1 00:00:05,130 --> 00:00:07,250 Assalamualaikum and welcome back to English 2 00:00:07,250 --> 00:00:11,110 poetry. Before I begin today talking about 3 00:00:11,110 --> 00:00:14,230 Shakespeare's Sonnet 18, let's have two of your 4 00:00:14,230 --> 00:00:18,470 classmates here talk about Palestinian features, 5 00:00:19,970 --> 00:00:22,590 poetry, poem, and then we'll have Noha talk about, 6 00:00:22,990 --> 00:00:26,690 recite one of her parodies. Come here, please. Go 7 00:00:26,690 --> 00:00:34,250 on. Since poetry is a language of expressing the 8 00:00:34,250 --> 00:00:36,590 feelings. So it is the perfect way for the writers 9 00:00:36,590 --> 00:00:39,030 or the Palestinian writers to write about their 10 00:00:39,030 --> 00:00:42,770 anger and desire of making their land free. So 11 00:00:42,770 --> 00:00:47,090 today I'm going to talk about one feature of the 12 00:00:47,090 --> 00:00:52,210 Palestinian poetry or literature. What I searched, 13 00:00:52,510 --> 00:00:54,990 I have many features, but what I want to talk 14 00:00:54,990 --> 00:00:59,540 about is the allusion. Illusion of using people 15 00:00:59,540 --> 00:01:02,460 that represent the deep history of the city as a 16 00:01:02,460 --> 00:01:09,060 Palestinian and Arab and Muslim city. So the line 17 00:01:09,060 --> 00:01:10,380 is, or the lines. 18 00:01:21,700 --> 00:01:28,440 This is 19 00:01:28,440 --> 00:01:33,860 an allusion to the king, who was the king of a 20 00:01:33,860 --> 00:01:36,740 Maghloub country, which was comprised of Egypt 21 00:01:36,740 --> 00:01:42,220 and the Levant. So this king and this great leader of 22 00:01:42,220 --> 00:01:46,460 the Muslim armies, 23 00:01:47,220 --> 00:01:50,680 At the beginning of his life, he was just a 24 00:01:50,680 --> 00:01:54,120 poor little slave who was bought and sold, and 25 00:01:54,120 --> 00:01:57,560 bought and sold. And once he was bought by a 26 00:01:57,560 --> 00:02:00,280 prince. And this prince rejected him because 27 00:02:00,280 --> 00:02:07,080 of a defect in his eye. There was like a blue or a 28 00:02:07,080 --> 00:02:11,120 white point in his eye. So he was rejected, and he 29 00:02:11,120 --> 00:02:12,960 sent him back to the trader. 30 00:02:15,620 --> 00:02:21,320 But Salih Ayyub kept him, and then he was like 31 00:02:22,950 --> 00:02:26,730 He was admired, and he liked this little boy. And 32 00:02:26,730 --> 00:02:29,370 then when he grew up, he freed him and made 33 00:02:29,370 --> 00:02:33,470 him a prince. And then he became the king. So this 34 00:02:33,470 --> 00:02:39,450 is an allusion. So that makes us think about 35 00:02:39,450 --> 00:02:42,650 the deep and long history of Jerusalem as an Arab 36 00:02:42,650 --> 00:02:45,330 city. So we have history, a deep history 37 00:02:45,330 --> 00:02:49,470 to think about. So that is my point. OK. Thank 38 00:02:49,470 --> 00:02:55,240 you very much. Invoking the past, alluding to 39 00:02:55,240 --> 00:03:00,400 people from the past seems to be one feature of 40 00:03:00,400 --> 00:03:04,400 Palestinian poetry. I really wish that more of you 41 00:03:04,400 --> 00:03:07,880 would be talking about more features. But تأتى 42 00:03:07,880 --> 00:03:10,560 الرياح بما لا تشتهى السفن. Let's see Nuha here 43 00:03:10,560 --> 00:03:16,240 talk about, recite her parody. Go on, please. Okay, 44 00:03:16,400 --> 00:03:21,360 so we all know Sir Thomas Wyatt's poem or sonnet, 45 00:03:21,480 --> 00:03:24,300 let's say, "Who So List to Hunt." Today I'll try to 46 00:03:24,300 --> 00:03:27,940 modernize it a little bit. Okay, let's hear it. 47 00:03:28,500 --> 00:03:31,960 Who saw less to laugh? I know where is a mean. But 48 00:03:31,960 --> 00:03:35,940 for me, alas, I may know more. The vain laughter 49 00:03:35,940 --> 00:03:39,860 hath wear'd me so sore. I am of them that laugh 50 00:03:39,860 --> 00:03:44,160 their heart out and scream. Yet may I by no means in 51 00:03:44,160 --> 00:03:48,160 my weird dream, while trying to make my vain heart 52 00:03:48,160 --> 00:03:53,420 find a cure, I pause. Hands tied, friends, and 53 00:03:53,420 --> 00:03:56,980 laughter takes the floor, and in calamity I find 54 00:03:56,980 --> 00:04:01,880 myself no more. Who's so less to laugh, irritated 55 00:04:01,880 --> 00:04:06,180 they might seem? were left by someone who they 56 00:04:06,180 --> 00:04:12,060 abhor, with two blue ticks screaming scene. Smelly 57 00:04:12,060 --> 00:04:16,700 cat can cure them for sure. Poor Yunagi taught me 58 00:04:16,700 --> 00:04:20,680 to be cautious, though I might seem inspired, yet I 59 00:04:20,680 --> 00:04:25,280 am humorous. Thank you. Okay, nice. Nice 60 00:04:25,280 --> 00:04:28,300 connection between friends on their 25th 61 00:04:28,300 --> 00:04:33,500 anniversary and an ancient poem. Okay, ladies, 62 00:04:33,660 --> 00:04:39,760 we'll go here to Shakespeare and Sonnet 18. 63 00:04:44,560 --> 00:04:46,960 I know some of you don't feel comfortable with 64 00:04:46,960 --> 00:04:49,600 Shakespeare. I don't think this is normal, but 65 00:04:49,600 --> 00:04:54,780 it's your choice, it's your opinion. I don't want 66 00:04:54,780 --> 00:04:58,540 to force you to like Shakespeare or not like 67 00:04:58,540 --> 00:05:01,340 Shakespeare, but let's see his poetry, his 68 00:05:01,340 --> 00:05:06,000 writing. We'll study two of Shakespeare's sonnets, 69 00:05:06,600 --> 00:05:12,190 and at least if you will still not like 70 00:05:12,190 --> 00:05:15,630 Shakespeare, let's appreciate him a little bit. 71 00:05:17,050 --> 00:05:19,930 Let's see what he did and how he did what he did. 72 00:05:20,190 --> 00:05:22,990 Because what Shakespeare did is unprecedented. 73 00:05:23,810 --> 00:05:29,330 Shakespeare wrote 140 sonnets, in addition to the 74 00:05:29,330 --> 00:05:33,670 sonnets in the plays, in the 37, give or take, plays 75 00:05:33,670 --> 00:05:38,620 he wrote. Shakespeare is said to be one of 76 00:05:38,620 --> 00:05:41,620 the greatest figures in human 77 00:05:41,620 --> 00:05:45,240 civilization. He's said to be the greatest poet of 78 00:05:45,240 --> 00:05:48,580 all time. Some people might agree or disagree 79 00:05:48,580 --> 00:05:52,260 with that, but undoubtedly many, many people. I 80 00:05:52,260 --> 00:05:55,000 assigned other classes to ask their family 81 00:05:55,000 --> 00:05:57,260 members, their parents, if they ever heard of 82 00:05:57,260 --> 00:06:01,240 Shakespeare. And the answer was mostly yes. How? 83 00:06:01,420 --> 00:06:04,740 We don't know, nobody knows. Even some illiterate 84 00:06:04,740 --> 00:06:09,830 people have heard of Shakespeare. And this in 85 00:06:09,830 --> 00:06:14,430 itself is fascinating; this man from a small town 86 00:06:14,430 --> 00:06:19,830 in the UK. Shakespeare's works have been adapted 87 00:06:19,830 --> 00:06:24,650 and adopted and appropriated and acted all over 88 00:06:24,650 --> 00:06:28,230 the world. His works, his sonnets and plays have 89 00:06:28,230 --> 00:06:31,470 been translated into almost every language on 90 00:06:31,470 --> 00:06:35,650 earth. And I usually quote one critic who wanted 91 00:06:35,650 --> 00:06:38,530 to show how great Shakespeare is by saying that at 92 00:06:38,530 --> 00:06:42,330 any time of the day, there is somebody out there 93 00:06:42,330 --> 00:06:46,190 talking about Hamlet, thinking about Hamlet, 94 00:06:46,350 --> 00:06:48,610 researching Hamlet, reading Hamlet, watching 95 00:06:48,610 --> 00:06:51,130 Hamlet, reciting Hamlet, sallallahu alayhi wa 96 00:06:51,130 --> 00:06:53,630 sallam, acquiescing in Hamlet, appropriating Hamlet, 97 00:06:53,850 --> 00:06:57,030 cursing Hamlet, researching Hamlet, rehearsing 98 00:06:57,030 --> 00:07:00,670 Hamlet, acting Hamlet, producing Hamlet. And 99 00:07:00,670 --> 00:07:05,730 that's only Hamlet, one play. According to Harold 100 00:07:05,730 --> 00:07:09,750 Bloom, the American critic, a fascinating man, he 101 00:07:09,750 --> 00:07:12,010 has a book called *Shakespeare and the Invention of* 102 00:07:12,010 --> 00:07:16,450 Humanity or *Human Being*. And this is this guy, 103 00:07:17,110 --> 00:07:22,850 like, he loves Shakespeare to insanity and back. 104 00:07:24,100 --> 00:07:26,880 Not because of who he was, the man, but what he 105 00:07:26,880 --> 00:07:31,320 did. And he claims that we live in the shadow of 106 00:07:31,320 --> 00:07:33,180 Shakespeare. At least in Western civilization, 107 00:07:33,500 --> 00:07:36,640 people live in the shadow of Shakespeare and his 108 00:07:36,640 --> 00:07:41,460 characters and his poetry. And he says the most 109 00:07:41,460 --> 00:07:45,720 quoted person in Western civilization, after, Christian Dom, 110 00:07:46,220 --> 00:07:50,220 is Jesus Christ. And the second most quoted person 111 00:07:50,220 --> 00:07:54,790 is Hamlet, and Hamlet is a fictional character, 112 00:07:55,190 --> 00:07:58,250 meaning probably Shakespeare is more quoted than 113 00:07:58,250 --> 00:08:04,870 Jesus Christ. Anyway, we'll talk about his poetry 114 00:08:04,870 --> 00:08:09,160 today, but before we do so, I want to ask you a 115 00:08:09,160 --> 00:08:11,640 question. Do you think great people, like people 116 00:08:11,640 --> 00:08:14,940 we consider great nowadays, like Arab poets, al- 117 00:08:14,940 --> 00:08:18,840 Mutanabbi and Antarah, English poets and dramatists 118 00:08:18,840 --> 00:08:22,740 like Shakespeare, John Donne, Marlowe, Samuel 119 00:08:22,740 --> 00:08:27,600 Johnson, Dryden, Ben Jonson, Milton, do you think 120 00:08:27,600 --> 00:08:32,060 those people realized how great they were? Do you 121 00:08:32,060 --> 00:08:35,700 feel that when great people did great things in 122 00:08:35,700 --> 00:08:39,480 all walks of life, literature, art, 123 00:08:39,680 --> 00:08:44,360 science, did they feel that they were great, that 124 00:08:44,360 --> 00:08:46,920 they would be great one day? What do you think? 125 00:08:47,440 --> 00:08:47,440 Please. 126 00:08:57,110 --> 00:09:00,350 Okay. So when you read Shakespeare, you see the 127 00:09:00,350 --> 00:09:05,150 confidence, you could tell that he at least knew 128 00:09:05,150 --> 00:09:08,550 something, that he's not an ordinary person. Yeah. 129 00:09:23,340 --> 00:09:26,100 Actually, he was appreciated, but compared to now, 130 00:09:26,180 --> 00:09:28,980 it was nothing. It doesn't mean they disliked him. 131 00:09:29,400 --> 00:09:34,320 He had bestsellers; many of his plays were 132 00:09:34,320 --> 00:09:37,060 performed again and again and again. And 133 00:09:37,060 --> 00:09:39,580 we're talking about London with a small population 134 00:09:39,580 --> 00:09:42,060 compared to what we have today. But 135 00:09:42,060 --> 00:09:45,220 yes, definitely. Some people hated Shakespeare. 136 00:09:46,560 --> 00:09:49,040 You know, rivalry, people doing the same thing at 137 00:09:49,040 --> 00:09:55,300 the same time, some critics. What's that? Yeah, 138 00:09:55,620 --> 00:09:59,960 there's that TV show, *Shark Tank*. That is 139 00:09:59,960 --> 00:10:08,240 fantastic. Sorry? The thing 140 00:10:08,240 --> 00:10:11,280 is that every successful person would 141 00:10:11,280 --> 00:10:15,380 have people who hate him, hate his guts. But the 142 00:10:15,380 --> 00:10:18,880 point is this could be part of the fuel, part of 143 00:10:18,880 --> 00:10:22,710 how you become who you are. I think that most 144 00:10:22,710 --> 00:10:25,430 of the people, most of the great people, do not 145 00:10:25,430 --> 00:10:28,530 really recognize how great they are until 146 00:10:28,530 --> 00:10:32,010 after their death, after people come centuries 147 00:10:32,010 --> 00:10:36,890 later and realize what a great deal their acts did 148 00:10:36,890 --> 00:10:39,770 in the future. Because, like we said before, most of 149 00:10:39,770 --> 00:10:41,870 the Romantic poets were not really famous in their 150 00:10:41,870 --> 00:10:44,350 time and people considered them some kind of like 151 00:10:44,350 --> 00:10:47,050 a revolutionary act that was not really something 152 00:10:47,050 --> 00:10:49,480 mainstream, yeah. Yeah, exactly. And another 153 00:10:49,480 --> 00:10:52,060 thing, talking about the confidence and maybe 154 00:10:52,060 --> 00:10:54,420 Shakespeare's persona, I believe that this is the 155 00:10:54,420 --> 00:10:56,700 persona talking, not Shakespeare himself. Maybe 156 00:10:56,700 --> 00:11:00,740 this is my own point of view. Okay, so tastes 157 00:11:00,740 --> 00:11:04,860 change, trends change, people change, and this is 158 00:11:04,860 --> 00:11:08,180 how life works. What people like today might not 159 00:11:08,180 --> 00:11:10,920 be liked in the future and vice versa. We'll see 160 00:11:10,920 --> 00:11:13,780 with John Donne; for about 200 years he was 161 00:11:13,780 --> 00:11:17,840 almost forgotten. For one reason or another, we're 162 00:11:17,840 --> 00:11:20,740 going to understand this. But definitely, I think 163 00:11:20,740 --> 00:11:23,440 we will find something, some traces, some evidence 164 00:11:23,440 --> 00:11:27,780 in Shakespeare where he is looking into the future 165 00:11:27,780 --> 00:11:32,040 and declaring that he will live forever. 166 00:11:33,860 --> 00:11:36,640 In many of his sonnets, actually, because it's a 167 00:11:36,640 --> 00:11:37,940 main theme in his sonnets. 168 00:11:42,570 --> 00:11:47,550 Okay, so this is Sonnet 18, and I already 169 00:11:47,550 --> 00:11:49,570 revealed the secret that this is a sonnet, 170 00:11:49,570 --> 00:11:52,350 which is not a secret because we can all count 171 00:11:52,350 --> 00:11:55,830 to 14. 172 00:11:56,610 --> 00:12:01,930 Now, sonnets, most poems in the past did not 173 00:12:01,930 --> 00:12:07,170 have titles; even Arabic poetry, most of 174 00:12:07,170 --> 00:12:10,910 the titles we see are used by later critics 175 00:12:10,910 --> 00:12:13,330 or sometimes they are given. Sonnets are usually 176 00:12:13,330 --> 00:12:17,290 given numbers, and sometimes we use the first line 177 00:12:17,290 --> 00:12:20,970 or part of it to name the sonnet. So this is Sonnet 178 00:12:20,970 --> 00:12:24,910 18, or "Shall I compare thee," or "Shall I compare thee 179 00:12:24,910 --> 00:12:30,510 to a summer's day." Now, we already spoke about one 180 00:12:30,510 --> 00:12:33,670 major category of the sonnet, which is the Italian 181 00:12:33,670 --> 00:12:38,270 sonnet by Petrarch. 182 00:12:40,650 --> 00:12:47,830 We spoke about the theme being love, basically 183 00:12:47,830 --> 00:12:55,130 courtly love. The form being octave 184 00:12:57,460 --> 00:13:02,980 plus sestet; eight lines, six lines. The rhyme 185 00:13:02,980 --> 00:13:07,200 scheme being A, 186 00:13:07,280 --> 00:13:17,320 B, B, A, A, B, B, A and C, D, C, D, C, D, C, D, E, 187 00:13:17,360 --> 00:13:21,680 C, D, E. A variety of sestets. Let's see 188 00:13:21,680 --> 00:13:25,920 Shakespeare. Somebody please read. Yeah. 189 00:13:30,690 --> 00:13:35,070 Don't eat any of the syllables here. I know you're 190 00:13:35,070 --> 00:13:35,590 hungry, maybe. 191 00:13:39,610 --> 00:13:43,270 Rough winds do shake the darling buds of May, and 192 00:13:43,270 --> 00:13:45,770 summer's lease hath all too short a date. 193 00:13:46,530 --> 00:13:50,170 Sometimes too hot the eye of heaven shines, and 194 00:13:50,170 --> 00:13:54,590 often is his gold complexion dimmed, and every 195 00 223 00:16:08,600 --> 00:16:11,860 Summer shall not fade, nor lose possession of that 224 00:16:11,860 --> 00:16:14,920 fear thou ow'st, nor shall death brag thou 225 00:16:14,920 --> 00:16:18,260 wander'st in his shade, when in eternal lines to time 226 00:16:18,260 --> 00:16:22,440 thou grow'st. So long as men can breathe or eyes 227 00:16:22,440 --> 00:16:27,090 can see, so long lives this. Okay, thank you very 228 00:16:27,090 --> 00:16:31,030 much. Now, before I attempt to recite it, what do 229 00:16:31,030 --> 00:16:33,730 you notice about the text? Did you hear different 230 00:16:33,730 --> 00:16:37,890 readings? Yes. The syllables? Yes. And the, like, 231 00:16:37,950 --> 00:16:39,150 what did you notice, for example? Yes, and the 232 00:16:39,150 --> 00:16:42,250 unstressed lines. Can you compare, like, who read 233 00:16:42,250 --> 00:16:46,970 what? I read him and not read, like, the, I am 234 00:16:46,970 --> 00:16:47,190 purple. 