PL9fwy3NUQKwZ52Wxrug71SHLnFjqhlVJc/GEkz0b8NxJM_postprocess.srt

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Okay, good morning everybody. How are you? Good.

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How was like the rain last night? Beautiful.

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Boring?

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Yeah, I know, like, so the drones were like very

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noisy. And we thought that they would stop last

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night, but they didn't stop. Anyway, forget about

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the drones. Let's live winter. And let's live

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poetry classes. Today, we're planning, I'm

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planning to reconsider the two poems because I

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thought we should have another go on the two poems

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from the aesthetic point of view and also the

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thematic point of view. But first, as usual, we

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need to listen to one or two students reporting

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about the previous class. Yes, please come. There,

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the lady.

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You just come here. Come here. Come here. Come,

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come. Okay. Last lecture, I was absent, which was

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against my will. I knew from one of the classmates

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that Dr. Habib asked a few girls to read their

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reports, their daily reports, but they didn't. I

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was in their place one time, but only because I

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didn't know how to write the daily report. Now I

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practice and I think I'm getting better by time.

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Now let's go for Shakespeare. I really like

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Shakespeare. Every time his name been heard, I

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hear his name or I write it or even I read it. I

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feel that feeling inside me tells me that he is

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the greatest poet in the world. There was a news

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that there is a new movie says that Shakespeare is

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not the original writer of his works. I

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immediately denied that. I think he is a great

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writer and I will always think like that. I can't

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wait to start the new sonnet of Shakespeare. Okay,

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thank you very much.

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Yes, Jihan, you want to exonerate yourself. You

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know what it means, exonerate? Like to acquit

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yourself when you are in a court and you commit a

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mistake. Then you say, no, it's not me. I was

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like, so you excuse yourself. I don't blame

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myself. I blame time. You blame time. She's

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blaming time. But time not like here. It is very

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tough here. Okay. TikTok surrounds the clock, so

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rapid did time fly. I'm still in shock. Better in

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days when I am attending, though not as reckful as

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when I'm not. Work sickness all subject to decay.

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Even lectures in uni will in my memory rot. Though

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I am back to the battlefield, so nowhere is

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Shakespeare your poetry or not. Okay, thank you

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very much. I think, you know, by time management,

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we can overcome this problem. I know you're busy,

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Jihan, but if you manage your time very well,

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you'll be okay. Some people are Yeah, time is

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cruel. Time is passing quickly. However, if you

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manage your time, you know, I think you will

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conquer time. And this is like what Shakespeare

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never thought of. So he thought he would manage

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his time or he would manage time or he would

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conquer time by writing poetry. And I think to

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some extent he was right. Okay. Is anybody

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willing, like, Again, you want to exonerate

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yourself. Please come. Okay.

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So I have to be tough in order to be kind. Okay.

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Yes. I miss the law, but I won't miss the rest. I

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know that I was such a passive girl, but that will

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turn to be from the past. As we know that every

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culture has a start, a peak, and a catastrophe.

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Sometimes we are to be the same, to begin the

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semester as achievers and finish it with a sign of

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failure. If things can have another track. We just

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need the courage, the will, and the vision so we

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can be a way from what disappoints and aborts us.

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It's just a matter of moments, of being frank with

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yourself, so everyone can know what is to be done

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and what is not. It's just a matter of people

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around you who tend to abort or encourage you. So

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be positive, have the courage, speak up, face your

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problems, then have a great day. Okay, thank you

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very much. This reminds me of a poem, you know,

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you might have studied in Tawjihi, which says, be

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strong. We're not here to play, to dream, to

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drift. We have hard work to do and loads to lift.

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Yes, one should be realistic. One should manage

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his or her time and work hard because tomorrow

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will come the smile. You're fretting today. You

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might be sick coming to class. You might be tired.

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But I think everything is considered. Let's see. I

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don't want to waste time also talking about

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general issues.

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Shall I compare it to a summer's day? We looked at

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it, we listened to the song, and we looked at the

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aesthetics. But today I'm asking different

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questions. After reading the two poems, we

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discovered that Shakespeare was writing on the

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same theme, which was like the immortality of his

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poetry. So in the two poems, So Long As Lives This

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And Gives Life To Thee, and like in the other

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poem, he was like vowing that nothing will

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immortalize his friend, None unless this miracle

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have might that in black ink my love shine bright.

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So Shakespeare in the two poems is writing about

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his poetry, in fact. It's about his poetry. Yes,

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he's trying to immortalize the beauty of his

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friend. He's trying to immortalize the memory of

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his friend in the second. But if you look deeply

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and you look at Shakespeare's intent, he was, in

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fact, trying to show that his poetry will be

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immortal. And I think in the two poems, he was

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bragging that his poetry would live and would

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immortalize him. So far, Shakespeare is right

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because we're reading him. Shakespeare, you know,

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sometimes,

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can be thought of as England, and England thought

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of Shakespeare, so if you go England, Shakespeare.

