PL9fwy3NUQKwZ52Wxrug71SHLnFjqhlVJc/3azuF_ecpkY_postprocess.srt

1
00:00:13,160 --> 00:00:20,400
Good morning everybody. How are you? So, you had

2
00:00:20,400 --> 00:00:24,400
nice time I think over the weekend to enjoy

3
00:00:24,400 --> 00:00:30,530
yourself and then to study, huh? Okay, good. Just

4
00:00:30,530 --> 00:00:35,630
studying? No, you're kidding. Good. Today, you

5
00:00:35,630 --> 00:00:40,930
know, we are going to see Raleigh's reply to

6
00:00:40,930 --> 00:00:49,050
Marlow. So those who debated here for not going,

7
00:00:49,390 --> 00:00:52,630
they're giving more credit today. See? Those who

8
00:00:52,630 --> 00:00:55,190
said, no, I'm not going, they're giving more

9
00:00:55,190 --> 00:00:59,300
credit. And those who said, I want to go, they are

10
00:00:59,300 --> 00:01:03,480
in difficult situation. So they have to think of a

11
00:01:03,480 --> 00:01:06,900
new poem, of a reply to the reply itself.

12
00:01:10,780 --> 00:01:14,640
Yes, Raleigh, I mean, this poem, like a lot of

13
00:01:14,640 --> 00:01:20,500
poets, wrote a reply to this. The most famous one

14
00:01:20,500 --> 00:01:26,570
is Raleigh's Reply. And there is a reply, as you

15
00:01:26,570 --> 00:01:33,450
see. I don't want to forget the report and the

16
00:01:33,450 --> 00:01:36,690
response, of course, and to go through the poem.

17
00:01:37,230 --> 00:01:45,210
So let's just start by a nice report. And yes?

18
00:01:56,500 --> 00:01:59,220
When I remember the previous lecture, I began to

19
00:01:59,220 --> 00:02:01,860
think, does that poem has a special taste by

20
00:02:01,860 --> 00:02:04,980
having important and simple lengths? That was the

21
00:02:04,980 --> 00:02:07,660
first question pops to my mind when I read the

22
00:02:07,660 --> 00:02:10,620
poem for the first time. Then after attending the

23
00:02:10,620 --> 00:02:14,360
previous lecture, I discovered that this poem was

24
00:02:14,360 --> 00:02:17,400
too nice. As usual, from the very beginning, two

25
00:02:17,400 --> 00:02:20,840
students set the reports. But unfortunately, I

26
00:02:20,840 --> 00:02:26,060
forgot to begin with I forget to bring with me the

27
00:02:26,060 --> 00:02:29,220
report I wrote. We continued our lecture by

28
00:02:29,220 --> 00:02:33,780
criticizing it and giving more analysis. So we

29
00:02:33,780 --> 00:02:37,440
began to think deeply and activated our minds by

30
00:02:37,440 --> 00:02:40,540
sharing in that process. After that, the teacher

31
00:02:40,540 --> 00:02:43,140
discussed the poem widely by asking some

32
00:02:43,140 --> 00:02:46,600
questions. Consequently, I encouraged myself by

33
00:02:46,600 --> 00:02:51,390
answering one question and taking a position. Mr.

34
00:02:51,550 --> 00:02:54,830
Habib ordered us to write a paragraph about the

35
00:02:54,830 --> 00:02:57,370
main theme. So, we began to write the paragraph,

36
00:02:57,690 --> 00:03:00,770
but not too deep. To conclude that lecture was too

37
00:03:00,770 --> 00:03:04,010
interesting and short that we felt unhappiness and

38
00:03:04,010 --> 00:03:07,030
did not like to conclude. Okay, thank you very

39
00:03:07,030 --> 00:03:10,810
much for having this feeling about the last class.

40
00:03:11,850 --> 00:03:17,910
If anybody has another feeling, we don't mind. I

41
00:03:17,910 --> 00:03:21,070
might need another, you know, report in which like

42
00:03:21,070 --> 00:03:26,190
some absent students need to justify their

43
00:03:26,190 --> 00:03:34,430
absence. Ola, do you have a report? Did you

44
00:03:34,430 --> 00:03:38,170
watch them and you wrote about that? Okay, you

45
00:03:38,170 --> 00:03:42,690
should have written, you know. Okay, the response.

46
00:03:43,890 --> 00:03:47,270
Response to Raleigh. Yes.

47
00:03:51,790 --> 00:03:52,770
Yes, you can.

48
00:04:01,110 --> 00:04:05,170
Hello everybody. One day I woke up early then I

49
00:04:05,170 --> 00:04:07,390
opened my window to see myself. Okay, could you

50
00:04:07,390 --> 00:04:10,600
raise your voice please? One day I woke up early

51
00:04:10,600 --> 00:04:13,540
then I opened my window to see a nice birds with

52
00:04:13,540 --> 00:04:16,620
nice singing. When I looked at the sunshine I

53
00:04:16,620 --> 00:04:19,580
heard a strange voice appealing, come live with me

54
00:04:19,580 --> 00:04:23,120
and be my love. I looked to him and asked him, me,

55
00:04:23,380 --> 00:04:26,880
you mean me? Yes, come with me and be my love.

56
00:04:27,180 --> 00:04:30,520
What? What will you do to me to be your love? He

57
00:04:30,520 --> 00:04:34,280
began to verse with me by nice words. We will sit

58
00:04:34,280 --> 00:04:36,860
up on the rocks, seeing the shepherds feed their

59
00:04:36,860 --> 00:04:40,060
flocks. I will make the bed of roses and a

60
00:04:40,060 --> 00:04:42,860
thousand fragrant roses, a cup of flowers and

61
00:04:42,860 --> 00:04:43,280
kerchief.

