1 00:00:06,270 --> 00:00:08,890 Assalamualaikum, welcome back again to English 2 00:00:08,890 --> 00:00:13,990 poetry. Last time we defined poetry. I gave you 3 00:00:13,990 --> 00:00:17,270 the chance to express your own thoughts about what 4 00:00:17,270 --> 00:00:21,330 you think poetry is. We also examined 12 famous 5 00:00:21,330 --> 00:00:25,870 English definitions of poetry. Today we will study 6 00:00:25,870 --> 00:00:29,320 our first official poem for the course. I know 7 00:00:29,320 --> 00:00:33,260 this is an English poetry course, but I always 8 00:00:33,260 --> 00:00:35,500 like to give my courses comparatively, in a 9 00:00:35,500 --> 00:00:38,240 comparative sense, so we can understand how 10 00:00:38,240 --> 00:00:40,620 different cultures, different poets, different 11 00:00:40,620 --> 00:00:46,240 ages do probably the same thing, more or less. So 12 00:00:46,240 --> 00:00:48,360 the first poem is by a Palestinian poet, 13 00:00:48,900 --> 00:00:52,160 Palestinian young poet and icon, actually. His 14 00:00:52,160 --> 00:00:55,590 name is Damir Barghouti. Probably you are all 15 00:00:55,590 --> 00:00:58,370 familiar with Tamim Al Barghouti's work. But 16 00:00:58,370 --> 00:01:01,030 before we go to Tamim Al Barghouti, I want to ask 17 00:01:01,030 --> 00:01:07,630 you again to tell me what definitions you remember 18 00:01:07,630 --> 00:01:13,370 from last time. Remember the 12 definitions. So 19 00:01:13,370 --> 00:01:16,790 which one do you still remember? Which one do you 20 00:01:16,790 --> 00:01:20,670 cherish? Which one do you consider to be probably 21 00:01:20,670 --> 00:01:23,010 the definition closest to your heart? 22 00:01:26,380 --> 00:01:30,760 Poetry is a criticism of life. That's one of the 23 00:01:30,760 --> 00:01:35,380 most powerful modern definitions. And usually 24 00:01:35,380 --> 00:01:40,000 think, I gave you this question to think of how 25 00:01:40,000 --> 00:01:43,920 the definition could possibly reflect the age, the 26 00:01:43,920 --> 00:01:49,900 time. If I say poetry is criticism of life, and I 27 00:01:49,900 --> 00:01:52,820 compare it to the neoclassicist definition of 28 00:01:52,820 --> 00:01:56,620 poetry, teaching and delighting. How are they 29 00:01:56,620 --> 00:01:57,540 related or not? 30 00:02:01,020 --> 00:02:07,040 Portrait is to take life by the throat. Does this 31 00:02:07,040 --> 00:02:10,160 indicate violence? What do you think? Because of 32 00:02:10,160 --> 00:02:13,780 course this is a metaphorical definition. Defining 33 00:02:13,780 --> 00:02:16,820 a language heavily based on metaphors, using 34 00:02:16,820 --> 00:02:20,920 metaphors, is not sometimes the wisest thing to 35 00:02:20,920 --> 00:02:26,700 do. But I think this is deliberately done. So what 36 00:02:26,700 --> 00:02:29,140 would you understand? I know some of you objected 37 00:02:29,140 --> 00:02:32,560 to this. And some of you love this by the way. So 38 00:02:32,560 --> 00:02:35,200 what does it indicate? Like taking life by the 39 00:02:35,200 --> 00:02:38,220 throat, of course metaphorically. Please. I think 40 00:02:38,220 --> 00:02:41,180 that means that you talk about anything that makes 41 00:02:41,180 --> 00:02:45,180 you feel that you want to make it out of it. If 42 00:02:45,180 --> 00:02:48,400 you have a feeling of anger or of sad or anything 43 00:02:48,400 --> 00:02:51,880 of the sort, so you want to get this feeling out 44 00:02:51,880 --> 00:02:55,350 so you can move forward. Okay, thank you. I feel 45 00:02:55,350 --> 00:03:00,450 like it means the poet was patient for a long time 46 00:03:00,450 --> 00:03:04,010 and it came to this moment when he said that's 47 00:03:04,010 --> 00:03:11,190 enough. He or she. Okay, so the moment comes when 48 00:03:11,190 --> 00:03:16,930 he or she, the poet, does what? Like he feels the 49 00:03:16,930 --> 00:03:20,500 worrying of being patient. Okay, thank you very 50 00:03:20,500 --> 00:03:25,520 much. The feeling of having had enough and finding 51 00:03:25,520 --> 00:03:31,360 a way to release this through poetry could be part 52 00:03:31,360 --> 00:03:36,040 of it. It's an expression of feelings and at the 53 00:03:36,040 --> 00:03:38,220 same time it gives you as a poet 54 00:03:46,210 --> 00:03:49,630 trying to make sense out of the mess around us, 55 00:03:49,690 --> 00:03:53,130 the chaos. Because yeah, this is an act of 56 00:03:53,130 --> 00:03:55,630 violence, holding someone, don't do this. But it's 57 00:03:55,630 --> 00:03:58,490 also an act of controlling the object, whatever 58 00:03:58,490 --> 00:04:01,030 you're dealing with. And life is uncontrollable. 59 00:04:01,190 --> 00:04:06,230 So if in poetry you try to release, you have had 60 00:04:06,230 --> 00:04:08,390 enough and you try to make sense out of the 61 00:04:08,390 --> 00:04:10,570 environment, out of life, probably this is some 62 00:04:10,570 --> 00:04:13,310 kind of controlling life. Another definition, 63 00:04:13,730 --> 00:04:14,270 please. 64 00:04:19,730 --> 00:04:22,590 Are you sure this is words worth, not someone 65 00:04:22,590 --> 00:04:23,210 else's? 66 00:04:25,810 --> 00:04:26,730 Okay, say it again. 67 00:04:29,530 --> 00:04:30,990 What's the definition again? 68 00:04:35,410 --> 00:04:38,630 Thank you very much. Please don't forget the 69 00:04:38,630 --> 00:04:42,030 second half of words worth definition. 70 00:04:57,570 --> 00:04:58,050 Okay, 71 00:05:00,970 --> 00:05:02,790 different schools have different opinions. You 72 00:05:02,790 --> 00:05:06,090 seem to believe in the romantic definition of 73 00:05:06,090 --> 00:05:09,030 poetry more than any other definition. One more, 74 00:05:09,270 --> 00:05:09,470 please. 75 00:05:12,290 --> 00:05:16,950 The rhythmical creation of beauty. Turning beauty, 76 00:05:17,070 --> 00:05:22,550 the abstract thing, into music. Still music is 77 00:05:22,550 --> 00:05:26,890 still abstract, but it's more probably concrete 78 00:05:26,890 --> 00:05:33,550 wind rendered in pottery. One more. Pottery is 79 00:05:33,550 --> 00:05:37,890 painting. Pottery is painting. But we don't use 80 00:05:37,890 --> 00:05:42,970 paints in poetry, but again, when we talk about 81 00:05:42,970 --> 00:05:45,550 imagery and images in poetry, the image is an 82 00:05:45,550 --> 00:05:49,070 imagery. In poetry, an image is something you can 83 00:05:49,070 --> 00:05:54,770 feel, touch, hear, or smell. So there is imagery 84 00:05:54,770 --> 00:05:58,550 in poetry that is similar to the colors and the 85 00:05:58,550 --> 00:06:05,340 shapes we do when painting. One more. And you like 86 00:06:05,340 --> 00:06:08,000 this? Yes. But did you have a chat with Rahaf 87 00:06:08,000 --> 00:06:12,020 about how good or bad this definition is? We had a 88 00:06:12,020 --> 00:06:14,040 chat, but we don't agree that Boolean words were 89 00:06:14,040 --> 00:06:16,800 the definition. Okay. I agree with that, so isn't 90 00:06:16,800 --> 00:06:20,080 it fine? So you couldn't come to compromise about 91 00:06:20,080 --> 00:06:24,780 this? No. Okay. Finally, please, somebody, yeah? 92 00:06:28,950 --> 00:06:31,910 Okay, so you like the definition that highlights 93 00:06:31,910 --> 00:06:34,170 the fact that poetry is different from prose 94 00:06:34,170 --> 00:06:37,910 because there is rhythm, there's music there. This 95 00:06:37,910 --> 00:06:40,590 is what basically makes it, because in rhyme 96 00:06:40,590 --> 00:06:42,350 sometimes we don't have rhyme in poetry. We don't 97 00:06:42,350 --> 00:06:44,750 have at least a regular rhyme in poetry. There's 98 00:06:44,750 --> 00:06:47,910 blank verse, there's free verse. But sometimes, 99 00:06:49,550 --> 00:06:54,050 and sometimes again we have musical prose. But the 100 00:06:54,050 --> 00:06:57,190 fact that you're emphasizing the music aspect here 101 00:06:57,190 --> 00:07:02,240 of poetry, that tells how I'm not sure how if you 102 00:07:02,240 --> 00:07:05,240 want to compare poetry personally with prose which 103 00:07:05,240 --> 00:07:08,940 one you you would be preferring here what do you 104 00:07:08,940 --> 00:07:12,000 think poetry or prose which one do you like 105 00:07:12,000 --> 00:07:16,880 reading more are you sure okay nice so I tried to 106 00:07:16,880 --> 00:07:23,330 summarize just to remind you that to choose five 107 00:07:23,330 --> 00:07:26,950 out of just probably basically randomly done here. 108 00:07:27,490 --> 00:07:30,650 But yeah, I agree that this is significant because 109 00:07:30,650 --> 00:07:33,890 with Sydney and the neoclassicists, teaching and 110 00:07:33,890 --> 00:07:36,530 delighting being a reason behind poetry and 111 00:07:36,530 --> 00:07:39,930 literature remained for more than a thousand 112 00:07:39,930 --> 00:07:42,710 years. Many people still believe today that the 113 00:07:42,710 --> 00:07:45,070 first purpose of writing, of poetry, of literature 114 00:07:45,070 --> 00:07:48,850 is to teach and delight. And then we come to your 115 00:07:48,850 --> 00:07:52,710 favorite definition, the spontaneous overflow of 116 00:07:52,710 --> 00:07:55,730 powerful emotions recollected in tranquility, the 117 00:07:55,730 --> 00:08:00,030 romantic definition of poetry. I know most of you 118 00:08:00,030 --> 00:08:03,170 like this, no offense to you, but we are at a time 119 00:08:03,170 --> 00:08:07,960 here, at an age where yeah, Overflow of emotions. 