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So they are connected with each other. Okay, let's

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look at the poems again. Shall I Compare Thee to

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Summer's Day? I think this is, as we said, it is a

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rhetorical question. Shall I compare thee to a

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summer's day? Now this rhetorical question, he

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started his poem by a rhetorical question. And

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Shakespeare was an orator. Shakespeare was a

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writer for the theater. He was an actor himself.

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And we should read this poem as if we were on the

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stage. Okay? We shouldn't read this poem like,

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shall I compare thee to a summer's day? No, it

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should be, shall I compare thee to a summer's day?

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You have to use body language. You have to feel

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what you are reading. So if we read this, shall I

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compare thee to a summer's day? Like, what does

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this rhetorical question imply? Shall I compare

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thee to a summer's day? What does it imply? Yes?

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It is impossible to compare. It is impossible to

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compare, you know? But more, it is impossible to

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compare. You know, it is unlikely to compare. It

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is unlikely to compare. What else? Despair.

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You know, he's like confused, you want to say?

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Shall I compare thee to a summer's day? But look

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at the second line. What does he say in the second

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line? What does he say in the second line? Okay,

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what does he say in the second line? Thou are more

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lovely and more temperate. So I think asking this

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question implies that She is beyond comparison. Or

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he, his friend, is beyond comparison. So the

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rhetorical question, it is a kind of exaggeration.

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He's exaggerating the beauty of the friend. What

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is he trying to say? That your beauty is beyond

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any comparison. Shall I compare thee to a summer's

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day? And I think he should be wagging like this.

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No. You are beyond comparison. They are more

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lovely and more temperate. They are more lovely

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and temperate. It is an assertion. They are. You

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are. So when we are using you are not you maybe

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you are more lovely and more temperate. Of course

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here it is like contrasting. He is contrasting.

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And we said when somebody is contrasting, he's

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showing the differences. They are more lovely and

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more temperate. I think there is a metaphor here

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running. What is the metaphor? Yes. What is

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Shakespeare comparing him to? To what? What is he

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comparing, you know, the beauty of his friend to?

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Yes? To the summer's day. To the summer's day.

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Yes, you're right. But he refused to compare it.

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No, but he's contrasting, you know, but I mean,

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because of the sake of the analogy. So he's trying

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to compare, you know, the day with. But he's

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contrasting, in fact. Yes. Now, summer, or

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summer's day might be temperate or not temperate

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because in England. So if you are talking about

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he, the friend, is more temperate, this should be

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a metaphor. Yes? Now they are more temperate. So

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look here, his friend is being considered as

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summer in a metaphoric sense. I want you, like, to

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bear this in mind when you go at the end of the

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poem, when he's telling him, thy summer. So there

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is a development in the poem from summer, you

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know, as being metaphoric into a real summer.

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Okay. Rough winds do shake the darling buds of

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May. Very frightening. Why? Very frightening. Yes?

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Okay, yes, the image itself is very frightening.

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So if we look, you know, rough ones, like first of

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all, this is a multi-layer figure of speech. Rough

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ones, you know, rough ones are being seen like

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what? A tough person who is shaking, Of what? The

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trees causing the buds to fall down. So it's an

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image of, you know, sabotage. It is an image of

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destruction, you know, sabotage, destruction.

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Okay, violence. But if you think, and then, you

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know, the buds of May, you know, like small,

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they're joining, newly growing. However, we might

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also Think of this as, you know, a metaphor. When

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we say rough winds do shake, rough winds are being

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compared to what? To an earthquake, which is

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shaking. Again, it is an image of death. Look how

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Shakespeare, that's why Shakespeare was bragging,

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because he was capable of using, you know, very

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intricate images. Again, if we look at it, as you

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said, you know, rough ones is a metonymy. Metonymy

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of what? Death. And, you know, darling buds. Yeah,

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people, but not any people. They are newly born.

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The buds, you know, the buds of May, they are

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children, newly born. Yeah, feeble, very feeble.

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Like look here, when you feel the disparity

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between the victim and let's say the victimizer,

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You know, we like, we become very sympathetic. We,

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you know, like the victim is winning our

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compassion. We started to feel for, you know, the

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people, for the buds. We started like to have

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this, develop this compassion. And Summer's Lease

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has all too short a date. Summer's Lease is

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What? So summer lease, what does lease mean here?

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Time, vacation, summer lease has all too short a

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date. I think Shakespeare here doesn't mean summer

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per sea, summer, but there should be a metonymy.

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So summer is a metonymy of what, you think? Of

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time? No, what do you mean by time? I know short

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time, but it's a metonym of what? Of life itself.

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Thank you very much. It is, you know, a metonym of

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life, which is very short, which is very

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circumscribed. Life is circumscribed. It is

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limited.

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And someone's lease has all too short a date.

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Sometimes to help the eye of heaven shines. I

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think we cannot fail to see what figure of speech

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do we have, the eye of heaven. It's a metaphor. So

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the eye of heaven, the sun shines, the eye of

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heaven. So But is it shining all the time?

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Sometimes. Sometimes, you know, it's an adverb of

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what? Frequency. And again, here, if you look, we

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have often and sometime, and often and sometime

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have to do with things changing, not remaining the

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same. And Shakespeare, because Shakespeare was

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concerned with the change itself, so look here, we

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can easily connect these things with the feeling

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of change. Yes, sometime too hot the eye of heaven

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shines. So it's a metaphor. But in the second

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line, it is developed. The same figure of speech

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is developed, and off is his old complexion

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dimmed. So the complexion, what is complexion?