62
00:04:45,960 --> 00:04:49,420
During his speech, another voice shouted aloud and

63
00:04:49,420 --> 00:04:52,760
interrupted him. Don't believe him. He is a liar

64
00:04:52,760 --> 00:04:56,890
man. I turn to him and ask him why you said that?

65
00:04:57,410 --> 00:05:00,670
He will give me everything and make me and make my

66
00:05:00,670 --> 00:05:03,850
life relaxed and nice and full of love. Also, he

67
00:05:03,850 --> 00:05:06,430
will challenge everything to make me his love.

68
00:05:07,010 --> 00:05:12,060
Please listen to me. Okay, what? their guns, their

69
00:05:12,060 --> 00:05:15,040
shoes, their beds of roses, their girls, their

70
00:05:15,040 --> 00:05:17,800
characters and their bosses. Soon it breaks, soon

71
00:05:17,800 --> 00:05:21,000
withers, soon forgotten, and fully ripe and

72
00:05:21,000 --> 00:05:23,280
reasonably rotten. Oh, my head will explode.

73
00:05:23,960 --> 00:05:26,840
Marlow's words are romantic and it calls for a

74
00:05:26,840 --> 00:05:30,080
happy life, and he uses an old pastoral style with

75
00:05:30,080 --> 00:05:33,440
gifts and promises of a rural life, and he keeps

76
00:05:33,440 --> 00:05:36,620
giving me promises in order to encourage me to

77
00:05:36,620 --> 00:05:39,760
come with him. He thinks that the rural life is

78
00:05:39,760 --> 00:05:43,320
the ideal one, so everything will be good. On the

79
00:05:43,320 --> 00:05:46,480
other contrary, Ghali's reply is pessimistic and

80
00:05:46,480 --> 00:05:49,480
much more realistic. He debunks the idea of

81
00:05:49,480 --> 00:05:52,910
pastoral love because time is the destroyer of

82
00:05:52,910 --> 00:05:55,990
everything and it cannot be controlled. As he

83
00:05:55,990 --> 00:05:59,970
said, time drives blocks from fields to fold.

84
00:06:00,190 --> 00:06:03,410
Here, Raleigh is inviting Marlow to stop dreaming

85
00:06:03,410 --> 00:06:06,410
and be realistic because everything is immortal.

86
00:06:06,970 --> 00:06:10,130
And this is the end of everything, including love.

87
00:06:10,350 --> 00:06:14,050
Really, I'm very tired from both. So I will close

88
00:06:14,050 --> 00:06:16,770
my window and go to my bed again. Okay, thank you

89
00:06:16,770 --> 00:06:20,990
for the creative idea of writing your response.

90
00:06:22,300 --> 00:06:24,420
It's very interesting. I know like some of you

91
00:06:24,420 --> 00:06:28,840
started to lose interest in Marlo's poem because

92
00:06:28,840 --> 00:06:32,280
of this poem. But still, like those who debated

93
00:06:32,280 --> 00:06:35,800
for Marlo, they are looking at me and saying, no,

94
00:06:35,900 --> 00:06:43,900
we haven't lost interest. Anyway, you know, let me

95
00:06:43,900 --> 00:06:45,880
just like ask a couple of you, how did you feel

96
00:06:45,880 --> 00:06:52,240
when you read Marlo? Yeah. Were you okay? Did you

97
00:06:52,240 --> 00:06:56,840
get, like, convinced? How did you feel? It's about

98
00:06:56,840 --> 00:07:02,380
your response. Yes or what? I felt that we are on

99
00:07:02,380 --> 00:07:05,620
the earth. We are on the earth. We're no longer

100
00:07:05,620 --> 00:07:09,100
flying, you know, with Marlow's golden promises.

101
00:07:09,600 --> 00:07:12,960
Okay. Very good. I like this expression. Okay.

102
00:07:14,860 --> 00:07:21,030
Yes? I think he exaggerated this and he is a You

103
00:07:21,030 --> 00:07:26,690
know, Raleigh is exaggerating, you know? So life

104
00:07:26,690 --> 00:07:31,810
is not like this, you know? Okay, he seems to be

105
00:07:31,810 --> 00:07:35,450
realistic, but he's too much exaggerating reality.

106
00:07:36,530 --> 00:07:37,510
Very good.

107
00:08:10,440 --> 00:08:14,000
Now this is a rally No, Marlowe. Marlowe, yeah.

108
00:08:14,080 --> 00:08:16,300
But like here, Raleigh, how do you feel about

109
00:08:16,300 --> 00:08:20,200
Raleigh's response? To convince him or to

110
00:08:20,200 --> 00:08:24,440
convince, to make the reader knows that anything

111
00:08:24,440 --> 00:08:29,720
is not as depicted by Marlowe. Thank you. So he

112
00:08:29,720 --> 00:08:32,660
wrote this in order like to ridicule Marlowe. He

113
00:08:32,660 --> 00:08:35,180
wrote this in order to show that Marlowe was

114
00:08:35,180 --> 00:08:37,660
wrong, was not telling the truth. Yes, please. I

115
00:08:37,660 --> 00:08:41,240
think Raleigh was right because love and even the

116
00:08:41,240 --> 00:08:41,960
word can still

117
00:08:48,620 --> 00:09:00,100
So you think that Raleigh

118
00:09:00,100 --> 00:09:02,020
is more convincing?