120 00:08:08,080 --> 00:08:10,500 I'm not sure at the end of this course or in two 121 00:08:10,500 --> 00:08:12,500 years, five years, fifteen years whether you 122 00:08:12,500 --> 00:08:16,100 believe literature to be or poetry to be not only 123 00:08:16,100 --> 00:08:19,680 an act of taking life by the throat, but an act 124 00:08:19,680 --> 00:08:23,080 of, I don't know, shooting life right between the 125 00:08:23,080 --> 00:08:29,070 eyes. as an act of protest. And then familiarizing 126 00:08:29,070 --> 00:08:31,790 and familiarizing, defamiliarizing things. 127 00:08:32,090 --> 00:08:34,670 Criticism of life, poetry is a way of taking life 128 00:08:34,670 --> 00:08:37,770 by the throat that you just mentioned. And the 129 00:08:37,770 --> 00:08:41,190 last time we ended the class with very significant 130 00:08:41,190 --> 00:08:43,210 points here. 131 00:08:46,030 --> 00:08:48,530 When you comment on poetry, criticize poetry, 132 00:08:48,630 --> 00:08:49,750 there are many ways to do it. 133 00:08:53,710 --> 00:08:56,050 But because you don't usually do it in an 134 00:08:56,050 --> 00:08:59,590 organized way, like academically, because this is 135 00:08:59,590 --> 00:09:02,830 you doing academic courses here. Sometimes you 136 00:09:02,830 --> 00:09:05,930 miss many points when you answer a question or 137 00:09:05,930 --> 00:09:08,870 talk about a point. All I want you to do is follow 138 00:09:08,870 --> 00:09:12,430 the academic logics here, where you go for the 139 00:09:12,430 --> 00:09:16,530 topic sentence, for example. When you say 140 00:09:16,530 --> 00:09:18,090 something, when you believe in something, when you 141 00:09:18,090 --> 00:09:19,030 see something in the text, 142 00:09:21,850 --> 00:09:26,030 go for the topic sentence which has the topic and 143 00:09:26,030 --> 00:09:30,370 the controlling idea and then many students do 144 00:09:30,370 --> 00:09:35,650 like jump from topic sentence to the examples 145 00:09:35,650 --> 00:09:39,210 don't do this or the evidence I usually say say 146 00:09:39,210 --> 00:09:45,790 something say it again in other words and then 147 00:09:45,790 --> 00:09:52,110 give examples or an example or evidence Meaning if 148 00:09:52,110 --> 00:09:54,630 you believe that the poem has, going back to Ali 149 00:09:54,630 --> 00:09:58,350 Abunimah's poem, if you say I don't believe Ali 150 00:09:58,350 --> 00:10:01,730 Abunimah is or the speaker in the poem is going to 151 00:10:01,730 --> 00:10:05,890 change. Most of you will always say, like, I don't 152 00:10:05,890 --> 00:10:08,510 think that the poet is going, the speaker is going 153 00:10:08,510 --> 00:10:12,250 to change because, for example, try not to do 154 00:10:12,250 --> 00:10:15,430 this. Try to explain what you mean by the topic 155 00:10:15,430 --> 00:10:17,970 sentence, by the main idea here you have. So if 156 00:10:17,970 --> 00:10:22,030 you say something in the first sentence, when you 157 00:10:22,030 --> 00:10:27,330 open your paragraph, try to make it general. This 158 00:10:27,330 --> 00:10:30,660 is usually you making a judgment. I could differ 159 00:10:30,660 --> 00:10:34,260 with you, I could agree with you, but that's not 160 00:10:34,260 --> 00:10:38,280 where I give or don't give marks. Please always 161 00:10:38,280 --> 00:10:41,520 differ with people. Don't just follow people's 162 00:10:41,520 --> 00:10:44,320 ideas and opinions. So if you say, for example, 163 00:10:44,480 --> 00:10:49,320 the speaker in this poem is not willing to change, 164 00:10:49,660 --> 00:10:53,200 or the text shows here that the poet is not going 165 00:10:53,200 --> 00:10:57,270 to change. What do you mean by this? Explain it, 166 00:10:57,310 --> 00:11:00,590 say something about it, say something to make it 167 00:11:00,590 --> 00:11:05,790 clearer. If the poet is expressing regrets, 168 00:11:07,470 --> 00:11:09,930 perhaps he's not going to be a different person 169 00:11:09,930 --> 00:11:13,690 later on after the poem. And then you go for, for 170 00:11:13,690 --> 00:11:18,330 example, and there are two types of evidence. 171 00:11:20,210 --> 00:11:23,630 Number one, textual evidence. Use the text itself, 172 00:11:24,050 --> 00:11:27,130 like the use of regrets as plural. This is 173 00:11:27,130 --> 00:11:30,210 evidence. The use of the past simple tenses. This 174 00:11:30,210 --> 00:11:32,390 is evidence. You tell me like in this word, in 175 00:11:32,390 --> 00:11:34,730 this phrase. I don't expect you to memorize the 176 00:11:34,730 --> 00:11:37,890 poems by the way, but I expect you to know these 177 00:11:37,890 --> 00:11:42,850 like little words and phrases. So in the poem, the 178 00:11:42,850 --> 00:11:45,930 poet did this and that. He said this and that. She 179 00:11:45,930 --> 00:11:50,300 said this and that. Regrets as plural could be 180 00:11:50,300 --> 00:11:52,360 used as evidence to indicate that somebody is 181 00:11:52,360 --> 00:11:55,700 willing to change. I don't have just one regret, I 182 00:11:55,700 --> 00:12:01,060 have regrets. Regrets, sorry. So the plurality 183 00:12:01,060 --> 00:12:04,820 here could be an indication that there is a 184 00:12:04,820 --> 00:12:08,260 willingness to change. Now the second type of 185 00:12:08,260 --> 00:12:13,280 evidence is based on thoughts, ideas. And again, I 186 00:12:13,280 --> 00:12:15,920 totally encourage you to express your opinions. 187 00:12:16,950 --> 00:12:20,230 But try to mix and vary here. In the same idea, in 188 00:12:20,230 --> 00:12:23,090 the same argument, try to use this and that to 189 00:12:23,090 --> 00:12:27,130 show that you are a critical human being. And 190 00:12:27,130 --> 00:12:28,870 again, going back to Ali Abunama's poem, you could 191 00:12:28,870 --> 00:12:33,230 say the poet is willing to change. Basically, the 192 00:12:33,230 --> 00:12:38,030 very act of writing the poem is an expression of 193 00:12:38,030 --> 00:12:42,800 change. At least if he doesn't want to change, He 194 00:12:42,800 --> 00:12:46,280 wants other people to change. Okay, this is what 195 00:12:46,280 --> 00:12:49,680 we did last time. Any question before we move to 196 00:12:49,680 --> 00:12:54,140 poem number one by our favorite poet, Palestinian 197 00:12:54,140 --> 00:13:00,020 poet Tamim Barouti. Please, someone. Go on. You 198 00:13:00,020 --> 00:13:05,220 said that the essence based on ideas. If I have an 199 00:13:05,220 --> 00:13:11,110 idea, I will prove it by the text. Yeah, that's a 200 00:13:11,110 --> 00:13:16,550 valid question. My idea is that when 201 00:13:16,550 --> 00:13:19,210 I say thoughts, how you feel about the poem, 202 00:13:19,930 --> 00:13:24,830 generally, personally. Because I know many people 203 00:13:24,830 --> 00:13:26,690 who say, no, anything you say about the poem has 204 00:13:26,690 --> 00:13:30,210 to be supported by textual evidence. Yes, but not 205 00:13:30,210 --> 00:13:36,960 always. So if you say that the poem Here the poet 206 00:13:36,960 --> 00:13:42,180 is trying to engage in a dialogue with somebody. 207 00:13:42,320 --> 00:13:45,800 Show me where the dialogue is. Who is he 208 00:13:45,800 --> 00:13:50,660 dialoguing with? Okay, but you could say the poem 209 00:13:50,660 --> 00:13:55,900 is a protest against patriarchy. 210 00:13:58,600 --> 00:14:00,400 And the fact that this is a woman writing 211 00:14:00,400 --> 00:14:03,060 differently, let's say Emily Dickinson, the use of 212 00:14:03,060 --> 00:14:07,160 dashes, the sharp, the short poems sometimes, the 213 00:14:07,160 --> 00:14:10,520 sharp images. I could maybe, this is where I could 214 00:14:10,520 --> 00:14:14,080 say I don't see it. But you could still argue that 215 00:14:14,080 --> 00:14:16,320 this is, for example, a particular woman writing 216 00:14:16,320 --> 00:14:20,860 against a particular set of beliefs. We'll see 217 00:14:20,860 --> 00:14:27,700 more with poems. Okay, so. Yeah, finally we come 218 00:14:27,700 --> 00:14:31,600 to this poem that I believe most of you love very 219 00:14:31,600 --> 00:14:37,020 much. So remember the four steps we usually do. We 220 00:14:37,020 --> 00:14:43,360 look at the poem, right? We recite the poem and 221 00:14:43,360 --> 00:14:45,160 then we try to understand the difficult meanings, 222 00:14:45,340 --> 00:14:48,040 the new meanings, the phrases, the expressions. 223 00:14:49,380 --> 00:14:51,140 And number three, we try to understand the 224 00:14:51,140 --> 00:14:54,100 poeticality of the text, the literary devices, the 225 00:14:54,100 --> 00:14:57,800 metaphors, the examined link between what we 226 00:14:57,800 --> 00:15:03,520 notice and what the poem or the poet says. So 227 00:15:03,520 --> 00:15:05,260 let's just look at the shape of the poem. 228 00:15:10,120 --> 00:15:15,000 Okay, this is stanza number one. And this is 229 00:15:15,000 --> 00:15:19,940 stanza number two. We usually don't see poems Like 230 00:15:19,940 --> 00:15:22,660 this, they usually either follow this highly 231 00:15:22,660 --> 00:15:27,200 structured, highly organized form or this formless 232 00:15:27,200 --> 00:15:31,200 free verse, blank verse kind of writing. And this 233 00:15:31,200 --> 00:15:33,580 is stanza number three, four, et cetera, et 234 00:15:33,580 --> 00:15:33,740 cetera. 