235 00:16:50,120 --> 00:16:52,480 But you didn't notice differences like somebody 236 00:16:52,480 --> 00:16:55,080 read "always," somebody said "host," somebody said 237 00:16:55,080 --> 00:16:57,420 "gross," somebody said "gross," somebody said 238 00:16:57,420 --> 00:17:00,000 "temperate," somebody said "temperate," somebody said 239 00:17:00,000 --> 00:17:04,640 "temperate." It all makes a difference here because 240 00:17:04,640 --> 00:17:08,620 when we talk about a sonnet, it's not only 14 241 00:17:08,620 --> 00:17:14,020 lines, quatrain, quatrain, quatrain, couplet, or 242 00:17:14,020 --> 00:17:20,460 octave, sextet, etc. We'll see how in the sonnet, 243 00:17:20,660 --> 00:17:24,260 Shakespearean sonnet particularly, the number of 244 00:17:24,260 --> 00:17:29,040 syllables are also counted because we'll find 10 245 00:17:29,040 --> 00:17:30,080 syllables each. 246 00:17:32,930 --> 00:17:37,170 154 sonnets, that's basically more than 2000 lines. 247 00:17:37,170 --> 00:17:44,250 And almost all of them have 10 syllables. Can you 248 00:17:44,250 --> 00:17:46,170 count the syllables, somebody? Can you help me 249 00:17:46,170 --> 00:17:50,770 count the syllables, please? No, okay, so how do 250 00:17:50,770 --> 00:17:53,730 you count the syllables? How do you know how many 251 00:17:53,730 --> 00:17:54,670 syllables there are, please? 252 00:17:59,120 --> 00:18:01,460 Thank you very much. Every vowel sound, we're 253 00:18:01,460 --> 00:18:04,380 talking about sounds rather than letters. The same 254 00:18:04,380 --> 00:18:07,840 with the rhyme scheme, the rhyme. We care about 255 00:18:07,840 --> 00:18:15,200 the sound rather than the... Every vowel sound is 256 00:18:15,200 --> 00:18:20,200 a syllable. So... How 257 00:18:20,200 --> 00:18:24,040 many? 258 00:18:24,620 --> 00:18:38,260 Okay, number two, please. How many in "temperate"? 259 00:18:39,800 --> 00:18:43,940 You said "temperate." You gave it two syllables. Two 260 00:18:43,940 --> 00:18:49,120 syllables means this is nine. This is nine. So, 261 00:18:49,320 --> 00:18:54,420 how many syllables in this word? "Temperate." 262 00:18:55,280 --> 00:18:59,620 "Temperate." With dashwa still "temperate." Okay. So 263 00:18:59,620 --> 00:19:02,840 still ten. And with "lovely," we don't say "love-ly." 264 00:19:03,540 --> 00:19:09,280 "Lovely." Because the stress is on the root. "Lovely." 265 00:19:10,100 --> 00:19:13,540 Two syllables. What about this E? We don't say it. 266 00:19:13,620 --> 00:19:16,120 We don't pronounce it. And then number three, 267 00:19:16,560 --> 00:19:26,530 please. When you say the darling word of So, if 268 00:19:26,530 --> 00:19:28,490 you count, we don't have all the time in the world 269 00:19:28,490 --> 00:19:33,150 to count, you'll realize that each line has 10 270 00:19:33,150 --> 00:19:34,270 syllables. 271 00:19:37,890 --> 00:19:42,370 Meaning? Five feet. 272 00:19:44,610 --> 00:19:48,990 In English, not all feet consist of two syllables, 273 00:19:49,170 --> 00:19:52,230 but most feet, especially the iambic pentameter, 274 00:19:53,010 --> 00:19:57,650 we have two syllables, one foot. Foot in Arabic 275 00:19:57,650 --> 00:20:02,650 means تفعيلة. And the foot consists of two 276 00:20:02,650 --> 00:20:04,750 syllables, basically syllables, sometimes three 277 00:20:04,750 --> 00:20:08,550 syllables, but here it's two syllables. And it's 278 00:20:08,550 --> 00:20:12,610 called iambic because the first one is unstressed, 279 00:20:13,210 --> 00:20:18,170 like this. This is like the U in unstressed, and 280 00:20:18,170 --> 00:20:22,170 this is like a stressed syllable. And this goes 281 00:20:22,170 --> 00:20:23,950 like 90% of the time. 282 00:20:26,810 --> 00:20:31,150 "Shall I compare thee to a summer's day? Thou art 283 00:20:31,150 --> 00:20:33,870 more lovely and more dear to them, to them, to 284 00:20:33,870 --> 00:20:37,610 them, to them. But it's not a perfect scansion 285 00:20:37,610 --> 00:20:41,570 sometimes. And why Shakespeare deviates is also a 286 00:20:41,570 --> 00:20:46,770 matter of question. Now, I want somebody to, 287 00:20:47,370 --> 00:20:50,090 again, tell me what other things you notice in the 288 00:20:50,090 --> 00:20:57,150 text. Please. Okay, let's do the rhyme scheme. I 289 00:20:57,150 --> 00:21:00,030 want somebody to come here to do the rhyme scheme. 290 00:21:02,410 --> 00:21:04,010 Somebody, the rhyme scheme. Do you know how to do 291 00:21:04,010 --> 00:21:06,740 the rhyme scheme? You should know how to do the 292 00:21:06,740 --> 00:21:08,780 rhyme scheme. You should always, when you comment 293 00:21:08,780 --> 00:21:11,340 on a poem, do the rhyme scheme. And this is tip 294 00:21:11,340 --> 00:21:14,220 number one. And then after that, I want you to 295 00:21:14,220 --> 00:21:16,380 connect the rhyme scheme with the structure 296 00:21:16,380 --> 00:21:18,280 itself. Could you come here please? You want to 297 00:21:18,280 --> 00:21:19,100 come here? Yes. 298 00:21:23,660 --> 00:21:31,240 So, the first sound is A, so we give it A. Right? 299 00:21:38,470 --> 00:21:42,090 This is how you do it. Okay. 300 00:21:46,310 --> 00:21:50,650 Okay. Wait, wait a minute. Tell us why. Why do we 301 00:21:50,650 --> 00:21:55,580 have the A? Is it because the line ends in A? Look 302 00:21:55,580 --> 00:21:58,460 at them and explain why, why did you go for A? Why 303 00:21:58,460 --> 00:22:02,600 not B, C, D? I like, I like Z. It's a beautiful 304 00:22:02,600 --> 00:22:05,740 sound. It looks like this. Why A? 305 00:22:11,680 --> 00:22:15,540 Okay, so the first line is always given A, but 306 00:22:15,540 --> 00:22:18,990 still why? Where did you get it from? What's your 307 00:22:18,990 --> 00:22:22,410 name? Okay, there's no A in Nisrine, so why didn't 308 00:22:22,410 --> 00:22:25,070 you go for N? It's a more beautiful letter than A. 309 00:22:26,150 --> 00:22:32,130 Why A? Where did you get it from? Okay, after A, 310 00:22:32,190 --> 00:22:35,250 where do you usually go? D, X, Y, Z? 311 00:22:38,290 --> 00:22:40,170 Y? Where did you get A, B from? 312 00:22:42,990 --> 00:22:48,060 That's it from the alphabet. So "day," not because 313 00:22:48,060 --> 00:22:52,440 the sound is a, but always the first sound, the 314 00:22:52,440 --> 00:22:56,640 first rhyme in any poem is a, we take it from the 315 00:22:56,640 --> 00:23:02,100 alphabet. And then what happens next? So "day" and 316 00:23:02,100 --> 00:23:05,740 then "temperate." Are they the same? Wait a minute. 317 00:23:06,100 --> 00:23:10,450 If they are the same, we give it again A and 318 00:23:10,450 --> 00:23:12,570 there's no problem in repeating the sound, but 319 00:23:12,570 --> 00:23:15,750 "temperate," we usually focus on the vowel sound, 320 00:23:15,970 --> 00:23:18,910 the last sound or two sounds sometimes. So 321 00:23:18,910 --> 00:23:24,130 "temperate" is not like "day," but "May" is like "day." So 322 00:23:24,130 --> 00:23:30,290 we give it the same letter already. A, B, and then 323 00:23:30,290 --> 00:23:30,830 "date." 324 00:23:33,370 --> 00:23:38,870 Are you sure? Are you, wait, are you sure? No, no, 325 00:23:38,930 --> 00:23:41,910 no. Are you sure that this is B? 326 00:23:46,310 --> 00:23:48,950 Don't look at me, look at the text here and try to read 327 00:23:48,950 --> 00:23:49,210 it. 328 00:23:53,710 --> 00:23:56,530 Why did you write B? Why not C? Why not D? Why not 329 00:23:56,530 --> 00:23:57,450 E? Why not A? 330 00:24:01,510 --> 00:24:03,770 Okay, A, B, A, B. No, the alphabet is not A, B, A, 331 00:24:03,790 --> 00:24:07,800 B. A, B, C. So you're going for A and then because 332 00:24:07,800 --> 00:24:10,100 the sound is different, you go for B and then 333 00:24:10,100 --> 00:24:12,320 because this sound repeats this sound, you go for 334 00:24:12,320 --> 00:24:16,900 A. Exactly. Exactly. Okay. I know you're having 335 00:24:16,900 --> 00:24:21,680 stage fright, but this is not okay. So A, B, A, 336 00:24:21,680 --> 00:24:23,980 B. Thank you very much. Somebody else come here 337 00:24:23,980 --> 00:24:24,340 please. 338 00:24:27,400 --> 00:24:27,840 Okay. 339 00:24:34,200 --> 00:24:35,520 Do the second part. 340 00:24:39,740 --> 00:24:43,140 Wait, wait a minute because it ends with the S 341 00:24:43,140 --> 00:24:43,520 letter. 