119
00:09:07,480 --> 00:09:10,700
Both Milo and Brian, they had the two extremes,

120
00:09:11,100 --> 00:09:14,040
but there's nothing in the middle. Like, I felt

121
00:09:14,040 --> 00:09:16,980
like they're both taking two extremes, but there's

122
00:09:16,980 --> 00:09:19,160
something in the middle. Like, he was a bit

123
00:09:19,160 --> 00:09:22,100
realistic, but he was too realistic and too, like,

124
00:09:22,500 --> 00:09:23,980
complicated. So you think, you know, there's

125
00:09:23,980 --> 00:09:27,080
something in the middle. I mean, in our life, we

126
00:09:27,080 --> 00:09:30,340
have to maintain a balance between two ways of

127
00:09:30,340 --> 00:09:33,680
life. This is what you, you know, like, so we need

128
00:09:33,680 --> 00:09:36,340
to debate, of course, to have a fair party. But

129
00:09:36,340 --> 00:09:39,770
anyway. I don't know. Have you read the poem

130
00:09:39,770 --> 00:09:46,410
aloud? How is it like, does it have the singing

131
00:09:46,410 --> 00:09:52,630
tone of, yes? Yeah. Who wants like to, to tell me

132
00:09:52,630 --> 00:09:55,950
how she read the poem? And you come here and like

133
00:09:55,950 --> 00:09:57,930
you read the poem and it's in front of you.

134
00:10:01,270 --> 00:10:04,310
I don't know. Would you like if all the world and

135
00:10:04,310 --> 00:10:08,730
love were like this? I don't know. So, would it be

136
00:10:08,730 --> 00:10:14,830
like what? All the words and love were young and

137
00:10:14,830 --> 00:10:18,590
truth in every shepherd's tongue. These pretty

138
00:10:18,590 --> 00:10:22,330
pleasures might be more to live with thee and be

139
00:10:22,330 --> 00:10:23,850
thy love. Rana, do you want to give yourself?

140
00:10:25,150 --> 00:10:29,930
Okay, you can. Yeah, yeah. You can come here. No,

141
00:10:30,010 --> 00:10:31,950
just okay.

142
00:10:35,880 --> 00:10:40,380
I'm not in the class right now. Did we take this

143
00:10:40,380 --> 00:10:43,100
poem? Yeah, of course. Yeah? I don't remember.

144
00:10:43,220 --> 00:10:46,120
Yeah, go ahead. Okay. If all the world and love

145
00:10:46,120 --> 00:10:49,120
were young, and truth in every shepherd's tongue,

146
00:10:49,440 --> 00:10:52,720
these pretty pleasures might we move, to live with

147
00:10:52,720 --> 00:10:56,460
thee and be thy love. Time drives the flocks from

148
00:10:56,460 --> 00:10:59,680
field to fold, when rivers rage and rocks grow

149
00:10:59,680 --> 00:11:01,460
old, and ...

150
00:11:06,540 --> 00:11:11,480
And the philomel becomes dumb, the rest complains

151
00:11:11,480 --> 00:11:15,100
of cares to come. The flowers do fade and wanton

152
00:11:15,100 --> 00:11:20,120
fields to wayward winter reckoning yields. A honey

153
00:11:20,120 --> 00:11:23,420
tongue, a heart of gall is fancy spring, but

154
00:11:23,420 --> 00:11:29,360
sorrows fall. Okay. What? Thy gowns. Thy gowns,

155
00:11:29,420 --> 00:11:33,040
thy shoes, thy beds of roses, thy cap, thy curdle,

156
00:11:33,180 --> 00:11:34,380
and thy posies.

157
00:11:36,940 --> 00:11:39,300
Soon break. Soon break, soon wither, soon

158
00:11:39,300 --> 00:11:43,440
forgotten, in folly ripe, in season rotten. Thy

159
00:11:43,440 --> 00:11:47,040
belt of straw and ivy buds, thy coral clasp and

160
00:11:47,040 --> 00:11:51,080
amber studs. All these in me no means can move to

161
00:11:51,080 --> 00:11:55,070
come to thee and be thy love. But could youth last

162
00:11:55,070 --> 00:11:58,830
and love still breathe? Had joys no date nor age

163
00:11:58,830 --> 00:12:02,830
no need? Then these delights my mind might move to

164
00:12:02,830 --> 00:12:05,630
live with thee and be thy love. Thank you very

165
00:12:05,630 --> 00:12:09,950
much. How romantic. Thank you. Yeah, I know the

166
00:12:09,950 --> 00:12:13,630
word philomel was a problem. Okay, philomel

167
00:12:13,630 --> 00:12:17,960
nightingale, the nightingale. It is a metonymy of

168
00:12:17,960 --> 00:12:23,240
joy, of happiness. In fact, it's an image, but it

169
00:12:23,240 --> 00:12:27,360
is not a nightingale. It's a full moon because it

170
00:12:27,360 --> 00:12:32,120
seems like Raleigh does not want to imply anything

171
00:12:32,120 --> 00:12:34,840
or to hint to anything beautiful because he's

172
00:12:34,840 --> 00:12:38,820
interested in showing the other side of life. In

173
00:12:38,820 --> 00:12:43,720
fact, the way she read it is very good, but I have

174
00:12:43,720 --> 00:12:48,890
to read it and listen. If all the world and love

175
00:12:48,890 --> 00:12:51,990
were young, and truth in every shepherd's tongue,