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It's like the complexion of the face. So don't you

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think here, what figure of speech is this? It is

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personification, yes. It is personification. Thank

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you. Yes, he here, like the sun, is being

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portrayed as a person who has, you know, like

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complexion. Sometimes they are shining complexion

244
00:17:37,940 --> 00:17:40,360
and sometimes they are... Yeah, and Shakespeare

245
00:17:40,360 --> 00:17:44,080
was upset with that, you know, norm of

246
00:17:44,080 --> 00:17:49,380
inconsistency. It is a norm of change. It is a

247
00:17:49,380 --> 00:17:52,900
norm of fluctuation. So Shakespeare was upset with

248
00:17:52,900 --> 00:17:58,120
that, and it seems like he was trying to find a

249
00:17:58,120 --> 00:18:02,220
way out of that dilemma. It continues like this,

250
00:18:02,300 --> 00:18:07,560
yes? Yeah, the next line declines. Yeah, yeah. And

251
00:18:07,560 --> 00:18:13,430
every fair from fair sometime declines. Yeah, and

252
00:18:13,430 --> 00:18:16,990
every fair from fair. Look, I think this is like

253
00:18:16,990 --> 00:18:22,050
very disappointing reality for Shakespeare. And

254
00:18:22,050 --> 00:18:25,490
every fair from fair. Look at the alliteration

255
00:18:25,490 --> 00:18:30,210
shows how Shakespeare was concerned, was upset

256
00:18:30,210 --> 00:18:35,010
with this fact. And every fair from fair sometime

257
00:18:35,010 --> 00:18:39,910
declines. I think sometime here is different from

258
00:18:39,910 --> 00:18:43,540
the sometime in the previous line. How is it

259
00:18:43,540 --> 00:18:46,660
different? Is it an adverb of time here? Adverb of

260
00:18:46,660 --> 00:18:51,460
frequency? No. So what does it mean? Like, and

261
00:18:51,460 --> 00:18:55,380
every fair from fair sometime declines. What does

262
00:18:55,380 --> 00:19:00,140
it mean? And every fair, can you translate it into

263
00:19:00,140 --> 00:19:03,700
Arabic? And every fair from fair sometime.

264
00:19:07,060 --> 00:19:09,160
Yeah, but like I want sometime. You didn't

265
00:19:09,160 --> 00:19:13,840
translate sometime. Something else. Yeah, and I

266
00:19:13,840 --> 00:19:15,960
want you to translate it in Arabic, like.

267
00:19:18,920 --> 00:19:18,920
Yeah,

268
00:19:22,020 --> 00:19:25,820
you can translate this, but like sometime. And

269
00:19:25,820 --> 00:19:30,680
every fair from fair sometime. I think, you know,

270
00:19:30,700 --> 00:19:35,600
you can translate it. وكل جمال يوم ما إلى زوال Or

271
00:19:35,600 --> 00:19:37,900
في النهاية إلى زوال

272
00:19:40,760 --> 00:19:44,040
وكله نعيم لمحالة إلى زوال. You know, this is what

273
00:19:44,040 --> 00:19:48,320
Khalid is translating in his booth there. He's

274
00:19:48,320 --> 00:19:50,580
very, he's listening to us, but I'm very happy

275
00:19:50,580 --> 00:19:54,260
like he's doing that. Yes, here it means finally,

276
00:19:54,540 --> 00:19:59,440
eventually. Sometime here means eventually. So

277
00:19:59,440 --> 00:20:02,420
Shakespeare like is very, he's mastering the

278
00:20:02,420 --> 00:20:04,780
language, you know, and Shakespeare like

279
00:20:04,780 --> 00:20:08,020
introduced or coined many words that, you know,

280
00:20:08,020 --> 00:20:12,420
becoming Shakespeare words. Anyway, by chance or

281
00:20:12,420 --> 00:20:16,980
changing nature, like he's telling us how, how

282
00:20:16,980 --> 00:20:23,400
this decline is happening. By chance or nature's

283
00:20:23,400 --> 00:20:27,550
changing course untrimmed. Now Shakespeare here is

284
00:20:27,550 --> 00:20:32,730
referring to, you know, the forces of death in a

285
00:20:32,730 --> 00:20:38,010
more metaphoric sense. Like when he's saying

286
00:20:38,010 --> 00:20:44,710
chance, he was referring to fortune, to hap. And I

287
00:20:44,710 --> 00:20:47,290
think this is an allusion. You know what's an

288
00:20:47,290 --> 00:20:51,130
allusion? It is a reference to something outside

289
00:20:51,130 --> 00:20:53,950
the text. You know, when you say he's making

290
00:20:53,950 --> 00:21:03,130
allusion, He's alluding to something. Yeah, it is,

291
00:21:03,370 --> 00:21:07,430
but not the fortune teller. Fortune, she was a

292
00:21:07,430 --> 00:21:12,150
woman who was behind a wheel turning, this wheel,