342 00:24:49,020 --> 00:24:52,020 But I think I want to add A, it's more beautiful 343 00:24:52,020 --> 00:24:58,260 than C. Different from what? Thank you very much. 344 00:24:58,600 --> 00:25:04,470 So we have already two different rhymes, "May," "day," 345 00:25:04,470 --> 00:25:10,170 and "May," A, A, "temperate," and "date," B, B, and then we 346 00:25:10,170 --> 00:25:12,450 have "shines," totally different, we go to the 347 00:25:12,450 --> 00:25:17,650 alphabet, A, B, C. Listen, whatever poem you scan, like 348 00:25:17,650 --> 00:25:21,570 you read for uh the rhyme scheme, make sure at the 349 00:25:21,570 --> 00:25:26,070 end that the the letters read in the order they 350 00:25:26,070 --> 00:25:29,270 are in the alphabet. If you jump a letter, you're 351 00:25:29,270 --> 00:25:32,000 doing it wrong. If you skip a letter, you're doing 352 00:25:32,000 --> 00:25:33,500 it wrong. If you miss a letter, you're doing it 353 00:25:33,500 --> 00:25:35,100 wrong. So at the end of the day, it's like if you 354 00:25:35,100 --> 00:25:38,100 have A, B, if you have a new sound, you don't go 355 00:25:38,100 --> 00:25:42,280 for E, go for C because it comes after B. Okay, so 356 00:25:42,280 --> 00:25:42,700 C. 357 00:25:45,580 --> 00:25:50,860 What's that? What's the word? "Dim." "Dimmed." D. The 358 00:25:50,860 --> 00:25:54,080 word "declines," same as "shines." Very good. So we 359 00:25:54,080 --> 00:25:58,180 give it C. "Untrimmed." "Untrimmed." 360 00:26:01,160 --> 00:26:03,280 Very good, thank you. Someone else? One more? 361 00:26:04,680 --> 00:26:10,300 Please, come here. Now, some might insist that 362 00:26:10,300 --> 00:26:14,640 "dimmed," "untrimmed," "fade," there is a lot of 363 00:26:14,640 --> 00:26:18,340 similarity here, true. But we understand that this 364 00:26:18,340 --> 00:26:20,660 is Shakespeare. So some, some people might want to 365 00:26:20,660 --> 00:26:24,620 repeat that D, D here with "fade," "shade," not because 366 00:26:24,620 --> 00:26:27,600 it ends with a D sound, but because there's a 367 00:26:27,600 --> 00:26:30,940 similarity. But actually with the vowel sound "aid," 368 00:26:32,100 --> 00:26:34,540 a little bit different, like 50% at least 369 00:26:34,540 --> 00:26:38,740 different from "dimmed" and "untrimmed." So we go for, 370 00:26:39,100 --> 00:26:43,160 okay. 371 00:26:44,660 --> 00:26:45,240 A, E. 372 00:26:54,580 --> 00:26:58,060 Okay, so E, F, E, F, thank you. Finally, somebody? 373 00:26:59,240 --> 00:27:03,720 What would you do? Finally, what letter are we at? 374 00:27:04,580 --> 00:27:07,140 Okay, with Shakespeare, you should always get to 375 00:27:07,140 --> 00:27:10,680 G, G. I don't know who she is. But you should go 376 00:27:10,680 --> 00:27:14,900 there, G, G. If you're doing a rhyme scheme in 377 00:27:14,900 --> 00:27:19,120 Shakespeare and you don't get to G, G, you're most 378 00:27:19,120 --> 00:27:26,120 definitely doing a wrong job. So it's A, B, A, B, C, D, C, D, E, F, E, F, G, G. We notice two things here. Number 379 00:27:33,690 --> 00:27:36,890 one, this is different from Petrarch. Not just 380 00:27:36,890 --> 00:27:39,770 different, almost totally different from Petrarch. 381 00:27:41,510 --> 00:27:43,910 And this is what we call alternating rhyme. 382 00:27:44,930 --> 00:27:47,870 Shakespeare doesn't repeat it more than, the same 383 00:27:47,870 --> 00:27:51,530 sound doesn't repeat it more than twice. And this 384 00:27:51,530 --> 00:27:54,590 is more difficult than this. This is more rigid 385 00:27:54,590 --> 00:27:59,110 than Petrarch because Petrarch goes for A, B, B, A 386 00:27:59,110 --> 00:28:03,490 and mirrors it yet again, A, B, B, A. Shakespeare, 387 00:28:04,170 --> 00:28:09,750 A, B, A, B, thank you, next. C, D, C, D, thank 388 00:28:09,750 --> 00:28:14,470 you. Next E, F, E, F and finally the beautiful 389 00:28:14,470 --> 00:28:18,470 couplet at the end. The rhyming couplet at the 390 00:28:18,470 --> 00:28:24,530 end. Now when it comes to reading this or dividing 391 00:28:24,530 --> 00:28:29,750 it into parts, we realize that we have four lines, 392 00:28:30,670 --> 00:28:36,550 four lines, and then four lines, and then two lines. 393 00:28:37,280 --> 00:28:41,340 Meaning this is different from from Petrarch. So 394 00:28:41,340 --> 00:28:50,060 number one, the rhyme scheme is A, B, A, B, C, D, C, D, E, F, 395 00:28:50,060 --> 00:28:59,840 E, F, G, G, not G, G, G, G. Okay, and then number two, it 396 00:28:59,840 --> 00:29:06,470 consists of three quatrains. And a quatrain, it's 397 00:29:06,470 --> 00:29:12,110 like from quarter, quarter, quarter past nine or 398 00:29:12,110 --> 00:29:19,430 something. It's one of four parts of something. So 399 00:29:19,430 --> 00:29:22,250 we know now a couplet means two lines, a triplet 400 00:29:22,250 --> 00:29:25,810 three lines, a quatrain four lines, a sextet six 401 00:29:25,810 --> 00:29:31,070 lines, an octave eight lines plus one couplet. 402 00:29:32,830 --> 00:29:33,630 Interesting. 403 00:29:35,920 --> 00:29:38,500 We've seen the couplet before, but let's see who 404 00:29:38,500 --> 00:29:41,980 does it better. Now when we read the poem, 405 00:29:47,380 --> 00:29:50,620 to examine other things, the sounds, let's see if 406 00:29:50,620 --> 00:29:53,860 the theme matches. Different rhyme scheme, 407 00:29:54,060 --> 00:29: 445 00:32:08,450 --> 00:32:15,370 way, this is O. Meaning on. And this is grow. And 446 00:32:15,370 --> 00:32:19,450 this is wonder. But in the past, remember we said 447 00:32:19,450 --> 00:32:27,110 with he, she and it, they used to add TH instead 448 00:32:27,110 --> 00:32:30,310 of the S we use today for the third person pronoun. 449 00:32:31,170 --> 00:32:34,330 So Samar has. 450 00:32:37,860 --> 00:32:41,300 and again some people say I give it two syllables 451 00:32:41,300 --> 00:32:45,700 honestly I don't know why. I would like someone 452 00:32:45,700 --> 00:32:48,560 please to investigate why some people insist on 453 00:32:48,560 --> 00:32:51,240 saying, always giving it an extra syllable and by 454 00:32:51,240 --> 00:32:52,920 the way, with the extra syllable you break the 455 00:32:52,920 --> 00:32:56,180 meter here; you get this ends up with 11 456 00:32:56,180 --> 00:32:59,600 syllables. I couldn't find an answer, so if you 457 00:32:59,600 --> 00:33:03,770 could investigate this, that would be great. So I 458 00:33:03,770 --> 00:33:08,090 would insist on on, on, and sticking to 459 00:33:08,090 --> 00:33:12,610 the ten syllables. So again, what's the ST here? 460 00:33:13,430 --> 00:33:17,690 This is for "you" or "thou" in the past. They would 461 00:33:17,690 --> 00:33:21,650 add T or ST sometimes. This is not for the 462 00:33:21,650 --> 00:33:24,730 superlative form of the verb, of the adjective, 463 00:33:24,970 --> 00:33:26,430 sorry, because verbs cannot be in the 464 00:33:26,430 --> 00:33:31,390 superlative form. Thankfully, this inflection was 465 00:33:31,390 --> 00:33:34,950 dropped. We don't have this any longer these days. 466 00:33:35,330 --> 00:33:35,970 Thank God. 467 00:33:39,250 --> 00:33:43,290 Now, look at the beginning of the poem. Smooth, 468 00:33:44,030 --> 00:33:49,610 beautiful, and sweet. Because of so many things. 469 00:33:49,710 --> 00:33:56,170 Number one, the sound itself. "Shall I?" It's sweet. 