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Assalamualaikum and welcome back again to English

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poetry at the Islamic University of Gaza,

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Palestine. We are still talking about the sonnet.

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We'll be talking about the sonnet in every major

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poetry movement. Last time we discussed Shall I

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Compare Thee to A Summer's Day, Sonnet 18. We

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discussed the form, the content, the theme, the

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features, and many other things. Today we'll

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basically examine sonnet number 130 or as

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sometimes it's known as my mistress eyes. But

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before I go back, I go to this sonnet, I'll go

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back again to sonnet 18 and examine issues or

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repeat issues you mentioned and I mentioned last

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time, so we highlight them. Remember we said

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Shakespeare's sonnets are three quatrains and one

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couplet. Sometimes in a sonnet we have three

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quatrains developing the same thing, the same

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image in other words, in different ways, and then

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we have the turn or the volta or the twist at the

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very end. However, some sonnets actually do

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quatrain one and quatrain two highlight the issue

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or the crisis or the complication, and then the

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third quadrant twists the argument like we have

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here, and shall I compare thee to a summer's day,

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because this third stands at the quadrant, but thy

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eternal. So everything dies, everything declines.

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but thy eternal beauty does not, not because of

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something special in you, not because you're

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different, because I make you different, because

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Shakespeare's poetry makes you different. Reading

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this text, we could stop at different things, like

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the word temperate. Now, dictionary gives you two

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pronunciations, temperate, two syllables, or

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temperate, three syllables. And because this

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rhymes with date, the long A, trefthong, A, it

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doesn't work 100% the rhyme scheme. There's a

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bunch of possibilities here. Number one, maybe

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during the time of Shakespeare, it was pronounced

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temperate. That's one. Or number two, some people

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say, for a poetic license, just to make it more

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musical, go for temperate. Something I don't like.

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Now if this remains temperate, it means this is an

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imperfect rhyme. And still, if you go for two

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syllables temperate, it makes nine syllables.

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Again, creating double trouble here. And in my

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opinion, this is always with Shakespeare, this is

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always connected with the meaning. So he's saying,

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they were more lovely and more temperate, but the

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line in which he claims and states that she is

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more temperate, she's perfect, It's imperfect in

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two things. And the perfection can only be

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achieved if she loves him back. Assuming that this

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is addressed to a woman because many people take

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it for granted as Shakespeare's 126 sonnets are

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for a man. I don't care about this. I read this as

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a love poem. Okay, so this is number one Number

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two, I always like to stop at the and the at the

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end The two these we have here The object

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pronounced for the addressee The beloved, sort of

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When we did the meter, we said shall I compare the

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And this is unstressed syllable, weak syllable

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Insignificant compared to the stressed syllable

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However, when you go this, when you go here, so

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long lives this, and this gives life to thee.

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Started, unstressed, weak, insignificant,

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unimportant, short, and ended, because when you

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say a stressed syllable, it's a syllable that is

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strong, that is long basically. It's given more

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emphasis in the way we speak, and this is the

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nature of the English language. And always in an

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English poem, in poetry in general, even in Arabic

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poetry, the poem begins somewhere and it ends

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somewhere else because this is basically where the

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poet is taking us. You begin this way and then you

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end different, a little bit different, or

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sometimes dramatically different. I think there's

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a connection here between the woman, the addressee

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being unstressed, insignificant, and ending The

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stressed syllable being more important, more

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emphasized. Could be possibly it's just poetic,

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yeah? Could be just there for no reason. I feel

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that this is what I like to do with poetry, like

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try to connect these tiny little things in the

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form, in the rhyme scheme, in the sounds to the

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meaning. So what happened here? What changed? Why

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has the unstressed initially became stressed at

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the end. What changed in the poem? What do we have

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in the ending of the poem that we didn't have in

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the opening? Please.

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Why isn't

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she important?

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Why wasn't she important in the opening?

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Okay, so Shakespeare gives her the importance

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here. Is there any condition, any tax, anything?

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It was just for free. What happens here? Please. I

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don't know about the beginning, but in the end, I

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think he's speaking like he's sure that he will

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give her life forever. He will make her live

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forever. There's confidence here, the way

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Shakespeare speaks. He is confident, definitely.

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And so is he in the opening. He is also confident.

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I think that the confidence of the poet does not

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change. Something else changes. Please. At first,

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she wasn't with him. But in the end, he's asking

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her to be with him. And this, I think, will make

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her more powerful and more Okay, eternal. I think

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this is in many ways true. Here he's still, he's

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trying to convince her to win her heart. She is

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not with him. And again, even like I was reading

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something the other night about the

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misunderstanding people usually have when they say

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this poem was written for a man. It doesn't

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necessarily mean Shakespeare wrote it for a man.

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It could be The fact that he wrote it for a man to

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send for a woman. Still, you know, the addressee

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is basically a woman. Because again, when you had

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a patron at that time, the patron will give you

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protection, political, social protection, and you

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know, and also sometimes will give you money.

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Why? Just to write poems. Please write me a poem

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here, write me a poem there, I want a poem here, I

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want to send a poem to this or that. So even if

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you take it for granted that the first 126 sonnets

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were written for a man, possible, that some of

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them were written for a man to be sent to a woman.

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Okay, the other thing is, again, this but. The

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twist here, the volta, it's called. Sometimes we

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have it, usually we have it here, but sometimes we

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have it in a couplet. So the sonnet here goes for

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eight lines saying that everything dies, every

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fear from fearsome time declines. Beauty is

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transient. It doesn't last forever. Everybody

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dies. Even the most beautiful time of the year is

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short. It's too hot. Sometimes nature is cruel,

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destructive. But there is hope. There is a way out

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of this. And I also like to comment on the use of

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when. It could have been, by the way, by chance or

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nature's changing course on trend, when in eternal

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lines to time thou grossed, thy eternal something

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something. But Shakespeare delays this, the

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condition, which is beautiful. from an

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argumentative point of view. The logic of the poem

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is really beautiful. It's again deliberately

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calculated.

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So the but here creates a twist. When you are

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about to lose hope, if everybody is going to die,

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if every beautiful thing just declines, what the

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hell are we doing here? There's a way. I can make

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you eternal. I can make you immortal. You can

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live, not only live in my poetry, you can also

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grow. Like now, everybody, we're here in Gaza,

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we're talking about this Shakespearean sonnet

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about the addressee. The when could have been an

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F. And when is more, this is confidence again.

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More certain, there's certainty here. And again

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answering the question whether Shakespeare knew

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that he was great, he was writing great poetry,

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that he was destined for greatness. Definitely he

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had a feeling that he would be a cool guy in the

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future to be loved by every single student around

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the world. Okay, the other thing before I go to

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the meter, the other thing is the fact that

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Shakespeare personifies death. Again, there's this

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thing about Shakespeare being obsessed with death

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You'll find it everywhere in his works, in his

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plays And

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many people try to connect between Shakespeare and

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Hamlet and examine how death, the undiscovered

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land from whose burn no traveller returns

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Now clearly Shakespeare, I don't want to say

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clearly, some people believe that Shakespeare felt

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bad and sorry and angry and frustrated because

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he's going to die. And I think many great people

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do feel the same. Why should I die? Why do bad

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people live forever and I, the good guy with a

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good heart and good potency and good everything,

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going to die? So there's always this battle

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between Shakespeare and death. And if the

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battleground is in the sonnets, Shakespeare comes

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out the winner. So the personification of death

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here brings death down. Brings death down to us as

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a human being. Undermining the might of death. The

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strength of death. Saying death is another human

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being that even can't brag. Even bragging

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Why? Simply because in eternal lines to time thou

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grossed. The last point before I saw some of you

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raise their hands. Remember this is a thought,

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this is an iamb. Unstressed, unstressed. Almost

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the whole poem follows this iambic pentameter.

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Except maybe here, and here, and here, and here.

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Creating something called in poetry, a spondee.

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Spondee. Look at how tough the word is. Spondee.

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Because a spondee is a foot with two stressed

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syllables.

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Rough winds do shake. Lives this, gives life.

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And again, we said something about the meter last

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time. We could differ or disagree and it would be

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okay, fine. I remember, what's her name, your

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friend here? She said, Rahaf, is it Rahaf? Yeah,

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Rahaf said something about lives being unstressed

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and this being stressed. Yeah, I can take that. I

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can understand this. Some people might say no

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lives this both are stressed that is possible So

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there could be some disagreement, but you need to

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change the way you read the poem So if you say

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shall I compare thee to a summer's day? That's

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shall I shall I unstressed unstressed? But usually

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people would say shall I compare thee to a

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summer's day giving emphasis for the pronoun I

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Basically rough winds Do shake a spondee Again,

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without even explaining this, when you say both

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syllables are stressed, it gives more emphasis,

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makes it tough, gives it a higher voice, rough

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winds. But if you, in your answers, in your exams,

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if you just say the spondy here is for emphasis,

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to emphasize something, that's not The perfect

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answer, because everything is there for emphasis.

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What does he emphasize? So you need to see what

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the poet is saying. He's saying that winds,

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storms, nature destroys beauty. And to say this,

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number one, I commented on the rough winds, rough

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winds, the sound that rough creates, the sound

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like a storm. And this term is not only with a F,

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it's also destructive, it destroys. So rough winds

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here, there is an emphasis on the fact that nature

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is destructive. That nature destroys beauty.

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The same with do shake. Some might say, no, I

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don't want to stress do. Okay, it's an I am. So

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rough winds do shake or rough winds do shake, do

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shake or do shake. The same thing happens in the

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end. Lives this. I like again Rahaf's suggestion

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that lives might not be stressed, but this might,

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giving more emphasis to this Shakespeare's poetry

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over life, because yes, Shakespeare's life, poetry

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outlives life. He died, she died, everybody died,

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but he still lives forever and ever. Not only

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living, but also growing. Okay, anything you want

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to say about Sonnet 18, please. Yeah. It was about

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when you mentioned who Shakespeare wrote the song

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for. The thing that always confuses me is why do

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they always consider that the speaker is

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Shakespeare himself? Yeah, you're right. It could

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be a woman speaking to a man. You're right.