293
00:21:12,470 --> 00:21:16,230
and then you don't know. So your situation remains

294
00:21:16,230 --> 00:21:18,750
all the time precarious. You know what's

295
00:21:18,750 --> 00:21:22,810
precarious? In danger, insecure. Yeah, so you

296
00:21:22,810 --> 00:21:26,830
don't feel any security at all. Your situation

297
00:21:26,830 --> 00:21:34,040
will be precarious. Good. or changing scores

298
00:21:34,040 --> 00:21:38,160
untrimmed. Like again here, this is a reference to

299
00:21:38,160 --> 00:21:42,380
like the natural disasters, the natural

300
00:21:42,380 --> 00:21:44,940
calamities. You know what I mean calamities?

301
00:21:45,280 --> 00:21:49,600
Disasters, catastrophes. These natural calamities

302
00:21:49,600 --> 00:21:54,800
are unpredictable, are untrimmed, untrimmed. Of

303
00:21:54,800 --> 00:21:58,160
course here, he's comparing natural, there is a

304
00:21:58,160 --> 00:22:05,020
metaphor here. He's comparing natural

305
00:22:05,020 --> 00:22:08,840
disasters to something which can be like grass,

306
00:22:09,220 --> 00:22:14,540
but it is untrimmed. Untrimmed means uneven. So

307
00:22:14,540 --> 00:22:19,270
when we trim something, we make it even. But when

308
00:22:19,270 --> 00:22:24,650
it is untrimmed, it means something is longer.

309
00:22:25,290 --> 00:22:30,830
Here, what he wants to say, natural disasters are

310
00:22:30,830 --> 00:22:34,170
unpredictable. They are not even. Some of them are

311
00:22:34,170 --> 00:22:37,290
tsunami-like, some of them destructive

312
00:22:37,290 --> 00:22:39,450
earthquakes. You don't know. They are

313
00:22:39,450 --> 00:22:43,130
unpredictable. What is unpredictable is more

314
00:22:43,130 --> 00:22:43,890
precarious.

315
00:22:47,040 --> 00:22:49,240
So if we look how Shakespeare was meditating,

316
00:22:49,440 --> 00:22:53,220
these were how Shakespeare meditating. He was

317
00:22:53,220 --> 00:22:57,060
thinking. He was meditating what would happen. And

318
00:22:57,060 --> 00:22:59,440
I think we share Shakespeare. You know, the most

319
00:22:59,440 --> 00:23:02,800
interesting thing that Shakespeare in the two

320
00:23:02,800 --> 00:23:06,680
poems is writing about particular, you know,

321
00:23:06,700 --> 00:23:10,080
experience. But this particular experience becomes

322
00:23:10,080 --> 00:23:13,560
common. We share Shakespeare's concern. And this

323
00:23:13,560 --> 00:23:14,940
is the greatness, again, of Shakespeare.

324
00:23:15,710 --> 00:23:19,010
Shakespeare is lyrical poetry. It is lyrical. It

325
00:23:19,010 --> 00:23:22,410
talks about personal experience. However, like his

326
00:23:22,410 --> 00:23:25,710
experience is shared by all the people. You see

327
00:23:25,710 --> 00:23:28,570
what I mean? But not all the English even, all the

328
00:23:28,570 --> 00:23:32,930
people around the world. It is. You can easily

329
00:23:32,930 --> 00:23:37,730
identify with. So great poetry, as we said, if you

330
00:23:37,730 --> 00:23:40,330
remember at the beginning of the course, great

331
00:23:40,330 --> 00:23:43,870
poetry is the poetry which allows you to identify,

332
00:23:44,490 --> 00:23:47,710
which allows you to be an insider of the poem

333
00:23:47,710 --> 00:23:55,110
itself. By chance or nature's changing course

334
00:23:55,110 --> 00:23:58,860
untrimmed. Look here, Shakespeare in the final

335
00:23:58,860 --> 00:24:03,780
couplet is trying to find a way out. And now here,

336
00:24:04,080 --> 00:24:09,880
he started to give us some hints what he's going

337
00:24:09,880 --> 00:24:15,320
to do. Thy eternal summer. Look here, thy summer.

338
00:24:15,980 --> 00:24:20,460
So summer which was being seen as like metaphoric

339
00:24:20,460 --> 00:24:22,840
is becoming real. Your summer, you are the summer

340
00:24:22,840 --> 00:24:25,580
yourself, but you are different summer. But thy

341
00:24:25,580 --> 00:24:28,180
summer,

342
00:24:29,220 --> 00:24:33,990
thy eternal summer shall not fade. Again, we have

343
00:24:33,990 --> 00:24:37,630
a metaphor. You know, the summer of the friend is

344
00:24:37,630 --> 00:24:42,850
like a plant which will never, you know, fade. It

345
00:24:42,850 --> 00:24:47,230
will remain lush green. I like this collocation,

346
00:24:47,770 --> 00:24:51,250
lush green. It will remain lush green forever.