470 00:33:56,750 --> 00:34:00,330 It's poetic. "Shall I?" That's sadly, not many people 471 00:34:00,330 --> 00:34:03,970 use "shall I" these days. In spoken English, "shall I" 472 00:34:03,970 --> 00:34:07,710 is basically like you use "shall I" to offer 473 00:34:07,710 --> 00:34:12,780 to somebody. "Shall I help you?" "Shall I?" People these 474 00:34:12,780 --> 00:34:17,000 days are more into "can I," "may I" is very polite, 475 00:34:17,160 --> 00:34:20,420 but "can I," "Can I help you?" "Can I help you?" And I 476 00:34:20,420 --> 00:34:24,080 think the sound "shall I" is more poetic, sweeter 477 00:34:24,080 --> 00:34:27,960 than "could I," "can I." And also the question form 478 00:34:27,960 --> 00:34:30,480 here, this is a kind of a rhetorical question, a 479 00:34:30,480 --> 00:34:33,500 self-answering question. He doesn't say, and this 480 00:34:33,500 --> 00:34:35,160 is beautiful from Shakespeare, he didn't say, "I 481 00:34:35,160 --> 00:34:38,760 will compare thee to a summer's day." If he does 482 00:34:38,760 --> 00:34:43,320 this, it gives him more authority; makes him look 483 00:34:43,320 --> 00:34:45,560 like an authoritarian figure, somebody who's giving 484 00:34:45,560 --> 00:34:50,360 commands and orders to somebody he wants, and 485 00:34:50,360 --> 00:34:52,880 because he doesn't want this, somebody, and again 486 00:34:52,880 --> 00:34:55,360 there's a huge discussion on who this somebody is, 487 00:34:55,360 --> 00:34:58,260 the recipient of the sonnets. Some people say some 488 00:34:58,260 --> 00:35:01,360 of them were sent to his patron, the man who 489 00:35:01,360 --> 00:35:04,440 supported him socially and politically, the Earl of 490 00:35:04,440 --> 00:35:08,210 Southampton, I guess. And some people try to add 491 00:35:08,210 --> 00:35:12,010 to this discussion whether this was a man-man love 492 00:35:12,010 --> 00:35:14,670 relationship. And some of the poems were written 493 00:35:14,670 --> 00:35:16,610 for a woman, nobody knows, because Shakespeare 494 00:35:16,610 --> 00:35:20,170 married an older woman and probably he was in 495 00:35:20,170 --> 00:35:24,230 love; he was in London; the family was back home. 496 00:35:25,930 --> 00:35:27,950 And some people say probably all these sonnets 497 00:35:27,950 --> 00:35:30,950 were written to a fictional lady or a real lady 498 00:35:30,950 --> 00:35:34,250 they describe as the mysterious dark lady. We 499 00:35:34,250 --> 00:35:36,950 don't care. We care about the text, but I take it 500 00:35:36,950 --> 00:35:39,610 for granted as, like I take it personally as a text 501 00:35:39,610 --> 00:35:43,870 written for a woman. So at the beginning he wants 502 00:35:43,870 --> 00:35:48,610 to, you know, And this is different from who 503 00:35:48,610 --> 00:35:50,670 solicits to hunt. Somebody giving up. This is a 504 00:35:50,670 --> 00:35:54,250 man doing his best to make the woman love him, 505 00:35:54,370 --> 00:35:57,610 think highly of him. "Shall I compare thee to a 506 00:35:57,610 --> 00:35:59,670 summer's day?" And he does it again by the question 507 00:35:59,670 --> 00:36:01,950 form, the rhetorical question. He's not giving 508 00:36:01,950 --> 00:36:04,870 orders; he's kind of asking, taking permission. 509 00:36:05,530 --> 00:36:07,970 And then the sound of "shall I" is beautiful and 510 00:36:07,970 --> 00:36:11,190 sweet. "Shall I compare thee to a summer's day." And 511 00:36:11,190 --> 00:36:13,870 look at the differences in cultures. As Arabs, if 512 00:36:13,870 --> 00:36:16,590 this is somebody in Saudi Arabia or Kuwait sending 513 00:36:16,590 --> 00:36:19,030 this poem to his beloved, telling her "shall I" 514 00:36:19,030 --> 00:36:20,930 compare thee to a summer's day, he hates her. 515 00:36:22,750 --> 00:36:25,770 Summer is different. And again, this is one of the 516 00:36:25,770 --> 00:36:30,540 dilemmas that encounters translators. If you're 517 00:36:30,540 --> 00:36:32,560 translating this, what would you say in Arabic? 518 00:36:32,960 --> 00:36:36,600 Can you give it a try? Probably if you have time, 519 00:36:36,680 --> 00:36:39,420 try to translate it into Arabic and see how would 520 00:36:39,420 --> 00:36:42,420 you stick to everything? Would you try to manage 521 00:36:42,420 --> 00:36:48,230 some of the ideas there? The answer is, of course, 522 00:36:48,810 --> 00:36:51,750 there's nobody giving permission. If you imagine 523 00:36:51,750 --> 00:36:54,330 the woman being there and nodding or saying yes, 524 00:36:54,390 --> 00:36:56,610 but he's kicking her out and erasing her from the 525 00:36:56,610 --> 00:36:59,750 text, okay, but you could say that he's just 526 00:36:59,750 --> 00:37:02,030 asking and answering because this is a man taking 527 00:37:02,030 --> 00:37:06,090 for granted everything, especially women. "Thou 528 00:37:06,090 --> 00:37:11,130 art." "Thou art" here. Again, "you are." So this is not 529 00:37:11,130 --> 00:37:15,730 art and literature; this is "art" meaning "are." Why 530 00:37:15,730 --> 00:37:21,750 the T? Because of that. Get used to this. "Thou art" 531 00:37:21,750 --> 00:37:27,070 more lovely and more temperate. You're more 532 00:37:27,070 --> 00:37:29,910 beautiful than a summer's day, than a beautiful 533 00:37:29,910 --> 00:37:35,250 day of summer. And this is really sweet. And 534 00:37:35,250 --> 00:37:40,390 suddenly, from this kind of sweetness, something 535 00:37:40,390 --> 00:37:43,990 changes. Look at the way he begins line three. 536 00:37:46,880 --> 00:37:50,660 "Shall I compare thee to a summer's day?" The what 537 00:37:50,660 --> 00:37:54,440 more lovely and more timid. "Rough winds do shake 538 00:37:54,440 --> 00:37:57,240 the darling buds of May." Everything changes here 539 00:37:57,240 --> 00:38:00,740 because he wants to say that life is tough. 540 00:38:01,440 --> 00:38:03,640 Sometimes summer is not good; it's not as 541 00:38:03,640 --> 00:38:07,460 beautiful as some might think. So it changes the 542 00:38:07,460 --> 00:38:13,310 sounds here. "Shall..." These are sweet sounds. Changes 543 00:38:13,310 --> 00:38:17,970 to da, da, ba, ba, shake, do. Sounds like making 544 00:38:17,970 --> 00:38:24,710 trouble, echoing the sound probably of the winds. 545 00:38:24,830 --> 00:38:27,010 And they're not ordinary winds. By the way, he 546 00:38:27,010 --> 00:38:31,570 could have said "the winds." "The winds." That's it. 547 00:38:31,770 --> 00:38:36,430 "The winds." But this is "rough winds." Again, "do," 548 00:38:36,710 --> 00:38:41,930 "shake." Why "do?" Why would you say "I did see him?" 549 00:38:44,710 --> 00:38:45,810 Thank you very much. 550 00:38:48,410 --> 00:38:54,950 Okay. Okay. So without "do," we will miss one 551 00:38:54,950 --> 00:38:58,880 syllable. So Shakespeare is again killing, so to 552 00:38:58,880 --> 00:39:02,220 speak, two birds with one stone. So "do" adds, but 553 00:39:02,220 --> 00:39:06,580 this is Shakespeare; he can find a way. And again, 554 00:39:06,680 --> 00:39:12,300 he emphasizes this, "do shake," "rough winds do shake," 555 00:39:12,600 --> 00:39:15,920 even though the way you read it is tough. He adds 556 00:39:15,920 --> 00:39:21,820 toughness, the "fah" sound, "rough." "Winds do shake" 557 00:39:21,820 --> 00:39:25,260 the darling buds of May, the beautiful small 558 00:39:25,260 --> 00:39:30,020 budding flowers of May, and "summer's lease hath 559 00:39:30,020 --> 00:39:33,860 all too short a date." Summer is too short 560 00:39:33,860 --> 00:39:37,140 sometimes. When it is beautiful and there's no 561 00:39:37,140 --> 00:39:42,480 wind or storms, it's short. "Lease" here means 562 00:39:42,480 --> 00:39:46,220 period. It doesn't last forever. This is the first 563 00:39:46,220 --> 00:39:50,560 idea. Look at how I don't know, there's some kind 564 00:39:50,560 --> 00:39:53,700 of like Shakespeare's indicating that everybody, 565 00:39:54,040 --> 00:39:58,540 everything is not, doesn't last forever. We're all 566 00:39:58,540 --> 00:40:01,460 going to die. Every beautiful thing ends. 567 00:40:03,980 --> 00:40:07,660 Some are beautiful sometimes, but we have rough 568 00:40:07,660 --> 00:40:12,700 winds. And sometimes it's not short, too short. 569 00:40:15,220 --> 00:40:18,240 And in the second stanza, he does the same thing 570 00:40:18,240 --> 00:40:22,500 in other words. "Sometimes too heaven, too hot, the" 571 00:40:22,500 --> 00:40:26,880 eye of heaven. The eye of heaven is the sun. The 572 00:40:26,880 --> 00:40:29,600 eye of heaven, by the way, he could have said, 573 00:40:30,260 --> 00:40:32,040 please again, get used to Shakespeare because 574 00:40:32,040 --> 00:40:36,180 sometimes he goes like he takes the long shot, 575 00:40:36,260 --> 00:40:39,960 short cut like Rosanne did just now. Instead of 576 00:40:39,960 --> 00:40:43,680 saying the sun, he would say the eye of heaven. 577 00:40:44,200 --> 00:40:48,900 Some people don't like Shakespeare for this, but 578 00:40:48,900 --> 00:40:50,400 we should love Shakespeare for this. 579 00:40:53,340 --> 00:40:56,700 Yeah. So like, look at how different it's going to 580 00:40:56,700 --> 00:41:00,120 be. Again and again, this is poetry. In poetry, 581 00:41:00,300 --> 00:41:02,160 the basic element of poetry is the metaphor, 582 00:41:02,480 --> 00:41:06,000 saying things in other words, not going literally. 