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You're completely right. The persona is not

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necessarily the poet. The persona could be a

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fictional person and this is true here, true in

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fiction and short stories and in novels.

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I think at that time it was taken for granted that

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the speaker is basically a man. Because it was

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taken for granted that only men could write poetry

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at that time. But yeah, good point. Thank you very

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much. beautiful overall, but I took it from a

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feminist perspective. First one, he said, shall I

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convert thee? So he's politely suggesting or

255
00:17:06,070 --> 00:17:12,150
taking her permission. And then in line 12, when

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he says in eternal lines, after he owns her and he

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00:17:16,930 --> 00:17:20,070
gets what he wants, he's, when eternalized to the

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00:17:20,070 --> 00:17:22,670
time that grows, he's saying that he's like giving

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her a favor, that he's eternalizing her in his

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poetry. But I think that she doesn't need him.

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It's not like he's dealing with a woman that's

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like his proper priority. I'm not sure, okay. And

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that he owns her. Okay, you are mine. I had a

264
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chance. Either I want to internalize you or I

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don't. So it's not that he likes the woman as a

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00:17:44,210 --> 00:17:46,450
woman. He likes her because he can control her. He

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can use her to show how good he is. Yeah, yeah,

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00:17:49,600 --> 00:17:53,300
yeah, there's this. But again, also, I don't want

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to assume that he won her heart here. This is all

270
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still an assumption. Because where is the woman?

271
00:18:00,320 --> 00:18:02,020
Thank you for raising this point. Where is the

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00:18:02,020 --> 00:18:06,320
woman in the text? She's not there. She's not

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00:18:06,320 --> 00:18:09,700
responding to him. She's not saying, okay, maybe

274
00:18:09,700 --> 00:18:11,460
she said, okay, I'll think about it. Give me just

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00:18:11,460 --> 00:18:17,520
three, four, 10 years. I don't think there is any

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indication in the poem that she's saying okay,

277
00:18:19,800 --> 00:18:24,360
okay, okay. So yeah, you can read this as a

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00:18:24,360 --> 00:18:27,300
feminist and say that this is not good, this is

279
00:18:27,300 --> 00:18:32,640
anti-feminist. Okay, we have something, a parody,

280
00:18:33,140 --> 00:18:33,380
Noha.

281
00:18:36,410 --> 00:18:39,390
Please write parodies. Parodies are fun. Let's see

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how things go. You asked where is the woman in

283
00:18:42,510 --> 00:18:45,150
Shakespeare's sonnet and here I am going to talk

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to you about the woman. So here I wrote it from a

285
00:18:50,970 --> 00:18:53,550
feminist point of view. I didn't really like the

286
00:18:53,550 --> 00:18:56,740
fact that Shakespeare is trying, is boasting,

287
00:18:56,860 --> 00:18:59,460
let's not say Shakespeare, the persona is like

288
00:18:59,460 --> 00:19:02,200
keeps boasting about how he's going to immortalize

289
00:19:02,200 --> 00:19:04,900
her in his poetry, I don't really like this, and

290
00:19:04,900 --> 00:19:08,540
also how he only loves her because she's fair. Can

291
00:19:08,540 --> 00:19:12,260
you speak up? Okay, okay, so basically here I'm a

292
00:19:12,260 --> 00:19:15,680
strong independent woman. Shall I compare thee to

293
00:19:15,680 --> 00:19:18,520
a boasting bear, though art more desperate and

294
00:19:18,520 --> 00:19:22,160
more voracious? Bold men describe a lady as fair,

295
00:19:22,380 --> 00:19:25,100
and imprison her in lines as if gracious.

296
00:19:26,260 --> 00:19:29,420
Sometimes too reckless, the evolved ape behaves,

297
00:19:29,880 --> 00:19:33,240
and often is his mind detached from the brain. And

298
00:19:33,240 --> 00:19:36,820
every fair confronting fair sometimes caves by

299
00:19:36,820 --> 00:19:40,970
chance or an human that is sane. But thy eternal

300
00:19:40,970 --> 00:19:44,530
vanity shall not be destroyed except by the morals

301
00:19:44,530 --> 00:19:48,150
a fair lady owest, nor shall thou braggart's soul

302
00:19:48,150 --> 00:19:53,430
be void unless it more dominance showest. So long

303
00:19:53,430 --> 00:19:57,490
as women can breathe or eyes can see, so long

304
00:19:57,490 --> 00:20:00,990
lives I, and I gives life to thee. Okay, nice.

305
00:20:03,090 --> 00:20:05,310
Thank you very much. That's a really, really good

306
00:20:05,310 --> 00:20:05,650
parody.

307
00:20:08,340 --> 00:20:13,660
Okay, let's move very quickly to this poem. Just

308
00:20:13,660 --> 00:20:16,840
again, Shakespeare making the same point in

309
00:20:16,840 --> 00:20:19,320
different ways, and this is interesting about

310
00:20:19,320 --> 00:20:21,820
Shakespeare. Since brass nor stone nor earth nor

311
00:20:21,820 --> 00:20:26,340
bound this sea, but sad mortality being an issue

312
00:20:26,340 --> 00:20:29,720
that Shakespeare struggles with, oversways their

313
00:20:29,720 --> 00:20:32,660
power, et cetera. The point I want to make in this

314
00:20:32,660 --> 00:20:34,880
sonnet is just a couplet. Look at the couplet here

315
00:20:34,880 --> 00:20:38,670
at the end. It's similar to Sonnet 18. So long as

316
00:20:38,670 --> 00:20:40,470
men can breathe, our eyes can see, so long lives

317
00:20:40,470 --> 00:20:43,150
this and this gives life to thee. Here he says, oh

318
00:20:43,150 --> 00:20:46,510
none, nothing is going to live forever unless

319
00:20:46,510 --> 00:20:52,270
going for the condition, you will live if, when,

320
00:20:52,670 --> 00:20:58,610
unless this miracle have might that in black ink,

321
00:20:59,050 --> 00:21:02,500
what's black ink? My poetry, this, my eternal

322
00:21:02,500 --> 00:21:06,420
lines. That in black ink my love may still shine

323
00:21:06,420 --> 00:21:10,480
bright. You could, I'm not sure if you're

324
00:21:10,480 --> 00:21:13,280
interested in doing research on poetry. You could

325
00:21:13,280 --> 00:21:16,100
do research on Shakespeare's couplets. See how,

326
00:21:16,640 --> 00:21:19,380
what they say. And if they say the same thing,

327
00:21:20,020 --> 00:21:23,240
different ways. Another sonnet I like by

328
00:21:23,240 --> 00:21:26,640
Shakespeare is Sonnet 73, I guess.

329
00:21:29,430 --> 00:21:31,610
Again, we're not going to study it in detail, just

330
00:21:31,610 --> 00:21:34,730
I want to make a couple of points Number one, we

331
00:21:34,730 --> 00:21:40,610
have the quatrain here Quatrain two and quatrain

332
00:21:40,610 --> 00:21:44,390
three and then a couple Look at how each one

333
00:21:44,390 --> 00:21:49,230
begins That time of year thou mayst in me behold

334
00:21:49,230 --> 00:21:53,410
What's mayst? May, that's why some versions of the

335
00:21:53,410 --> 00:21:57,330
sonnet will usually drop the st for thou but they

336
00:21:57,330 --> 00:22:02,870
will keep the thee and thou and that th. In me

337
00:22:02,870 --> 00:22:06,450
behold, what's behold? See, that's a poetic word,

338
00:22:06,510 --> 00:22:09,570
it's a beautiful word. Behold, when yellow leaves

339
00:22:09,570 --> 00:22:15,410
or none of you do hang. I don't know why, but I

340
00:22:15,410 --> 00:22:17,670
have never written a more beautiful line than this

341
00:22:17,670 --> 00:22:23,490
one in the description. When yellow leaves or none

342
00:22:24,970 --> 00:22:28,450
of you do hang, you know in early leaves, what

343
00:22:28,450 --> 00:22:31,270
time of year is this? Autumn. That's autumn. So

344
00:22:31,270 --> 00:22:35,030
he's describing autumn and autumn is the end of

345
00:22:35,030 --> 00:22:40,690
the year. Upon those boughs which shake against

346
00:22:40,690 --> 00:22:42,950
cold. And I like the use of shake, shake, shake,

347
00:22:43,010 --> 00:22:46,030
every time it shakes. That's half his name. Upon

348
00:22:46,030 --> 00:22:48,910
those boughs which shake against the cold. And

349
00:22:48,910 --> 00:22:52,190
look at how It's not cold yet here in Gaza, but

350
00:22:52,190 --> 00:22:55,030
look at this personification, personifying the

351
00:22:55,030 --> 00:22:58,850
boughs, the branches as very old people shaking

352
00:22:58,850 --> 00:23:01,150
because of the cold. Look at this image.