176
00:12:52,590 --> 00:12:55,630
these pretty pleasures might be moved to live with

177
00:12:55,630 --> 00:13:00,390
thee and be thy love. Time drives the flocks from

178
00:13:00,390 --> 00:13:05,190
field to fold. When rivers rage and rocks grow old

179
00:13:05,190 --> 00:13:09,850
and philomel becomes dumb, there is complaints of

180
00:13:09,850 --> 00:13:14,270
cares to come. The flowers do fade and wanton

181
00:13:14,270 --> 00:13:19,050
feels to weigh word winter reckoning yields. A

182
00:13:19,050 --> 00:13:23,070
honey tongue, a heart of gold, is fancy spring,

183
00:13:23,610 --> 00:13:28,250
but soon is fall. Thy gowns, thy shoes, thy bed of

184
00:13:28,250 --> 00:13:33,570
roses, thy cap, thy kirtle, and thy poses soon

185
00:13:33,570 --> 00:13:37,910
break, soon wither, soon forgotten. In fall

186
00:13:37,910 --> 00:13:43,330
arrived, in season rotten. Thy belt of straw, thy

187
00:13:43,330 --> 00:13:47,350
belt of straw and ivy buds, thy coral clasp and

188
00:13:47,350 --> 00:13:53,150
amber studs, all these in me no means can move to

189
00:13:53,150 --> 00:13:57,330
come with thee and be thy love. But could youth

190
00:13:57,330 --> 00:14:01,790
lust and love still breed, had joys no date nor

191
00:14:01,790 --> 00:14:08,430
age no need, then these delights, my mind ma'mour,

192
00:14:08,950 --> 00:14:15,750
to live with thee and be thy love. Okay. Thank

193
00:14:15,750 --> 00:14:21,290
you. You see, like, I read it in order, like, to

194
00:14:21,290 --> 00:14:25,970
give, you know, the approximate, you know, feeling

195
00:14:25,970 --> 00:14:31,340
of the poem. But before, like, you know, You see,

196
00:14:31,640 --> 00:14:35,800
I don't know if the word and love, the poem starts

197
00:14:35,800 --> 00:14:39,860
by what? By F. So I don't know. We studied F at

198
00:14:39,860 --> 00:14:44,200
school. And I find that to start, I'm not sure

199
00:14:44,200 --> 00:14:48,740
whether you understand how we use F. So I have to

200
00:14:48,740 --> 00:14:56,080
go to this and see how you understand F. Now Amal,

201
00:14:56,260 --> 00:15:01,820
my assistant, does not speak French. So she cannot

202
00:15:01,820 --> 00:15:06,280
live in France. This is, you know, a result. Now,

203
00:15:06,380 --> 00:15:08,580
you might have a question this, like sometimes

204
00:15:08,580 --> 00:15:10,600
when we were at school, we were teaching grammar

205
00:15:10,600 --> 00:15:14,460
in this way. And, you know, it was in the exam a

206
00:15:14,460 --> 00:15:18,060
question like this. Amal does not speak French, so

207
00:15:18,060 --> 00:15:21,660
she cannot live in France. Do you want like to use

208
00:15:21,660 --> 00:15:26,960
F? Use F. Okay. Do not be in hurry. Yeah.

209
00:15:30,250 --> 00:15:35,770
Yes. No, use F. Start with F.

210
00:15:41,090 --> 00:15:41,590
Okay.

211
00:15:44,810 --> 00:15:45,590
Yes.

212
00:15:48,910 --> 00:15:52,610
Okay. Yes.

213
00:15:56,050 --> 00:16:00,260
Okay. I think, you know, so far, You know, here,

214
00:16:00,400 --> 00:16:03,520
what is the fact? Amal does not speak French. Do

215
00:16:03,520 --> 00:16:08,520
you speak French? No. Okay. So, as a result, she

216
00:16:08,520 --> 00:16:13,960
cannot live. Okay. So, yes, Rawan? If Amal speaks

217
00:16:13,960 --> 00:16:17,320
French, she would live in France. Okay. Should we

218
00:16:17,320 --> 00:16:20,900
call Professor Grammar? No, let us call Professor

219
00:16:20,900 --> 00:16:24,300
Grammar. Good morning, Mr. Professor Grammar.

220
00:16:24,500 --> 00:16:28,060
Professor Grammar. Yes. My students are a little

221
00:16:28,060 --> 00:16:34,660
bit confused. It should be like if Amal spoke

222
00:16:34,660 --> 00:16:42,060
English, she would live. Thank you. He wanted to

223
00:16:42,060 --> 00:16:44,860
say that. Thank you very much. So here the point

224
00:16:44,860 --> 00:16:52,060
is like usually the assumption or if the

225
00:16:52,060 --> 00:16:55,880
hypothesis is hypothesis. Now here she does not

226
00:16:55,880 --> 00:17:00,060
speak French. This is the fact. So, the assumption

227
00:17:00,060 --> 00:17:05,440
or the hypothesis is usually contrary to the fact.

228
00:17:05,900 --> 00:17:10,800
So, if Amal spoke, it means that she doesn't

229
00:17:10,800 --> 00:17:18,620
speak. Now, if I say, the word and love are not

230
00:17:18,620 --> 00:17:29,560
enough. Okay? So, you know, I can come with you,

231
00:17:30,240 --> 00:17:33,480
or so I cannot come with you. Okay? So how do you

232
00:17:33,480 --> 00:17:37,740
want to do it? The word and love are not enough.