583 00:41:06,740 --> 00:41:10,220 So the eye of heaven shines. Sometimes the sun is 584 00:41:10,220 --> 00:41:14,660 too hot and often is his. So "his" here is a 585 00:41:14,660 --> 00:41:16,620 reference to the sun, by the way. The sun in 586 00:41:16,620 --> 00:41:21,880 English is male; in Arabic, it's female. "His gold" 587 00:41:21,880 --> 00:41:25,340 complexion, you know, dimmed. Sometimes it's 588 00:41:25,340 --> 00:41:31,520 covered by the clouds. So it gets dark. And I 589 00:41:31,520 --> 00:41:33,120 think this is one of the most beautiful lines 590 00:41:33,120 --> 00:41:37,140 ever. And "every fair from fair sometimes declines." 591 00:41:37,180 --> 00:41:42,660 Look at the repetition of the F. And also you can 592 00:41:42,660 --> 00:41:47,310 add to them the V. It still reminds us of the 593 00:41:47,310 --> 00:41:51,010 rough winds. But this is somebody who is really 594 00:41:51,010 --> 00:41:53,450 frustrated, somebody who's annoyed, somebody who's 595 00:41:53,450 --> 00:41:55,810 not happy with what's going on, with how time 596 00:41:55,810 --> 00:42:00,850 changes, how beauty never lasts. This is called an 597 00:42:00,850 --> 00:42:03,170 alliteration, the repetition of the same sound. 598 00:42:04,210 --> 00:42:08,230 Yes, it adds music, makes it musical, but please 599 00:42:08,230 --> 00:42:10,630 always go for the purpose and link this with the 600 00:42:10,630 --> 00:42:15,760 tone, the atmosphere. In my opinion, the F sound 601 00:42:15,760 --> 00:42:23,640 indicates somebody who is sad, desperate for hope, 602 00:42:23,760 --> 00:42:25,960 for change, for something better, for something 603 00:42:25,960 --> 00:42:32,720 everlasting. Annoyed, frustrated, angry. You know, 604 00:42:32,820 --> 00:42:38,520 like "why always me?" Why do good things die out, 605 00:42:39,360 --> 00:42:42,960 fade, decline, and "every fair from fair sometime" 606 00:42:42,960 --> 00:42:45,760 declines, and please this is not "sometimes," this is 607 00:42:45,760 --> 00:42:48,810 not "sometimes." Both of them are "sometimes," 608 00:42:48,810 --> 00:42:51,090 different, a little bit different from "sometimes." 609 00:42:51,190 --> 00:42:56,010 At a particular time, they will decline. Why? 610 00:42:56,210 --> 00:43:01,290 Because of chance or nature. By chance, fate, or 611 00:43:01,290 --> 00:43:05,130 nature's course. "Course" means like track of 612 00:43:05,130 --> 00:43:07,590 course, okay? It doesn't mean a course like this 613 00:43:07,590 --> 00:43:13,080 course. And nature's course, nature's life moving 614 00:43:13,080 --> 00:43:17,440 on, forward, untrimmed. Basically this is a 615 00:43:17,440 --> 00:43:19,360 repetition of the first one in other words, in 616 00:43:19,360 --> 00:43:24,020 more creative ways. And the message here is that 617 00:43:24,020 --> 00:43:28,140 everybody dies, everything declines, every beauty 618 00:43:28,140 --> 00:43:32,780 just fades away. And when we are this close to 619 00:43:32,780 --> 00:43:34,740 giving up, he's saying we're doomed; we're all 620 00:43:34,740 --> 00:43:40,650 going to die; nothing lasts forever. He twists the 621 00:43:40,650 --> 00:43:44,710 argument a little bit, giving us a rope, a ray of 622 00:43:44,710 --> 00:43:48,050 hope to cling to. And I love the use of "but" here. 623 00:43:48,410 --> 00:43:54,330 Yeah, there's "but." So if we're like, "oh, yeah, I 624 00:43:54,330 --> 00:43:57,610 see what you mean, Shakespeare. We are all doomed. 625 00:43:57,750 --> 00:44:02,080 We're all going to die." "But" comes like a wake-up 626 00:44:02,080 --> 00:44:05,920 call here. "But thy," and this is again "thy" meaning, 627 00:44:06,700 --> 00:44:12,180 "your," "thy eternal summer shall not fade." The 628 00:44:12,180 --> 00:44:16,320 summer I'm talking about is more beautiful, more 629 00:44:16,320 --> 00:44:19,100 lovely, more temperate than the ordinary summer 630 00:44:19,100 --> 00:44:25,180 here because your summer is eternal. Your eternal 631 00:44:25,180 --> 00:44:27,800 summer shall not end. Your summer 667 00:46:42,880 --> 00:46:44,700 die, and then you're saying you're not going to 668 00:46:44,700 --> 00:46:50,260 die. And then he goes for "if." But he doesn't say 669 00:46:50,260 --> 00:46:52,140 "if" because it makes a difference. "If" is still 670 00:46:52,140 --> 00:46:55,300 conditional, uncertain. But this is Shakespeare; 671 00:46:55,420 --> 00:46:58,460 he's proud, he's certain. He knows he's going to 672 00:46:58,460 --> 00:47:01,820 win this woman. So he says "win" for more certainty. 673 00:47:02,400 --> 00:47:05,720 Win in eternal lines. The eternal lines, the line, 674 00:47:06,440 --> 00:47:09,540 not lines, people queuing here—the line of verse, 675 00:47:10,380 --> 00:47:14,520 my poetry. Win in eternal lines to time thou 676 00:47:14,520 --> 00:47:18,240 growest. And again, I like the word "grow." It's not 677 00:47:18,240 --> 00:47:23,480 "live." If we wrote a poem here, we could, and "live" 678 00:47:23,480 --> 00:47:27,770 is also a perfect word. Shakespeare could easily 679 00:47:27,770 --> 00:47:32,790 find a word that would rhyme with "live." But "grow" 680 00:47:32,790 --> 00:47:36,950 again is like living and getting 681 00:47:36,950 --> 00:47:40,530 bigger and more famous and everywhere. It's a 682 00:47:40,530 --> 00:47:41,370 perfect choice. 683 00:47:43,930 --> 00:47:49,070 When in eternal line, lines to time thou growest. 684 00:47:49,110 --> 00:47:51,830 When you live in my lines, when you come to me, 685 00:47:52,370 --> 00:47:56,900 when you like me back. When you agree to be my 686 00:47:56,900 --> 00:47:57,280 whatever. 687 00:48:00,540 --> 00:48:05,900 And then he goes for the perfect, perfect couplet. 688 00:48:06,100 --> 00:48:07,800 You will not find a more beautiful couplet than 689 00:48:07,800 --> 00:48:12,060 this: "So long as men can breathe or eyes can see." 690 00:48:12,880 --> 00:48:16,300 So long lives this. This is the sonnet, his 691 00:48:16,300 --> 00:48:21,940 poetry. And this gives life to thee." Ending it 692 00:48:21,940 --> 00:48:26,160 with a hopeful tone. How there's destruction here, 693 00:48:26,300 --> 00:48:30,080 yeah? Destructiveness. Beauty is transient. Time 694 00:48:30,080 --> 00:48:36,660 kills all. Nature—rough winds, too hot, too 695 00:48:36,660 --> 00:48:42,480 short, too windy. Don't worry. When in eternal 696 00:48:42,480 --> 00:48:48,160 lines to time thou growest, So long lives this, and 697 00:48:48,160 --> 00:48:50,380 this gives life to thee. And I love how 698 00:48:50,380 --> 00:48:55,220 Shakespeare is delaying 699 00:48:55,220 --> 00:48:59,880 the condition until the last line of the third 700 00:48:59,880 --> 00:49:06,340 quatrain, that has the twist here. Like there was 701 00:49:06,340 --> 00:49:10,630 this talk about last week, the differences between 702 00:49:10,630 --> 00:49:13,630 sometimes parents and, like, parents like mothers 703 00:49:13,630 --> 00:49:17,950 and fathers, and usually we came to the conclusion 704 00:49:17,950 --> 00:49:24,530 that usually mothers give the result first, like 705 00:49:24,530 --> 00:49:27,690 "You will be good, you will do this, you will succeed, 706 00:49:27,690 --> 00:49:32,090 I will give you, I'll buy you, I'll cook you, I'll 707 00:49:32,090 --> 00:49:37,710 you know, if..." But the fathers usually go for the 708 00:49:37,710 --> 00:49:42,010 condition first: "So if you do this, when you do 709 00:49:42,010 --> 00:49:46,710 this, I'll give you." This will happen. Here 710 00:49:46,710 --> 00:49:49,830 Shakespeare is again being more tactful, more 711 00:49:49,830 --> 00:49:53,750 poetic. He's giving, he's tempting here. You'll 712 00:49:53,750 --> 00:49:56,010 have this and this and this. You will live 713 00:49:56,010 --> 00:50:00,950 forever. You will grow. When you live in my lines, 714 00:50:00,950 --> 00:50:04,690 if I make you live in my lines, and again the the 715 00:50:04,690 --> 00:50:07,330 "win" here is for certainty, and then Shakespeare 716 00:50:07,330 --> 00:50:11,850 again ends with this beautiful, beautiful couplet, 717 00:50:11,850 --> 00:50:15,690 "So long as men can breathe or eyes can see, so long 718 00:50:15,690 --> 00:50:17,830 lives this, and this gives life to thee," possibly 719 00:50:17,830 --> 00:50:22,090 the most famous couplet of all time. What is the 720 00:50:22,090 --> 00:50:27,290 theme in this sonnet, in this poem? Love, only love. 721 00:50:30,960 --> 00:50:36,260 Mortality? Mortality or immortality? Okay, there 722 00:50:36,260 --> 00:50:39,100 is mortality, but then there is immortality; there 723 00:50:39,100 --> 00:50:43,260 is eternity. Time changing everything, please. 