353
00:23:01,810 --> 00:23:06,730
Fascinating. Beautiful. Sad, but beautiful. It's

354
00:23:06,730 --> 00:23:11,390
not people shaking here. It's so cold that even

355
00:23:11,390 --> 00:23:15,940
the branches are Shaking against the cold. With

356
00:23:15,940 --> 00:23:19,660
shake against the cold, bare ruined choirs were

357
00:23:19,660 --> 00:23:24,440
laid, the sweet birds sang. Look at the sad. This

358
00:23:24,440 --> 00:23:28,560
musical here. But it's no longer there, the

359
00:23:28,560 --> 00:23:33,580
singing. Sang. It's in the past. They no longer

360
00:23:33,580 --> 00:23:37,940
sing. And look at the tough beginning here of the

361
00:23:37,940 --> 00:23:41,220
line, like the spondio, just bare ruined choirs

362
00:23:41,220 --> 00:23:46,550
were laid, the sweet Birds sang. So the ending of

363
00:23:46,550 --> 00:23:51,990
the year, autumn, fall. And now the second stanza,

364
00:23:52,370 --> 00:23:57,850
quatrain, goes for, in me again, thou sees the

365
00:23:57,850 --> 00:24:03,190
twilight of such a day. And twilight is? Twilight

366
00:24:03,190 --> 00:24:09,940
is what time of the day is it? Basically? The

367
00:24:09,940 --> 00:24:13,060
ending of the day. The twilight is the ending of

368
00:24:13,060 --> 00:24:18,480
the day. In me thou ceased the twilight of such

369
00:24:18,480 --> 00:24:24,180
day as after sunset fades in the west, which by

370
00:24:24,180 --> 00:24:28,600
and by black night does take away death's second

371
00:24:28,600 --> 00:24:32,640
self. And again, many people criticized

372
00:24:32,640 --> 00:24:36,600
Shakespeare for saying the obvious in in many

373
00:24:36,600 --> 00:24:39,340
unobvious ways. You know, sometimes you make fun

374
00:24:39,340 --> 00:24:42,840
of people who say Mr. Obvious. Shakespeare is Mr.

375
00:24:43,020 --> 00:24:47,340
Unobvious all the time. He just keeps, he doesn't

376
00:24:47,340 --> 00:24:51,880
like shortcuts. What's death's second self? Sleep.

377
00:24:52,900 --> 00:24:55,520
Sleeping, yeah. Why don't you say sleep

378
00:24:55,520 --> 00:24:58,000
Shakespeare? Oh, other people, ordinary people say

379
00:24:58,000 --> 00:25:02,430
sleep. I don't. Death's second self that seals up

380
00:25:02,430 --> 00:25:05,910
all unrest. Look at the beautiful euphemistic

381
00:25:05,910 --> 00:25:09,030
terms here. Rest could be a pun. Let's take a rest

382
00:25:09,030 --> 00:25:14,830
and rest in peace. Rest in peace. So this is the

383
00:25:14,830 --> 00:25:20,150
ending of the day. And then in me again, thou

384
00:25:20,150 --> 00:25:26,170
ceased the glowing of such fire. that on the ashes

385
00:25:26,170 --> 00:25:31,610
of his youth does lie ashes is the ending of of

386
00:25:31,610 --> 00:25:35,890
the fire the ending of the year the ending of the

387
00:25:35,890 --> 00:25:39,290
day the ending of the fire probably here

388
00:25:39,290 --> 00:25:46,810
symbolizing passion and love possible

389
00:25:46,810 --> 00:25:52,760
yeah End of life, possible, yeah, yeah. That on

390
00:25:52,760 --> 00:25:57,460
the ashes of his youth does lie as the deathbed

391
00:25:57,460 --> 00:26:02,080
wherein it must expire, consumed with that which

392
00:26:02,080 --> 00:26:07,860
it was nourished by. How the fire eats itself. And

393
00:26:07,860 --> 00:26:11,920
again, we're all going to die. Everything is going

394
00:26:11,920 --> 00:26:17,830
to die. become the beautiful couplet here. This

395
00:26:17,830 --> 00:26:22,690
thou perceives which makes thy love more strong. I

396
00:26:22,690 --> 00:26:25,690
know grammar was not totally standard, even the

397
00:26:25,690 --> 00:26:27,530
spelling with Shakespeare. You will be surprised

398
00:26:27,530 --> 00:26:31,390
if you see the original sonnet, how it was written

399
00:26:31,390 --> 00:26:33,810
during the time of Shakespeare. You will recognize

400
00:26:33,810 --> 00:26:36,570
some of the words, but not most of them. Like some

401
00:26:36,570 --> 00:26:40,010
of them will be not recognized in the letters. The

402
00:26:40,010 --> 00:26:44,050
spelling was horrible. But don't take this as an

403
00:26:44,050 --> 00:26:46,270
excuse, telling me in the exam that you're writing

404
00:26:46,270 --> 00:26:50,210
like Shakespeare. So this could be stronger,

405
00:26:50,390 --> 00:26:52,570
right? Grammatically now you say, we better say

406
00:26:52,570 --> 00:26:56,950
stronger, not more strong. I love more strong. So

407
00:26:56,950 --> 00:27:00,270
because everybody, everything dies, I think we

408
00:27:00,270 --> 00:27:04,890
should love each other more strong. Love has to be

409
00:27:04,890 --> 00:27:07,690
stronger. And that's again twisting the argument,

410
00:27:07,890 --> 00:27:10,830
turning it upside down. To love that well which

411
00:27:10,830 --> 00:27:17,470
thou must live year long. Year is, what's year? In

412
00:27:17,470 --> 00:27:18,350
Shakespeare? Before.

413
00:27:21,650 --> 00:27:25,550
Before. Basically this is one syllable, this is

414
00:27:25,550 --> 00:27:33,730
two. You'll find words like in, yeah? Even. Even

415
00:27:33,730 --> 00:27:40,650
even two syllables in one syllable or also or Or

416
00:27:40,650 --> 00:27:47,750
instead of over oft instead of often okay Now

417
00:27:47,750 --> 00:27:52,610
let's move to sonnet 130 and we'll study this in

418
00:27:52,610 --> 00:27:54,690
detail Somebody please read

419
00:28:02,260 --> 00:28:09,520
Somebody? Okay. Wondering? Speak up. My mistress

420
00:28:09,520 --> 00:28:13,580
eyes are nothing like the sun. Coral is far more

421
00:28:13,580 --> 00:28:16,980
red than here there's sweat. If snow be white,

422
00:28:17,580 --> 00:28:21,020
wine and milk taste all done. If rays be wires,

423
00:28:21,590 --> 00:28:26,850
Likewise, grow on her head. I have seen roses in

424
00:28:26,850 --> 00:28:31,470
Damascus, red and white, but no such roses see eye

425
00:28:31,470 --> 00:28:35,310
in her cheeks, and in some reviews it is very more

426
00:28:35,310 --> 00:28:38,590
delightful than in the friend that from my

427
00:28:38,590 --> 00:28:42,470
mistress reads. I love to hear her speak, yet what

428
00:28:42,470 --> 00:28:46,210
I know, that music has a far more pleasing sound.

429
00:28:46,690 --> 00:28:50,350
I cried, I never saw a goddess go. My mistress,

430
00:28:50,650 --> 00:28:54,490
when she walks, freaks on the ground. And yet, by

431
00:28:54,490 --> 00:28:57,810
heaven, I think my love is there, as any sheep

432
00:28:57,810 --> 00:29:01,730
lied with foals compared. Okay, nice reading. One

433
00:29:01,730 --> 00:29:07,030
more please. My mistress' eyes are nothing like

434
00:29:07,030 --> 00:29:10,770
the sun. Coral is far more red than her lips' red.

435
00:29:11,190 --> 00:29:14,830
If no bee-wire, then her breasts are done. If

436
00:29:14,830 --> 00:29:19,230
hairs be wires, black wires grow on her hair. I

437
00:29:19,230 --> 00:29:22,630
have seen roses their mouth red and white, but not

438
00:29:22,630 --> 00:29:26,170
such roses see eye in her cheeks. And in some

439
00:29:26,170 --> 00:29:29,610
perfumes is there more delight than in the breath

440
00:29:29,610 --> 00:29:34,330
that from my mistress reads. I love to hear her

441
00:29:34,330 --> 00:29:38,390
speak, yet what I know, that music have a far more

442
00:29:38,390 --> 00:29:42,830
pleasing sound. I never saw a goddess go. My

443
00:29:42,830 --> 00:29:46,310
mistress, when she walks, trees on the ground. And

444
00:29:46,310 --> 00:29:50,870
yet, by heaven, I think my love as rare as any she

445
00:29:50,870 --> 00:29:56,600
believed with false compares. One more, please. My

446
00:29:56,600 --> 00:29:59,980
mistress eyes are nothing like sun. Curl is far

447
00:29:59,980 --> 00:30:04,160
more red than her lips red. If snow be white, why

448
00:30:04,160 --> 00:30:08,300
then hair braids are done? If hairs be wires,

449
00:30:08,680 --> 00:30:13,180
black wires grow on her head. I have seen roses

450
00:30:13,180 --> 00:30:17,560
damasked, red and white, but no such roses see I

451
00:30:17,560 --> 00:30:18,560
in her cheeks.

452
00:30:22,010 --> 00:30:26,250
And in some perfumes

453
00:30:26,250 --> 00:30:31,690
is there more delight than in the bread that from

454
00:30:31,690 --> 00:30:35,430
my mistress reads. I love to hear her speak, yet

455
00:30:35,430 --> 00:30:39,910
well I know that music has a far more pleasing

456
00:30:39,910 --> 00:30:43,770
sound. I grant I never saw a goddess glow. My

457
00:30:43,770 --> 00:30:46,530
mistress, when she walks, treats on the ground.

458
00:30:46,910 --> 00:30:50,440
And yet, by heaven, I think my love are here. As

459
00:30:50,440 --> 00:30:57,580
rare? As anything belied with flowers compared

460
00:30:57,580 --> 00:31:00,980
Thank you My mistress' eyes are nothing like the

461
00:31:00,980 --> 00:31:06,360
sun Coral is far more red than her lips red If

462
00:31:06,360 --> 00:31:10,060
snow be white, why then her breasts are done? If

463
00:31:10,060 --> 00:31:15,460
hers be wires, black wires grow on her head I have

464
00:31:15,460 --> 00:31:19,160
seen roses, damasked, red and white, but no such

465
00:31:19,160 --> 00:31:23,580
roses see eye in her cheeks, and in some perfumes

466
00:31:23,580 --> 00:31:26,060
is there more delight than in the breath that from

467
00:31:26,060 --> 00:31:30,200
my mistress reeks. I love to hear her speak, yet

468
00:31:30,200 --> 00:31:33,540
will I know that music hath a far more pleasing

469
00:31:33,540 --> 00:31:38,960
sound. I grant I never saw a goddess go. My

470
00:31:38,960 --> 00:31:42,060
mistress, when she walks, treads on the ground.