347
00:24:51,490 --> 00:24:54,490
Why? Because this is how Shakespeare thought of

348
00:24:54,490 --> 00:24:57,470
his poetry. And I think here, he was bragging. He

349
00:24:57,470 --> 00:25:02,080
was cherishing his poetry.but thy eternal summer

350
00:25:02,080 --> 00:25:06,280
shall not fade nor lose possession of that fairs

351
00:25:06,280 --> 00:25:10,820
thou owest it will never your you know because you

352
00:25:10,820 --> 00:25:16,420
know your your summer will be in my eternal lines

353
00:25:16,420 --> 00:25:22,080
so it will never lose its beauty will remain

354
00:25:22,080 --> 00:25:26,500
intact you know what's mean intact you know intact

355
00:25:26,500 --> 00:25:28,660
unblemished as it is intact

356
00:25:32,000 --> 00:25:33,640
It will remain as it is.

357
00:25:36,620 --> 00:25:39,480
But, like, if you hear, like, go to the, you know,

358
00:25:39,560 --> 00:25:43,760
nor lose position of that, first thou owest, nor

359
00:25:43,760 --> 00:25:46,920
shall death. Nor. Look at nor. Nor. So Shakespeare

360
00:25:46,920 --> 00:25:51,660
here is contesting, is challenging. Death will

361
00:25:51,660 --> 00:25:56,780
not. Nor. Nor. So the not and the nor, you know,

362
00:25:57,100 --> 00:26:02,690
the use of these has to, you know, to do with

363
00:26:02,690 --> 00:26:06,890
Shakespeare's attitude of contesting with death,

364
00:26:07,770 --> 00:26:11,390
you know, challenging death. Nor, nor, nor. Nor

365
00:26:11,390 --> 00:26:15,650
shall death brag that wondrous in his shade. Death

366
00:26:15,650 --> 00:26:19,270
will never brag. Again, here, we have a personal

367
00:26:19,270 --> 00:26:22,970
occasion. Death is being portrayed like a person

368
00:26:22,970 --> 00:26:27,450
who's arrogant, conceited. Look at them. I

369
00:26:27,450 --> 00:26:31,250
inflicted all of them dead. And again, this is a

370
00:26:31,250 --> 00:26:33,370
biblical image. This is an image from the Bible

371
00:26:33,370 --> 00:26:37,010
when death, when like a lot of people who were

372
00:26:37,010 --> 00:26:41,250
killed by death will be like in his shade. So

373
00:26:41,250 --> 00:26:44,010
Shakespeare is using a biblical image here, and

374
00:26:44,010 --> 00:26:45,710
this is another example of allusion.

375
00:26:48,490 --> 00:26:52,450
Now, nothing will happen to you when, and he's

376
00:26:52,450 --> 00:26:56,870
trying to explain for us, when in eternal lines to

377
00:26:56,870 --> 00:27:02,400
time thou growest. You know, thou grossed. Again

378
00:27:02,400 --> 00:27:07,260
here, we have a metaphor. And this metaphor, as we

379
00:27:07,260 --> 00:27:13,140
said, is what? Yeah, I know it's a metaphor. What

380
00:27:13,140 --> 00:27:19,040
is the metaphor here? Like, let's explain it. Like

381
00:27:19,040 --> 00:27:25,580
the summer of his friend will grow. Where will it

382
00:27:25,580 --> 00:27:31,290
grow? In Gaza? No, where? In his poetry. Have you

383
00:27:31,290 --> 00:27:34,270
ever seen like something growing in poetry? Okay,

384
00:27:34,350 --> 00:27:37,770
let's plant a tree in poetry Shakespeare, in the,

385
00:27:37,830 --> 00:27:41,430
you know, the poetry of Shakespeare. Yes. So here,

386
00:27:42,070 --> 00:27:47,290
I think the image is taken from botany from, you

387
00:27:47,290 --> 00:27:51,070
know, you know, in botany, in agriculture, there

388
00:27:51,070 --> 00:27:54,860
is something called grafting. What is grafting? It

389
00:27:54,860 --> 00:27:58,520
means you are joining two things. So here, the

390
00:27:58,520 --> 00:28:02,160
image is like this. Shakespeare's poetry is being

391
00:28:02,160 --> 00:28:07,000
portrayed like what? Like a tree. And the summer

392
00:28:07,000 --> 00:28:12,020
of his friend is like graft, a piece which is

393
00:28:12,020 --> 00:28:17,860
joined. And then after a while, it sprouts. You

394
00:28:17,860 --> 00:28:22,540
know what's with sprouts? It sprouts, grows. It

395
00:28:22,540 --> 00:28:26,240
grows, you know, it grows and then it continues

396
00:28:26,240 --> 00:28:31,560
growing. So this is a grafting metaphor, like you

397
00:28:31,560 --> 00:28:35,800
graft, you join two parts, you know, they might

398
00:28:35,800 --> 00:28:39,060
not be, you know, homogeneous, they might be

399
00:28:39,060 --> 00:28:41,900
heterogeneous, but once they are grafted, they

400
00:28:41,900 --> 00:28:46,670
become homogeneous and they grow together. So look

401
00:28:46,670 --> 00:28:51,910
how Shakespeare was analyzing his sentiment. Look

402
00:28:51,910 --> 00:28:54,970
how Shakespeare was recording. And all of this in

403
00:28:54,970 --> 00:28:58,230
a musical, in a sonnet form. So there are many

404
00:28:58,230 --> 00:29:02,410
things to consider here.