724 00:50:46,480 --> 00:50:47,140 Time? 725 00:50:49,720 --> 00:50:53,900 Time is a destructive power. Beauty, what about 726 00:50:53,900 --> 00:50:59,110 beauty? It gets destroyed by, but it can be 727 00:50:59,110 --> 00:51:01,550 preserved by something. What is this something? 728 00:51:04,890 --> 00:51:07,530 Poetry. Not any art, by the way. This is 729 00:51:07,530 --> 00:51:12,230 Shakespeare's poetry. He knows, yes. He knows that 730 00:51:12,230 --> 00:51:14,770 he is going to live forever and ever and ever. 731 00:51:15,050 --> 00:51:19,350 Because this here, this sonnet, this poetry is 732 00:51:19,350 --> 00:51:25,360 going to live forever. Please. Death. Is he just 733 00:51:25,360 --> 00:51:27,620 basically talking about death, or is he using death, 734 00:51:27,620 --> 00:51:30,160 personifying death, to make a point? 735 00:51:34,060 --> 00:51:37,040 Now many people try to understand how Shakespeare 736 00:51:37,040 --> 00:51:41,840 came to terms with death. I read this article that 737 00:51:41,840 --> 00:51:44,580 says that Shakespeare was frustrated because he 738 00:51:44,580 --> 00:51:48,060 knew, he felt that he was a genius, an unprecedented 739 00:51:48,060 --> 00:51:50,700 literary figure and intellectual and everything. 740 00:51:52,580 --> 00:51:56,580 And he always was like, "Why should I die? I 741 00:51:56,580 --> 00:51:59,840 shouldn't die." Not always, like you'll find this. 742 00:52:00,920 --> 00:52:03,400 There is this fear, despair. And sometimes they 743 00:52:03,400 --> 00:52:06,720 connect Hamlet with Shakespeare himself. The fact 744 00:52:06,720 --> 00:52:10,100 that Hamlet didn't want to take revenge was the 745 00:52:10,100 --> 00:52:12,580 tiny bit of possibility that he might get killed, 746 00:52:12,580 --> 00:52:16,620 and he did not want to get killed at some point. 747 00:52:20,000 --> 00:52:25,680 So Shakespeare's obsession with death made 748 00:52:25,680 --> 00:52:28,060 him write so many things and indicate this in his 749 00:52:28,060 --> 00:52:32,940 poetry: How to outlive death. The result was 750 00:52:32,940 --> 00:52:36,880 through his poetry. Through his poetry, by 751 00:52:36,880 --> 00:52:42,540 writing. And in drama classes, when you study more 752 00:52:42,540 --> 00:52:44,300 about Shakespeare—this is a poetry class—you 753 00:52:44,300 --> 00:52:46,840 will, I think, come across the fact that 754 00:52:46,840 --> 00:52:52,660 Shakespeare himself gave up writing when he could 755 00:52:52,660 --> 00:52:54,880 have written more. And I think this is also one 756 00:52:54,880 --> 00:52:59,920 way of Shakespeare trying to conquer death. He 757 00:52:59,920 --> 00:53:02,220 wasn't just writing and involved in life and 758 00:53:02,220 --> 00:53:03,760 getting busy with the drama and the stage, and 759 00:53:03,760 --> 00:53:06,620 then all of a sudden he got ill and died quickly 760 00:53:06,620 --> 00:53:10,880 or slowly. He quit; he resigned, and he went back 761 00:53:10,880 --> 00:53:14,720 home just to, as if declaring, "Okay, I'm ready. 762 00:53:14,920 --> 00:53:18,460 Anytime, death, you're welcome. I don't care; I've 763 00:53:18,460 --> 00:53:22,400 done everything. I've conquered every corner of 764 00:53:22,400 --> 00:53:26,900 the globe." So thank you very much. You could say 765 00:53:26,900 --> 00:53:31,380 the theme is love, art, but not this art, okay? 766 00:53:32,520 --> 00:53:39,250 Poetry, destructiveness of time, transience of 767 00:53:39,250 --> 00:53:39,630 beauty. 768 00:53:42,630 --> 00:53:46,130 Some people might claim that Shakespeare also 769 00:53:46,130 --> 00:53:48,690 changed the theme, but I don't think so because 770 00:53:48,690 --> 00:53:51,490 this is still a love poem, a beautiful love poem. So 771 00:53:51,490 --> 00:53:54,350 we could compromise by saying Shakespeare expanded 772 00:53:54,350 --> 00:53:59,210 the theme, changed the form, and changed the rhyme 773 00:53:59,210 --> 00:54:05,880 scheme. He experimented on everything in the poem. He 774 00:54:05,880 --> 00:54:09,200 experimented on everything in the poem; expanded 775 00:54:09,200 --> 00:54:13,100 the theme; totally changed the rhyme scheme to a 776 00:54:13,100 --> 00:54:15,920 more, by the way, to a more difficult, more rigid 777 00:54:15,920 --> 00:54:20,480 form, which is the three quatrains and the 778 00:54:20,480 --> 00:54:23,200 couplet. Usually in Shakespeare, you'll find that 779 00:54:23,200 --> 00:54:27,640 the first 12 lines, they have the same problem, 780 00:54:27,740 --> 00:54:30,280 and again, the dilemma, and the complication, and 781 00:54:30,280 --> 00:54:32,300 the crisis, and then the resolution comes in two 782 00:54:32,300 --> 00:54:35,620 lines. But in this one, we kind of have a twist 783 00:54:35,620 --> 00:54:38,880 here, a little bit early. The third 784 00:54:39,300 --> 00:54:45,040 quatrain. Basically, yeah, foreshadowing what's to 785 00:54:45,040 --> 00:54:49,020 come. But the couplet itself in Shakespeare is 786 00:54:49,020 --> 00:54:53,420 genius. We almost want to give up in 12 lines. 787 00:54:53,520 --> 00:54:57,920 There's no way out. For the Petrarchan sonnet, it 788 00:54:57,920 --> 00:55:02,180 takes six lines to get to the resolution, to give 789 00:55:02,180 --> 00:55:04,660 us some kind of a closure. But for Shakespeare, 790 00:55:05,440 --> 00:55:10,650 just two lines. Other people used the couplet in 791 00:55:10,650 --> 00:55:14,850 their sonnets, but not like what Shakespeare did 792 00:55:14,850 --> 00:55:20,410 here. A final point I want to highlight today is 793 00:55:20,410 --> 00:55:24,130 related to the meter of the poem. You know the 794 00:55:24,130 --> 00:55:31,450 meter? *Al bahar*, *al wazn*, music, the rhythm. So we 795 00:55:31,450 --> 00:55:33,690 say this is an iambic pentameter. 796 00:55:36,810 --> 00:55:40,530 Meaning like two syllables, one unstressed and then 797 00:55:40,530 --> 00:55:43,010 stressed, okay? 798 00:55:44,830 --> 00:55:49,350 And then the *pinta*, *pinta* means five, so 799 00:55:49,350 --> 00:55:53,150 pentameter because there are five feet, meaning ten 800 00:55:53,150 --> 00:55:59,110 syllables. I found this online, people trying to 801 00:55:59,110 --> 00:56:03,050 force the iambic pentameter on Shakespeare's 802 00:56:06,630 --> 00:56:09,690 sonnet, and I don't think this is right; I think 803 00:56:09,690 --> 00:56:14,310 this is wrong. Giving it perfect rhyme, perfect 804 00:56:14,310 --> 00:56:19,430 theory, iambs. Unstressed, can you see that some 805 00:56:19,430 --> 00:56:23,950 of this is written in bold? Okay, so "Shall I 806 00:56:23,950 --> 00:56:27,490 compare thee to a summer's day," but okay, you 807 00:56:27,490 --> 00:56:30,250 don't read it this way. They say this is the 808 00:56:30,250 --> 00:56:32,430 natural English. By the way, almost 80 percent— 809 00:56:32,710 --> 00:56:36,050 this is something, a number I made up—of English 810 00:56:36,050 --> 00:56:39,450 poetry is iambic. Iambic tetrameter, iambic 811 00:56:39,450 --> 00:56:43,970 pentameter. So, "Shall I compare thee to a summer's 812 00:56:43,970 --> 00:56:47,450 day" going down and up, down and up. "Thou art 813 00:56:47,450 --> 00:56:50,090 more lovely and more temperate." This is perfect. 814 00:56:50,630 --> 00:56:54,650 "Rough winds," I don't like this because "rough" is still a 815 00:56:54,650 --> 00:57:01,480 big word. So, let's see how to do this. So usually 816 00:57:01,480 --> 00:57:06,740 we go for—listen—the nouns, the verbs are almost 817 00:57:06,740 --> 00:57:08,880 always stressed. The functional words, the 818 00:57:08,880 --> 00:57:11,460 prepositions, the articles, the determiners are 819 00:57:11,460 --> 00:57:14,420 almost always, not always, unstressed, unless the 820 00:57:14,420 --> 00:57:17,060 poet wants to highlight something or emphasize 821 00:57:17,060 --> 00:57:23,260 something. "Shall I"—this is "I," not an ordinary "I"— 822 00:57:23,260 --> 00:57:26,080 basically, generally, it's not stressed, but this is 823 00:57:26,080 --> 00:57:29,840 "Shall I." Some people might say, "No, this is 824 00:57:29,840 --> 00:57:32,260 unstressed," and they want to go "Shall I compare," 825 00:57:32,260 --> 00:57:36,980 "Shall I," "Shall I," "Shall I," or "Shall I," "Shall I compare." 