233
00:17:39,060 --> 00:17:42,680
So how would you do it? Let me do it in a simple

234
00:17:42,680 --> 00:17:50,900
way. My sister is not in Cairo, so I cannot meet

235
00:17:50,900 --> 00:17:57,070
her there. Can you use... Okay, let me like use

236
00:17:57,070 --> 00:18:05,630
this here She is not In

237
00:18:05,630 --> 00:18:15,350
Cairo, sorry So

238
00:18:15,350 --> 00:18:17,790
we want

239
00:18:23,630 --> 00:18:26,470
It escapes me, you know?

240
00:18:34,950 --> 00:18:46,310
What's happening is not in Cairo, so we won't see

241
00:18:46,310 --> 00:18:47,050
the pyramids.

242
00:18:50,880 --> 00:18:52,360
Can you use F?

243
00:18:56,280 --> 00:18:59,160
Can you use F? Yes?

244
00:19:01,880 --> 00:19:09,000
Excellent. Yes. If she were in Cairo, we what?

245
00:19:09,160 --> 00:19:13,880
Yes, excellent. If you know, if she were, it means

246
00:19:13,880 --> 00:19:19,020
she's not. She's in Cairo. No, I mean, okay, let's

247
00:19:19,020 --> 00:19:23,660
see. We are in the class. So we can understand the

248
00:19:23,660 --> 00:19:32,300
lesson. Can you use F? If we were not in the

249
00:19:32,300 --> 00:19:35,740
class, it means we are in class. So I think

250
00:19:35,740 --> 00:19:39,220
understanding the F sentence will help us to

251
00:19:39,220 --> 00:19:42,800
understand the poem. Let's go to the poem again

252
00:19:42,800 --> 00:19:48,680
and start. analyzing, explaining it, because, you

253
00:19:48,680 --> 00:19:52,820
know, next time, I want you to see this poem as a

254
00:19:52,820 --> 00:19:56,800
parody. So before, like seeing this as a parody,

255
00:19:57,320 --> 00:20:00,120
let's like understand it, you know, more and more.

256
00:20:04,900 --> 00:20:08,540
You know, it starts, as you see, the poem starts.

257
00:20:12,340 --> 00:20:12,900
Okay.

258
00:20:22,910 --> 00:20:27,070
It starts with F, if all the word and love were

259
00:20:27,070 --> 00:20:32,030
young. So what does it mean? What does he want to

260
00:20:32,030 --> 00:20:37,970
say? What does he want to say? Yes? The word and

261
00:20:37,970 --> 00:20:41,710
love are not enough. You know, the word and love,

262
00:20:41,890 --> 00:20:45,790
like these things, which are earthly things, are

263
00:20:45,790 --> 00:20:48,450
not forever, are not immortal.

264
00:20:52,110 --> 00:20:56,130
You know, they are old and what is old is going to

265
00:20:56,130 --> 00:20:59,310
decay. This is what he wants to say. If all the

266
00:20:59,310 --> 00:21:04,950
word and love were young and truth in every

267
00:21:04,950 --> 00:21:08,190
shepherd's tongue. So what does he want to say

268
00:21:08,190 --> 00:21:12,630
here? That the word and love are not enough and

269
00:21:12,630 --> 00:21:17,820
the shepherds are liars. Look, this is a slap. I

270
00:21:17,820 --> 00:21:22,940
saw a video, you know, like Raleigh and Marlow.

271
00:21:22,960 --> 00:21:25,140
You can see it on the YouTube. He was slapping

272
00:21:25,140 --> 00:21:29,900
him, you know, like this. Like, look here how he's

273
00:21:29,900 --> 00:21:32,320
slapping him. Like the word and love are not

274
00:21:32,320 --> 00:21:38,020
enough. And you are liars. You know, how come?

275
00:21:38,100 --> 00:21:42,150
Like the shepherds are liars. I think some of you

276
00:21:42,150 --> 00:21:48,130
will start feeling sympathy for Marlow. It's okay.

277
00:21:48,230 --> 00:21:51,250
That's why we don't want to take. Then these

278
00:21:51,250 --> 00:21:54,910
pretty pleasures might be moved to live with thee

279
00:21:54,910 --> 00:21:59,470
and be thy love. Now it's very important to see

280
00:21:59,470 --> 00:22:02,350
who's talking because this is like according to

281
00:22:02,350 --> 00:22:07,830
Raleigh, she is the lady. So as you see, the lady

282
00:22:07,830 --> 00:22:13,090
here is what? Is she? Yeah. How would you describe

283
00:22:13,090 --> 00:22:19,210
her attitude? Yes. Yeah. So she is convinced not

284
00:22:19,210 --> 00:22:24,150
to go and she seems to be, you know, she doesn't

285
00:22:24,150 --> 00:22:28,530
believe. So she is what we call cynical. I like

286
00:22:28,530 --> 00:22:32,530
the word cynical means, you know, unwilling to go.

287
00:22:33,050 --> 00:22:35,390
Cynical means suspicious.

288
00:22:42,450 --> 00:22:48,310
Yeah. She's cynical. She's skeptic.

289
00:22:57,290 --> 00:22:59,670
Skeptic is written in two ways. You know, it could

290
00:22:59,670 --> 00:23:03,750
be written with C as well. Okay. She's skeptic.

291
00:23:12,720 --> 00:23:17,000
She doesn't believe what he says. If all the word

292
00:23:17,000 --> 00:23:21,720
and love were young and truth in every shepherd's

293
00:23:21,720 --> 00:23:28,520
tongue, these pretty pleasures might me move to

294
00:23:28,520 --> 00:23:32,160
come with thee and thee, you know, and be thy

295
00:23:32,160 --> 00:23:37,770
love. So we see, like the lady here, is unwilling.

