1 00:00:12,780 --> 00:00:17,120 Okay, good morning everybody. Hope you are doing 2 00:00:17,120 --> 00:00:21,460 well after this weekend. Have some time to read 3 00:00:21,460 --> 00:00:27,700 something about Sir Thomas Wyatt, his poem. Okay? 4 00:00:28,360 --> 00:00:32,700 And, of course, like, having a good impression about 5 00:00:32,700 --> 00:00:38,820 the previous class. So, as usual, let us start by 6 00:00:38,820 --> 00:00:43,520 listening to a report. Who's ready to read her 7 00:00:43,520 --> 00:00:49,480 report? Who's willing to read her report? Okay? 8 00:00:55,100 --> 00:01:00,220 Good. The last lecture was very formal, because 9 00:01:00,220 --> 00:01:03,460 the cameras were *found*. All of us were not in 10 00:01:03,460 --> 00:01:08,360 the normal state, including Dr. Akram. Anyway, Dr. 11 00:01:08,380 --> 00:01:10,820 Akram wrote some part of the poem, which was not 12 00:01:10,820 --> 00:01:14,720 written in the right way as a poem. It's called 13 00:01:14,720 --> 00:01:18,240 Forty Love. We were surprised. Then he wrote 14 00:01:18,240 --> 00:01:21,620 another poem, which was so strange one. It's 15 00:01:21,620 --> 00:01:25,140 called An-An-Tee-Tee. So he asked us to put it in 16 00:01:25,140 --> 00:01:28,970 a metrical language. One student did it, and all 17 00:01:28,970 --> 00:01:31,950 of us started laughing. Then he read it like a 18 00:01:31,950 --> 00:01:35,330 poem. It was a Chinese language. In fact, last 19 00:01:35,330 --> 00:01:39,590 lecture was very funny, and it was a good start 20 00:01:39,590 --> 00:01:43,410 to our day with that. OK, thank you very much. Now, 21 00:01:43,870 --> 00:01:48,070 again, is anybody willing to? Yes? 22 00:01:53,210 --> 00:01:55,890 So far, it's been a positive response. 23 00:01:58,830 --> 00:02:01,210 But again, if you have a problem, you can 24 00:02:01,210 --> 00:02:05,550 complain. It's not a big deal, you know? Okay. 25 00:02:07,050 --> 00:02:09,670 Really it was an interesting lecture last week. I 26 00:02:09,670 --> 00:02:12,250 admire the system of education by distance very 27 00:02:12,250 --> 00:02:15,310 much. How it's beautiful to find my lecture when I 28 00:02:15,310 --> 00:02:18,330 need it on my computer despite my feeling in 29 00:02:18,330 --> 00:02:21,470 restriction because of *recording* devices in more 30 00:02:21,470 --> 00:02:27,270 than one place. One of my happiness reasons also 31 00:02:27,270 --> 00:02:31,110 the easiness of the poetry introduction that makes 32 00:02:31,110 --> 00:02:33,850 me trust in the poetry material. Okay, thank you 33 00:02:33,850 --> 00:02:38,800 very much. Next time, I'm going to ask randomly. 34 00:02:39,060 --> 00:02:41,120 I'm not going to tell you who's willing, okay? 35 00:02:44,220 --> 00:02:49,720 Now, what about, like, the poem? I mean, who's 36 00:02:49,720 --> 00:02:53,420 lost a hand? What about the, 37 00:02:54,040 --> 00:02:59,840 I mean, the poet himself, Sir Thomas Wyatt? I 38 00:02:59,840 --> 00:03:02,260 think you had time to prepare and to write a 39 00:03:02,260 --> 00:03:06,580 response. So I need somebody with a response, and 40 00:03:06,580 --> 00:03:10,280 then I have to ask each student. 41 00:03:11,680 --> 00:03:16,420 Who's ready to read a response? Yes, please. 42 00:03:21,440 --> 00:03:23,820 When Dr. Habib asked us to write our first 43 00:03:23,820 --> 00:03:26,680 response about our first gorgeous poem, Who's Lost 44 00:03:26,680 --> 00:03:29,160 a Hunt, I knew that we were going to write about 45 00:03:29,160 --> 00:03:31,620 our first impression when we read the poem for the 46 00:03:31,620 --> 00:03:34,060 first time. At the same time, first impressions 47 00:03:34,060 --> 00:03:36,820 differ widely, and it's very *unreal* to have a. I may 48 00:03:36,820 --> 00:03:39,520 like the poem, but the other may not. I may enjoy 49 00:03:39,520 --> 00:03:42,520 it, but my friend may not. All these questions 50 00:03:43,070 --> 00:03:45,790 came to my mind and made me a little bit confused. 