PL9fwy3NUQKwZ52Wxrug71SHLnFjqhlVJc/9Xvdf8tapHA_raw.srt

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Who are you today? Good. Are you excited because

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it's the beginning of the week? Why?

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I know exams, midterm exams, but You should be

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very careful. If you absent yourself because of

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the midterm exam, you will be in trouble. I'm

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telling you. So today, please take all the names

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of those who are attending. See? Just pass a sheet

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to take all the names. Because the midterms will

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be given over more than a month. And we don't have

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time to waste. The midterm should be given under

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the pressure of the exams. So be careful, do not

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absent yourself till the other people like to come

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to class regularly. Good. So today as usual, we're

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going to listen to one or two reports. After that,

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we're going again to listen to a response or two.

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And then I'll be asking you general question about

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your response to the poem. I mean, poem 65, which

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I asked you to prepare. After that, we'll be

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explaining the theme and perhaps certain aesthetic

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elements in that poem. Okay? Good. Let's see. One

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who is willing to report.

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Yes? Who wants to read a report? Yes, please.

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Say good morning, how are you? You should say

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that, yes? Not last lecture. Go ahead. Last

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lecture, the teacher came and started his lecture

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by asking how we are doing. Then he asked how do

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we feel, how do we feel, how do we feel, do we

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find poetry. Then he asked us how we find poetry

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because this is indirect question. Okay. Some

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students answered positively and some negatively.

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The teacher continued his lecture by talking about

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Shakespeare's sonnet, Shall I Compare Thee to a

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Summer's Day. He finished it and told us to write

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a short paragraph about the theme of the poem, and

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it must be ready next time. Anyway, last lecture

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was interesting. Because the poem was for

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Shakespeare and I like all his writings such as

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plays and poetry He's good and he's good writer

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and skillful. I hope to have a skill like him.

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Okay. Thank you very much Yes Yes, please come and

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report you you yes Okay

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Just I'll see you later What about you there?

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Okay. So, yes, you come.

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Those who have reports, please bring it now here.

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Okay? Bring it now. Those who have reports, all of

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them, bring them here. The reports for the day.

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Okay? Bring all your reports here today.

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Just like, yes, okay. Sit down, sit down, sit

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down. Now, later I'll take them. It was strange

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when Dr. Akram asked for responses, not daily

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reports, because it was the second lecture on the

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poem. But the responses were nice because they

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refreshed our minds about the poem. The teacher

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read the poem in many different ways, and he asked

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us to choose the most suitable reading for the

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poem. He gave us a universal discussion for the

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poem, including the theme, attitudes, and figures

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of speech. The laughable thing which happened with

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me many times that when I wanted to answer, the

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teacher's phone rang. So I need to repeat my

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answers many times. It was nice when Dr. Akram

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postponed the time of exam and reflection, and at

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the end of the class, he asked for the second

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semester for Shakespeare to be prepared. Thank

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you.

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You know, in the class, like everybody should be

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punctual. You see? When I say you have to write

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reports, you have to write. Here you are coming

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without writing reports, without writing response,

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so you are not entitled to having the marks for

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these activities.

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Anyway, let's see now. Yes, I asked you to write a

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paragraph about the theme of the power. So let's

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see a theme. I want to read it myself. Yes, those

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who prepared a theme. Yes, give me your theme,

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please.

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Just try to read it. Okay, read it. You are the

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same student? Okay, she's lucky.

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It's a nice poem for Shakespeare in which he wants

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to express the theme of immortality.

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He wants to express the immortality of his

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friend's beauty through immortality of his poetry.

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And to express his theme, he uses simple language

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unsuitable to the course of his speech. Also, he

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chooses a logical... Allegorical. Yes. So here, I

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asked you to talk about the theme, but you started

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to talk about the style. Yes, but they support the

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theme. Okay, so you want to support the theme. But

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could you tell me what is the theme in just a

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couple of words? Immortality of his friend's

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beauty through his poetry, power of poetry. Okay,

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so this is like immortality of the beauty of his

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friend through his poetry. Now, do you buy this?

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Do you think that Shakespeare is trying to

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immortalize the beauty of his friend through his

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poetry? Or does Shakespeare like mean something

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else?

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Don't you think that Shakespeare wants to

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immortalize himself? Yes.

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Yes.

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Okay. But do you remember what the last line, how

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the last line, so long as men can breathe, so long

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Live this, and this gives life to thee. So, like,

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who's bragging here? He's bragging. Shakespeare is

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bragging. Why is he bragging? Because his poetry

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will remain immortal. So I think this line might

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give us a twist about the real theme, which is,

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you know, the immortality of Shakespeare's poetry.