296
00:23:38,570 --> 00:23:40,190
She's reluctant.

297
00:23:42,570 --> 00:23:46,490
But you know why? You cannot refuse without

298
00:23:46,490 --> 00:23:50,530
justifying,

299
00:23:50,670 --> 00:23:54,710
without warranting like what you have just said.

300
00:23:55,750 --> 00:24:04,390
Time drives the flux from field to fold. Time.

301
00:24:07,180 --> 00:24:11,040
Time, we saw in Spencer, time and tide, you know?

302
00:24:11,780 --> 00:24:17,020
Time was metonymy or is metonymy of what? Death.

303
00:24:18,100 --> 00:24:21,460
Look at this image. It's a very frightening image,

304
00:24:21,900 --> 00:24:30,240
isn't it? Imagine time as being, you know, a power

305
00:24:30,240 --> 00:24:36,030
which sweeps everything you know, from flux, you

306
00:24:36,030 --> 00:24:42,070
know, the flux from field to fold. So let's see if

307
00:24:42,070 --> 00:24:46,450
we accept that, you know, time is a metonymy of,

308
00:24:46,910 --> 00:24:52,330
you know, time here is a metonymy of death. So

309
00:24:52,330 --> 00:24:58,030
flux would be a metonymy of what? Of people. And

310
00:24:58,030 --> 00:25:02,190
field would be a metonymy of what? Okay, thank

311
00:25:02,190 --> 00:25:10,210
you. Yeah, I don't know. Yes. So time here, as we

312
00:25:10,210 --> 00:25:15,650
said, it's a metonymy of death, drives, like it's

313
00:25:15,650 --> 00:25:21,510
a verb, the flux. Metonymy of people, field, life,

314
00:25:21,970 --> 00:25:28,870
unfold, grave. Let's look at this line. Imagine

315
00:25:28,870 --> 00:25:35,160
life, imagine time, like a shepherd or like

316
00:25:35,160 --> 00:25:41,060
somebody who's violent, driving the flux from

317
00:25:41,060 --> 00:25:45,400
field to fold. Death is merciless. This is what he

318
00:25:45,400 --> 00:25:50,560
wants to say. Death drives the flux from field to

319
00:25:50,560 --> 00:25:55,200
fold. Look at the cluster of consonants. How?

320
00:25:56,620 --> 00:26:04,190
Yeah. The time thrives. Look at the word thrives,

321
00:26:04,470 --> 00:26:09,030
you know, it's hard. You know, the choice of words

322
00:26:09,030 --> 00:26:14,430
do not show the smoothness of like we saw in

323
00:26:14,430 --> 00:26:18,510
Marlow. We don't see the melody. We don't see the

324
00:26:18,510 --> 00:26:25,090
soft tunes we saw in Marlow. Drives. Time drives

325
00:26:25,090 --> 00:26:31,630
the flux, harshness. This harshness in like the

326
00:26:31,630 --> 00:26:35,330
sound is parallel to the harshness of life itself.

327
00:26:36,610 --> 00:26:43,510
Time drives the flux from field to fold. Very sad

328
00:26:43,510 --> 00:26:47,940
image. The F sound. It shows how it is

329
00:26:47,940 --> 00:26:53,380
frightening, how he is intimidated by this idea.

330
00:26:53,500 --> 00:26:55,820
This idea is very intimidating, very frightening.

331
00:26:57,640 --> 00:27:02,660
And then, when would this happen? When rivers rage

332
00:27:02,660 --> 00:27:08,560
and rocks grow all cold. Reflect on this image

333
00:27:08,560 --> 00:27:13,370
when rivers rage. It's an image which is similar.

334
00:27:13,830 --> 00:27:16,770
Like this image is a biblical image, in fact. You

335
00:27:16,770 --> 00:27:19,410
know, it's an image, you know, about the doomsday,

336
00:27:20,370 --> 00:27:25,810
when like there will be flood, when rivers rage. I

337
00:27:25,810 --> 00:27:28,850
mean, rivers, it's a metonymy of seas, rivers,

338
00:27:29,150 --> 00:27:33,430
oceans. When they rage, when they get angry, you

339
00:27:33,430 --> 00:27:35,790
know, this is a personal occasion. When rivers

340
00:27:35,790 --> 00:27:44,300
rage and rocks grow cold. A rock stands for

341
00:27:44,300 --> 00:27:54,200
anything, you know, strong. But in this upheaval,

342
00:27:54,840 --> 00:28:01,380
in this change, in this upheaval, everything will

343
00:28:01,380 --> 00:28:07,840
be upside down. When rivers rage and rocks grow,

344
00:28:08,200 --> 00:28:12,200
look here, the air sound. It shows how harsh, how

345
00:28:12,200 --> 00:28:16,220
difficult. When rivers rage and rocks grow cold

346
00:28:16,220 --> 00:28:23,520
and filament, and filament becomes damp. A

347
00:28:23,520 --> 00:28:25,740
filament, what do you think? It's a methanol of

348
00:28:25,740 --> 00:28:29,600
what? Yes, thank you. It's a metonymy of the poet,

349
00:28:29,820 --> 00:28:33,220
because a philomel is the one who sings. Now, what

350
00:28:33,220 --> 00:28:36,700
will happen to the philomel at this? It will die.

351
00:28:37,000 --> 00:28:41,400
It will be speechless. And philomel becomes dumb.