471
00:31:42,580 --> 00:31:45,860
And yet, by heaven, I think my love is rare, as

472
00:31:45,860 --> 00:31:51,000
any she belied with false compare. I am not sure

473
00:31:51,000 --> 00:31:56,260
how you're reacting or you reacted to this poem,

474
00:31:56,700 --> 00:31:59,640
reading it at home and listening to it on YouTube.

475
00:32:00,520 --> 00:32:05,060
It always comes, even when I teach it almost every

476
00:32:05,060 --> 00:32:08,500
year. And every time I read it, I feel this kind

477
00:32:08,500 --> 00:32:12,360
of shock, unexpected of Shakespeare. This is not a

478
00:32:12,360 --> 00:32:16,100
sonnet we read about, we hear about, the love poem

479
00:32:16,100 --> 00:32:20,120
exalting the beloved, raising hair up above all

480
00:32:20,120 --> 00:32:25,240
natural beauties, all human beauties. To come to

481
00:32:25,240 --> 00:32:29,690
this, what on earth is Shakespeare doing? What's

482
00:32:29,690 --> 00:32:32,690
different this time? What is special about this

483
00:32:32,690 --> 00:32:35,510
sunnah? Let's just talk a little bit here and

484
00:32:35,510 --> 00:32:38,610
highlight certain issues before we discuss. So my

485
00:32:38,610 --> 00:32:41,230
mistress' eyes are nothing like the sun. This

486
00:32:41,230 --> 00:32:43,670
could be the opening like shall I compare thee to

487
00:32:43,670 --> 00:32:46,010
a summer's day. So my mistress' eyes are nothing

488
00:32:46,010 --> 00:32:48,870
like the sun. Her eyes are even more beautiful.

489
00:32:50,210 --> 00:32:53,740
You know? But again, it goes against our

490
00:32:53,740 --> 00:32:57,920
expectation. Coral, you know coral, the Red Sea,

491
00:32:58,200 --> 00:33:03,240
coral is far more red than her lips red. And

492
00:33:03,240 --> 00:33:09,590
grammatically we say than hair Red lips. Some of

493
00:33:09,590 --> 00:33:12,330
you will claim that Shakespeare is doing this for

494
00:33:12,330 --> 00:33:14,430
the rhyme scheme. But again, this is Shakespeare.

495
00:33:14,530 --> 00:33:18,750
He could have said red than hair, red lips. I

496
00:33:18,750 --> 00:33:22,510
don't know. And then he said here something hips,

497
00:33:22,810 --> 00:33:25,680
you know. It would work, it would, fine, and

498
00:33:25,680 --> 00:33:29,440
Shakira will find this funny because hips don't

499
00:33:29,440 --> 00:33:32,820
lie. So the coral here, so there's basically

500
00:33:32,820 --> 00:33:36,420
something with Shakespeare, some kind of changing

501
00:33:36,420 --> 00:33:40,220
the word order of the natural grammar. And again,

502
00:33:40,620 --> 00:33:43,280
this is why some, I hope that after reading these

503
00:33:43,280 --> 00:33:44,840
two sentences, you will come closer to

504
00:33:44,840 --> 00:33:46,480
Shakespeare. I know you're also doing Elizabethan

505
00:33:46,480 --> 00:33:49,220
drama, you come closer to understanding more and

506
00:33:49,220 --> 00:33:52,300
more of Shakespeare. He does this, he plays with

507
00:33:52,300 --> 00:33:57,280
the syntax. Not only again, don't please just say

508
00:33:57,280 --> 00:34:00,780
for emphasis, don't just please say for the rhyme

509
00:34:00,780 --> 00:34:02,840
scheme because Shakespeare can make anything

510
00:34:02,840 --> 00:34:07,060
rhyme. For God's sake, the man coined and made up

511
00:34:07,060 --> 00:34:11,080
like 2000 words. He can do something here. So

512
00:34:11,080 --> 00:34:16,000
coral is far more red than her lips red. Her lips

513
00:34:16,000 --> 00:34:19,380
are not that red, especially compared to coral. If

514
00:34:19,380 --> 00:34:22,500
snow be white, and snow is white, why then her

515
00:34:22,500 --> 00:34:25,260
breasts are done? She isn't as white as snow.

516
00:34:25,400 --> 00:34:28,320
She's not white. And again, whiteness associated

517
00:34:28,320 --> 00:34:32,480
with, classically, with beauty. She's brownish,

518
00:34:32,600 --> 00:34:35,840
seemingly. If hairs, and I find this very funny,

519
00:34:36,200 --> 00:34:43,040
if hairs be wires, if hairs are wires, then black

520
00:34:43,040 --> 00:34:47,750
wires grow on her head. And I don't know how you

521
00:34:47,750 --> 00:34:51,290
would react. I usually test little girls with

522
00:34:51,290 --> 00:34:54,050
this, and I tell her, like, shaarek manfoush, or

523
00:34:54,050 --> 00:34:56,170
shaarek silly jelly, or something like this. And

524
00:34:56,170 --> 00:35:00,290
even little girls wouldn't take this. They would

525
00:35:00,290 --> 00:35:02,430
find this offensive and insulting.

526
00:35:05,230 --> 00:35:10,670
Black wires grow on her head. I have seen roses

527
00:35:10,670 --> 00:35:15,300
damasked, red and white. There are no such roses.

528
00:35:15,440 --> 00:35:17,480
You know, beautiful person, a beautiful woman, you

529
00:35:17,480 --> 00:35:21,000
just liken her cheeks to white roses, pink roses,

530
00:35:21,180 --> 00:35:23,480
red roses. But here he's saying, but no such

531
00:35:23,480 --> 00:35:27,180
roses, CI in her cheeks. And again, I think there

532
00:35:27,180 --> 00:35:28,920
is here a pattern. Shakespeare is creating a

533
00:35:28,920 --> 00:35:32,860
pattern. He's not on like this, you know,

534
00:35:33,400 --> 00:35:36,600
diverting, subverting our expectations. He's also

535
00:35:36,600 --> 00:35:42,580
CI, IC, lips red. Changing the orders of things in

536
00:35:42,580 --> 00:35:46,470
her cheeks. And in some perfumes is there more

537
00:35:46,470 --> 00:35:49,310
delight than in the breath that from my mistress

538
00:35:49,310 --> 00:35:53,490
reeks. This could mean she stinks, but it just

539
00:35:53,490 --> 00:35:58,270
could mean she has a natural human breath. Not

540
00:35:58,270 --> 00:36:02,730
necessarily somebody who has eaten a huge chunk of

541
00:36:02,730 --> 00:36:08,310
an onion. But reeks is also not a compliment. You

542
00:36:08,310 --> 00:36:12,710
stink. But again, I don't want to take reek as

543
00:36:12,710 --> 00:36:17,410
just meaning stink. Although it could be. I love

544
00:36:17,410 --> 00:36:21,630
to hear her speak, yet will I know. And I think

545
00:36:21,630 --> 00:36:24,130
here, will I know is grammatically okay. But the

546
00:36:24,130 --> 00:36:29,030
more natural word order would be, I know well. So

547
00:36:29,030 --> 00:36:32,710
is there a pattern of changing things? That music

548
00:36:32,710 --> 00:36:36,660
has a far more pleasing sound. I grant I never saw

549
00:36:36,660 --> 00:36:40,200
a goddess go. Like beautiful women, you know,

550
00:36:40,320 --> 00:36:43,400
described usually as goddesses, as angels that

551
00:36:43,400 --> 00:36:46,120
don't walk, don't touch the ground. They just

552
00:36:46,120 --> 00:36:50,660
float, they glow, they glide. I never saw a

553
00:36:50,660 --> 00:36:55,280
goddess go. My mistress, when she walks, however,

554
00:36:55,480 --> 00:36:58,120
when she walks, she trails upon the ground. She's

555
00:36:58,120 --> 00:37:00,280
like any other human being. She walks on the

556
00:37:00,280 --> 00:37:05,510
ground. And again, so far, this is interesting.

557
00:37:06,810 --> 00:37:11,230
It's just one unit highlighting

558
00:37:11,230 --> 00:37:14,090
the imperfections, the flaws, so to speak.