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Yes, he's trying to immortalize the beauty of his

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friend. Yes, the summer of his friend will be

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immortal, you know, through his poetry. But, you

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know, in the couplet of this stanza, Shakespeare

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is stressing, is bragging that his poetry will

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last forever. Yes, okay? Yes. Yes, biological

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organization of standards starting by comparing

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between his friend and the summer's day till he

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reached to the solution in the couplet. Yes, it is

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good here to follow how Shakespeare comes to this

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conclusion. I like it because it's an argument. So

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in the first quatrain, what is he saying? In the

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second quatrain, what is he saying? In the third

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and in the couplet, he's concluding all the

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argument. Do you remember what he said in the

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first quatrain? In the first quatrain, I think he

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declined to compare.

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Then he started to enlist the reasons why he

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wouldn't. You know, then in the third quatrain, he

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started to pledge, to vow that she, that the

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beauty of his friend will be immortal. And

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finally, in the couplet, he said, how? See? So it

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was very organized. Good. Thank you very much.

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I know today we are approaching two poems, but I

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see some students like little bit surprised

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because they thought we're not doing this poem.

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You know? I remember I told you like to prepare

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the next sonnet, which is 65. Okay? Now, how did

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you find like those who prepared? How did you find

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the sonnet?

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yes yes please it is a kind of it makes me so

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frightened for the idea of mortality like

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everything is going to end yes so you were

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frightened yeah okay good yes i find it more close

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to the last sunnah and if you want to assure in

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power surround that he would be immortal by his

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poetry. So I like the way you are connecting

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between sonnet 18 and sonnet 65. Yes?

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Okay, have you read the poem aloud? Have you read

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the poem aloud? How was it like?

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Too sad.

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Okay,

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I like it. The poet seems to be frustrated because

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of?

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Excellent. But did he remain frustrated?

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Do you agree with her that the whole atmosphere of

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the poem is gloomy? Okay.

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What about this? Oh none, unless this Merkel have

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might, that in blank ink my love may still shine

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bright. What about this? You know? What about

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this? Is he still? Yes? So it's okay, yeah, the

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atmosphere of the poem is frightening, but you

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know, the poem ends in a hopeful note. Yes?

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So he's,

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it is a recurrent theme, you know? It is the same

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theme, you know?

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Okay,

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so it is, you know, a repeated theme, but the

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question is Shakespeare repeating himself, you

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know? Now, if yes, is he repeating in the same

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form? Because sometimes you might say or you might

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express the same idea by different ways. So if

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Shakespeare is expressing his idea in the same

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way, so he's boring and he's not worthy reading.

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So I think it is a different image. But let's, you

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know, I want, like, to read the poem aloud for

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you. And after that, I'll be, like, giving you a

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task. This task is just to try to categorize the

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forces, I mean, all the forces that have to do

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with the power or the elements that have to do

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with power, and all the elements that have to do

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with weakness. So we have strong elements and weak

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elements. So I want you to enlist and to see what

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is like feeble, what is weak, what is fragile, and

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then what is strong, what is impregnant. Okay?

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Since brass nor stone nor earth nor boundless sea,

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but sad mortality oversways their power. How with

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this rage shall a beauty hold a plea whose action

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is no stronger than a flower? Or how shall

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someone's honey breath hold out against the

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reckful siege of battering days when rocks

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impregnable are not so stout nor gates of steel so

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strong but time decays oh fearful meditation oh

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fearful meditation where alack shall times best

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jewel from times just lighted Or what strong hand?

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Or what strong hand can hold his swift foot back?

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Or who his spool of beauty can forbid? Oh, none,

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unless this miracle have might, that in black ink

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my love may still shine bright. So now you have

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the poem. You have the text. In five minutes, I

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want you to categorize the elements of fragility,

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feebleness, and the elements of power and

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strength. So what is here, stone is linked with

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brass, and so on. Just five minutes.

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Go ahead.

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Yes, let's see now. What you have done. Yes. What

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are the elements of power? Yes, please. Go ahead.

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Yes.

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You picked out.

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Stone. Yes. Brass.

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Boundless seas. Rage. Rage, okay, rage. So you

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have brass, stone, earth, seas. Gates of steel.

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Gates of steel, yes. And the most powerful is the

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sad mortality itself. Yes, yes. Okay, good. What

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about, you know, yeah, okay, let's see somebody

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else. Yes, please. What are the elements of

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weakness? Yes, flour, honey, meditation.