352
00:28:43,220 --> 00:28:48,180
The rest complains of curse to come. Like the

353
00:28:48,180 --> 00:28:55,130
rest, those who were not touched, they would be

354
00:28:55,130 --> 00:29:01,150
waiting for more care to come. Very frightening.

355
00:29:03,890 --> 00:29:08,910
Then, I mean, Raleigh started to look more closely

356
00:29:08,910 --> 00:29:14,950
at the poem and say, the flowers. Now with this,

357
00:29:15,670 --> 00:29:18,590
in this reality, what will happen to the flowers?

358
00:29:19,790 --> 00:29:23,710
The flowers do fade. Again, the F sound. Do fade.

359
00:29:25,330 --> 00:29:30,750
And wanton feels, playful feels, to way where

360
00:29:30,750 --> 00:29:40,250
winter reckoning yields, like they will die. To

361
00:29:40,250 --> 00:29:44,850
way where winter, way we're dying. You know, they

362
00:29:44,850 --> 00:29:49,190
will be dying. And look here, everything will be

363
00:29:49,190 --> 00:29:53,450
reversed. A honey tongue, what will the honey

364
00:29:53,450 --> 00:29:58,280
tongue be? Yeah? A heart of gold. So things will

365
00:29:58,280 --> 00:30:02,240
be turned upside down. What is sweet will be

366
00:30:02,240 --> 00:30:07,220
bitter. You know? A honey tongue is a heart of

367
00:30:07,220 --> 00:30:12,260
gold. It's fancy spring, but soon it's fall. So

368
00:30:12,260 --> 00:30:19,500
the beauty of spring will be transformed into

369
00:30:19,500 --> 00:30:22,780
sorrow. This is like paraphrasing.

370
00:30:26,310 --> 00:30:31,490
Then what would happen to your promises? Thy

371
00:30:31,490 --> 00:30:37,910
gowns. Thy, not my. Look at her. This is very

372
00:30:37,910 --> 00:30:41,350
significant. Thy. Look at the repetition. Thy

373
00:30:41,350 --> 00:30:48,670
gowns, thy shoes, thy bed of roses, thy cab, thy

374
00:30:48,670 --> 00:30:52,490
kertil, and thy poses. So this repetition of thy,

375
00:30:52,650 --> 00:30:57,330
thy, Do you feel like when I say, thy gowns, thy

376
00:30:57,330 --> 00:31:02,910
shoes, thy bed of roses, thy cap? You know, it

377
00:31:02,910 --> 00:31:06,910
creates a kind of monotony. What is monotony?

378
00:31:09,610 --> 00:31:14,570
Monotony is a boring thing. It's monotonous, you

379
00:31:14,570 --> 00:31:19,900
know? Thy gowns, thy shoes, thy bed of roses, thy

380
00:31:19,900 --> 00:31:24,280
cap, thy cartel, and thy poses. Again using thy

381
00:31:24,280 --> 00:31:30,810
shows like The lady here, the nymph, is not

382
00:31:30,810 --> 00:31:35,790
interested at all. She wants to disengage herself,

383
00:31:36,030 --> 00:31:40,530
to disassociate herself from the whole, you know,

384
00:31:40,930 --> 00:31:46,330
promises. Thy gowns, thy shoes, thy bed of roses.

385
00:31:46,910 --> 00:31:51,470
Look here, what was glittering, what was, you

386
00:31:51,470 --> 00:31:54,130
know, a lovely promise, what was, you know,

387
00:31:54,530 --> 00:32:01,140
something golden. is losing its beauty now, is

388
00:32:01,140 --> 00:32:05,840
losing its shininess. Thy cap, thy kirtle, and thy

389
00:32:05,840 --> 00:32:12,140
poses, soon break, soon wither, soon forgotten.

390
00:32:13,640 --> 00:32:16,000
You know, look at the repetition of soon, soon,

391
00:32:16,160 --> 00:32:22,160
soon. You know, soon break, soon wither, soon

392
00:32:22,160 --> 00:32:26,230
forgotten. Yeah, like when you say soon, soon,

393
00:32:26,330 --> 00:32:28,370
what is like the repetition of the word soon?

394
00:32:29,770 --> 00:32:35,090
Yeah, it reflects what? Yes. Life is short.

395
00:32:35,430 --> 00:32:37,930
Excellent. You know, everything will come to an

396
00:32:37,930 --> 00:32:43,810
end. So death is inevitable, you know. Death is

397
00:32:43,810 --> 00:32:46,790
inevitable. It should come sooner or later. Soon

398
00:32:46,790 --> 00:32:52,670
break, soon wither, soon forgotten, infuriated, in

399
00:32:52,670 --> 00:32:57,810
season rotten. Everything will come to an end. And

400
00:32:57,810 --> 00:33:04,290
then she continues, Thy belt of straw and ivy

401
00:33:04,290 --> 00:33:04,690
buds.

402
00:33:07,410 --> 00:33:10,370
What will happen to thy belt of straws? Thy coral

403
00:33:10,370 --> 00:33:16,040
clasp and amber studs. with this new revelation,

404
00:33:16,600 --> 00:33:22,000
with this new reality. All these in me, no means

405
00:33:22,000 --> 00:33:26,340
can move. Look at her. No means, you know. She's

406
00:33:26,340 --> 00:33:31,960
very adamant. She's very reluctant to come to Thee

407
00:33:31,960 --> 00:33:33,280
and be Thy love.

408
00:33:36,520 --> 00:33:44,030
And the poem, you know, the last stanza, starts

409
00:33:44,030 --> 00:33:48,230
also by hypothesis.