559
00:37:15,370 --> 00:37:18,330
Although I don't agree that there should be fixed

560
00:37:18,330 --> 00:37:22,470
standards of beauty or what makes beauty. And then

561
00:37:22,470 --> 00:37:27,270
yet, by heaven, by God, wa rabbi al-sama, he's

562
00:37:27,270 --> 00:37:30,220
swearing here. And again, I said this in another

563
00:37:30,220 --> 00:37:33,000
class, and one student said that Shakespeare was a

564
00:37:33,000 --> 00:37:35,260
religious man. He was, I don't think Shakespeare

565
00:37:35,260 --> 00:37:37,340
was a religious man. I think that Shakespeare was

566
00:37:37,340 --> 00:37:41,400
not only that, but he was deliberately and

567
00:37:41,400 --> 00:37:44,480
consciously distancing himself from religion and

568
00:37:44,480 --> 00:37:47,080
from, I understand that God is one syllable in

569
00:37:47,080 --> 00:37:50,920
heaven too. But you'll be surprised, you will of

570
00:37:50,920 --> 00:37:54,100
course necessarily find influences of the Bible,

571
00:37:54,240 --> 00:37:56,320
of Christianity in Shakespeare, but you will be

572
00:37:56,320 --> 00:37:59,220
amazed at how sometimes you feel that

573
00:37:59,220 --> 00:38:01,520
Shakespeare's consciously trying to distance

574
00:38:01,520 --> 00:38:05,360
himself and detach himself from Christianity. Look

575
00:38:05,360 --> 00:38:09,340
at his stories, for example. None of his plays is

576
00:38:09,340 --> 00:38:13,940
based on a biblical story, right? And yet, by

577
00:38:13,940 --> 00:38:17,900
heaven, I think my love as rare as any sheep

578
00:38:17,900 --> 00:38:22,580
allied with false compare. It's like, I want you

579
00:38:22,580 --> 00:38:25,910
to do this. you know experiment like go to your

580
00:38:25,910 --> 00:38:28,610
friend one any of your friends and tell her for

581
00:38:28,610 --> 00:38:31,770
example like I know you you you're not punctual

582
00:38:31,770 --> 00:38:35,390
you're a liar you're lazy you're a huge eater you

583
00:38:35,390 --> 00:38:38,090
don't like pizza you're like and count like 30

584
00:38:38,090 --> 00:38:42,730
things and then but I like you that's devastating

585
00:38:42,730 --> 00:38:49,010
like that you're all the horrible things in the

586
00:38:49,010 --> 00:38:49,210
world

587
00:38:52,630 --> 00:38:57,310
Imperfections, okay everybody is imperfect but if

588
00:38:57,310 --> 00:39:01,790
you're talking to me like why are you just digging

589
00:39:01,790 --> 00:39:04,610
you know excavating even for things that people

590
00:39:04,610 --> 00:39:07,650
don't know and we see this all the time like in

591
00:39:07,650 --> 00:39:10,490
comic shows like how people try to compliment

592
00:39:10,490 --> 00:39:14,050
somebody that he's like okay say that he's not

593
00:39:14,050 --> 00:39:16,810
punctual sometimes he's late he likes pizza like

594
00:39:16,810 --> 00:39:20,390
too much but he's a really good something. But if

595
00:39:20,390 --> 00:39:25,190
you count like a hundred flows, you're making me

596
00:39:25,190 --> 00:39:29,250
unacceptable in any situation. So I'll ask you a

597
00:39:29,250 --> 00:39:32,290
couple of questions. Number one, what do you think

598
00:39:32,290 --> 00:39:34,270
of the tone? Do you take this as a serious poem?

599
00:39:34,750 --> 00:39:39,830
And how would you react to this as a woman? Or how

600
00:39:39,830 --> 00:39:41,910
would you react to this as a woman? And then the

601
00:39:41,910 --> 00:39:44,290
second question, do you think that the tone is

602
00:39:44,290 --> 00:39:47,610
serious or comic or light? Is this a lighthearted,

603
00:39:47,750 --> 00:39:48,050
you know?

604
00:39:50,870 --> 00:39:53,590
Please. Well, first of all, when I first read it,

605
00:39:53,650 --> 00:39:55,710
I was really shocked. I didn't really understand

606
00:39:55,710 --> 00:39:58,250
the concept, the whole concept of it. And then I

607
00:39:58,250 --> 00:40:01,010
realized that he's actually like maybe describing

608
00:40:01,010 --> 00:40:04,650
a very ordinary lady. Like I think that if I could

609
00:40:04,650 --> 00:40:07,930
draw this person or this lady, I would, I would

610
00:40:07,930 --> 00:40:09,970
see her as a normal person. Not stick drawing, of

611
00:40:09,970 --> 00:40:15,460
course. Okay, it's my thing too by the way. So the

612
00:40:15,460 --> 00:40:17,920
thing is that he's really describing an ordinary

613
00:40:17,920 --> 00:40:20,780
lady, but it's somehow offensive. Like you're

614
00:40:20,780 --> 00:40:23,540
writing poetry and poetry or sonnets are supposed

615
00:40:23,540 --> 00:40:26,160
to be about love and appreciation. So why are you

616
00:40:26,160 --> 00:40:28,560
doing this? So I think this is why I wouldn't take

617
00:40:28,560 --> 00:40:31,660
it for, I wouldn't take it as a real poem. I would

618
00:40:31,660 --> 00:40:34,300
take more of a, maybe like a parody or something

619
00:40:34,300 --> 00:40:39,060
as comic. So this is a comic poem more than a

620
00:40:39,060 --> 00:40:43,220
serious poem. Like, well, I come back to the point

621
00:40:43,220 --> 00:40:47,580
here. I think we have, like you're saying, I don't

622
00:40:47,580 --> 00:40:50,080
want to take it as a serious poem. I'll take it as

623
00:40:50,080 --> 00:40:52,580
a comic or a parody. We'll come back to this point

624
00:40:52,580 --> 00:40:54,860
because there's a misunderstanding about what

625
00:40:54,860 --> 00:40:55,800
parody is, please.

626
00:41:16,450 --> 00:41:23,410
So unfunny? He's not, this is unfunny, okay good

627
00:41:24,890 --> 00:41:29,490
Listen, you know I like Shakespeare, you can trash

628
00:41:29,490 --> 00:41:33,330
him, I'm not going to judge you, so feel free. For

629
00:41:33,330 --> 00:41:35,450
me actually, I really liked him for many reasons.

630
00:41:35,730 --> 00:41:40,330
First one, I think Shakespeare was trying to try a

631
00:41:40,330 --> 00:41:43,950
new era for his poets, so he was making a… To try,

632
00:41:44,190 --> 00:41:44,510
sorry, a new?

633
00:41:58,380 --> 00:41:58,820
Yeah,

634
00:42:01,400 --> 00:42:04,280
but you say despite the shortcomings, but you

635
00:42:04,280 --> 00:42:06,700
don't list a hundred of them. If you count a

636
00:42:06,700 --> 00:42:08,640
hundred of them, if you have the time to count a

637
00:42:08,640 --> 00:42:10,760
hundred shortcomings, come on.

638
00:42:18,350 --> 00:42:19,430
In a negative way.

639
00:42:24,110 --> 00:42:28,930
Okay, he could have said that. He could have said

640
00:42:28,930 --> 00:42:32,670
that you are an average person. Like Trump would

641
00:42:32,670 --> 00:42:39,740
say she's a five or three or four. Please. because

642
00:42:39,740 --> 00:42:45,980
it's like they said that even of her bad like bad

643
00:42:45,980 --> 00:42:52,800
characters yeah I mean if you are if your lips are

644
00:42:52,800 --> 00:42:56,680
not red if you are not wise if even of all this

645
00:42:56,680 --> 00:43:01,500
thing I love you it's like he puts her in a frame

646
00:43:01,500 --> 00:43:06,240
of beauty that he is like making a favor that I

647
00:43:08,020 --> 00:43:10,260
But where is the frame of beauty? There's no

648
00:43:10,260 --> 00:43:13,920
beauty here, like conventional. The frame of

649
00:43:13,920 --> 00:43:19,100
beauty that her lips should be very red and she

650
00:43:19,100 --> 00:43:23,720
must be white and these things. I want to say that

651
00:43:23,720 --> 00:43:28,500
I would appreciate it more if he said more serious

652
00:43:28,500 --> 00:43:34,400
things that even, for example, more important

653
00:43:34,400 --> 00:43:37,260
things than... Like what? Can you give...

654
00:43:38,170 --> 00:43:41,270
Examples, what are more important to be praised in

655
00:43:41,270 --> 00:43:46,250
a woman, in your opinion? Okay, that's an

656
00:43:46,250 --> 00:43:49,030
excellent point. This is a poem highlighting,

657
00:43:49,270 --> 00:43:52,390
showcasing the physical appearance of women saying

658
00:43:52,390 --> 00:43:55,190
this is what men appreciate. And at the same time

659
00:43:55,190 --> 00:43:58,330
ignoring altogether the fact this is a human

660
00:43:58,330 --> 00:44:00,690
being, a personality and a character, the brain,

661
00:44:00,790 --> 00:44:04,910
the intellectuality of the woman. Thank you, good

662
00:44:04,910 --> 00:44:05,190
point.

663
00:44:14,010 --> 00:44:22,870
Say again. Okay. And he wrote 154.

664
00:44:26,130 --> 00:44:26,850
Okay. Yeah.

665
00:44:30,290 --> 00:44:32,030
He's tired.

666
00:44:34,700 --> 00:44:36,800
He's tired of writing and praising, so he's

667
00:44:36,800 --> 00:44:42,620
changing. I never looked at data from this. Why

668
00:44:42,620 --> 00:44:46,580
didn't he get tired at sonnet, for example, 140 or

669
00:44:46,580 --> 00:44:51,480
50? But yeah, I take your point. By the way, some

670
00:44:51,480 --> 00:44:54,480
people might find it also, listen, some people

671
00:44:54,480 --> 00:44:57,200
believe that this order of the sonnets is not

672
00:44:57,200 --> 00:45:00,020
probably the right order that Shakespeare wrote

673
00:45:00,020 --> 00:45:04,010
them in. But that is an interesting point, like

674
00:45:04,010 --> 00:45:06,710
it's time for change. It's time for change,

675
00:45:06,770 --> 00:45:08,970
please. I think we should also look at the role of

676
00:45:08,970 --> 00:45:11,690
the woman which led him to write this, because

677
00:45:11,690 --> 00:45:15,070
it's maybe she was obsessed about perfection and

678
00:45:15,070 --> 00:45:17,950
he's convincing her. He's destroying her, he's

679
00:45:17,950 --> 00:45:23,310
bringing her down. No, he's convincing her that he

680
00:45:23,310 --> 00:45:25,770
doesn't care about these things and she's perfect.