51 00:03:46,630 --> 00:03:49,630 But the teacher said that the first impression may 52 00:03:49,630 --> 00:03:51,690 differ from one person to another, but at the same 53 00:03:51,690 --> 00:03:54,250 time there is one common understanding and 54 00:03:54,250 --> 00:03:56,610 realization *that* comes after your realization to the 55 00:03:56,610 --> 00:03:58,790 language and the use of the language and the 56 00:03:58,790 --> 00:04:00,650 historical background about the poem and about 57 00:04:00,650 --> 00:04:04,970 itself, himself. We are lucky to begin with one of 58 00:04:04,970 --> 00:04:07,450 the best sonnets ever written by Wyatt, which is 59 00:04:07,450 --> 00:04:10,270 "Who's Lost a Hunt." It's held by Wyatt's imitation for 60 00:04:10,270 --> 00:04:13,150 the *line*, written by Petrarch, a 14th century 61 00:04:13,150 --> 00:04:15,950 Italian poet. He describes a hunt where a deer is 62 00:04:15,950 --> 00:04:18,850 birthed and ultimately owned by the royal who owns 63 00:04:18,850 --> 00:04:22,530 the land. When I looked on the poems that the 64 00:04:22,530 --> 00:04:25,490 teacher selected, I realized that they selected 65 00:04:25,490 --> 00:04:29,150 poems *that* were the most common poems in certain ages. 66 00:04:29,490 --> 00:04:32,550 For example, this poem written in the Elizabethan 67 00:04:32,550 --> 00:04:34,890 age when the courtly love was one of the most 68 00:04:34,890 --> 00:04:38,650 important themes. Courtly love could be defined as 69 00:04:38,650 --> 00:04:41,930 unsuccessful love that exists between two unequal 70 00:04:41,930 --> 00:04:45,310 sides, the lover from a non-upper class but the 71 00:04:45,310 --> 00:04:48,790 lady from a high class. And it's worth mentioning 72 00:04:48,790 --> 00:04:51,830 that Wyatt was succeeded in making his personal 73 00:04:51,830 --> 00:04:55,690 experience and his personal feeling equal with 74 00:04:55,690 --> 00:04:58,570 the public one. It reached our heart and which 75 00:04:58,570 --> 00:05:02,110 made it a realistic one. The poem opens with a sort 76 00:05:02,110 --> 00:05:04,950 of open invitation to hunters who wants to take a 77 00:05:04,950 --> 00:05:07,890 capture hind. Furthermore, he describes that Anne 78 00:05:08,050 --> 00:05:11,570 who she's the high class lady, became the 79 00:05:11,570 --> 00:05:14,110 property of the king alone. He introduced the 80 00:05:14,110 --> 00:05:17,270 sonnet, which is a form of lyrical poetry written 81 00:05:17,270 --> 00:05:19,710 in a different shape. It's written in accordance 82 00:05:19,710 --> 00:05:22,070 with a set of rules and it consists of 14 lines. 83 00:05:22,390 --> 00:05:25,670 The first eight lines form one unit and the last 84 00:05:25,670 --> 00:05:28,750 six, it's another. And it was introduced to 85 00:05:28,750 --> 00:05:32,050 England by Wyatt. So he's considered the father of 86 00:05:32,050 --> 00:05:36,480 English sonnet. Moreover, I liked the using of 87 00:05:36,480 --> 00:05:39,360 figure of speech that the poet uses in his poem. 88 00:05:39,740 --> 00:05:42,180 For instance, the using of *alliteration* in the 89 00:05:42,180 --> 00:05:45,340 first, third, and the fifth lines, which add a 90 00:05:45,340 --> 00:05:50,220 musical tone to the poem. Metaphors are also used, 91 00:05:50,360 --> 00:05:53,660 which is a central figure of speech. When he 92 00:05:53,660 --> 00:05:57,680 compares between a lady to a hand in the first 93 00:05:57,680 --> 00:06:00,920 line, and when he compares between the task of 94 00:06:00,920 --> 00:06:03,120 catching air to the task of catching a wind. 95 00:06:05,700 --> 00:06:08,800 Another figurative device found in the poem is the 96 00:06:08,800 --> 00:06:11,000 paradox, which is clearly seen at the end of the 97 00:06:11,000 --> 00:06:15,600 poem. Here, Wyatt declares that although she's a 98 00:06:15,600 --> 00:06:19,880 pure stem, it's dangerous to hold her as she is 99 00:06:19,880 --> 00:06:23,430 wild. Talking about the rhyme in "Who's Lost a Hunt", 100 00:06:23,430 --> 00:06:27,910 Wyatt uses a *iambic pentameter* in which a 101 00:06:27,910 --> 00:06:32,410 line has five pairs of unstressed syllabus. To 102 00:06:32,410 --> 00:06:34,550 conclude, I'd like to confess that the poem is 103 00:06:34,550 --> 00:06:37,150 amazing and the poet succeeded in describing his 104 00:06:37,150 --> 00:06:40,870 suffering and his sorrow, talking about one of the 105 00:06:40,870 --> 00:06:43,290 most important themes in his age, which is 106 00:06:43,290 --> 00:06:45,710 courtly love. Last but not least, I want to say 107 00:06:45,710 --> 00:06:49,550 that he did succeed in ending it perfectly. Okay, 108 00:06:49,610 --> 00:06:52,230 I think she is worth a big applause. 109 00:06:55,150 --> 00:06:57,950 Thank you very much. This is a very, you know, 110 00:06:58,190 --> 00:07:04,310 thorough, entire response, which makes up, like, 111 00:07:04,930 --> 00:07:08,090 responsibility great. There have been many terms 112 00:07:08,090 --> 00:07:09,950 that have been introduced, like the sonnet, 113 00:07:10,070 --> 00:07:13,210 courtly love, rhyme, rhythm, you know, the poem, 114 00:07:13,430 --> 00:07:16,330 the age. So this is what we are going to do today. 