235 00:15:36,740 --> 00:15:42,070 Okay, so what do you notice? Please. Yeah. Okay, 236 00:15:42,190 --> 00:15:44,430 well, as you said, we noticed that the first 237 00:15:44,430 --> 00:15:46,390 stanza starts in a traditional, more of a 238 00:15:46,390 --> 00:15:49,550 traditional way, the old way, which is like the 239 00:15:49,550 --> 00:15:53,810 broken, I think you can say, verses, and then it 240 00:15:53,810 --> 00:15:55,970 goes to pre-verses, and I think this is very 241 00:15:55,970 --> 00:15:58,710 important. No, again, first stanza. How would you 242 00:15:58,710 --> 00:16:02,630 comment on this? How would you describe this part 243 00:16:02,630 --> 00:16:06,410 of the poem? Okay, even if you don't know Arabic, 244 00:16:06,930 --> 00:16:10,150 you could still guess that the sound here, the 245 00:16:10,150 --> 00:16:17,080 last three letters are the same and probably not 246 00:16:17,080 --> 00:16:20,080 always in Arabic they do usually but in English 247 00:16:20,080 --> 00:16:23,840 don't be tricked by the letters all we care about 248 00:16:23,840 --> 00:16:26,760 is the sounds we've seen again in Ali Abraham's 249 00:16:26,760 --> 00:16:32,380 poem there was I there was cry and there was sigh 250 00:16:32,380 --> 00:16:35,260 but the sound is what we care about and this is 251 00:16:35,260 --> 00:16:41,020 called the rhyme القافية the ending sound or 252 00:16:41,020 --> 00:16:46,360 sounds of a line or verse The sound here is 253 00:16:46,360 --> 00:16:54,040 phonetically transcribed I Despite the fact that 254 00:16:54,040 --> 00:17:00,260 the letters are totally not related In Arabic 255 00:17:00,260 --> 00:17:06,060 here, we have سورها تزورها دورها يضيرها سرورها 256 00:17:06,060 --> 00:17:11,140 تديرها We call this a regular rhyme scheme, not 257 00:17:11,140 --> 00:17:14,710 only a rhyme because you will find a regular rhyme 258 00:17:14,710 --> 00:17:18,190 scheme. That's good. So there is regularity here. 259 00:17:18,890 --> 00:17:22,110 What else? Please. 260 00:17:26,530 --> 00:17:27,090 Okay. 261 00:17:29,910 --> 00:17:33,490 I'll come back to this. Again, my question always, 262 00:17:33,570 --> 00:17:35,430 my first question always is about noticing things 263 00:17:35,430 --> 00:17:39,210 without reading. Even if you don't read here, you 264 00:17:39,210 --> 00:17:42,350 still can guess that they're There's some kind of 265 00:17:42,350 --> 00:17:45,750 repetition in the last sound. Thank you very much. 266 00:17:45,790 --> 00:17:49,190 If you do this, the poem is going to look like 267 00:17:49,190 --> 00:17:53,190 this beautiful box that we want you to think out 268 00:17:53,190 --> 00:17:58,410 of all the time. It's a block. What else do we 269 00:17:58,410 --> 00:18:00,250 notice about the shape and the form of the poem? 270 00:18:03,530 --> 00:18:03,970 Please. 271 00:18:09,990 --> 00:18:16,450 Thank you very much. Each time is split in half. 272 00:18:16,810 --> 00:18:19,690 What do you call this? Thank you very much. 273 00:18:21,910 --> 00:18:27,430 Caesar. Caesar from Caesar, Caesarian. 274 00:18:30,630 --> 00:18:34,970 That's nice. All the lines are divided into two. 275 00:18:39,370 --> 00:18:45,650 All the lines end in the same three letters, same 276 00:18:45,650 --> 00:18:50,930 sound. Now, we look at the poem as we read it. So 277 00:18:50,930 --> 00:18:53,930 somebody please read the first stanza. Okay, Mara, 278 00:18:54,690 --> 00:18:55,450 could you speak up? 279 00:19:06,990 --> 00:19:10,390 So I said to myself, perhaps it is a blessing. So 280 00:19:10,390 --> 00:19:13,110 what do you see in Jerusalem when you visit it? 281 00:19:13,450 --> 00:19:17,450 You see all the possibilities it has, if you start 282 00:19:17,450 --> 00:19:19,770 from the side of the road that goes around it. And 283 00:19:19,770 --> 00:19:22,090 not every soul, when it meets its beloved, 284 00:19:22,450 --> 00:19:25,810 rejoices, nor does all absence make it go away. So 285 00:19:25,810 --> 00:19:29,210 if it rejoices before meeting it, then its joy is 286 00:19:29,210 --> 00:19:33,450 not guaranteed. When will you see the ancient 287 00:19:33,450 --> 00:19:34,290 Jerusalem again? 288 00:19:36,930 --> 00:19:40,570 That's beautiful. One more. Yeah, please. 289 00:20:21,210 --> 00:20:24,210 That's also beautiful. One more. I don't want you 290 00:20:24,210 --> 00:20:29,290 to make mistakes in the We are at the house of the 291 00:20:29,290 --> 00:20:31,970 Beloved, so return us from the house of the law of 292 00:20:31,970 --> 00:20:34,990 return and return. So I said to myself, perhaps it 293 00:20:34,990 --> 00:20:37,190 is a blessing. So what do you see in Jerusalem 294 00:20:37,190 --> 00:20:39,870 when you look at it? You see everything that you 295 00:20:39,870 --> 00:20:42,510 cannot possibly see, if it does not start from the 296 00:20:42,510 --> 00:20:44,990 side of the road around it. And not every soul, 297 00:20:45,130 --> 00:20:47,130 when it meets its Beloved, secludes itself, and 298 00:20:47,130 --> 00:20:49,790 not all the rest around it. So if it secludes 299 00:20:49,790 --> 00:20:51,930 itself before the separation of meeting it, then 300 00:20:51,930 --> 00:20:54,810 there is no guarantee that it will be happy. When 301 00:20:54,810 --> 00:20:59,470 will you see ancient Jerusalem again? Thank you, 302 00:20:59,650 --> 00:21:03,610 also excellent. So does the reading make a 303 00:21:03,610 --> 00:21:07,690 difference, the recitation, reading aloud? Does it 304 00:21:07,690 --> 00:21:11,730 give you any sense, the musicality of it? You feel 305 00:21:11,730 --> 00:21:14,270 that it's actually the same meter again and again. 306 00:21:15,050 --> 00:21:18,810 I'm not sure what bahar this is, what meter this 307 00:21:18,810 --> 00:21:23,030 is in Arabic. Probably mutafa'alun, mutafa'alun, 308 00:21:23,090 --> 00:21:25,870 fa'ulun, whatever. I have to check with some guy 309 00:21:25,870 --> 00:21:30,150 in the Arabic department. But we do say the same 310 00:21:30,150 --> 00:21:34,370 thing. And it's like musically speaking, we go up 311 00:21:34,370 --> 00:21:38,850 and down, up and down, up and down in the same way 312 00:21:38,850 --> 00:21:44,430 in the six lines. So when we read this, we could 313 00:21:44,430 --> 00:21:47,630 add to the fact that, again, highly irregular 314 00:21:47,630 --> 00:21:53,410 shape, regular rhyme scheme, the caesura in the 315 00:21:53,410 --> 00:21:57,700 middle, the gap, the pose. And then the music, 316 00:21:58,420 --> 00:22:00,920 this is what we call the rhythm, the music of the 317 00:22:00,920 --> 00:22:04,320 poetry. In Arabic some people learn to say the 318 00:22:04,320 --> 00:22:08,300 rhythm, rhythm. It's the same, the rhythm. Okay, 319 00:22:08,380 --> 00:22:10,320 so what else do we notice again? About the 320 00:22:10,320 --> 00:22:12,800 language, about what he says, the vocabulary, the 321 00:22:12,800 --> 00:22:16,320 choice of words, and other things. Please. Again, 322 00:22:16,400 --> 00:22:18,260 it's a physical thing because we don't know the 323 00:22:18,260 --> 00:22:21,000 meaning. Like, he talks about his beloved wife. 324 00:22:24,280 --> 00:22:28,520 That's an excellent thing to notice. This is a 325 00:22:28,520 --> 00:22:31,120 poem written I'm not sure how long ago, fifteen 326 00:22:31,120 --> 00:22:37,320 years ago or so, ten years ago. And the poet, in 327 00:22:37,320 --> 00:22:39,500 the other groups, I asked them to take the first 328 00:22:39,500 --> 00:22:41,940 line and to try to quiz the people around them, 329 00:22:42,000 --> 00:22:44,080 the people they know, your mom, your friends, 330 00:22:44,220 --> 00:22:48,740 somebody in the taxi, people studying something 331 00:22:48,740 --> 00:22:52,840 other than Arabic, people who don't know Tamim 332 00:22:52,840 --> 00:22:55,820 maybe, not familiar with the poem. So probably you 333 00:22:55,820 --> 00:22:59,060 need to go look under some rock here or there to 334 00:22:59,060 --> 00:23:01,220 find somebody who doesn't know this line. And ask 335 00:23:01,220 --> 00:23:05,860 them, can you guess who the poet is here? And 336 00:23:05,860 --> 00:23:08,920 please 337 00:23:08,920 --> 00:23:12,460 report to me. Tell me what they think about the 338 00:23:12,460 --> 00:23:15,500 author, the poet behind this. My guess is that 339 00:23:15,500 --> 00:23:18,440 many people, or at least some people, will not 340 00:23:18,440 --> 00:23:23,360 recognize to meme or will not relate this line to 341 00:23:23,360 --> 00:23:27,900 someone alive contemporary poet because of the way 342 00:23:27,900 --> 00:23:30,780 at least number one because of the way he begins 343 00:23:30,780 --> 00:23:36,800 classically many uh uh like many arab poets 344 00:23:36,800 --> 00:23:39,980 started their poems opened their poems in arabic 345 00:23:39,980 --> 00:23:45,860 we call it to begin in english you said the 346 00:23:45,860 --> 00:23:53,560 opening the beginning by beginning with passing by 347 00:23:53,560 --> 00:24:00,620 the home, the houses of the beloved and also 348 00:24:00,620 --> 00:24:05,180 standing over the ruins of a past tribe or 349 00:24:05,180 --> 00:24:07,500 something connecting the present with the past 350 00:24:11,130 --> 00:24:16,550 He's a classical way of beginning poetry. The 351 00:24:16,550 --> 00:24:18,810 Arabs did this many, many, many times in the past. 352 00:24:18,850 --> 00:24:20,690 When we're talking about 1,000 years ago, 2,000 353 00:24:20,690 --> 00:24:25,130 years ago. What else in addition to this? What 354 00:24:25,130 --> 00:24:26,050 else do you notice? 