681
00:45:26,710 --> 00:45:28,770
He's perfect the way she is. She doesn't have to

682
00:45:28,770 --> 00:45:31,910
be obsessed with, you know, filters and Snapchat

683
00:45:31,910 --> 00:45:38,310
filters and dog filter and please. I think that

684
00:45:38,310 --> 00:45:41,230
it's offensive for him. It's like he's grudging

685
00:45:41,230 --> 00:45:45,830
her his love even though she is not like the

686
00:45:45,830 --> 00:45:52,130
perfect woman in Poland. But what about his His

687
00:45:52,130 --> 00:45:53,050
own appearance?

688
00:45:55,930 --> 00:46:00,670
But what

689
00:46:00,670 --> 00:46:03,770
I notice is that you totally agree that these are

690
00:46:03,770 --> 00:46:05,950
shortcomings. Are they?

691
00:46:09,490 --> 00:46:13,550
Somebody doesn't have fair hair, should they kill

692
00:46:13,550 --> 00:46:13,910
themselves?

693
00:46:18,590 --> 00:46:20,910
Because of, yeah, the traditional standards of

694
00:46:20,910 --> 00:46:24,350
beauty at that time, white, fair hair, possibly

695
00:46:24,350 --> 00:46:31,770
red lips, white skin, et cetera, et cetera. So is

696
00:46:31,770 --> 00:46:34,970
Shakespeare trying to, again, criticize and attack

697
00:46:34,970 --> 00:46:39,190
these standards of beauty rather than trashing the

698
00:46:39,190 --> 00:46:43,390
woman? I said maybe that I would like a friend to

699
00:46:43,390 --> 00:46:46,750
tell me about that they respect me despite my

700
00:46:46,750 --> 00:46:52,070
shortcomings. But I wouldn't like a lover to

701
00:46:52,070 --> 00:46:54,130
describe me that way, but at the same time, I

702
00:46:54,130 --> 00:46:57,890
don't find it that offensive, you know? Okay, it's

703
00:46:57,890 --> 00:47:03,770
not completely like a good poem, but it's not

704
00:47:03,770 --> 00:47:07,130
really that offensive as the girls are describing

705
00:47:07,130 --> 00:47:10,850
it. Who thinks it is offensive? Oh, that's very

706
00:47:10,850 --> 00:47:15,210
few of you who thinks it's not offensive. That's

707
00:47:15,210 --> 00:47:18,670
also very few of you. So there are many neutrals

708
00:47:18,670 --> 00:47:25,450
here. Okay, please. Offensive or not? Offensive, I

709
00:47:25,450 --> 00:47:27,790
think, but I have another opinion. I think he

710
00:47:27,790 --> 00:47:31,110
loves her, but because he didn't able to reach

711
00:47:31,110 --> 00:47:34,630
her, he said all these imperfections to console

712
00:47:34,630 --> 00:47:39,530
himself, like not read as a coral or So is this

713
00:47:39,530 --> 00:47:43,530
about him too consoling himself? Yeah, because he

714
00:47:43,530 --> 00:47:45,690
loves her and he didn't ever torture her. Please.

715
00:47:46,050 --> 00:47:48,890
Who said all these things are imperfections? None

716
00:47:48,890 --> 00:47:53,350
of us has red cheeks, none of us has an eye like a

717
00:47:53,350 --> 00:47:59,010
sun. He's being 100% realistic. I don't think this

718
00:47:59,010 --> 00:48:04,670
is offensive. I think he's not framing her in a

719
00:48:04,670 --> 00:48:08,420
beauty frame or something. She's not a model,

720
00:48:08,900 --> 00:48:12,140
she's an average woman with these things, but

721
00:48:12,140 --> 00:48:17,080
again, do you think Shakespeare is trying to be

722
00:48:17,080 --> 00:48:20,980
realistic rather than offensive? Is he trying to

723
00:48:20,980 --> 00:48:22,000
be realistic?

724
00:48:25,680 --> 00:48:33,040
So offensive

725
00:48:33,040 --> 00:48:43,840
or realistic? Okay. The imaginary fictional

726
00:48:43,840 --> 00:48:44,520
beloved.

727
00:48:48,120 --> 00:48:52,060
This is very blunt. This is really very blunt.

728
00:48:55,420 --> 00:48:58,760
And you don't count like ten horrible devastating

729
00:48:58,760 --> 00:49:02,600
things. You just say one thing. Yeah, probably ten

730
00:49:02,600 --> 00:49:05,960
sonnets, one in each. But this is too much.

731
00:49:16,090 --> 00:49:22,030
Why don't, why wouldn't people love those? Aren't

732
00:49:22,030 --> 00:49:24,510
we doing the same thing? Aren't we committing the

733
00:49:24,510 --> 00:49:28,230
same horrible thing ourselves? So okay, let's

734
00:49:28,230 --> 00:49:32,110
again see here, there's this possibility that this

735
00:49:32,110 --> 00:49:36,620
poem is a parody. and what is parody we'll see in

736
00:49:36,620 --> 00:49:39,820
a bit but can you just very quickly what do you

737
00:49:39,820 --> 00:49:45,160
think what what's parody say again okay again

738
00:49:45,160 --> 00:49:52,960
you're also highlighting the comic element parody

739
00:49:52,960 --> 00:49:57,060
is imitation an imitation of another literary text

740
00:49:57,060 --> 00:50:01,520
another genre another poet basically in a comic

741
00:50:01,520 --> 00:50:05,980
way so this could sound light and comic and funny

742
00:50:05,980 --> 00:50:08,500
or an attempt at being funny.

743
00:50:12,360 --> 00:50:16,040
Meaning we can take this as Shakespeare trying to

744
00:50:16,040 --> 00:50:22,420
criticize the way women were perceived, the way

745
00:50:22,420 --> 00:50:24,580
sonnets were written, the way women were

746
00:50:24,580 --> 00:50:27,570
represented. Perhaps Shakespeare is criticizing

747
00:50:27,570 --> 00:50:32,550
the mainstream standards of beauty at that time,

748
00:50:32,670 --> 00:50:35,090
that a woman to be appreciated, a woman has to

749
00:50:35,090 --> 00:50:39,330
have all these things. But some people might not

750
00:50:39,330 --> 00:50:42,170
like this because they also feel that Shakespeare

751
00:50:42,170 --> 00:50:46,010
himself is falling for the same thing. He's also,

752
00:50:46,230 --> 00:50:50,030
because he's indicating that, he's saying, you

753
00:50:50,030 --> 00:50:51,990
don't have these things, but I love you. He's not

754
00:50:51,990 --> 00:50:55,830
saying these are not, In a way, these are not the

755
00:50:55,830 --> 00:50:58,050
real standards of beauty and beauty is relative

756
00:50:58,050 --> 00:51:01,490
and everybody, you know, can see beauty in the

757
00:51:01,490 --> 00:51:05,970
things they love. He's not saying this. He's

758
00:51:05,970 --> 00:51:08,510
saying you don't have these standards of beauty,

759
00:51:09,330 --> 00:51:17,930
but and not only but, yet. I swear to God, by God,

760
00:51:18,010 --> 00:51:23,690
by heaven, I like you. I love you. and think you

761
00:51:23,690 --> 00:51:27,110
are rare. And there could be an implication here.

762
00:51:27,410 --> 00:51:30,250
Shakespeare doesn't highlight the character of

763
00:51:30,250 --> 00:51:35,150
this woman. But rare here, when he says like

764
00:51:35,150 --> 00:51:38,970
physically, she's not that beautiful, probably

765
00:51:38,970 --> 00:51:42,750
he's here, she's rare because of her mind and her

766
00:51:42,750 --> 00:51:46,310
personality. But it's not clearly stated here.

767
00:51:46,450 --> 00:51:51,570
Could be implied because she is rare. Her love is

768
00:51:51,570 --> 00:51:56,210
rare. As any, she belied with false compare. She

769
00:51:56,210 --> 00:51:58,870
can't be compared to false things. These things

770
00:51:58,870 --> 00:52:03,050
are false, like you said. Who has eyes like the

771
00:52:03,050 --> 00:52:05,850
sun? But again, this is positive. This is

772
00:52:05,850 --> 00:52:11,390
metaphorically speaking. Now, the point I want to

773
00:52:11,390 --> 00:52:17,310
make about this sonnet being a parody, actually

774
00:52:17,310 --> 00:52:20,640
this is why I'm We're discussing this poem,

775
00:52:21,100 --> 00:52:23,960
basically for this parody part. And don't forget

776
00:52:23,960 --> 00:52:28,340
that Shakespeare himself used some of these beauty

777
00:52:28,340 --> 00:52:33,920
standards to frame women, making this text also

778
00:52:33,920 --> 00:52:34,920
self-parody.

779
00:52:37,800 --> 00:52:39,880
So is Shakespeare mocking himself, making fun of

780
00:52:39,880 --> 00:52:42,480
himself? Wow, he must have been very confident.

781
00:52:43,400 --> 00:52:45,340
He's writing something and he's also parodying

782
00:52:45,340 --> 00:52:46,840
himself, making fun of himself. He doesn't wait

783
00:52:46,840 --> 00:52:51,700
for others to mock him. He's mocking himself. But

784
00:52:51,700 --> 00:52:54,800
also mocking what we call courtly love.