115 00:07:16,830 --> 00:07:20,050 But again, as a point of entry, I would like to go 116 00:07:20,050 --> 00:07:22,510 through your response, whether you liked the poem 117 00:07:22,510 --> 00:07:25,770 or you didn't like the poem. Those who liked the 118 00:07:25,770 --> 00:07:29,130 poem should say why. Those who didn't like, again, 119 00:07:29,530 --> 00:07:32,410 they should justify why they didn't like it. 120 00:07:51,330 --> 00:07:57,990 Okay, again, courtly love is, you know, an issue 121 00:07:57,990 --> 00:08:02,170 which we have to explain, you know. But were you 122 00:08:02,170 --> 00:08:05,710 happy with the poet? Like, you think he's a good 123 00:08:05,710 --> 00:08:11,390 poet? Did you admire the poet? Did you? He's a 124 00:08:11,390 --> 00:08:16,150 nice gentleman? Like, okay, the poet, I think in 125 00:08:16,150 --> 00:08:20,220 the poem, Do you know what is it about? Like what 126 00:08:20,220 --> 00:08:20,700 is it about? 127 00:08:23,680 --> 00:08:29,460 Okay, is it about like a man hunting? Huh? No? 128 00:08:29,720 --> 00:08:33,300 Why? You know, the poet declares from the very 129 00:08:33,300 --> 00:08:37,160 beginning, who's supposed to hunt. I know *that* where is 130 00:08:37,160 --> 00:08:40,580 a knight. So don't you think this is a hunting 131 00:08:40,580 --> 00:08:44,920 position? Huh? You think *that* he is going to hunt 132 00:08:44,920 --> 00:08:49,710 something? But when we read it after *adapting*, we 133 00:08:49,710 --> 00:08:52,170 discover that he's talking about his mistress. OK. 134 00:08:52,390 --> 00:08:58,830 So this is not about hunting, but rather it's 135 00:08:58,830 --> 00:09:01,290 about something else. It's about the relationship 136 00:09:01,290 --> 00:09:07,810 between a man and a woman. In this sense, this 137 00:09:07,810 --> 00:09:11,410 kind of poetry or literature, we call it what? 138 00:09:11,730 --> 00:09:14,490 Allegorical. OK. Thank you very much. It is 139 00:09:14,490 --> 00:09:19,510 allegorical. *Allegory* means to speak in the 140 00:09:19,510 --> 00:09:22,970 terms about something in the terms of something 141 00:09:22,970 --> 00:09:27,330 else. This is what we call allegory. Okay? 142 00:09:31,370 --> 00:09:32,010 Good. 143 00:09:34,890 --> 00:09:36,010 Let's see someone else. 144 00:09:39,230 --> 00:09:42,010 But again, we might say, 145 00:09:48,140 --> 00:09:53,940 Why wasn't he very straightforward? Okay. So why? 146 00:09:55,140 --> 00:10:00,760 We might think of an answer later. Good. Let's see 147 00:10:00,760 --> 00:10:04,920 somebody else. Go ahead. Do you like the poem or 148 00:10:04,920 --> 00:10:09,620 do you like the poem? Okay. 149 00:10:16,710 --> 00:10:19,670 Let's see. What about the poet? Have you read 150 00:10:19,670 --> 00:10:22,570 something about the poet? You mentioned the 151 00:10:22,570 --> 00:10:27,110 sonnet. What is a sonnet? What is a sonnet? Yes? 152 00:10:30,430 --> 00:10:38,190 Yes, so it is a poem formed of 14 lines. Now you 153 00:10:38,190 --> 00:10:41,210 said like in her response she said Sir Thomas 154 00:10:41,210 --> 00:10:45,290 Wyatt was the father of the English sonnet. What 155 00:10:45,290 --> 00:10:48,960 does this mean? Like, was he the one who created 156 00:10:48,960 --> 00:10:51,840 the sonnet? Was he? Yes? 157 00:10:56,200 --> 00:10:59,620 Yeah, he brought it from Rome. Very good. He 158 00:10:59,620 --> 00:11:05,100 brought *the* sonnet from Petrarch. 159 00:11:05,420 --> 00:11:12,020 Petrarch was a famous Italian poet. And you know, 160 00:11:12,220 --> 00:11:15,820 Sir Thomas Wyatt had the chance because he was an 161 00:11:15,820 --> 00:11:21,340 ambassador. He was a courtier living in the court 162 00:11:21,340 --> 00:11:27,840 of, you know, Henry VIII. He had the chance. He 163 00:11:27,840 --> 00:11:32,340 had the chance to go to Rome, and he *translated*. 