355 00:24:29,190 --> 00:24:29,690 Please. 356 00:24:32,570 --> 00:24:36,590 It's felt way the same. What's that? 357 00:24:39,630 --> 00:24:43,710 No, the foot is different from the lime skin. The 358 00:24:43,710 --> 00:24:45,990 same, we're not familiar with the meter here, but 359 00:24:45,990 --> 00:24:54,710 when we read it, it sounded the same. It's the 360 00:24:54,710 --> 00:24:59,410 same movement we do here. It can easily be sung, 361 00:24:59,590 --> 00:25:01,550 by the way. And that's why it's called lyrical 362 00:25:01,550 --> 00:25:04,690 poetry. Almost all poetry is lyrical because it 363 00:25:04,690 --> 00:25:09,070 can be sung. More about the words, the language. 364 00:25:11,210 --> 00:25:15,250 Yeah, please. He used simple language. The 365 00:25:15,250 --> 00:25:17,290 language is basically simple, true. He used words. 366 00:25:19,850 --> 00:25:22,370 This is simple language. What is the most 367 00:25:22,370 --> 00:25:27,310 difficult word here? يضيرها. يضيرها and ضرر, to 368 00:25:27,310 --> 00:25:30,490 harm something, to hurt something. Simple 369 00:25:30,490 --> 00:25:31,790 language, that's true. More. 370 00:25:34,670 --> 00:25:38,730 Please. He uses contradiction when he says أنت قاف 371 00:25:38,730 --> 00:25:43,190 و أخيك Okay. So the, the, there are a lot of 372 00:25:43,190 --> 00:25:47,550 binaries here, the opposites. He used many words 373 00:25:47,550 --> 00:25:49,750 to mean the thing and it's opposite. Like what? 374 00:25:51,930 --> 00:25:55,750 Like what? Yeah. Okay. 375 00:25:58,210 --> 00:26:01,930 There is here talqa and there is also, where is 376 00:26:01,930 --> 00:26:07,650 it? Same line. What else? Thank you very much. You 377 00:26:07,650 --> 00:26:11,830 dear. This is called binary opposites. Binary 378 00:26:11,830 --> 00:26:19,310 opposite, الفراق, لقاءه, what else? طبسر ترق طبسر 379 00:26:19,310 --> 00:26:23,350 ترق is the same الحبيب الحبيب الحبيب الحبيب الحبيب 380 00:26:23,350 --> 00:26:23,770 الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب 381 00:26:23,770 --> 00:26:24,350 الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب 382 00:26:24,350 --> 00:26:24,550 الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب 383 00:26:24,550 --> 00:26:27,290 الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب 384 00:26:27,290 --> 00:26:30,530 الحبيب الحبيب 385 00:26:30,530 --> 00:26:36,450 الحبي 386 00:26:36,830 --> 00:26:41,010 A very important place to start in a poem. Try to 387 00:26:41,010 --> 00:26:47,070 understand the opposites in the poem. Can we find 388 00:26:47,070 --> 00:26:52,290 more, more opposites other than these? I think you 389 00:26:52,290 --> 00:26:55,770 can. If you dig deeper, please. Habibu Laadi, what 390 00:26:55,770 --> 00:26:59,130 else? More. 391 00:27:02,780 --> 00:27:06,080 Excellent, maralna again with the intention of 392 00:27:06,080 --> 00:27:09,680 being there, passing by to visit and then we were 393 00:27:09,680 --> 00:27:11,580 sent back, faradan, true, more. 394 00:27:16,100 --> 00:27:18,980 What else? Okay, go back to things you notice 395 00:27:18,980 --> 00:27:26,960 about the poem. Please. Okay, what is that? 396 00:27:29,300 --> 00:27:33,580 Please, respect your friend, yeah. Where's that? 397 00:27:38,340 --> 00:27:42,720 Okay, that's also beautiful. Here, I'm not sure 398 00:27:42,720 --> 00:27:46,000 who he means here by Marana, probably the poet 399 00:27:46,000 --> 00:27:50,540 with friends and family or with other people going 400 00:27:50,540 --> 00:27:55,200 to visit Jerusalem and again. But then the moment 401 00:27:55,200 --> 00:27:59,520 there is here hope of meeting somebody you likes, 402 00:27:59,760 --> 00:28:03,600 going somewhere you love. And then the enemy 403 00:28:03,600 --> 00:28:09,080 occupier sends him, sends them back, or at least 404 00:28:09,080 --> 00:28:14,660 makes it difficult to be there. And then he 405 00:28:14,660 --> 00:28:17,380 probably talks to himself here. The dialogue is, 406 00:28:17,600 --> 00:28:19,940 this is an internal dialogue, but it is still a 407 00:28:19,940 --> 00:28:25,540 dialogue. He didn't speak to someone else, to 408 00:28:25,540 --> 00:28:30,750 anyone else. I don't know why. That's a beautiful 409 00:28:30,750 --> 00:28:35,610 thing to notice. There is a dialogue. There is a 410 00:28:35,610 --> 00:28:40,670 dialogue. And again, this is the reply. He's still 411 00:28:40,670 --> 00:28:43,850 talking to himself, engaging in a dialogue with 412 00:28:43,850 --> 00:28:48,130 himself. More, please. I like the way at the last 413 00:28:48,130 --> 00:28:54,100 one, I like the meaning that If you say مَتَ 414 00:28:54,100 --> 00:28:56,640 تُبْصِرُ القُدسُ it's different from مَتَ تُبْصِرُ 415 00:28:56,640 --> 00:28:59,720 القُدسَ Yeah, yeah مَتَ تُبْصِرُ القُدسَ because 416 00:28:59,720 --> 00:29:08,040 we are the act I like the way that when you saw or 417 00:29:08,040 --> 00:29:12,490 when you see Jerusalem for the first time you feel 418 00:29:12,490 --> 00:29:17,670 like it will be in your memory for all of your 419 00:29:17,670 --> 00:29:24,050 life. Okay. Wherever you go, whenever you are, 420 00:29:24,650 --> 00:29:26,330 because this is again the power of imagination. 421 00:29:26,530 --> 00:29:29,470 This is the power of recollecting in tranquility. 422 00:29:29,890 --> 00:29:32,090 This is what it was. This is a romantic concept. 423 00:29:32,490 --> 00:29:37,970 More. He said that there are people who control 424 00:29:37,970 --> 00:29:43,560 the place that he Okay, so there is us, people who 425 00:29:43,560 --> 00:29:47,620 come to visit and also there are the enemies, the 426 00:29:47,620 --> 00:29:52,580 others, the others. Okay, please. 427 00:29:57,020 --> 00:29:59,840 Because it's one eye? This is a common expression. 428 00:30:00,000 --> 00:30:02,840 Even in English, you'll find people using just one 429 00:30:02,840 --> 00:30:06,480 eye. In my mind's eye, Hamlet would say, for 430 00:30:06,480 --> 00:30:10,260 example. But possible, yeah. Like using one eye 431 00:30:10,260 --> 00:30:12,500 just to mean the two eyes. 432 00:30:19,640 --> 00:30:22,100 We're not talking about reasons now. Let's wait. 433 00:30:22,220 --> 00:30:24,060 Let's just collect data, collect information. 434 00:30:24,200 --> 00:30:28,010 Let's see how things, you know. Go. And then 435 00:30:28,010 --> 00:30:31,530 finally we come to the possibility of a why 436 00:30:31,530 --> 00:30:41,210 question. The last two lines, conditionality. 437 00:30:41,370 --> 00:30:47,270 There is a condition here. If you see it, it won't 438 00:30:47,270 --> 00:30:50,110 be a guarantee you will be happy. It will please 439 00:30:50,110 --> 00:30:53,270 you. Whenever you see Jerusalem, if you see 440 00:30:53,270 --> 00:30:56,230 Jerusalem only once, even once, you'll see it 441 00:30:56,230 --> 00:31:00,430 wherever you go. That's true. If, please. 442 00:31:04,650 --> 00:31:10,210 I love this. No, wait. Don't jump. And this is 443 00:31:10,210 --> 00:31:12,810 again what I just said. Your problem is like, ah, 444 00:31:12,830 --> 00:31:15,550 he used different tenses, past simple and then you 445 00:31:15,550 --> 00:31:17,090 jump. Why would you jump to the second point? 446 00:31:18,390 --> 00:31:23,500 Finish this. Make it clear. So the tense is when 447 00:31:23,500 --> 00:31:26,440 you study a poem, it's important to examine the 448 00:31:26,440 --> 00:31:28,720 tense or the tenses and the shift from one tense 449 00:31:28,720 --> 00:31:30,360 to the other. This is part of understanding the 450 00:31:30,360 --> 00:31:36,780 poem. So here this is past simple tense. This is 451 00:31:36,780 --> 00:31:44,280 past simple tense. This is past. This is present. 452 00:31:44,660 --> 00:31:50,380 This is also present. This is present. Present, 453 00:31:50,600 --> 00:32:00,120 past, present, present, present, nice, past, 454 00:32:03,960 --> 00:32:08,560 present, future, 455 00:32:09,980 --> 00:32:10,300 future. 456 00:32:14,630 --> 00:32:18,010 And todiraha is also present. Could be possibly 457 00:32:18,010 --> 00:32:25,150 connected with the future. So a 458 00:32:25,150 --> 00:32:29,230 poem, short stanza in a poem that includes three 459 00:32:29,230 --> 00:32:36,490 tenses. Past, a lot of past. And some present and 460 00:32:36,490 --> 00:32:41,410 also future. Okay, so look at what we did here. 461 00:32:41,590 --> 00:32:45,830 Number one, we noticed this is the form. And we 462 00:32:45,830 --> 00:32:48,770 concluded that the form is highly irregular 463 00:32:48,770 --> 00:32:52,890 because of three things. Number one, the shape. It 464 00:32:52,890 --> 00:32:56,770 looks like a box, a block. And then the way it 465 00:32:56,770 --> 00:33:02,110 ended, it ended in the same sound or sounds. We 466 00:33:02,110 --> 00:33:05,670 call this rhyme, irregular rhyme. And also we 467 00:33:05,670 --> 00:33:10,500 noticed the the caesura, the break, the gap in the 468 00:33:10,500 --> 00:33:12,840 middle. By the way, old English poetry used to 469 00:33:12,840 --> 00:33:17,000 employ the same poetic technique, this device in 470 00:33:17,000 --> 00:33:19,400 the middle. But later on, they started using 471 00:33:19,400 --> 00:33:23,320 punctuation marks to create the caesura, the 472 00:33:23,320 --> 00:33:26,580 break. So that's number one. And then number two, 473 00:33:27,860 --> 00:33:30,020 when we read it, we felt that this is musical. 