405
00:29:05,610 --> 00:29:10,840
When in eternal lines to time thou growest, So

406
00:29:10,840 --> 00:29:13,780
long as men, and Shakespeare after all of this,

407
00:29:14,240 --> 00:29:18,800
you know, has concluded the argument. So the

408
00:29:18,800 --> 00:29:22,960
argument started by Shakespeare's concern about,

409
00:29:23,620 --> 00:29:26,220
you know, then he went through all the

410
00:29:26,220 --> 00:29:30,260
difficulties, which would make him like decline to

411
00:29:30,260 --> 00:29:33,580
compare. And finally, he's giving the conclusion

412
00:29:33,580 --> 00:29:38,520
in the couplet, so long as men can breathe. Or

413
00:29:38,520 --> 00:29:42,800
eyes can see. It's a metonymy of life itself. So

414
00:29:42,800 --> 00:29:48,160
long live this. And this gives life to thee. Look

415
00:29:48,160 --> 00:29:52,160
at him. So long live this, this, and this gives

416
00:29:52,160 --> 00:29:54,360
life to thee. So Shakespeare cherishes,

417
00:29:54,700 --> 00:29:57,780
Shakespeare thinks his poetry will ever, you know,

418
00:29:58,380 --> 00:30:04,000
will immortalize him. It's a wonderful poem. And I

419
00:30:04,000 --> 00:30:07,040
think it shows how Shakespeare was very artistic.

420
00:30:08,220 --> 00:30:10,880
Yeah, confident. Now, this poem, like, when you

421
00:30:10,880 --> 00:30:13,940
listen to the song, it was easily sung. Why?

422
00:30:14,020 --> 00:30:16,980
Because of the musicality of the iambic

423
00:30:16,980 --> 00:30:22,040
pentameter. And did you listen to the song again?

424
00:30:23,900 --> 00:30:27,080
Huh? Did you listen to the song again? Shall I

425
00:30:27,080 --> 00:30:32,120
compare the Utah Summer's Day, no? Huh? Okay.

426
00:30:32,360 --> 00:30:35,960
Thank you. Now, I think we still we have time to

427
00:30:35,960 --> 00:30:43,720
look at the second poem, which is Since Brass. As

428
00:30:43,720 --> 00:30:48,520
we saw, this poem is more serious, is more

429
00:30:48,520 --> 00:30:53,620
philosophical. And the challenge with death is

430
00:30:53,620 --> 00:31:00,140
much more fierce. It's a very ferocious one. Since

431
00:31:00,140 --> 00:31:04,820
brass nor stone nor earth nor boundless sea. Sad

432
00:31:04,820 --> 00:31:08,320
mortality oversways their power. So Shakespeare

433
00:31:08,320 --> 00:31:11,360
starts this poem by the assumption that nothing

434
00:31:11,360 --> 00:31:14,880
will stand the ravages of time. So as you see

435
00:31:14,880 --> 00:31:19,460
here, sad mortality, it's a metonymy of time. And

436
00:31:19,460 --> 00:31:23,620
here, time is being viewed like what? Like very

437
00:31:23,620 --> 00:31:28,400
ruthless beast or monster which will destroy

438
00:31:28,400 --> 00:31:33,210
everything in its way. Since brass, nor stone, nor

439
00:31:33,210 --> 00:31:36,570
earth, nor boundless sea. Look at these, they are

440
00:31:36,570 --> 00:31:40,450
very, they are known for their power. But these

441
00:31:40,450 --> 00:31:44,290
things will be powerless when they are face to

442
00:31:44,290 --> 00:31:50,030
face with time. But sad mortality oversways their

443
00:31:50,030 --> 00:31:52,550
power. Oversways, like the verb itself,

444
00:31:53,590 --> 00:31:58,310
demonstrates how massive the destruction will be,

445
00:31:58,810 --> 00:32:02,950
how tough or how fierce the destruction will be.

446
00:32:03,810 --> 00:32:06,650
How with this rage shall beauty hold a plea? So

447
00:32:06,650 --> 00:32:10,410
Shakespeare, as we said, this poem is full of

448
00:32:10,410 --> 00:32:13,170
rhetorical questions. How many questions do we

449
00:32:13,170 --> 00:32:17,850
have? Five rhetorical questions. How with this

450
00:32:17,850 --> 00:32:20,770
rage shall beauty hold a plea? So Shakespeare is

451
00:32:20,770 --> 00:32:25,730
wondering, you know, is wondering about, like, the

452
00:32:25,730 --> 00:32:32,690
vulnerability, the invalidness of, let's say, the

453
00:32:32,690 --> 00:32:35,170
beauty or love of his friend. What will it do, you

454
00:32:35,170 --> 00:32:39,950
know? It will be helpless, exactly like a helpless

455
00:32:39,950 --> 00:32:46,100
defendant in a court. who is unable to defend

456
00:32:46,100 --> 00:32:52,940
himself in front of a very despotic executor.