164 00:11:33,080 --> 00:11:36,300 He met Petrarch. He translated some of his poems, 165 00:11:36,640 --> 00:11:42,920 and he started to use, you know, this type of, you 166 00:11:42,920 --> 00:11:47,560 know, or this form. in order to express a very 167 00:11:47,560 --> 00:11:50,480 traditional English theme, which is courtly love. 168 00:11:51,120 --> 00:11:54,600 Again, courtly love is a term which requires some 169 00:11:54,600 --> 00:12:00,720 definition. What is courtly love? Because, you 170 00:12:00,720 --> 00:12:04,180 know, I want you to understand *that* this is like a 171 00:12:04,180 --> 00:12:08,080 theme which reflected the culture of the time. And 172 00:12:08,080 --> 00:12:11,420 the culture of the time was a little bit masculine 173 00:12:11,420 --> 00:12:16,460 culture. You know, courtly love was, you know, was 174 00:12:16,460 --> 00:12:20,920 *a* type of poetry which was written by like 175 00:12:20,920 --> 00:12:29,080 courtiers. Okay. So what is courtly love? Yes. I 176 00:12:29,080 --> 00:12:33,820 think it is a traditional English game. Okay. With 177 00:12:33,820 --> 00:12:37,640 a, with a man. They see a woman and fall in love 178 00:12:37,640 --> 00:12:42,000 with her. He put himself in a room for two *court* 179 00:12:42,000 --> 00:12:47,570 days. Yes. If the woman of his beloved accepted 180 00:12:47,570 --> 00:12:54,930 him, he will write the best poem to express his 181 00:12:54,930 --> 00:13:01,110 beloved. And if she rejected him, he will write 182 00:13:01,110 --> 00:13:04,910 the best poem to express his family. That's it. 183 00:13:05,310 --> 00:13:08,630 You know, yes, it is very traditional, very old 184 00:13:08,630 --> 00:13:17,260 English theme, you know, and It was like Chaucer, 185 00:13:17,920 --> 00:13:22,020 a 14th century. Have you heard of Chaucer? Chaucer 186 00:13:22,020 --> 00:13:24,760 was, you know, the father of English literature. 187 00:13:25,380 --> 00:13:28,180 He was writing courtly love and *before* him. And it 188 00:13:28,180 --> 00:13:30,740 seems like courtly love was influenced by 189 00:13:30,740 --> 00:13:34,280 troubadour poets who used to live in France and 223 00:16:34,530 --> 00:16:37,930 Eight lines. Eight lines, and the sestet, we have? 224 00:16:37,950 --> 00:16:44,310 Six lines. Six lines. And she mentioned, like, 225 00:16:45,530 --> 00:16:47,730 that the Petrarchan sonnet was a little bit 226 00:16:47,730 --> 00:16:53,330 distinguished for its rhyme scheme. When we are 227 00:16:53,330 --> 00:16:57,590 talking about rhyme scheme, we have to look at the 228 00:16:57,590 --> 00:16:58,590 poem in this way. 229 00:17:01,900 --> 00:17:05,360 We have to look at the, you know, the last line. 230 00:17:08,420 --> 00:17:16,860 And, so we should start with a. More, it's a new 231 00:17:16,860 --> 00:17:21,260 rhyme. You see, it should be, should it be a if 232 00:17:21,260 --> 00:17:27,080 no. And, you know, let's take the poem like this. 233 00:17:27,640 --> 00:17:27,940 Sorry. 234 00:17:31,020 --> 00:17:35,420 Because I want you to know how the right scheme is 235 00:17:35,420 --> 00:17:49,600 taken. No problem. 236 00:17:57,980 --> 00:17:59,940 Okay, so we failed. 237 00:18:04,520 --> 00:18:08,600 Okay, so if we are talking about, we can do it in 238 00:18:08,600 --> 00:18:09,040 this way. 239 00:18:19,320 --> 00:18:25,540 Okay, "I'm" is the first sound. So if we go, it 240 00:18:25,540 --> 00:18:27,200 should be given a sign A. 241 00:18:30,220 --> 00:18:35,960 It is another one, so it should be B. Then we have 242 00:18:35,960 --> 00:18:41,180 sore, which is exactly the same. So we have A, B, 243 00:18:41,620 --> 00:18:51,360 B, and then A. Okay, so we have A, B, B, A, then 244 00:18:51,360 --> 00:18:58,390 what? A, you know? B, B, A. So this is what we 245 00:18:58,390 --> 00:19:04,090 call the octave. Okay? And now the system should 246 00:19:04,090 --> 00:19:07,430 be assigned. 247 00:19:09,450 --> 00:19:12,790 So we have one, two, three, four, five, six, 248 00:19:12,930 --> 00:19:17,890 seven, eight. And now we have doubt. Okay? It 249 00:19:17,890 --> 00:19:29,580 should be what? C, D, D, C. So C, D. C, D. Then we 250 00:19:29,580 --> 00:19:33,340 have a new rhyme, which is E, E. So this is the 251 00:19:33,340 --> 00:19:36,600 rhyme scheme of the Petrarchan Sonnet. I want you 252 00:19:36,600 --> 00:19:41,360 to like, to be aware of the, because later, this 253 00:19:41,360 --> 00:19:45,520 sonnet will not remain as it is. Henry Howard, 254 00:19:45,660 --> 00:19:50,880 Earl of Surrey, will come and develop this form 255 00:19:50,880 --> 00:19:57,980 and it will assume a purely English identity. Now, 256 00:19:58,680 --> 00:20:01,340 identity, 257 00:20:02,560 --> 00:20:05,560 nationalism, these are issues which, you know, we 258 00:20:05,560 --> 00:20:10,500 might discuss when we are discussing the poem. I 259 00:20:10,500 --> 00:20:13,680 don't want, like, to go far. Let's go back to the 260 00:20:13,680 --> 00:20:15,840 poem. Have you read it aloud? I mean, the poem. 261 00:20:16,040 --> 00:20:19,080 Have you read it aloud? How did it sound? 