474 00:33:30,160 --> 00:33:32,540 This is poetry because of the way it reads when 475 00:33:32,540 --> 00:33:37,900 you recite it. And then we looked at the binaries, 476 00:33:38,120 --> 00:33:42,480 the opposites. We realized that there is Habib, 477 00:33:42,860 --> 00:33:51,200 Aadi, Ghiyab, Yalqa, Luqia, Tasor, Yudhir are like 478 00:33:51,200 --> 00:33:54,540 basically three or four major binaries, opposites. 479 00:33:57,380 --> 00:34:00,100 And then the language itself, one of you said this 480 00:34:00,100 --> 00:34:02,660 is simple language, but I'm not sure if you paid 481 00:34:02,660 --> 00:34:04,900 attention to this. The vocabulary, the diction 482 00:34:04,900 --> 00:34:06,900 here, you know the word diction from dictionary? 483 00:34:08,420 --> 00:34:11,980 The language, the poetic diction here is also 484 00:34:11,980 --> 00:34:13,560 inspired by old Arabic poetry. 485 00:34:22,310 --> 00:34:25,070 The words, the vocabulary, if you take them out, 486 00:34:25,170 --> 00:34:27,290 you feel that these are .. it doesn't mean we 487 00:34:27,290 --> 00:34:32,030 don't use them these days The way sounds 488 00:34:32,030 --> 00:34:38,830 like an old Arabic poet And then most importantly, 489 00:34:38,990 --> 00:34:43,070 I think, the fact that it begins, it opens with a 490 00:34:43,070 --> 00:34:47,210 very famous old Arabic way of starting poetry. 491 00:34:47,290 --> 00:34:52,190 مرنا على دار الحبيب، عنطرة بيقول يا دار عبلت 492 00:34:52,190 --> 00:34:58,130 بالجواي تكلمي، مظبوط؟ قايس ايش بيقول؟ امروا على 493 00:34:58,130 --> 00:35:02,930 دياري دياري ليلة، right؟ و قايس بيقول أرى البين 494 00:35:02,930 --> 00:35:09,800 يشكوه البين، البعد، فراق محبون كلهم، فيا ربي قرّب 495 00:35:09,800 --> 00:35:14,360 دار كل حبيباني، like the daar here, the house, the 496 00:35:14,360 --> 00:35:19,220 home of the people you love. This has always been 497 00:35:19,220 --> 00:35:25,920 there in Arabic poetry. Okay, more before we move? 498 00:35:27,100 --> 00:35:28,400 Where are the questions? 499 00:35:38,990 --> 00:35:41,410 Okay, thank you very much. This is a question, 500 00:35:41,970 --> 00:35:43,830 what would you see in your ceremony, you visit 501 00:35:43,830 --> 00:35:48,270 here or it? But this is not a question. This is 502 00:35:48,270 --> 00:35:50,190 not a question, this is conditional. This is the 503 00:35:50,190 --> 00:35:53,890 matter that means if or when, whenever or. So 504 00:35:53,890 --> 00:35:57,270 there's one question here, not more than one 505 00:35:57,270 --> 00:36:02,230 question. Now, the second part of the poem, See, 506 00:36:02,310 --> 00:36:04,790 what we do is that we try to notice things to 507 00:36:04,790 --> 00:36:10,290 build up a case to create patterns. To create a 508 00:36:10,290 --> 00:36:14,310 pattern or patterns. And then we move, for example 509 00:36:14,310 --> 00:36:17,550 here, we move to the second part to see if we find 510 00:36:17,550 --> 00:36:22,570 the same thing there. In order to try to answer 511 00:36:22,570 --> 00:36:28,690 your question here, Rosanne. Why? Okay? 512 00:36:31,520 --> 00:36:36,640 Yalla, let's see. What do you think? If you're not 513 00:36:36,640 --> 00:36:38,760 familiar with the poem already, I could have asked 514 00:36:38,760 --> 00:36:42,140 you to tell me if this is part of the same poem or 515 00:36:42,140 --> 00:36:45,740 not. Many would say, it's not the same. They don't 516 00:36:45,740 --> 00:36:49,000 look the same. It doesn't fit. Please. 517 00:36:52,560 --> 00:36:54,960 Before that, again, remember, always go easy. 518 00:36:55,540 --> 00:36:59,760 Shape, what do you see? Is this as structured? 519 00:37:01,010 --> 00:37:03,770 organized as regular as the first part. 520 00:37:07,520 --> 00:37:09,620 There could be a pattern. The thing with this, if 521 00:37:09,620 --> 00:37:13,060 you check online resources, you'll find different 522 00:37:13,060 --> 00:37:17,400 websites using different ways of layout for the 523 00:37:17,400 --> 00:37:20,620 same poem I saw websites going for making this one 524 00:37:20,620 --> 00:37:22,820 whole line, one whole line, because it's one 525 00:37:22,820 --> 00:37:26,660 thought and going for a long line في القدس باع 526 00:37:26,660 --> 00:37:30,400 وقدرة من جورجيا بريمون بزوجته يفكر في قضاء إجازة 527 00:37:30,400 --> 00:37:31,460 أو في طلاء البيت 528 00:37:35,000 --> 00:37:37,800 That's called spoken poetry or performance poetry. 529 00:37:38,900 --> 00:37:43,580 Spoken poetry. There is poetry that is meant to be 530 00:37:43,580 --> 00:37:46,540 delivered, performed by the poet himself or 531 00:37:46,540 --> 00:37:50,520 herself. It treats differently, totally 532 00:37:50,520 --> 00:37:53,120 differently. So number one, compared to the first 533 00:37:53,120 --> 00:38:00,300 part, this is kind of irregular. Do we have the 534 00:38:00,300 --> 00:38:05,050 same sounds or letters repeated at the end? So 535 00:38:05,050 --> 00:38:07,790 possibly there is no rhyme, at least there is no 536 00:38:07,790 --> 00:38:11,810 rhyme, or there is an irregular rhyme scheme. What 537 00:38:11,810 --> 00:38:18,790 else? What else do you notice? Say again? There is 538 00:38:18,790 --> 00:38:21,890 a lot of repetition, in Jerusalem, in Jerusalem, 539 00:38:22,010 --> 00:38:25,070 in Jerusalem, in Jerusalem, in Jerusalem, in 540 00:38:25,070 --> 00:38:26,490 Jerusalem. That's like how many in Jerusalem? 541 00:38:27,110 --> 00:38:34,400 That's six of them. More? Let's do the way we did 542 00:38:34,400 --> 00:38:35,360 with the first stanza. 543 00:38:40,880 --> 00:38:46,140 There's no break in the middle of the lines. There 544 00:38:46,140 --> 00:38:49,160 is no break. Although, again, sometimes the coma 545 00:38:49,160 --> 00:38:52,160 or a punctuation mark could function as a caesura. 546 00:38:52,280 --> 00:38:54,420 It doesn't have to be physical space. But yeah, 547 00:38:54,460 --> 00:38:59,120 there is no break in the middle of the line. More. 548 00:39:02,280 --> 00:39:05,160 Different lengths, true, so probably different 549 00:39:05,160 --> 00:39:08,740 musical pattern, different rhythm, different meter 550 00:39:08,740 --> 00:39:13,080 maybe, more Basically, thank you very much, no 551 00:39:13,080 --> 00:39:16,720 rhyme scheme, whether you ended here البيت أحكامها 552 00:39:16,720 --> 00:39:20,900 عشرين etc or زوجته بيته عليها أحكامها totally 553 00:39:20,900 --> 00:39:27,620 different There's no rhyme scheme, please A lot of 554 00:39:31,970 --> 00:39:33,450 Prepositions like what? 555 00:39:36,510 --> 00:39:44,310 okay I don't know why but I think yeah you have a 556 00:39:44,310 --> 00:39:53,530 point more please okay 557 00:39:53,530 --> 00:39:57,590 nice to notice this the last the last two lines 558 00:39:57,590 --> 00:40:03,010 rhyme more musical The last two lines, probably 559 00:40:03,010 --> 00:40:05,050 because this is بعمرات انت بيعرفيش ده في الساحات 560 00:40:05,050 --> 00:40:07,550 طول اليوم فالقدس ده بجمع المطر عليهم فوق الغيم, 561 00:40:07,690 --> 00:40:10,570 possibly But they're not the same, like the same, 562 00:40:10,890 --> 00:40:13,490 is it the same? No, this is a little bit 563 00:40:13,490 --> 00:40:21,390 different, we'll come to this, okay Not always, 564 00:40:21,590 --> 00:40:24,510 this is small, this is long, small, long, it 565 00:40:24,510 --> 00:40:28,080 varies, it's shapeless The second part is 566 00:40:28,080 --> 00:40:30,760 formless, probably this is blank or free verse. 567 00:40:32,340 --> 00:40:34,040 And then we come to the conclusion here, to the 568 00:40:34,040 --> 00:40:40,120 question, why is the poet using two different 569 00:40:40,120 --> 00:40:44,300 forms of poetry in the same poem? Why does the 570 00:40:44,300 --> 00:40:47,680 poet shift? Why does the meme here or the speaker 571 00:40:47,680 --> 00:40:52,390 shift? from a highly regular, highly structured, 572 00:40:52,830 --> 00:40:58,690 well-organized form of poetry to shapeless, 573 00:40:59,650 --> 00:41:07,230 formless kind of poetry. Is there a reason? And 574 00:41:07,230 --> 00:41:12,290 again, don't ask whether Tamim or the poet meant 575 00:41:12,290 --> 00:41:18,510 it or not. We deal with the text. I'm not sure how 576 00:41:18,510 --> 00:41:21,630 you reacted when you first heard this poem or read 577 00:41:21,630 --> 00:41:25,590 this poem. Did you feel that there was a jump, an 578 00:41:25,590 --> 00:41:28,090 abrupt shift? 579 00:41:29,450 --> 00:41:30,630 When it's read? No? 580 00:41:36,030 --> 00:41:38,990 Personally, when I first heard the poem online, 581 00:41:39,610 --> 00:41:42,890 Amir al Shu'ara, I was like, oh, there was a 582 00:41:42,890 --> 00:41:44,830 subject, probably because I'm specialized in 583 00:41:44,830 --> 00:41:48,490 poetry. I felt it instantly. I was like, there is 584 00:41:48,490 --> 00:41:51,190 a reason here. Why is he shifting? What's going on 585 00:41:51,190 --> 00:41:54,330 in the first stanza that we don't have in the 586 00:41:54,330 --> 00:41:56,670 second stanza, or vice versa? Please. 