785
00:52:58,220 --> 00:53:02,520
Traditional courtly love, the way it was, the way

786
00:53:02,520 --> 00:53:05,400
women were perceived and represented in this kind

787
00:53:05,400 --> 00:53:11,420
of love. And yes, parody can be comic and funny,

788
00:53:11,700 --> 00:53:15,200
sarcastic sometimes. We'll see in John Donne how

789
00:53:15,200 --> 00:53:20,840
parody can be also a very serious genre. Extremely

790
00:53:20,840 --> 00:53:24,840
serious. Not only about the message, it's just, it

791
00:53:24,840 --> 00:53:27,480
destroys. Nowadays we see the comedy shows. Look

792
00:53:27,480 --> 00:53:32,120
at the American politics. Every night you have

793
00:53:32,120 --> 00:53:37,760
like so many comedy shows. The news is now. Comic,

794
00:53:37,760 --> 00:53:44,320
because comedy, parody, these genres, they number

795
00:53:44,320 --> 00:53:47,020
one, draw our attention to the fact that there is

796
00:53:47,020 --> 00:53:49,460
an alternative, there is a possibility of another

797
00:53:49,460 --> 00:53:52,060
reality, that this reality is not fixed, that you

798
00:53:52,060 --> 00:53:55,140
can't change it. I'm showing you in my poetry, in

799
00:53:55,140 --> 00:54:00,240
my stand-up comedy. So what Shakespeare is doing

800
00:54:00,240 --> 00:54:04,000
is basically he is shattering, he is destroying

801
00:54:04,000 --> 00:54:10,160
the mainstream standards of frames of beauty. He's

802
00:54:10,160 --> 00:54:13,440
showing women and people that there are other

803
00:54:13,440 --> 00:54:15,660
alternatives, that there are other possibilities.

804
00:54:16,660 --> 00:54:21,040
He's inviting us by subverting, by turning the

805
00:54:21,040 --> 00:54:27,960
standards of beauty upside down. giving us another

806
00:54:27,960 --> 00:54:31,340
worldview that people probably didn't think of,

807
00:54:31,840 --> 00:54:37,240
outside probably poetry maybe. So that's why I

808
00:54:37,240 --> 00:54:40,720
take this as a serious, it sounds lighthearted,

809
00:54:41,260 --> 00:54:44,300
but if you examine it from a parody point of view,

810
00:54:44,600 --> 00:54:47,620
it sounds very serious. It sounds again like

811
00:54:47,620 --> 00:54:50,480
Shakespeare himself, who is doing the same thing,

812
00:54:50,520 --> 00:54:57,130
is trying to protest, or at least, attract women's

813
00:54:57,130 --> 00:54:58,790
attention to the fact that there are other

814
00:54:58,790 --> 00:55:01,110
possibilities, that you shouldn't be taking these

815
00:55:01,110 --> 00:55:04,010
frames for granted. You can change them. And

816
00:55:04,010 --> 00:55:07,590
that's why I highlighted these things. Lips read,

817
00:55:08,090 --> 00:55:11,930
see eye, will I know, and again, how the poem came

818
00:55:11,930 --> 00:55:17,090
against our expectation. I think this subversion

819
00:55:17,090 --> 00:55:20,730
here, this change of the order, is an invitation

820
00:55:20,730 --> 00:55:24,680
that the existing order in the society, the social

821
00:55:24,680 --> 00:55:29,860
constructions of women, of beauty can be changed.

822
00:55:31,020 --> 00:55:34,600
And I also like how he used the word compare as a

823
00:55:34,600 --> 00:55:38,820
noun at the end. It should be with false

824
00:55:38,820 --> 00:55:43,280
comparison. I know compare can be used as a noun,

825
00:55:43,920 --> 00:55:47,720
but not a very common usage. I checked the Merriam

826
00:55:47,720 --> 00:55:50,080
-Webster for the etymology of the word and it

827
00:55:50,080 --> 00:55:52,100
says, and I find this very interesting, the first

828
00:55:52,100 --> 00:55:57,920
time it was used as a noun was 1589.

829
00:56:00,860 --> 00:56:04,400
Wow, that was like around the time Shakespeare was

830
00:56:04,400 --> 00:56:12,270
writing sonnets. So again, this is stretching, a

831
00:56:12,270 --> 00:56:14,990
lot of stretching, but did Shakespeare use the

832
00:56:14,990 --> 00:56:18,910
verb compare as a noun to indicate to women, to

833
00:56:18,910 --> 00:56:21,110
the audience, to readers that you can change

834
00:56:21,110 --> 00:56:23,490
things. You don't have to take things as they are.

835
00:56:23,750 --> 00:56:31,030
Here I am using verbs as nouns. Swapping the word

836
00:56:31,030 --> 00:56:34,090
order, using the noun before the adjective, and

837
00:56:34,090 --> 00:56:37,250
it's now your time to destroy again the given

838
00:56:37,250 --> 00:56:42,270
mainstream constructs of the society. Women don't

839
00:56:42,270 --> 00:56:44,930
have to be taken for granted. Women don't have to

840
00:56:44,930 --> 00:56:49,690
be taken in these frames imposed upon them by

841
00:56:49,690 --> 00:56:52,810
society and by men. This could be a lot of

842
00:56:52,810 --> 00:56:55,970
stretching. I want you to think of this in this

843
00:56:55,970 --> 00:56:58,650
slide as a parody. Shakespeare doing this stuff.

844
00:56:59,130 --> 00:56:59,330
Please.

845
00:57:15,010 --> 00:57:17,930
And again taking women for granted for like even

846
00:57:17,930 --> 00:57:19,850
if the woman doesn't have these things you'd be

847
00:57:19,850 --> 00:57:23,130
like you know he would be tricked into a

848
00:57:23,130 --> 00:57:23,830
particular thing.

849
00:57:33,770 --> 00:57:37,930
But again, what is beauty? Don't forget this. What

850
00:57:37,930 --> 00:57:38,630
is beauty?

851
00:57:45,470 --> 00:57:47,290
No, but I'm saying that because this is a

852
00:57:47,290 --> 00:57:50,310
significant point. Beauty, there's nothing like,

853
00:57:50,790 --> 00:57:55,970
again, like in Arabic we say, and it's the same

854
00:57:55,970 --> 00:58:00,490
here. Like every woman sees her kid as the most

855
00:58:00,490 --> 00:58:05,930
beautiful kid. Not only because he or she is the

856
00:58:05,930 --> 00:58:11,390
kid, but because beauty is relative. It's not

857
00:58:11,390 --> 00:58:14,710
fixed. The standards are not fixed. The society

858
00:58:14,710 --> 00:58:19,110
usually has, and this is what Shakespeare is

859
00:58:19,110 --> 00:58:22,510
attacking. I agree. I totally agree. When you give

860
00:58:22,510 --> 00:58:26,670
this image to other girls and women, they will

861
00:58:26,670 --> 00:58:28,650
feel themselves lesser.

862
00:58:34,720 --> 00:58:37,040
True okay, I like I like your point. Thank you

863
00:58:37,040 --> 00:58:51,940
very much more So

864
00:58:51,940 --> 00:58:56,140
usually

865
00:58:56,140 --> 00:58:59,860
we swear that means that the person is

866
00:59:07,730 --> 00:59:18,870
okay nice more please don't

867
00:59:18,870 --> 00:59:22,670
do this wow I like this yes because every woman

868
00:59:22,670 --> 00:59:28,350
it's beauty in her own it's

869
00:59:28,350 --> 00:59:30,570
a beauty haven't any

870
00:59:33,400 --> 00:59:37,160
So he wanted to tell maybe the woman he spoke

871
00:59:37,160 --> 00:59:41,680
about her felt that she is not beautiful because

872
00:59:41,680 --> 00:59:44,700
of the society. And he tried to tell her there is

873
00:59:44,700 --> 00:59:47,620
no one beautiful in this world. Okay I like your

874
00:59:47,620 --> 00:59:50,660
point here but again Shakespeare he could have

875
00:59:50,660 --> 00:59:54,160
done it a little bit differently. That's too much.

876
00:59:54,900 --> 00:59:58,300
That you're also putting this woman down. But

877
00:59:58,300 --> 01:00:01,820
again, this sarcastic, this parody aspect is what

878
01:00:01,820 --> 01:00:05,320
I like about the poem. Exaggerating things

879
01:00:05,320 --> 01:00:08,420
sometimes. Let's just move a little bit to the

880
01:00:08,420 --> 01:00:10,280
things I highlighted. So the structure of the

881
01:00:10,280 --> 01:00:13,650
sonnet, if you go back, three quadrants developing

882
01:00:13,650 --> 01:00:17,070
the same idea, and then the twist comes at the

883
01:00:17,070 --> 01:00:20,330
end. The rhyme scheme is perfect. A, B, A, B, C,

884
01:00:20,490 --> 01:00:25,050
D, C, D, E, F, E, F, G, G. There's no imperfection

885
01:00:25,050 --> 01:00:28,910
here. The tone can be taken differently. Some of

886
01:00:28,910 --> 01:00:30,970
you might take this as a serious poem. Some of you

887
01:00:30,970 --> 01:00:34,650
might take this as a comic light, light poem. But

888
01:00:34,650 --> 01:00:37,150
again, comedy doesn't necessarily mean it's not

889
01:00:37,150 --> 01:00:42,150
serious or there is nothing happening there. Look

890
01:00:42,150 --> 01:00:44,630
at these questions. I want you to think about them

891
01:00:44,630 --> 01:00:49,950
when you go home. We'll share, we can discuss some

892
01:00:49,950 --> 01:00:54,270
of them on our Facebook group. How can this be

893
01:00:54,270 --> 01:00:57,110
taken as a parody or self-parody?

894
01:01:00,210 --> 01:01:04,610
What does that tell about Shakespeare? Again, this

895
01:01:04,610 --> 01:01:07,070
is like he's being a social critic and also a

896
01:01:07,070 --> 01:01:11,470
literary critic. See the point? He's being a

897
01:01:11,470 --> 01:01:14,610
literal critic. As if, again, he's saying that,

898
01:01:14,970 --> 01:01:18,470
stop doing this in your sonnets, come on. In his

899
01:01:18,470 --> 01:01:22,390
own way. He goes back to something else. How would

900
01:01:22,390 --> 01:01:24,830
a woman feel reading this? Would a woman feel

901
01:01:24,830 --> 01:01:27,110
comfortable, uncomfortable? And I like how you

902
01:01:27,110 --> 01:01:30,250
give me different opinions. Again, whatever

903
01:01:30,250 --> 01:01:33,370
opinion you believe in, just go for it, support it

904
01:01:33,370 --> 01:01:35,010
with textual evidence, and you're good to go.