262 00:20:23,540 --> 00:20:24,100 Okay. 263 00:20:27,740 --> 00:20:34,700 So you started to feel with the poet. Okay. 264 00:20:37,260 --> 00:20:40,840 So, I don't know, like, how you read it. 265 00:20:44,040 --> 00:20:47,680 Did anybody, like, read the poem, like, in a 266 00:20:47,680 --> 00:20:51,720 lyrical, in singing it? Like, who's lost a heart? 267 00:20:51,820 --> 00:20:58,820 I know where is a nine. Or like So 268 00:20:58,820 --> 00:21:03,160 it is available on the YouTube good and which one 269 00:21:03,160 --> 00:21:11,400 like did you like the singing Okay both Okay 270 00:21:11,400 --> 00:21:18,020 Okay, 271 00:21:18,020 --> 00:21:24,490 so let me read it aloud for you and Who's lost a 272 00:21:24,490 --> 00:21:29,490 hunt? I know where is a nine. But as for me, alas, 273 00:21:29,870 --> 00:21:33,890 I may know more. The vain travel hath worried me 274 00:21:33,890 --> 00:21:38,270 so sore. Among them that farthest comes behind. It 275 00:21:38,270 --> 00:21:41,810 may I by no means my willed mind draw from the 276 00:21:41,810 --> 00:21:46,550 deer. But as chief bee leaves a four, fainting I 277 00:21:46,550 --> 00:21:51,150 follow. I leave after four. Since in a net I seek 278 00:21:51,150 --> 00:21:55,830 to hold the wind. Who lost her hunt, I put him out 279 00:21:55,830 --> 00:22:00,230 of doubt, as well as I may spend his time in vain. 280 00:22:00,750 --> 00:22:03,490 And the graven with diamonds and letters plain, 281 00:22:04,190 --> 00:22:09,630 there is written her fair neck round about, no 282 00:22:09,630 --> 00:22:14,130 limit and jar for Caesar I am, and while for the 283 00:22:14,130 --> 00:22:22,450 cold though I seem tame. Very sad, huh? Who's sad? 284 00:22:23,920 --> 00:22:26,920 You or the poet? The poet. And you are not made 285 00:22:26,920 --> 00:22:33,340 sad? Look at him. He's poor. He's impoverished. 286 00:22:34,200 --> 00:22:38,300 He's abject. You understand abject? Very poor. 287 00:22:38,560 --> 00:22:41,460 Because this is, you know, what should happen in 288 00:22:41,460 --> 00:22:47,480 courtly love. We have a poet who's abject. Why? 289 00:22:47,620 --> 00:22:50,780 Because of the cruelty of a lady. So it is the 290 00:22:50,780 --> 00:22:57,420 lady Who causes all this misery for the poet? Why? 291 00:22:57,540 --> 00:23:02,560 Because she's not compassionate. She doesn't 292 00:23:02,560 --> 00:23:07,400 understand him. And she causes, I bet you don't 293 00:23:07,400 --> 00:23:11,500 like this, of course. This is too much. But that's 294 00:23:11,500 --> 00:23:18,880 what happened in Cordula. So a man wanted to 295 00:23:18,880 --> 00:23:24,850 confirm you know, his masculinity. How? How can 296 00:23:24,850 --> 00:23:29,390 you show yourself that you're a gentleman? Just by 297 00:23:29,390 --> 00:23:35,550 contrasting yourself, you know, with a woman, 298 00:23:35,910 --> 00:23:38,570 right? So we have here, if we have to look at the 299 00:23:38,570 --> 00:23:42,990 man and assign some attributes to him, we'll find 300 00:23:42,990 --> 00:23:48,410 him what? Give some attributes. He's gentle? Go 301 00:23:48,410 --> 00:23:55,290 ahead. He's gentle, a bit sincere, noble, honest, 302 00:23:56,530 --> 00:23:58,650 self-confident, 303 00:24:00,290 --> 00:24:05,330 sensitive, and if you look at the lady, she's 304 00:24:05,330 --> 00:24:10,170 what? She is beautiful, 305 00:24:12,770 --> 00:24:13,730 arrogant, 306 00:24:16,020 --> 00:24:18,080 You have to be responsible for every word. 307 00:24:18,220 --> 00:24:23,900 Changeable? Like fickle? You know? What else? 308 00:24:24,120 --> 00:24:33,240 Cruel? Why? Why is she cruel? Because she doesn't 309 00:24:33,240 --> 00:24:41,680 reciprocate the poet's feelings. Okay. I think 310 00:24:41,680 --> 00:24:46,940 if we read it in courtly love, we might not enjoy 311 00:24:46,940 --> 00:24:52,260 the aesthetics of the poem. So let's look at the 312 00:24:52,260 --> 00:24:56,320 poem, because I said that the culture of the time 313 00:24:56,320 --> 00:25:01,320 before, we have to understand the poem in its 314 00:25:01,320 --> 00:25:05,900 cultural and historical context. The 16th century 315 00:25:05,900 --> 00:25:10,250 was an age of expansion, was an age of even 316 00:25:10,250 --> 00:25:14,450 establishing its identity. Henry VIII, who took 317 00:25:14,450 --> 00:25:23,530 power in 1519, was