457
00:32:55,180 --> 00:32:58,040
How would this Rachel beauty hold a plea, whose

458
00:32:58,040 --> 00:33:00,880
action is no stronger than a flower? Look here.

459
00:33:01,880 --> 00:33:06,260
Yeah, a flower is very delicate. So this shows how

460
00:33:06,260 --> 00:33:10,000
the beauty of his friend is very delicate. He's

461
00:33:10,000 --> 00:33:14,510
comparing it to a flower. And if we think about

462
00:33:14,510 --> 00:33:18,470
the disparity, the difference between the delicacy

463
00:33:18,470 --> 00:33:21,590
of the beauty friend and the toughness and the

464
00:33:21,590 --> 00:33:24,130
roughness and the, you know, of time, we started

465
00:33:24,130 --> 00:33:28,250
like to say, oh my God, this is too much. whose

466
00:33:28,250 --> 00:33:31,070
action is no stronger than a flower? Or how shall

467
00:33:31,070 --> 00:33:34,590
summer's honey breath hold out?" Again, it is

468
00:33:34,590 --> 00:33:36,830
summer's honey breath, which is very delicate,

469
00:33:37,250 --> 00:33:40,210
which is very, you know, the beauty, very soft.

470
00:33:40,770 --> 00:33:47,430
This is, again, it is a metaphor. Yes. Against the

471
00:33:47,430 --> 00:33:50,910
reckful siege of battering days, you know? And we

472
00:33:50,910 --> 00:33:54,490
saw the image of the battering days. And we,

473
00:33:54,610 --> 00:33:57,610
because we live You know, in a siege, we

474
00:33:57,610 --> 00:33:59,730
understand what is a siege, how tough is the

475
00:33:59,730 --> 00:34:02,730
siege, you know? And this siege is, you know, very

476
00:34:02,730 --> 00:34:06,890
frightening. We saw how the battering days will be

477
00:34:06,890 --> 00:34:11,670
like soldiers holding big hammers trying, like, to

478
00:34:11,670 --> 00:34:15,910
deter or stop, you know, this lovely, this

479
00:34:15,910 --> 00:34:20,150
delicate, fragile, you know, beauty, like, to go

480
00:34:20,150 --> 00:34:23,890
out, to leave. when rocks impregnable are not so

481
00:34:23,890 --> 00:34:27,510
stout what I like here in this line you know if we

482
00:34:27,510 --> 00:34:32,530
look here when rocks you know against the reckful

483
00:34:32,530 --> 00:34:36,610
siege of battering days when rocks impregnable now

484
00:34:36,610 --> 00:34:42,240
impregnable we have three Three stresses. And

485
00:34:42,240 --> 00:34:45,440
this, you know, because the whole poem is written

486
00:34:45,440 --> 00:34:49,480
in iambic pentameter. When, you know, it's written

487
00:34:49,480 --> 00:34:52,480
in iambic pentameter. And here, so Shakespeare

488
00:34:52,480 --> 00:34:57,470
tried to vary it. He's tried to vary it in order,

489
00:34:57,590 --> 00:35:00,710
like, to equate, you know, the sound and the

490
00:35:00,710 --> 00:35:04,990
meaning. So here, the battering days, boom, boom,

491
00:35:05,450 --> 00:35:08,570
boom. So he's equating this triple hammer blow

492
00:35:08,570 --> 00:35:14,670
with, you know, the three stressed syllables. So

493
00:35:14,670 --> 00:35:18,310
this is, like, common. And here, a not-so-stout.

494
00:35:18,590 --> 00:35:23,770
You know, again here. You know? Nor case of steel

495
00:35:23,770 --> 00:35:28,630
so strong. You know? Again. But time decays. Or

496
00:35:28,630 --> 00:35:32,450
for, you see, or for meditation where I lack shall

497
00:35:32,450 --> 00:35:36,230
times best jewel from times chest lie head. You

498
00:35:36,230 --> 00:35:41,230
know? Here, again, again, you know? Or what

499
00:35:41,230 --> 00:35:46,990
strong, what? Strong hand. Swift-foot bag. So

500
00:35:46,990 --> 00:35:50,430
Shakespeare's, you know, like, started to variate

501
00:35:50,430 --> 00:35:56,150
in this. Why? To make, you know, the sound like a

502
00:35:56,150 --> 00:35:58,630
little bit equivalent or parallel with the meaning

503
00:35:58,630 --> 00:36:01,550
itself. Because here, as you see, it is very

504
00:36:01,550 --> 00:36:06,330
tough. It is very, you know, noisy. So when rocks

505
00:36:06,330 --> 00:36:10,910
impregnable are not so stout, nor gates of steel

506
00:36:10,910 --> 00:36:17,110
so strong, but time decays, Very frightening. When

507
00:36:17,110 --> 00:36:20,570
you think the beauty of the friend or, you know,

508
00:36:20,630 --> 00:36:23,230
the memory of the friend, like, will be faced with

509
00:36:23,230 --> 00:36:26,110
all these powers of destruction, you become very

510
00:36:26,110 --> 00:36:30,710
intimidated. You become very afraid. And

511
00:36:30,710 --> 00:36:32,850
Shakespeare, even Shakespeare also said, Oh,

512
00:36:32,910 --> 00:36:35,630
fearful meditation, because this is very

513
00:36:35,630 --> 00:36:41,220
intimidating, isn't it? Where are you?" He started

514
00:36:41,220 --> 00:36:44,880
to ask, what will, you know, time's best jewel?