587 00:42:00,280 --> 00:42:02,680 Yeah, but this is not a poetic answer. I know at 588 00:42:02,680 --> 00:42:05,440 school you used to say to attract the attention of 589 00:42:05,440 --> 00:42:08,700 the reader. To emphasize these two things mean 590 00:42:08,700 --> 00:42:15,740 nothing because the question is why, again. And 591 00:42:15,740 --> 00:42:19,640 how. We just mentioned the how. But if you say to 592 00:42:19,640 --> 00:42:21,540 attract the attention of the reader, this is not a 593 00:42:21,540 --> 00:42:23,880 poetic answer. This is not a critical answer. This 594 00:42:23,880 --> 00:42:29,140 is a school answer. To emphasize the idea. Where 595 00:42:29,140 --> 00:42:32,760 is the emphasis? And what's the idea? This is what 596 00:42:32,760 --> 00:42:35,500 we do at university. So you have the repetition, 597 00:42:35,620 --> 00:42:36,980 you could say you have the repetition of في القدس, 598 00:42:37,040 --> 00:42:40,180 في القدس, في القدس to emphasize the idea. What 599 00:42:40,180 --> 00:42:44,720 idea? See my point? We usually give, we are here 600 00:42:44,720 --> 00:42:46,880 to learn, to learn how to be as poetic as 601 00:42:46,880 --> 00:42:50,220 possible. Please. Maybe it refers to Jerusalem 602 00:42:50,220 --> 00:42:53,540 itself. Say, say again. It refers to Jerusalem 603 00:42:53,540 --> 00:42:57,160 itself. What? The priest stands and it was highly 604 00:42:57,160 --> 00:43:01,120 organized. Nice. 605 00:43:07,480 --> 00:43:10,940 That's beautiful. More please. 606 00:43:13,030 --> 00:43:16,750 when I tried, and the first stanza he was 607 00:43:16,750 --> 00:43:20,070 describing puts from outside where there's the 608 00:43:20,070 --> 00:43:23,630 walls, and he depicted the walls with the rigid 609 00:43:23,630 --> 00:43:26,530 form, and then the second stanza, when he went 610 00:43:26,530 --> 00:43:32,050 inside, it's small alleys and haraj, and so he 611 00:43:32,050 --> 00:43:36,730 used the blank version. So what's happening from 612 00:43:36,730 --> 00:43:39,170 the outside? What can you see from the inside? And 613 00:43:39,170 --> 00:43:42,590 what is there inside that makes it change shape 614 00:43:42,590 --> 00:43:50,310 and form? Please. Yeah. Because I think that it's 615 00:43:50,310 --> 00:43:53,610 related to Jerusalem itself, like you said. 616 00:43:54,610 --> 00:44:00,310 Because when he used the classical way of poetry, 617 00:44:00,530 --> 00:44:03,850 he emphasized that Jerusalem is 618 00:44:07,300 --> 00:44:12,980 Uh-huh. And still, it still exists because he, you 619 00:44:12,980 --> 00:44:17,180 know, like Jews say that. We don't say Jews. It's 620 00:44:17,180 --> 00:44:22,720 not about Jews. Israelis. The Zionists say that 621 00:44:22,720 --> 00:44:27,840 Jerusalem is for them, not for us. So he used 622 00:44:27,840 --> 00:44:29,980 first a political way to convince them that 623 00:44:29,980 --> 00:44:36,870 Jerusalem is ours. But the second, and she's Okay, 624 00:44:37,290 --> 00:44:40,510 so you're connecting here the old form with what 625 00:44:40,510 --> 00:44:46,210 used to be, how Jerusalem is ours, bringing the 626 00:44:46,210 --> 00:44:50,710 past with the present. Thank you. He was trying to 627 00:44:50,710 --> 00:44:53,130 put us in the same kind of atmosphere that he felt 628 00:44:53,130 --> 00:44:55,690 at that time. He was expecting to see Jerusalem 629 00:44:55,690 --> 00:44:56,490 organized. 630 00:45:02,280 --> 00:45:05,220 Okay, I like this point. So point number one, the 631 00:45:05,220 --> 00:45:10,500 first part is the expectation that Jerusalem in 632 00:45:10,500 --> 00:45:14,440 our mind and heart, in our imagination, the city 633 00:45:14,440 --> 00:45:18,440 that we as Palestinians can't have, can't even 634 00:45:18,440 --> 00:45:22,720 visit, we have this beautiful, poetic, perfect 635 00:45:22,720 --> 00:45:27,220 image of Jerusalem. And that's why, that's how it 636 00:45:27,220 --> 00:45:31,360 is from afar, from a distance. But once inside, 637 00:45:32,310 --> 00:45:35,170 Things are totally different. Please. 638 00:45:40,010 --> 00:45:45,550 What makes it unbearable here in the first part? 639 00:45:46,310 --> 00:45:50,050 Why is it that you can't endure things you see in 640 00:45:50,050 --> 00:45:50,390 Jerusalem? 641 00:45:54,400 --> 00:45:58,380 But he knows there is, he senses that there's 642 00:45:58,380 --> 00:46:01,140 this. But it's the enemies, the enemy occupiers 643 00:46:01,140 --> 00:46:07,780 that is making it probably unimaginably horrible, 644 00:46:09,000 --> 00:46:13,640 humiliating. So the first part here is organized, 645 00:46:13,920 --> 00:46:16,240 like some of you are suggesting, because this 646 00:46:16,240 --> 00:46:19,500 could reflect some kind of expectations. Yes, he 647 00:46:19,500 --> 00:46:21,880 knows, everybody knows that. I'm sure even the 648 00:46:21,880 --> 00:46:27,570 poet. In his imagination, he cannot deny the fact 649 00:46:27,570 --> 00:46:31,390 that Jerusalem is occupied. It's controlled by 650 00:46:31,390 --> 00:46:32,030 enemies. 651 00:46:48,910 --> 00:46:59,550 Okay, this is 652 00:46:59,550 --> 00:47:03,550 some kind of insistence that this is Awaz and we 653 00:47:03,550 --> 00:47:08,160 have the shape that we can make Jerusalem fit in, 654 00:47:08,480 --> 00:47:13,900 or I don't know, like insisting that Jerusalem is 655 00:47:13,900 --> 00:47:17,560 ours as much as these poetic traditions of the 656 00:47:17,560 --> 00:47:23,600 Arabs are ours, belong to us, more. I go with the 657 00:47:23,600 --> 00:47:25,600 idea of resistance, but at the same time, I think 658 00:47:25,600 --> 00:47:27,980 that it's more of an act of appreciation for the 659 00:47:27,980 --> 00:47:30,840 old classical, where I'm saying, yes, I do 660 00:47:30,840 --> 00:47:33,600 appreciate this style of writing, but at the same 661 00:47:33,600 --> 00:47:35,540 time, I want to create my own style of writing, 662 00:47:35,740 --> 00:47:38,460 and he goes for the second and the rest of the 663 00:47:38,460 --> 00:47:41,440 poem. So you're saying that change here is because 664 00:47:41,440 --> 00:47:45,060 Tamim wants to be different from, to shift from 665 00:47:45,060 --> 00:47:50,230 the Arab traditions of writing poetry? Why? What's 666 00:47:50,230 --> 00:47:52,810 happening in the second stanza that makes him 667 00:47:52,810 --> 00:47:54,430 shift? That's the question. 668 00:47:58,390 --> 00:48:02,170 What's going on inside Jerusalem? Who is there? 669 00:48:07,810 --> 00:48:10,710 Okay, if this is a story, who are the characters 670 00:48:10,710 --> 00:48:16,010 in the second part of the poem? someone from 671 00:48:16,010 --> 00:48:20,590 Georgia, someone from Abu Manhattan, someone from 672 00:48:20,590 --> 00:48:26,310 Bologna, whatever this is, someone from Ethiopia, 673 00:48:27,610 --> 00:48:31,250 possibly around Ethiopia and someone from France 674 00:48:31,250 --> 00:48:37,290 or the UK or Brazil or Canada or Australia. The 675 00:48:37,290 --> 00:48:39,610 only person, the only Arab person and then also 676 00:48:39,610 --> 00:48:45,760 the blonde tourists. coming to Jerusalem the only 677 00:48:45,760 --> 00:48:49,180 person here is this poor nameless faceless woman 678 00:48:49,180 --> 00:48:53,260 doing stupid thing sorry there's no business no 679 00:48:53,260 --> 00:48:57,280 work is stupid work but she's selling this turnip 680 00:48:57,280 --> 00:49:03,020 kind of thing it's not sage or thyme or olive oil 681 00:49:03,020 --> 00:49:06,220 or olive or something so in the second stanza what 682 00:49:06,220 --> 00:49:09,260 I'm saying here is that while the expectations the 683 00:49:09,260 --> 00:49:13,270 meme or like all of our expectations Have you ever 684 00:49:13,270 --> 00:49:15,550 been to Jerusalem? I asked this maybe before. How 685 00:49:15,550 --> 00:49:19,170 many of you? Like three? Oh, that's very few 686 00:49:19,170 --> 00:49:23,130 again. So the point is when you go there, for 687 00:49:23,130 --> 00:49:25,630 whatever reason, you have these great expectations 688 00:49:25,630 --> 00:49:28,990 like, wow, beautiful, the ancient city, our 689 00:49:28,990 --> 00:49:32,550 eternal capital. But once you are there, and we 690 00:49:32,550 --> 00:49:34,450 know that there is the Israeli occupation all the 691 00:49:34,450 --> 00:49:36,930 time controlling it. But again, the expectations 692 00:49:36,930 --> 00:49:41,050 are high. When you go there, what do you do in 693 00:49:41,050 --> 00:49:44,130 Jerusalem, basically? Of course, you could go eat 694 00:49:44,130 --> 00:49:46,990 kaak or whatever first and foremost, but we go to 695 00:49:46,990 --> 00:49:50,070 pray, thank you, to worship, because the 696 00:49:50,070 --> 00:49:52,730 spirituality of Jerusalem, the place itself has 697 00:49:52,730 --> 00:49:56,810 this sacred aura about it, spirituality. By the 698 00:49:56,810 --> 00:49:59,690 way, if you Google Jerusalem syndrome, there's 699 00:49:59,690 --> 00:50:02,350 this crazy thing that people believe in that if 700 00:50:02,350 --> 00:50:03,970 you go to Jerusalem, you're going to lose it 701 00:50:03,970 --> 00:50:06,990 sometimes. Some people lose it because of, I don't 702 00:50:06,990 --> 00:50:11,520 know why. So you go, you pray. Yes, you take 703 00:50:11,520 --> 00:50:13,960 pictures. And you