a very powerful king and he 318 00:25:23,530 --> 00:25:30,750 wanted to establish the idea of Great Britain. So 319 00:25:30,750 --> 00:25:33,790 he succeeded in getting Wales because Wales was 320 00:25:33,790 --> 00:25:40,990 not part of the Great Britain, and even by fourth 321 00:25:40,990 --> 00:25:45,870 island in order to have. So he became the monarch 322 00:25:45,870 --> 00:25:52,890 of Great Britain. And during his time, England was 323 00:25:52,890 --> 00:25:56,790 exposed to the Renaissance. And when I say 324 00:25:56,790 --> 00:26:02,190 Renaissance, we talk about the 325 00:26:02,190 --> 00:26:06,180 rebirth, the coming civilization. And of course, 326 00:26:07,020 --> 00:26:11,040 Italy, I mean Rome, where the Pope was, it was the 327 00:26:11,040 --> 00:26:12,600 center of Renaissance. 328 00:26:15,160 --> 00:26:18,840 England also was powerful. It wanted to expand. 329 00:26:19,620 --> 00:26:23,020 You know, the king, you know, had an army and a 330 00:26:23,020 --> 00:26:29,040 fleet. So it was the age of chivalry, chivalry 331 00:26:29,040 --> 00:26:33,320 like knighthood. It was the age of heroism because 332 00:26:33,620 --> 00:26:36,820 If you want to expand, if you want to annex a new 333 00:26:36,820 --> 00:26:41,520 land, you need heroes. So that was the culture of 334 00:26:41,520 --> 00:26:47,220 the time. And as we said, heroism in that age, 335 00:26:48,040 --> 00:26:51,640 unfortunately, was not distinguished without 336 00:26:51,640 --> 00:26:57,540 something like courtly love. So courtly love was an 337 00:26:57,540 --> 00:27:00,760 issue. You cannot prove yourself. You cannot be a 338 00:27:00,760 --> 00:27:03,480 courtier and you cannot be influential until you 339 00:27:03,480 --> 00:27:07,300 show that you are a courtly lover. 340 00:27:09,760 --> 00:27:15,120 Of course, like Henry VIII was a controversial 341 00:27:15,120 --> 00:27:19,340 king. He got married for six times. You know, 342 00:27:19,400 --> 00:27:25,500 there were six queens, you know. And he first got 343 00:27:25,500 --> 00:27:31,320 married to Catherine, who was the bride of his 344 00:27:31,320 --> 00:27:36,320 brother Arthur. Then he got married to Anne 345 00:27:36,320 --> 00:27:40,160 Boleyn, the one whom he fell in love with. And I 346 00:27:40,160 --> 00:27:44,020 think Anne Boleyn is in the background of the 347 00:27:44,020 --> 00:27:49,620 poem. But all these marriages had to be confirmed 348 00:27:49,620 --> 00:27:55,570 by the Pope in Italy. The Pope had an upper hand. 349 00:27:56,070 --> 00:28:00,050 So if he wanted to marry or to change anything, he 350 00:28:00,050 --> 00:28:04,130 had to consult or the Pope in Rome had to give him 351 00:28:04,130 --> 00:28:09,110 an agreement. But during his time, like later, he 352 00:28:09,110 --> 00:28:15,330 succeeded in 1533 353 00:28:15,330 --> 00:28:23,400 to break up with the Catholic Church of Rome and 354 00:28:23,400 --> 00:28:27,100 started to establish the, you know, or to 355 00:28:27,100 --> 00:28:31,260 encourage the established church, which is of 356 00:28:31,260 --> 00:28:34,520 England, which was Protestant. So they had some 357 00:28:34,520 --> 00:28:40,700 differences with that, and he succeeded in fixing 358 00:28:40,700 --> 00:28:44,680 the English identity. So the issue of identity, it 359 00:28:44,680 --> 00:28:48,340 was there in politics, I mean, nationalism. It was 360 00:28:48,340 --> 00:28:52,920 in politics. It was in, you know, religion. It was 361 00:28:52,920 --> 00:28:59,420 even at social level. Okay. Now if we go to the 362 00:28:59,420 --> 00:29:03,240 poem, because I don't want to deprive ourselves 363 00:29:03,240 --> 00:29:06,140 from the aesthetics of the poem. Who's lost to 364 00:29:06,140 --> 00:29:12,040 hunt? I know where is unarmed. It's a question 365 00:29:12,040 --> 00:29:20,360 declaring that for people that whoever is 366 00:29:20,360 --> 00:29:28,350 interested In finding a hind, a deer, I can tell 367 00:29:28,350 --> 00:29:36,330 him. But as for me, alas, I may know more. So you 368 00:29:36,330 --> 00:29:40,950 see here the poet is disinterested, is 369 00:29:40,950 --> 00:29:46,290 disinterested in hunting. Why? So we ask why. And 370 00:29:46,290 --> 00:29:50,850 we expect that you know, in the octave, he's going 371 00:29:50,850 --> 00:29:54,190 to list the reasons. Why is he disinterested 372 00:29:54,190 --> 00:29:57,910 according to the poem? Why is he disinterested? 