410
00:33:48,810 --> 00:33:54,750
But could youth, like it is if youth lost and love

411
00:33:54,750 --> 00:33:59,330
still breathed, what does it mean? Youth does not

412
00:33:59,330 --> 00:34:04,470
last and love does not grow. Had joys no date,

413
00:34:05,430 --> 00:34:09,290
joys have date. Joys are

414
00:34:12,380 --> 00:34:16,880
circumscribed, limited. You know, joys are

415
00:34:16,880 --> 00:34:22,380
permanent, they are temporal. Joys are limited by

416
00:34:22,380 --> 00:34:28,480
time and nor age, nor date, nor need. Like joys

417
00:34:28,480 --> 00:34:37,000
come to an end. Then these delights, my mind,

418
00:34:38,610 --> 00:34:42,430
might move. Again, look here, mama, you know, it's

419
00:34:42,430 --> 00:34:47,790
like speechless to live with thee and be thy love.

420
00:34:49,950 --> 00:34:54,970
Yes, I think most of you are very sympathetic.

421
00:34:57,090 --> 00:35:01,830
In fact, this poem is a parody.

422
00:35:04,630 --> 00:35:07,090
You know what is a parody? What is a parody?

423
00:35:17,460 --> 00:35:18,020
Yes,

424
00:35:29,960 --> 00:35:32,680
you are right. So when we are talking about a

425
00:35:32,680 --> 00:35:38,240
parody, the parado is, you know, like, an

426
00:35:38,240 --> 00:35:41,740
imitation, but it is an imitation for the purpose

427
00:35:41,740 --> 00:35:45,640
of ridicule, for the purpose of making fun, for

428
00:35:45,640 --> 00:35:52,100
the purpose of satirizing. Yes, Raleigh here in

429
00:35:52,100 --> 00:35:56,420
this poem is satirizing Marlow. Raleigh

430
00:35:58,990 --> 00:36:05,050
was, as we said, was an, you know, an Elizabethan

431
00:36:05,050 --> 00:36:09,890
expeditionist, you know? Like, he was a leader of

432
00:36:09,890 --> 00:36:13,790
many expeditions that went to the New World. He

433
00:36:13,790 --> 00:36:17,090
went to America. He was the advisor of the queen.

434
00:36:17,410 --> 00:36:22,350
So he went on many trips. And he saw the reality

435
00:36:22,350 --> 00:36:27,390
about the pastoral life. You know, he saw that,

436
00:36:27,750 --> 00:36:33,050
you know, it was not as golden as it was, you

437
00:36:33,050 --> 00:36:36,750
know, depicted by Marlow. Death was there. What

438
00:36:36,750 --> 00:36:40,670
death? You know, there were indigenous people

439
00:36:40,670 --> 00:36:43,390
dying, people suffering. There is agony. There is,

440
00:36:43,690 --> 00:36:47,840
you know, so he contradicts himself. I don't know,

441
00:36:47,940 --> 00:36:51,520
Marlowe did not live long, you know, to answer him

442
00:36:51,520 --> 00:36:55,280
back. So we could have seen a series of like,

443
00:36:55,740 --> 00:36:58,520
Marlowe as you see, you know, died when he was

444
00:36:58,520 --> 00:37:03,500
young. Marlowe was very great, you know, poet and

445
00:37:03,500 --> 00:37:09,920
dramatist. Do you remember any play he wrote? Yes?

446
00:37:11,640 --> 00:37:17,550
He wrote a couple of plays. The Jew of Malta, you

447
00:37:17,550 --> 00:37:22,400
know? Dr. Faustus and Tom Berlin. And they said,

448
00:37:23,040 --> 00:37:26,920
had Marlow lived longer, he would have surpassed

449
00:37:26,920 --> 00:37:30,220
Shakespeare. I wish, like, you know, you would

450
00:37:30,220 --> 00:37:34,120
have time to study The Jew of Malta or, you know,

451
00:37:34,220 --> 00:37:39,600
Dr. Faustus. Yeah. So, like, just, like, look at

452
00:37:39,600 --> 00:37:42,480
them, read, like, The Jew of Malta and see how,

453
00:37:43,120 --> 00:37:47,220
you know, he was trying to show, like, the danger

454
00:37:47,220 --> 00:37:55,510
of greed. He was an amazing writer. Okay. Now, the

455
00:37:55,510 --> 00:37:59,110
parody, we're going to discuss it next time. But

456
00:37:59,110 --> 00:38:04,810
if you like, I think here, we saw two poems. We

457
00:38:04,810 --> 00:38:08,010
saw two poems with different themes. with

458
00:38:08,010 --> 00:38:11,270
different tones, with different attitudes, with

459
00:38:11,270 --> 00:38:14,690
different images, you know? The alliteration here

460
00:38:14,690 --> 00:38:17,690
was different, like music. I mean, the music is

461
00:38:17,690 --> 00:38:21,170
the same, but the context is different. And this

462
00:38:21,170 --> 00:38:23,470
is what we discussed in the parody. So it is very

463
00:38:23,470 --> 00:38:27,490
important, like, you start thinking how to compare

464
00:38:27,490 --> 00:38:32,910
and to contrast. Okay? And this is what we have to

465
00:38:32,910 --> 00:38:37,610
do next time, to compare and contrast. Do you have

466
00:38:37,610 --> 00:38:43,310
any question? Okay. Do you have any question?

467
00:38:44,170 --> 00:38:44,750
Okay.