 like our next poem, I can show you this. Okay, 547 00:41:19,690 --> 00:41:23,350 this is enough about the poem, but if you have any 548 00:41:23,350 --> 00:41:29,250 question, you know, you can ask before that. Of 549 00:41:29,250 --> 00:41:34,090 course, now it is your responsibility to write, 550 00:41:34,970 --> 00:41:40,830 you know, to write. I mean, a critical account of 551 00:41:40,830 --> 00:41:45,950 this. You can piece up together things we said in 552 00:41:45,950 --> 00:41:50,490 the lecture and bring them together. Like you can 553 00:41:50,490 --> 00:41:52,230 write about the theme, you can write about the 554 00:41:52,230 --> 00:41:56,370 rhyme, about the music, about this and that, about 555 00:41:56,370 --> 00:42:00,410 figurative language in this poem. Any question? 556 00:42:02,910 --> 00:42:08,730 Let me thank you. And next time, hopefully, we're 557 00:42:08,730 --> 00:42:17,930 going to see another poem, which is, I think, no, 558 00:42:18,310 --> 00:42:22,810 Litany? Yeah, Litany. We're talking about Sir 559 00:42:22,810 --> 00:42:28,890 Philip Sidney. Sir Philip Sidney. And we will be 560 00:42:28,890 --> 00:42:32,390 living also in the critical plan, the same part. 561 00:42:32,950 --> 00:42:34,750 Thank you very much and see you next time.