373 00:30:01,170 --> 00:30:09,230 Yes? Because he tries? Yeah, because sometimes 374 00:30:09,230 --> 00:30:12,230 like when you try to hunt and you fail, you try to 375 00:30:12,230 --> 00:30:14,530 hunt and you fail, you get bored and you get 376 00:30:14,530 --> 00:30:18,950 disinterested. Good. But as for me, alas, I may 377 00:30:18,950 --> 00:30:24,870 know more. I'm not going to do it again. Why? In 378 00:30:24,870 --> 00:30:29,670 the third line, he's trying to say why. He's 379 00:30:29,670 --> 00:30:33,950 trying to warrant his decision, to justify his 380 00:30:33,950 --> 00:30:38,970 decision. He says, the veil travailed, which is a 381 00:30:38,970 --> 00:30:42,810 French word, wearied me so sore. 382 00:30:46,340 --> 00:30:52,300 exhausted me, like the efforts, the vain. What's 383 00:30:52,300 --> 00:30:56,340 mean vain? At some point, it is very important to 384 00:30:56,340 --> 00:31:00,540 understand the dictionary meaning of the words, 385 00:31:00,660 --> 00:31:03,200 the prose meaning of the poem. So at this stage, 386 00:31:03,240 --> 00:31:07,200 as you see, we are paraphrasing the poem and 387 00:31:07,200 --> 00:31:11,540 paraphrasing the poem is only a step towards a 388 00:31:11,540 --> 00:31:15,380 total appreciation or a total understanding of the 389 00:31:15,380 --> 00:31:23,410 poem. The vein traveled without benefit. The vein 390 00:31:23,410 --> 00:31:28,710 traveled without benefit. The vein traveled 391 00:31:28,710 --> 00:31:31,570 without benefit. The vein traveled without 392 00:31:31,570 --> 00:31:32,190 benefit. The vein traveled without benefit. The 393 00:31:32,190 --> 00:31:32,310 without benefit. The vein traveled without 394 00:31:32,310 --> 00:31:32,370 benefit. The vein traveled without benefit. The 395 00:31:32,370 --> 00:31:32,390 without benefit. The vein traveled without 396 00:31:32,390 --> 00:31:32,410 benefit. The vein traveled without benefit. The 397 00:31:32,410 --> 00:31:32,690 vein traveled without benefit. The vein traveled 398 00:31:32,690 --> 00:31:35,510 without benefit. The vein traveled without 399 00:31:35,510 --> 00:31:41,090 benefit. The vein traveled without benefit. The 400 00:31:41,090 --> 00:31:46,440 vein Yeah, there is a kind of alliteration, so 401 00:31:46,440 --> 00:31:50,340 sore. Like somebody, this alliteration, so sore. 402 00:31:50,820 --> 00:31:56,080 The vain travel has wearied me so sore. Somebody 403 00:31:56,080 --> 00:32:00,240 like complaining against like this. It was very 404 00:32:00,240 --> 00:32:05,240 painful. Among them, that farthest comes behind. 405 00:32:06,120 --> 00:32:12,370 So, he is not going to be the first. in hunting, 406 00:32:12,770 --> 00:32:19,450 but rather they lost. Yet may I by no means my 407 00:32:19,450 --> 00:32:23,490 wearied mind draw from the deer. Again he's asking 408 00:32:23,490 --> 00:32:27,750 question, do you think like I'm giving up because 409 00:32:27,750 --> 00:32:28,510 of no reasons? 410 00:32:32,310 --> 00: 445 00:35:14,930 --> 00:35:20,170 decision to quit, with his decision to leave. 446 00:35:21,550 --> 00:35:27,230 Since in a net, I seek to hold the money. Wow, I 447 00:35:27,230 --> 00:35:31,230 think this is self-explanatory. What a very 448 00:35:31,230 --> 00:35:34,850 frustrating image, isn't it? Like if somebody is 449 00:35:34,850 --> 00:35:39,550 trying to hold the wind in a net. How do you 450 00:35:39,550 --> 00:35:43,590 describe this effort? If somebody is trying to 451 00:35:43,590 --> 00:35:43,890 hold. 452 00:35:47,050 --> 00:35:51,050 It's a waste of time. Very disappointing. Very 453 00:35:51,050 --> 00:35:53,690 disappointing experience. Like somebody who is 454 00:35:53,690 --> 00:35:58,500 trying to hold the wind. What? In a net. So do you 455 00:35:58,500 --> 00:36:03,780 think it will be held? No. Okay. Since in a net, I 456 00:36:03,780 --> 00:36:10,240 seek to hold the wind. It's impossible. Who's next 457 00:36:10,240 --> 00:36:16,180 to hunt? I put, you know, him out of doubt. This 458 00:36:16,180 --> 00:36:20,600 is the beginning of the system, the second part of 459 00:36:20,600 --> 00:36:26,460 the poem. I put him out of a doubt, like the poet 460 00:36:26,460 --> 00:36:31,880 is in a position to advise other people. He's 461 00:36:31,880 --> 00:36:37,760 sagacious, very wise, and he was made sagacious by 462 00:36:37,760 --> 00:36:42,240 his own experience, as well as I may spend his 463 00:36:42,240 --> 00:36:47,220 time in vain. So the poet's personal experience 464 00:36:47,220 --> 00:36:54,260 made him like in a position to advise other 465 00:36:54,260 --> 00:37:00,600 people. He is going to spend his time in vain and 466 00:37:00,600 --> 00:37:04,540 graven with diamonds and letters plain, there is 467 00:37:04,540 --> 00:37:09,060 written her fair neck round about. I think this 468 00:37:09,060 --> 00:37:12,860 line has some indication about the beauty. Because 469 00:37:12,860 --> 00:37:15,040 you know, in courtly love, yes, as you mentioned, 470 00:37:15,600 --> 00:37:17,980 the lady should be beautiful. 