905
01:01:36,130 --> 01:01:37,610
Where is the woman in the text? And this is the

906
01:01:37,610 --> 01:01:40,610
point I want to go back to The huge difference

907
01:01:40,610 --> 01:01:42,530
between shall I compare thee to a summer's day,

908
01:01:42,530 --> 01:01:44,950
one of the major differences shall I compare thee

909
01:01:44,950 --> 01:01:48,850
to a summer's day and my mistress eyes is what?

910
01:01:52,870 --> 01:01:57,630
Shall I compare thee to a summer's day? Say again?

911
01:02:00,410 --> 01:02:04,050
We don't have the woman here

912
01:02:06,830 --> 01:02:08,850
Okay. What about this poem?

913
01:02:13,710 --> 01:02:17,970
What pronoun do you have here?

914
01:02:20,370 --> 01:02:26,370
Okay. What I feel is that sonnet 18, the woman is

915
01:02:26,370 --> 01:02:30,170
present. He's talking to her face. He's talking to

916
01:02:30,170 --> 01:02:37,310
her. Shall I compare thee thou art gives life to

917
01:02:37,310 --> 01:02:42,470
thee. Yes, she is silent or silenced. Probably

918
01:02:42,470 --> 01:02:45,150
Shakespeare is shushing her like I'm shushing you

919
01:02:45,150 --> 01:02:49,250
now. But she is present because he's talking to

920
01:02:49,250 --> 01:02:51,890
her. Please, any poem you read, look at the

921
01:02:51,890 --> 01:02:55,190
tenses, look at the pronouns. Try to locate and

922
01:02:55,190 --> 01:02:57,550
position the speaker and to examine who the

923
01:02:57,550 --> 01:03:01,750
addressee is. In Sonnet 18, the woman is there, at

924
01:03:01,750 --> 01:03:05,770
least fictionally speaking. In sonnet 130, the

925
01:03:05,770 --> 01:03:09,210
woman is not there. She is absent and also silent

926
01:03:09,210 --> 01:03:13,670
or silenced. So he's using the third person

927
01:03:13,670 --> 01:03:19,270
pronoun here. She, her eyes, she, she. she's

928
01:03:19,270 --> 01:03:22,850
absent and again what does this what does this say

929
01:03:22,850 --> 01:03:27,550
about the the whole sonnet like you know uh uh he

930
01:03:27,550 --> 01:03:30,630
he he can't even stand in front of her and read

931
01:03:30,630 --> 01:03:33,610
the poem recite the poem does he know that she's

932
01:03:33,610 --> 01:03:36,890
going to i don't know punch him if they say that

933
01:03:36,890 --> 01:03:39,310
this is offensive he cares about her and he does

934
01:03:39,310 --> 01:03:42,780
not want to say all these things in her face But

935
01:03:42,780 --> 01:03:45,160
it's even worse if he's saying behind her back,

936
01:03:45,320 --> 01:03:48,440
like who's he saying this to? Her mother-in-law?

937
01:03:52,520 --> 01:03:56,340
I want you to think of this, why is the woman

938
01:03:56,340 --> 01:04:04,850
absent, totally absent? Okay, nice, nice. Where is

939
01:04:04,850 --> 01:04:07,830
the woman in the poem? Is that enough? I want you

940
01:04:07,830 --> 01:04:12,530
to try to see how the sonnet turns at the couplet

941
01:04:12,530 --> 01:04:15,850
there. I'll just go through this very quickly. We

942
01:04:15,850 --> 01:04:19,530
can comment on this online. So parody, Shakespeare

943
01:04:19,530 --> 01:04:24,990
here is turning traditional standards of beauty on

944
01:04:24,990 --> 01:04:29,670
their head. Not in, on their head. He's turning

945
01:04:29,670 --> 01:04:35,430
things upside down. Inside out, trying to change

946
01:04:35,430 --> 01:04:39,730
the social constructs. The beloved's imperfections

947
01:04:39,730 --> 01:04:43,130
here rather than her perfections are highlighted

948
01:04:43,130 --> 01:04:47,090
and emphasized. Idealistic love it seems, like

949
01:04:47,090 --> 01:04:49,170
courtly love, is being mocked.

950
01:04:52,050 --> 01:04:55,690
which again breaks new ground. If Shakespeare is

951
01:04:55,690 --> 01:04:57,910
again assuming to be a social critic and a

952
01:04:57,910 --> 01:04:59,970
literary critic, that is really interesting. Can

953
01:04:59,970 --> 01:05:03,490
we find more of this in Shakespeare? Because by

954
01:05:03,490 --> 01:05:05,830
the way, if you go to Hamlet, Shakespeare always

955
01:05:05,830 --> 01:05:09,450
makes fun of himself because he was always accused

956
01:05:09,450 --> 01:05:14,130
of having these long monologues, boring speeches,

957
01:05:14,410 --> 01:05:16,910
et cetera. In Hamlet, you'll find many times

958
01:05:16,910 --> 01:05:19,670
Shakespeare making fun of himself. as a

959
01:05:19,670 --> 01:05:23,230
playwright. So this is significant to me. Breaks

960
01:05:23,230 --> 01:05:25,570
new ground and allows people to reconsider the

961
01:05:25,570 --> 01:05:29,390
social constructs imposed upon them by offering a

962
01:05:29,390 --> 01:05:33,550
possibility, a new worldview. And this is parody,

963
01:05:34,050 --> 01:05:38,510
not always comic. We'll see this later on. So we

964
01:05:38,510 --> 01:05:41,370
go back to the sonnet, just to summarize in two

965
01:05:41,370 --> 01:05:45,750
minutes. Fourteen lines, love poem, Italy,

966
01:05:46,290 --> 01:05:48,790
Petrarca. You know I was surprised that Petrarca

967
01:05:48,790 --> 01:05:51,970
doesn't end in a vowel like almost all Italian

968
01:05:51,970 --> 01:05:55,390
words. And I assume that this man is originally, I

969
01:05:55,390 --> 01:05:59,250
don't know, an Arab because it turns out that in

970
01:05:59,250 --> 01:06:03,490
Italian he is Petrarca. So still we go back to the

971
01:06:03,490 --> 01:06:08,010
beautiful Italian vowel at the end. And Dante,

972
01:06:08,170 --> 01:06:11,390
14th century, the sunet migrated to England by,

973
01:06:11,590 --> 01:06:13,630
and it was brought by Henry Howard and Sir Thomas

974
01:06:13,630 --> 01:06:17,850
Wyatt in the 16th century. The Petrarch, the

975
01:06:17,850 --> 01:06:20,910
Petrarchan sunet, just as a reminder, has two

976
01:06:20,910 --> 01:06:24,510
parts, the octave, eight line stanzas, the sextet,

977
01:06:24,690 --> 01:06:27,990
six line stanzas, and the rhyme scheme here, we

978
01:06:27,990 --> 01:06:29,690
have the octave presenting the crisis, the

979
01:06:29,690 --> 01:06:34,970
dilemma. and assist it trying to make sense of the

980
01:06:34,970 --> 01:06:40,990
world, present a closure or a resolution. With

981
01:06:40,990 --> 01:06:44,740
Shakespeare however A sonnet rhymes differently. A

982
01:06:44,740 --> 01:06:49,660
B A B C D C D E F E F G with Shakespeare get to GG

983
01:06:49,660 --> 01:06:51,560
and you're fine. No GG, no Shakespeare.

984
01:06:52,380 --> 01:06:54,480
Shakespeare's sonnets consist of three quadrants

985
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and one couplet. Sometimes line nine is the volta

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or the twist and sometimes the couplet itself is

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the twist. Ten syllables, five feet each line.

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iambic pentameter like 95% of the time or 90% of

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the time. The iambic pentameter is similar to the

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conversational tone of English, some people think.

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That's why almost 80% of English poetry, this is a

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number I just made up, is iambic pentameter. The

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sonnets usually develop an idea in each of the

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three quadrants and then the rhyming couplet

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offers a closure or a resolution.

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There's so many themes in Shakespeare, and that's

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why Shakespeare not only experimented on the form

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and the rhyme scheme, he tried to expand the theme

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itself, not only pure love, the woman and how she

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behaves and how she looks. To include time,

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mortality, immortality, transience of beauty,

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lawlessness of life, destructiveness of nature,

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inevitability of death, immortality of art, and

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his poetry, which is really interesting. Going to

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the form, the sonnet's form is rigid and rigid not

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in a negative way here, like it's very strict,

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it's highly calculated, something that allows the

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poet to focus his topic or hair of course.

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Basically, the highly calculated structure brings

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order to the disorder of life, tries to control

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the uncontrollable. It says next, sometimes the

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neatness of the sonnet presents a stark contrast

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to the harsh reality. It's neat, it's order, it's

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organized, but reality is harsh and tough. So it

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presents a stark contrast to the harsh reality of

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life that does not conform to an ordered pattern.

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Honor beauty or respect genius. Life does not

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conform to order. Life does not honor beauty. Life

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does not respect genius. And that's why

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Shakespeare is trying to confront this. I should

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live forever. And he does in his poetry. The form

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requires compression of ideas in such a way where

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the topic is highly intensified. And this is

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finally what I wanted to say about the sonnet. We

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will keep going back to the sonnet. I'll stop

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here. Next class we have Christopher Marlowe's The

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Passionate Shepherd. A very interesting poem.

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We're still doing Renaissance poetry. Thank you.

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If you have questions, please stay behind.