take pictures with the top of 704 00:50:13,960 --> 00:50:18,940 the rock, with the famous stairs there, the 705 00:50:18,940 --> 00:50:22,880 scenery, the old places, the souks, the old 706 00:50:22,880 --> 00:50:27,580 streets and alleys. You don't go take pictures 707 00:50:27,580 --> 00:50:30,800 with stupid Fijil here. I love how Tamim is using 708 00:50:30,800 --> 00:50:36,850 Fijil. Because those tourists, those enemy 709 00:50:36,850 --> 00:50:41,870 occupiers, those intruders do not understand the 710 00:50:41,870 --> 00:50:45,050 nature of the city. The traditions here, the 711 00:50:45,050 --> 00:50:49,450 heritage is that as Palestinians, zaatar, rehan, 712 00:50:50,070 --> 00:50:57,900 mint, sage, thyme, These are identity things 713 00:50:57,900 --> 00:51:00,020 issues. Fiddle, you could live for two, three 714 00:51:00,020 --> 00:51:02,160 years without eating fiddle. But those people say, 715 00:51:02,240 --> 00:51:04,380 wow, let's take picture with this woman selling 716 00:51:04,380 --> 00:51:10,080 this grenade kind of thing. So I'm suggesting is 717 00:51:10,080 --> 00:51:12,540 that. And look at this man. What is he doing? He 718 00:51:12,540 --> 00:51:18,980 came all the way from Georgia to fight 719 00:51:18,980 --> 00:51:22,000 with his wife here. I think we have had enough 720 00:51:22,000 --> 00:51:25,070 fights with our wives. We don't want more people, 721 00:51:25,210 --> 00:51:31,230 more negativity. Planning to do what in Jerusalem? 722 00:51:32,070 --> 00:51:34,410 This is unfathomable. To me, this is unfathomable. 723 00:51:34,590 --> 00:51:36,930 Many people who say like, if I am in Jerusalem, if 724 00:51:36,930 --> 00:51:38,870 I were in Jerusalem, I would be just, I don't 725 00:51:38,870 --> 00:51:42,630 know, resisting all the time, probably praying all 726 00:51:42,630 --> 00:51:48,860 the time. The spirituality comes first. And then 727 00:51:48,860 --> 00:51:51,580 the old man coming all the way from Upper 728 00:51:51,580 --> 00:51:54,600 Manhattan, teaching people who came all the way 729 00:51:54,600 --> 00:52:00,020 from this place. And look at this guy from Africa, 730 00:52:01,180 --> 00:52:05,380 closing Jerusalem should not be closed. No place 731 00:52:05,380 --> 00:52:07,920 of worship should be closed or controlled this 732 00:52:07,920 --> 00:52:11,220 way. And look at the gun, the machine gun. 733 00:52:11,730 --> 00:52:15,310 Remember, there's the other poem, Jadatul, I'm 734 00:52:15,310 --> 00:52:18,530 going to call her Jannatul, she's nine years old. 735 00:52:19,310 --> 00:52:25,390 She isn't 18 years old, she's nine years old and 736 00:52:25,390 --> 00:52:28,970 nine years old. This is how small and little she 737 00:52:28,970 --> 00:52:32,890 is, young she is. This man, the machine gun is on 738 00:52:32,890 --> 00:52:35,930 this settler because compared to the gun, the gun 739 00:52:35,930 --> 00:52:43,810 is even bigger than himself look at this not even 740 00:52:43,810 --> 00:52:45,990 someone like deliberate because we've seen like 741 00:52:45,990 --> 00:52:48,970 we've seen christian zionists familiar with this 742 00:52:48,970 --> 00:52:53,210 concept christian zionists christians who believe 743 00:52:53,210 --> 00:52:55,970 that the jews have to convert to christianity at 744 00:52:55,970 --> 00:53:00,730 the end of the day they love israel not because 745 00:53:00,730 --> 00:53:02,350 they love israel but because they hate israel 746 00:53:02,350 --> 00:53:04,490 because they believe that at the end of the day 747 00:53:06,230 --> 00:53:10,590 All Jews should come to Palestine, to Jerusalem, 748 00:53:10,730 --> 00:53:14,150 to Palestine, so they can convert to Christianity. 749 00:53:15,570 --> 00:53:19,430 And the people around Trump are some of them. So 750 00:53:19,430 --> 00:53:23,010 those people and even some, I don't know, some 751 00:53:23,010 --> 00:53:25,330 Jewish Zionists from the end of the world, they 752 00:53:25,330 --> 00:53:27,590 come here, they don't just come for the 753 00:53:27,590 --> 00:53:30,630 spirituality of Jerusalem, they just But I know, I 754 00:53:30,630 --> 00:53:32,250 believe that some of them are religious people and 755 00:53:32,250 --> 00:53:34,530 they believe in this. But others just like they 756 00:53:34,530 --> 00:53:35,930 want to show off, they want to take the picture. 757 00:53:36,370 --> 00:53:39,890 And many, many times they come here on free tours, 758 00:53:40,270 --> 00:53:46,710 the birth, birthright, paid. If I tell anyone of 759 00:53:46,710 --> 00:53:49,830 you, okay, let's go on a paid tour, you just pay 760 00:53:49,830 --> 00:53:53,750 nothing. Two months, one month, you go anywhere 761 00:53:53,750 --> 00:53:56,250 around the world. Many of you would be willing to 762 00:53:56,250 --> 00:54:01,870 say, okay, I'm in. But be careful because 763 00:54:01,870 --> 00:54:05,190 sometimes you will be like destroying others like 764 00:54:05,190 --> 00:54:10,130 those Zionists are doing. And again, the blonde 765 00:54:10,130 --> 00:54:13,990 foreigners coming here, just they don't see 766 00:54:13,990 --> 00:54:18,210 Jerusalem. And that's why Tamim says, somewhere, 767 00:54:18,350 --> 00:54:22,430 they don't see Jerusalem. Because there are two 768 00:54:22,430 --> 00:54:26,270 Jerusalems. The Jerusalem that is ours, belongs to 769 00:54:26,270 --> 00:54:30,280 the Arabs. Christians or Muslims by the way, 770 00:54:30,740 --> 00:54:32,900 because he will be emphasizing and this is a 771 00:54:32,900 --> 00:54:34,940 feature of Palestinian poetry about Jerusalem. 772 00:54:35,100 --> 00:54:37,440 I've noticed this all the time. If a Palestinian 773 00:54:37,440 --> 00:54:40,860 poet writes about Jerusalem, there are always 774 00:54:40,860 --> 00:54:43,880 Christians and there are always Muslims. There's 775 00:54:43,880 --> 00:54:47,260 always the church, there's always the mosque, 776 00:54:47,380 --> 00:54:49,220 there's always the Bible and there's always the 777 00:54:49,220 --> 00:54:52,340 Quran there because Jerusalem unites us, brings us 778 00:54:52,340 --> 00:54:55,340 together. But it's the Israeli enemy occupier that 779 00:54:55,340 --> 00:54:58,300 is destroying the very fabric of Jerusalem. that 780 00:54:58,300 --> 00:55:00,880 is turning this well-structured beautiful place 781 00:55:00,880 --> 00:55:06,380 that should be beautiful, should be as we imagine 782 00:55:06,380 --> 00:55:11,420 it, a place for all that unites. The existence of 783 00:55:11,420 --> 00:55:16,280 those outsiders is destroying the structure of the 784 00:55:16,280 --> 00:55:19,500 poem as much as it is destroying the structure of 785 00:55:19,500 --> 00:55:25,470 the very essence of our lives, Palestinians. Okay, 786 00:55:26,010 --> 00:55:27,550 before I move to the second question, you want to 787 00:55:27,550 --> 00:55:31,210 say something? I was going to say something about 788 00:55:31,210 --> 00:55:35,850 the pattern, why I think it changed. In the first 789 00:55:35,850 --> 00:55:37,910 stanza, basically he's not describing anything, 790 00:55:38,150 --> 00:55:43,050 he's just stating ideas and thoughts. And in the 791 00:55:43,050 --> 00:55:45,890 other stanza, we find descriptions. So what I 792 00:55:45,890 --> 00:55:51,640 think happened is that If he used the classical 793 00:55:51,640 --> 00:55:55,140 style, the description of the modern view would 794 00:55:55,140 --> 00:55:59,240 seem like an archaic picture. So he shifted to a 795 00:55:59,240 --> 00:56:03,380 more modern way of description in order to give us 796 00:56:03,380 --> 00:56:07,580 a sense that this is the present day. To not make 797 00:56:07,580 --> 00:56:12,140 the... A sense that is chaotic and messy. No, like 798 00:56:12,140 --> 00:56:15,660 if he used the classical style, a description, and 799 00:56:15,660 --> 00:56:19,920 using the same way, maybe the picture Are you 800 00:56:19,920 --> 00:56:24,360 suggesting that Arabic poetry, classical Arab 801 00:56:24,360 --> 00:56:27,060 poetry is incapable of describing this in this 802 00:56:27,060 --> 00:56:27,360 way? 803 00:56:30,320 --> 00:56:35,540 Okay, so this is going back to attracting the 804 00:56:35,540 --> 00:56:40,920 attention of the readers. The classical Arabic 805 00:56:40,920 --> 00:56:44,040 poetry is capable of describing modern pictures, 806 00:56:44,220 --> 00:56:46,480 but if we're going to describe something that's 807 00:56:46,480 --> 00:56:50,840 going on, something chaotic, as you said, I think 808 00:56:50,840 --> 00:56:54,620 he did the right thing by using- By taking out the 809 00:56:54,620 --> 00:56:56,760 structure? Yeah, taking out the structure. And 810 00:56:56,760 --> 00:56:58,580 again, this is what some of you already suggested, 811 00:56:58,720 --> 00:57:02,660 that the fact that the Second Sun is dominated by 812 00:57:02,660 --> 00:57:07,300 outsiders invading intruders, the Zionist 813 00:57:07,300 --> 00:57:11,890 occupation, the enemy occupier, destroys the very 814 00:57:11,890 --> 00:57:14,710 shape and form and fabric and structure of the 815 00:57:14,710 --> 00:57:18,540 poem. But other than this, if you look at the 816 00:57:18,540 --> 00:57:21,160 first poem, some of you suggested that here we 817 00:57:21,160 --> 00:57:22,740 have the past, present, and future. I think Tamim 818 00:57:22,740 --> 00:57:27,560 is also trying to connect Jerusalem with our past, 819 00:57:27,660 --> 00:57:31,380 our future, and our present. The fact that he's 820 00:57:31,380 --> 00:57:35,080 using this, again, Arabic tradition, traditional 821 00:57:35,080 --> 00:57:38,460 form, he's basically connecting, I think, 822 00:57:39,220 --> 00:57:42,580 connecting Jerusalem with our identity as Arabs. 