515
00:36:45,180 --> 00:36:47,400
You know, time here is life, and the best jewel of

516
00:36:47,400 --> 00:36:49,700
life is the beauty itself. Well, you know what

517
00:36:49,700 --> 00:36:52,700
will happen? What is the fate? So he was, you

518
00:36:52,700 --> 00:36:55,640
know, pondering. He was thinking about, you know,

519
00:36:55,700 --> 00:36:59,560
the beauty of, you know, the fate, you know, of

520
00:36:59,560 --> 00:37:01,940
this beauty. What will happen to it? Shall time's

521
00:37:01,940 --> 00:37:05,920
best jewel from time's chest lie head? Or what?

522
00:37:06,910 --> 00:37:10,770
Strongly. Look here, he is looking for, he's

523
00:37:10,770 --> 00:37:17,110
seeking what? A hand. A hand which will deter,

524
00:37:17,710 --> 00:37:21,390
hold. You know what's mean deter? Repulse. The

525
00:37:21,390 --> 00:37:26,450
swift thought of time. Yeah, like to hold it back,

526
00:37:26,970 --> 00:37:30,090
to stop it, to deter. So he was looking for

527
00:37:30,090 --> 00:37:34,710
something. Now, when you are in trouble, in a

528
00:37:34,710 --> 00:37:37,770
crisis situation, in a dilemma, you start to look

529
00:37:37,770 --> 00:37:40,750
for something from the outside. You start to seek

530
00:37:40,750 --> 00:37:44,410
an aid. And Shakespeare here was wondering, what

531
00:37:44,410 --> 00:37:48,550
can I do? Or what strong hand can hold his swift

532
00:37:48,550 --> 00:37:53,100
foot back? Or who? who's spoiled of beauty. Now I

533
00:37:53,100 --> 00:37:56,080
need somebody, I need somebody who can stop this,

534
00:37:56,580 --> 00:38:02,010
you know, the beauty. you know, can forbid. Of

535
00:38:02,010 --> 00:38:04,870
course, we as Muslims, we can answer these

536
00:38:04,870 --> 00:38:08,070
questions easily, you know, by saying, Allah

537
00:38:08,070 --> 00:38:11,530
Subhanahu Wa Ta'ala can, you know, can stop all of

538
00:38:11,530 --> 00:38:15,390
this. Shakespeare was trying to think of a power,

539
00:38:15,810 --> 00:38:19,690
you know, but he suddenly say, or who his bowl of

540
00:38:19,690 --> 00:38:24,950
beauty can forbid? Oh, none, none of these, except

541
00:38:26,440 --> 00:38:32,300
Unless this miracle, what is this? This poem, his

542
00:38:32,300 --> 00:38:39,700
poetry. This have might, might, power. Unless my

543
00:38:39,700 --> 00:38:45,120
poetry has this power. To do what? That, he's

544
00:38:45,120 --> 00:38:50,380
explaining it. That in a black ink, my love may

545
00:38:50,380 --> 00:38:56,270
still shine bright. Wow. So very affirmative.

546
00:38:57,130 --> 00:39:00,890
Very, he, I think he's bragging. He's bragging.

547
00:39:01,030 --> 00:39:04,730
He's, you know, sure that his poetry will, you

548
00:39:04,730 --> 00:39:06,710
know, immortalize him.

549
00:39:09,570 --> 00:39:15,630
You see, this is Shakespeare. Again, now we might,

550
00:39:16,110 --> 00:39:21,550
and this is like part of your job. is to see whom

551
00:39:21,550 --> 00:39:25,510
he was addressing in the sonnet. In the two

552
00:39:25,510 --> 00:39:28,630
sonnets, whom he was addressing. Was he

553
00:39:28,630 --> 00:39:31,030
addressing, you know, the dark lady? Was he

554
00:39:31,030 --> 00:39:33,770
addressing a friend? Who's this friend? You know?

555
00:39:35,250 --> 00:39:38,470
This is very important to consider because I want

556
00:39:38,470 --> 00:39:42,430
you like to have more knowledge, awareness about

557
00:39:42,430 --> 00:39:47,250
Shakespeare's sonnets. So these are one, these two

558
00:39:47,250 --> 00:39:50,230
sonnets, they are popular sonnets. However, you

559
00:39:50,230 --> 00:39:54,510
can, for comparison, look at sonnets and learn

560
00:39:54,510 --> 00:39:58,690
more about Shakespeare by yourself, okay? Any

561
00:39:58,690 --> 00:40:01,170
question, please? Do you have any question?

562
00:40:04,820 --> 00:40:07,560
Okay. Thank you very much.