471 00:37:20,530 --> 00:37:25,230 There is written, what is written? Her fair neck 472 00:37:25,230 --> 00:37:31,230 round about, no limi tangere. Don't touch me. You 473 00:37:31,230 --> 00:37:35,170 know, this is like in Latin, no limi tangere for 474 00:37:35,170 --> 00:37:38,790 Caesar's ayat. And we understand who's Caesar. 475 00:37:39,590 --> 00:37:44,010 Who's Caesar? Henry. So we are having a poet who 476 00:37:44,010 --> 00:37:48,710 fell in love with the king you know, potential 477 00:37:48,710 --> 00:37:53,910 wife or potential mistress. And that, you know, is 478 00:37:53,910 --> 00:37:56,870 like very precarious, very dangerous. And perhaps 479 00:37:56,870 --> 00:38:01,370 you might have read that, you know, he was put in 480 00:38:01,370 --> 00:38:04,670 prison like because of this, you know, suspected 481 00:38:04,670 --> 00:38:07,510 relation. There was, you know, some suspicion that 482 00:38:07,510 --> 00:38:11,170 he was in relation, but there was no concrete 483 00:38:11,170 --> 00:38:14,850 evidence of that relation. So he was put in the 484 00:38:14,850 --> 00:38:18,740 tower, he was in prison. And Anne Boleyn herself, 485 00:38:19,120 --> 00:38:22,560 who became the wife, was beheaded by the king. 486 00:38:23,200 --> 00:38:26,540 She, you know, was executed by the king. Why? 487 00:38:26,620 --> 00:38:34,640 Because she was accused of adultery. And wild for 488 00:38:34,640 --> 00:38:38,040 to hold though I seem tame. Yeah, it's a paradox. 489 00:38:38,680 --> 00:38:44,520 How come you are wild and tame? You know? And this 490 00:38:44,520 --> 00:38:48,990 paradox shows or reflects the nature, the elusive 491 00:38:48,990 --> 00:38:53,070 nature of that lady. So she's not attainable. 492 00:38:53,670 --> 00:38:57,910 She's very elusive. It is difficult to catch her. 493 00:38:58,630 --> 00:39:03,490 Now, today, like this is what I want to say today. 494 00:39:04,570 --> 00:39:08,670 We have not read the poem as, you know, what we 495 00:39:08,670 --> 00:39:12,720 said in the last lecture. So we talked a little 496 00:39:12,720 --> 00:39:15,980 bit about the atmosphere, the general context of 497 00:39:15,980 --> 00:39:19,540 the poem. Next time, we have to read to delve 498 00:39:19,540 --> 00:39:25,040 deeper into the aesthetics and to see how the poet 499 00:39:25,040 --> 00:39:29,960 was successful or was not successful. So what you 500 00:39:29,960 --> 00:39:33,320 have to do again is to look at the poem, to look 501 00:39:33,320 --> 00:39:37,500 at, you know, the figures of speech, to look at 502 00:39:37,500 --> 00:39:41,340 certain, to look at the tone, the attitude, and 503 00:39:41,340 --> 00:39:45,320 then We are going to talk about poetry by using 504 00:39:45,320 --> 00:39:50,300 specialized language and general language. I hope 505 00:39:50,300 --> 00:39:55,600 that, you know, you enjoy listening. If not, like 506 00:39:55,600 --> 00:39:57,520 you can complain. But do you have any question 507 00:39:57,520 --> 00:40:00,680 like before? Or do you want to add anything? Yes? 508 00:40:05,170 --> 00:40:09,110 No, the Petrarchian Sonnet. We're talking about 509 00:40:09,110 --> 00:40:12,150 Petrarchian Sonnet. The Petrarchian Sonnet 510 00:40:12,150 --> 00:40:19,770 consists only of two, yes, two parts. Now I think 511 00:40:19,770 --> 00:40:24,030 I left for you in the reader something about the 512 00:40:24,030 --> 00:40:29,090 sonnet, so you have to study like what is the 513 00:40:29,090 --> 00:40:31,490 Petrarchian Sonnet? You can read, what is the 514 00:40:31,490 --> 00:40:34,320 Petrarchian Sonnet? What is the Shakespearean 515 00:40:34,320 --> 00:40:38,700 sonnet? How this sonnet was developed? And how it 516 00:40:38,700 --> 00:40:44,240 became or it assumed like a very British form? 517 00:40:45,560 --> 00:40:50,300 Any other question? Thank you very much and see 518 00:40:50,300 --> 00:40:55,960 you next time for a new lecture on the same topic. 519 00:40:56,420 --> 00:40:56,800 Thank you.