823 00:57:43,400 --> 00:57:46,110 Again, whether Muslims or Christians. And again, 824 00:57:46,530 --> 00:57:49,010 maybe he's saying, he's implying that if we want 825 00:57:49,010 --> 00:57:51,210 to have Jerusalem back, we have to go back to our 826 00:57:51,210 --> 00:57:55,130 roots. Arabs have never been united. But in the 827 00:57:55,130 --> 00:57:58,830 past, we were a lot bitter than now. Because 828 00:57:58,830 --> 00:58:03,770 today, we're not only fighting against the Israeli 829 00:58:03,770 --> 00:58:05,870 enemy occupier, we're also fighting against, 830 00:58:06,310 --> 00:58:11,230 because sometimes we are hurt more by ourselves 831 00:58:11,230 --> 00:58:15,880 and by Arabs around us, the Arab regimes. Sadly, 832 00:58:15,880 --> 00:58:19,260 normalization with the occupant. So this could be 833 00:58:19,260 --> 00:58:22,910 an indication that An indication that we need to 834 00:58:22,910 --> 00:58:25,870 go back to our roots. We need to go back to our 835 00:58:25,870 --> 00:58:30,270 past, to our origins as Arabs, in order to have 836 00:58:30,270 --> 00:58:31,890 Jerusalem back. And that's why probably basically 837 00:58:31,890 --> 00:58:34,170 the past simple, the present simple, and the 838 00:58:34,170 --> 00:58:39,410 future simple tenses are used here. And I want to 839 00:58:39,410 --> 00:58:43,390 go back to the dialogue here. Yes, there is a 840 00:58:43,390 --> 00:58:46,030 dialogue in the first tense, although it's a 841 00:58:46,030 --> 00:58:48,950 dialogue made up between an internal dialogue. 842 00:58:50,050 --> 00:58:55,430 Monologue, what's a monologue? Between yourself. 843 00:58:55,650 --> 00:58:58,590 So you and yourself, it's basically some kind of 844 00:58:58,590 --> 00:58:59,350 dialogue also. 845 00:59:03,230 --> 00:59:10,140 But here, look, we lose the dialogue. We lose the 846 00:59:10,140 --> 00:59:14,160 dialogue. This is a monologue now, monologic. It's 847 00:59:14,160 --> 00:59:17,320 one way. There's one image, sorry, there's one 848 00:59:17,320 --> 00:59:21,200 worldview here dominated by the occupation, the 849 00:59:21,200 --> 00:59:27,740 occupiers. There is one worldview in the second 850 00:59:27,740 --> 00:59:33,140 part. One party dominating everything. Even when 851 00:59:33,140 --> 00:59:37,350 Arabs are mentioned, they are only on The margin, 852 00:59:37,810 --> 00:59:42,430 a street vendor selling something exotic, not that 853 00:59:42,430 --> 00:59:44,970 I'm suggesting that Fijil is exotic, but something 854 00:59:44,970 --> 00:59:50,430 that would attract the tourists. Wow, what is this 855 00:59:50,430 --> 00:59:53,570 woman selling? Let's take pictures with her. 856 00:59:55,200 --> 00:59:59,040 Suggesting that for them, this figel is probably 857 00:59:59,040 --> 01:00:02,200 more precious, more attractive than Jerusalem 858 01:00:02,200 --> 01:00:08,180 herself. Let me say instead of itself. One more 859 01:00:08,180 --> 01:00:10,460 thing, please. 860 01:00:28,640 --> 01:00:30,700 There is nostalgia. There is a sense of nostalgia. 861 01:00:47,190 --> 01:00:52,530 That's also one way of potting it. Freeing. We 862 01:00:52,530 --> 01:00:56,970 need this kind of freedom. But we don't have it. 863 01:00:57,250 --> 01:01:03,660 Someone else, an outsider does. I read the first 864 01:01:03,660 --> 01:01:06,300 standard and the second that he went like I 865 01:01:06,300 --> 01:01:09,400 imagined that he is when he is outside Jerusalem 866 01:01:09,400 --> 01:01:13,000 he um uh he wrote in a poetic very poetic way 867 01:01:13,000 --> 01:01:16,860 organized way to show how he imagined it as very 868 01:01:16,860 --> 01:01:20,620 beautiful but when he came in he he became 869 01:01:20,620 --> 01:01:24,640 disappointed because uh what he saw like many 870 01:01:24,640 --> 01:01:27,440 things like not what he imagined he imagined like 871 01:01:27,440 --> 01:01:31,820 people who pray people who uh worship him Okay, 872 01:01:31,940 --> 01:01:33,920 thank you very much. I'll jump, just give me two 873 01:01:33,920 --> 01:01:37,920 minutes, so we finish this class. I'll jump to 874 01:01:37,920 --> 01:01:41,640 this last image very quickly. 875 01:01:46,260 --> 01:01:49,900 And look at how beautiful the imagery in Tamim is. 876 01:01:50,860 --> 01:01:52,980 I think he's unmatchable in many ways. 877 01:01:55,580 --> 01:01:57,540 وَنَوَافِذُن تَعْلُوا الْمَسَاجِ دَوَا 878 01:01:57,540 --> 01:02:03,290 الْكَنَائِسِ Yeah? الناوافذ The windows, you know, 879 01:02:03,390 --> 01:02:04,230 the windows on top. 880 01:02:07,190 --> 01:02:11,270 What are the windows doing? They're holding. This 881 01:02:11,270 --> 01:02:13,710 is a personification, you know, person, personify, 882 01:02:13,830 --> 01:02:16,370 personification, to talk about something as if 883 01:02:16,370 --> 01:02:22,430 it's a human being. Holding what? Somebody's hand. 884 01:02:23,920 --> 01:02:26,540 It's a metaphor, a personification. But whose hand 885 01:02:26,540 --> 01:02:31,180 is this? The hand of the morning. So this motherly 886 01:02:31,180 --> 01:02:35,240 window here is holding the hand of the baby-like 887 01:02:35,240 --> 01:02:39,940 morning at birth because the day is still young. 888 01:02:40,620 --> 01:02:43,760 This is a double metaphor uniquely done, 889 01:02:44,720 --> 01:02:52,610 masterfully done by him. by Tamim because in 890 01:02:52,610 --> 01:02:56,850 Palestinian ancient mosques and churches there's 891 01:02:56,850 --> 01:03:00,830 the mosaic you know windows with yellow and blue 892 01:03:00,830 --> 01:03:06,790 and green and very colorful mosaic so the windows 893 01:03:06,790 --> 01:03:11,620 are saying Because the day, the daylight is 894 01:03:11,620 --> 01:03:14,840 colorless, right? It's colorless. So it's like, 895 01:03:14,860 --> 01:03:16,760 you know, you go to your grandma and she looks at 896 01:03:16,760 --> 01:03:19,520 you, look at you all thin and she keeps stuffing 897 01:03:19,520 --> 01:03:22,620 you with food. And it's like, what? You're 898 01:03:22,620 --> 01:03:26,980 colorless here. If you come here to me, this is 899 01:03:26,980 --> 01:03:30,000 how you become colorful. You pass by me from one 900 01:03:30,000 --> 01:03:32,660 side, outside to the inside, and then it's all 901 01:03:32,660 --> 01:03:36,340 colorful. But this is still a kid, a baby, day. 902 01:03:38,220 --> 01:03:41,600 And again, this is another dialogue here. But this 903 01:03:41,600 --> 01:03:44,120 is not the dialogue that ends with, you know, a 904 01:03:44,120 --> 01:03:47,810 lot of bloodshed. حتى إذا طال الخلاف وإن طال 905 01:03:47,810 --> 01:03:51,390 الخلاف تقاسمة فالصبح حر خارج العتبات if the day 906 01:03:51,390 --> 01:03:54,890 wants to stay outside the window you're free you 907 01:03:54,890 --> 01:03:57,710 do whatever you want you be the way you like but 908 01:03:57,710 --> 01:04:00,410 if you get inside the mosque under the dome 909 01:04:00,410 --> 01:04:05,390 through the window فعليه أن يرضى في حكم نوافذ 910 01:04:05,390 --> 01:04:08,610 الرحمن and I love the word نوافذ again here it 911 01:04:08,610 --> 01:04:12,780 doesn't mean It doesn't mean windows. Nawafidhar 912 01:04:12,780 --> 01:04:15,840 Rahman here means the orders, the commands, the 913 01:04:15,840 --> 01:04:19,380 will and the wishes of God. And this is in English 914 01:04:19,380 --> 01:04:25,100 called a pun, a word with two meanings playing on 915 01:04:25,100 --> 01:04:28,800 this thing. Look at the imagery, look at how 916 01:04:28,800 --> 01:04:36,030 concrete this is. Some of the most beautiful 917 01:04:36,030 --> 01:04:40,030 poetry ever. I'll stop here. My question for you, 918 01:04:41,470 --> 01:04:43,970 other than again trying to connect the reason why 919 01:04:43,970 --> 01:04:48,470 Tamim is shifting from a well-structured stanza in 920 01:04:48,470 --> 01:04:53,650 the opening to a formless stanza, what are the 921 01:04:53,650 --> 01:04:57,270 features of Palestinian literature as seen in 922 01:04:57,270 --> 01:05:00,650 Tamim's poem? Listen, if some of you are 923 01:05:00,650 --> 01:05:02,970 interested in doing research paper, optional, I'm 924 01:05:02,970 --> 01:05:05,230 not saying this is part of the class assessment. 925 01:05:05,370 --> 01:05:08,170 If some of you are interested in doing a research 926 01:05:08,170 --> 01:05:10,590 paper, come to me. We can talk about these things. 927 01:05:10,690 --> 01:05:15,150 We can examine dialogism in Tamim. We can examine 928 01:05:15,150 --> 01:05:17,930 how Christians and Muslims always come together. 929 01:05:18,210 --> 01:05:22,110 We talk about features of Palestinian poetry and 930 01:05:22,110 --> 01:05:24,810 literature. I'll stop here. Thank you very much. 931 01:05:25,170 --> 01:05:27,610 If you have a question, please ask. And for next 932 01:05:27,610 --> 01:05:33,420 class, We're going to do an English poem from the 933 01:05:33,420 --> 01:05:35,560 16th century, Who Saw Listle Hunt?