826 00:57:36,980 --> 00:57:43,870 The "unstressed." "Two" also unstressed, but some 827 00:57:43,870 --> 00:57:46,910 people would go for stress: "Shall I compare the 828 00:57:46,910 --> 00:57:51,810 two" of summer's day? So unstressed, okay, 829 00:57:52,210 --> 00:57:55,850 stressed, unstressed. Look at the nouns and the 830 00:57:55,850 --> 00:57:59,130 verbs. If they are long, more than one syllable, 831 00:58:00,130 --> 00:58:02,250 then one is stressed and one is unstressed. 832 00:58:02,350 --> 00:58:05,710 Usually the "-er," you know, the "-ly," whatever you add 833 00:58:05,710 --> 00:58:09,650 to the word, is unstressed. De-stressed. So again, 834 00:58:10,310 --> 00:58:13,630 some people like to go for a perfect iambic here. 835 00:58:16,270 --> 00:58:22,690 "Shall I compare thee to a summer's day?" It can be 836 00:58:22,690 --> 00:58:25,070 significant if you want to talk about how he... 837 00:58:25,070 --> 00:58:27,650 We'll see. Yeah, we'll see this in a bit. So going 838 00:58:27,650 --> 00:58:32,610 for "I" being stressed, "thee" being unstressed. Who's 839 00:58:32,610 --> 00:58:36,410 more important here? The speaker, Shakespeare, the 840 00:58:36,410 --> 00:58:40,190 poet, the persona. And "thee," you're still almost 841 00:58:40,190 --> 00:58:42,990 nothing; you are unstressed, unheard of. 842 00:58:45,830 --> 00:58:49,230 But I can notice how we could still differ and 843 00:58:49,230 --> 00:58:52,010 still be friends. So if you insist that "to," 844 00:58:52,210 --> 00:58:54,490 because it's a preposition, it's unstressed, okay, 845 00:58:54,630 --> 00:59:01,280 no worries, no hard feelings. "Thou" unstressed, "art" 846 00:59:01,280 --> 00:59:06,400 possibly unstressed; it could be also stressed. "More" 847 00:59:06,400 --> 00:59:10,900 unstressed, "lovely" stressed, "-ly" unstressed, and 848 00:59:10,900 --> 00:59:17,640 "more" stressed, "unstressed" here. Okay, this 849 00:59:17,640 --> 00:59:22,120 is unstressed and could be stressed if you go for 850 00:59:22,120 --> 00:59:27,640 answers. It's okay. Unstressed, stressed, unstressed, 851 00:59:27,640 --> 00:59:35,300 stressed, unstressed. 852 00:59:35,300 --> 00:59:44,620 linked the "you," this thing, with the unstressed. Okay, 853 00:59:44,620 --> 00:59:51,180 I 854 00:59:51,180 --> 00:59:55,640 like this. I disagree with the guy who 889 01:02:16,320 --> 01:02:18,640 people might want to insist that, no, stressed, 890 01:02:18,940 --> 01:02:20,780 unstressed, stressed, unstressed, stressed. A 891 01:02:20,780 --> 01:02:24,780 verb, it's a main verb. Should be stressed. And 892 01:02:24,780 --> 01:02:27,920 this could be unstressed, but this, he's saying 893 01:02:27,920 --> 01:02:34,040 this. So also there's an emphasis here on this, my 894 01:02:34,040 --> 01:02:39,330 poetry. Leave this unstressed, stressed because of 895 01:02:39,330 --> 01:02:43,630 this again, also stressed, stressed because there's 896 01:02:43,630 --> 01:02:49,800 emphasis here, unstressed, and finally to thee, you 897 01:02:49,800 --> 01:02:54,420 could read it with a falling intonation here. 898 01:02:54,420 --> 01:02:58,920 So long lives this, and this gives life to thee, or 899 01:02:58,920 --> 01:03:02,820 so long lives this, and this gives life to thee, and 900 01:03:02,820 --> 01:03:05,180 I think this should be the more appropriate 901 01:03:05,180 --> 01:03:09,020 reading, shifting from the woman being unstressed, 902 01:03:09,020 --> 01:03:13,880 possibly unknown, small 903 01:03:15,170 --> 01:03:19,630 almost nothing, and turned into this stressed woman. 904 01:03:19,630 --> 01:03:21,870 Everybody around the world is talking about, 905 01:03:22,070 --> 01:03:26,730 growing and growing, eternal in His lines, with a 906 01:03:26,730 --> 01:03:29,170 stressed line. So I could ask you a question: Why 907 01:03:29,170 --> 01:03:32,310 did Shakespeare start with a stressed D, an 908 01:03:32,310 --> 01:03:36,310 unstressed D, and ended with a stressed D? Linking 909 01:03:36,310 --> 01:03:38,810 the meter; this is something new to most of you, 910 01:03:39,130 --> 01:03:42,150 but we'll see how this can be developed. I'll give 911 01:03:42,150 --> 01:03:45,170 you a maximum of two minutes because, again, we don't 912 01:03:45,170 --> 01:03:48,510 have much time. So if you please be brief, Nadia. 913 01:03:49,250 --> 01:03:51,930 Because in the last line, it is him doing it. It's 914 01:03:51,930 --> 01:03:54,730 him making her motion. So it's part of, make by 915 01:03:54,730 --> 01:03:58,210 saying D in a rising intonation. The rising 916 01:03:58,210 --> 01:04:01,230 intonation is like being proud of himself for what 917 01:04:01,230 --> 01:04:05,130 he did. I made you what you are. Look at it; if 918 01:04:05,130 --> 01:04:08,490 you don't do the meter thing, you couldn't feel 919 01:04:08,490 --> 01:04:12,970 this hidden beauty, the hidden treasures in 920 01:04:12,970 --> 01:04:16,010 Shakespeare and other poetry. More, brief. 921 01:04:23,950 --> 01:04:29,270 Possibly, yes. Possibly yes. Yeah, yeah, yeah, 922 01:04:29,270 --> 01:04:31,710 sure. Listen, listen; this is the beauty of the 923 01:04:31,710 --> 01:04:34,250 meter. I know some of you are intimidated by 924 01:04:34,250 --> 01:04:36,650 the meter and something, but there are so many 925 01:04:36,650 --> 01:04:39,250 varieties. It depends on how you read things. But 926 01:04:39,250 --> 01:04:44,030 logically, "lives" should be stressed and "this" 927 01:04:44,030 --> 01:04:47,030 shouldn't be stressed. But here he is. This is not 928 01:04:47,030 --> 01:04:50,330 an ordinary "this." This is not this mobile or this 929 01:04:50,330 --> 01:04:54,830 thing I wrote. This is Shakespeare's writing. So 930 01:04:54,830 --> 01:04:57,650 if you go for stressed unstressed, I would take 931 01:04:57,650 --> 01:05:00,690 it. If you go for unstressed stressed, I would 932 01:05:00,690 --> 01:05:03,450 take it. If you go for stressed, I like to go for 933 01:05:03,450 --> 01:05:06,130 stressed stressed. I wouldn't say no to you. 934 01:05:09,610 --> 01:05:13,830 Oh, it's not written in stone. Like some people 935 01:05:13,830 --> 01:05:17,790 might argue, like if this is "live" from "life," 936 01:05:17,790 --> 01:05:22,610 and he's saying "this" is emphasized while "lives" is 937 01:05:22,610 --> 01:05:26,170 not, making the point that Shakespeare's poetry 938 01:05:26,170 --> 01:05:31,310 outlives life, beats life; that's a perfect point. 939 01:05:32,790 --> 01:05:35,110 It's more important than life because it's going 940 01:05:35,110 --> 01:05:38,130 to outlive the transience of beauty and the 941 01:05:38,130 --> 01:05:41,850 destructiveness of time. One last point, please. 942 01:05:42,150 --> 01:05:43,610 Somebody? Kobo? 943 01:06:00,060 --> 01:06:04,520 Unless he or she is certain. That's a good point 944 01:06:04,520 --> 01:06:05,200 you're making there. 945 01:06:19,010 --> 01:06:22,130 But he knows that people will read. I think he 946 01:06:22,130 --> 01:06:25,630 kind of knows that. But that's a good point. Yeah, 947 01:06:25,690 --> 01:06:29,630 we make him great. Listen; this was probably a 948 01:06:29,630 --> 01:06:32,170 sonnet written in a small town somewhere in the UK, 949 01:06:32,170 --> 01:06:36,290 and now it's being read around the globe. We make 950 01:06:37,230 --> 01:06:38,890 Like, you're making the point that we make 951 01:06:38,890 --> 01:06:41,510 Shakespeare. I think there is an argument for 952 01:06:41,510 --> 01:06:43,930 that. Who is Shakespeare? Shakespeare is the 953 01:06:43,930 --> 01:06:45,370 person I want to see. Some of you don't like 954 01:06:45,370 --> 01:06:47,350 Shakespeare; some of you like him. But I hope that 955 01:06:47,350 --> 01:06:50,710 this negativity is changing a little bit here. 956 01:06:50,870 --> 01:06:53,250 It's like, wow, look at what this man is doing. 957 01:06:54,430 --> 01:06:56,990 I'll stop here. Next class, we have yet another 958 01:06:56,990 --> 01:06:59,670 sonnet by Shakespeare. Thank you very much.