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These things are delicate. They are feeble or

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frail. You know what means frail? Very, very weak.

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Frail means weak or feeble.

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Okay. What else? Now miracle, I think the miracle

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has, you know, you know, strong implication. What

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else? Beauty and jewel? No, swift. Foot. A foot,

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when a foot is swift, it means it's very strong.

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Plea.

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I don't think, yes, plea, it has to do with, you

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know, plea. Because when you are having a plea,

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you want to defend yourself. What else? What about

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black ink? What is ink? Yeah, I know. Is it strong

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or weak? Weak. Now somebody says no. If you are in

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India and you say like this, it means you agree.

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But you disagree, yes? Yes. So why? I think it has

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to do with the strength. It has to do with the

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strength. Power. Okay, yeah. Like why? I have no

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idea. So why, you know? Maybe ink is there for

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everything. So if we are looking at ink, because

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you know, what is going to be written in black

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ink, it is a metonymy of his poetry, so his poetry

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here is going to surpass all these elements. Good.

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I think before just going through the poem, let's

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see here what is Being perceived as a source of

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power and strength is proven to be like what?

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Feeble, fragile. And what is fragile, like the

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ink, which is feeble, is going to be very strong.

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So we have a reversal of the code, you know? We

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have a reversal in the semantic code of the words

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themselves. I mean, they are reversed. What is

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strong, what appears to be strong will be weak,

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and what appears to be weak will be strong. So

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this is a reversal. But now I think, you know, let

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us see what is brass, like sometimes words are

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associated with the meaning. What is brass

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associated with? Since brass,stone and earth nor

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boundless sea, but sad mortality overswathes their

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power. So here you have a confrontation.

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Shakespeare is giving us an image of

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confrontation, you know, between what and what.

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Sad mortality is doing what? Sweeps the power of

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what? Brass? Stone? And boundless sea. Okay. And

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now it's a battle. It's like a battle, yes? Do you

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imagine how sad mortality is like very violent and

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is doing what? Destroys everything. Since brass,

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nor stone, nor earth, nor boundless sea, but sad

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mortality oversways their power. So who's the

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strongest here?

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Yes, sad mortality. What is sad mortality? A

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metonymy of? Death. Wow. So death is very

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powerful. Death, which was bragging in the

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previous stanza, is still now, you know, seen as a

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very ruthless power which oversways everything,

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like stones, brass, you know, earth, et cetera.

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But let me go back to my question. The words brass

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and stone are always associated with what?

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Buildings? Buildings? Power? Why power? We use

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metals. And sometimes like, do you know the Statue

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of Liberty? What are statues? If you have been to

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Cairo, you will see many statues. The statues are

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made of what? Either brass, steel, copper, you

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know, or stone. So because those things, I mean

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brass, stone, were used in making up statues. So

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they are linked with the idea of immortality. So

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people have been using these elements in building

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statues in order to defy Did you see the statue of

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Gaddafi? Did you see his head, which was made of

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gold? Yeah. So Gaddafi thought that this statue

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will immortalize him. But he was mistaken. because

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death was more powerful. So Shakespeare realized

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that death was more powerful than all those

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elements, since brass nor stone, like it is, you

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know, an assumption. Shakespeare assumes that all

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these powerful things will be weak, feeble, you

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know, in the face of sad mortality. And then, how

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with this rage shall beauty hold a plea? So

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Shakespeare is asking a question. This poem is

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full of rhetorical questions. You know what I

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mean? Rhetorical questions. Questions that do not

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need answers.

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How many questions do we have? I want you to look

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at the poem and tell me how many questions do we

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have. Look here.

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How with this rage? Five equations. Or how? Let's

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see one. How with this rage shall beauty hold a

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plea? One.

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Whose action is no stronger than a flower?

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Or how shall summer's honey breath hold out? Okay?

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You know?

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No, no, no. It's like here, look here. Yes, we

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have five questions. This is the first question.

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How with this trade shall beauty hold a plea? This

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is whose action is relatively close. It is not a

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question. This is question number two. How shall

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summer's honey breath hold out? Against the

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reckful siege of battering day, these are not

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questions, where rocks impregnable are not stouts

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nor gates of steel so strong, but time decays. O

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fearful meditation, what a lack! This is like the

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third question. Shall time's best jewel from

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time's chest lie head? Or what strong hand? Like

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the fourth question. Or who? The fifth question.

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So we have five rhetorical questions. So these

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questions like, what is he asking in these

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questions? In these questions, like these

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questions, he's asking them, yes?

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So he was wondering about the power, about, you

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know, the powerful thing that would deter the

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ravages of death. You know what's with deter? Like

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repulse. You know? To deter. So he

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was looking all the time. He was asking. Now this

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poem, because you know Shakespeare was a

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playwright. He was writing for plays. So this

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poem, It should be read aloud because it is very

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effective because of the rhetorical question. So

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if you read it on the stage, it should sound like

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somebody who's, you know, there is drama in it.

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There is drama in it. So let's listen to the poem

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read

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by or recited by a native speaker and see how it's

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going to be like.

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Summit 65.

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With brass, no stone, no earth, no boundless sea,

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that sad mortality outweighs their power. How with

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this rage shall beauty hold a plea? Whose action

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is there stronger than a flower? O, how shall

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summer's honeyed breath hold out Against the

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workful siege of battering days, When locks

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impregnable are not so stout, Nor gates of steel

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so strong, but time decays?

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O fearful meditation! Where on heck shall time's

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best jewel From time's chest lie hid? Oh, what

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strong hand can hold his swift foot back? Oh,

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cruelly spoiled beauty can forbid? Oh, none,

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unless this miracle have might, that in black ink

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my love may still shine bright. Wow. So I think,

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you know, as you see Shakespeare is very

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confident. So Shakespeare is very confident that

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his poetry will be immortal. Yes. If you want, you

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can recite it better than the native speaker. You

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can. But as you see, Shakespeare lived

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the dilemma. There was a dilemma. You know what's

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been the dilemma? Like death. The dilemma was like

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death was leaving nothing. But what is interesting

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here, look at each stanza, what he's doing. In the

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first stanza, summer's

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honey or the beauty of his friend is seen in the

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face of time like what? Like, how shall summer's

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honey, which is a metonymy of the beauty of his

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friend, you know, hold out against what? Against,

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sorry, let's go to the poem. The first, I mean.

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Here, sad mortality, you know, and the beauty of

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his friend. How with a straight shall beauty hold

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a plea, whose action is no stronger than a flower?

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So the beauty of his friend is like what? A

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defendant, a helpless defendant in the court,

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who's trying to justify, to explain. But as you

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see, it can do nothing. How with a straight shall

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beauty hold a plea? defend itself. So it's a court

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scene where the defendant is very weak and the

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defendant is trying to defend itself. Then, again,

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the image or the same idea is repeated but in a

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different image. The image Or, how shall someone's

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honey breath hold out against the wrickful siege

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of battering days? Here, I think all of us know

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what siege means. You know siege? Or should I

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explain it? So, is siege tough? We, like

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Palestinians, know what is the siege, how the

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siege is tough. We've been living in siege or

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under the siege for almost five years. It was very

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unjust siege. And you see, the siege means you

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cannot go anywhere. You cannot go anywhere. But

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here, if you just look at this image, the siege,

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And here, Samarzani, or the beauty of Samarzani is

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here. Like a man, imagine, and it is not only a

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siege, but there are, you know, some guards who

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are, there are some soldiers who are imposing this

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siege. Who are these soldiers? And what they are

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carrying? If you look, they are soldiers who are

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carrying They are battering days, you know,

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against the requisite of battering days. So the

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days, the days of time, of course, are like

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soldiers who are holding what? Big hammers, very

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huge hammers. You know, imagine like you'll go

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crazy. This is like very frightening. My God, what

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about this fragile? What will it do? Nothing. And

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then, you know, again,

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you know, the same thing.

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Time is seen like a very powerful Giant with a big

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head, you know, with a huge thought which is

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kicking, you know, like, you know, the beauty of

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his friend. So don't you think these meditations

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were frightening meditations? So here he says, oh,

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for fearful meditation, where I lack. I think it's

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a very frightening thing. But Shakespeare

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succeeded in overcoming this by saying, oh none.

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So in all these things, he was looking for a power

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which would deter. Oh none, unless this miracle

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have might. Might? What's mean might? Power. We

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say in the name of Allah Almighty, Mighty Power.

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You see, might here means power. Oh none unless

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this miracle have might that in a black ink my

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love may still shine bright. My love. the memory

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of my friend. But Shakespeare, I think, means more

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than the memory, more than the beauty of his

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friend. Shakespeare was a great writer who wanted

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to immortalize his himself through his poetry. I

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think, you know, we know we touched the theme, but

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it seems like we have to go deeper into the

425
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aesthetics. And this is what we are going to do

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next time. I want you to prepare it very well. I

427
00:34:29,610 --> 00:34:33,230
mean, to look into the aesthetics and try to link

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between the specialized language and the common

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language. Okay? Thank you very much for listening

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and see you next time.