1 00:00:04,070 --> 00:00:08,150 Okay ladies, good morning from Palestine, Gaza, 2 00:00:08,250 --> 00:00:12,610 the Islamic University of Gaza. We continue our 3 00:00:12,610 --> 00:00:16,770 English poetry course at the Islamic University 4 00:00:16,770 --> 00:00:21,450 English department. Next week is the midterms, so 5 00:00:21,450 --> 00:00:25,510 let's do some kind of review, but before we do 6 00:00:25,510 --> 00:00:30,870 that, I want to go again, just very quickly 7 00:00:30,870 --> 00:00:35,590 preview the two poems we discussed last time. 8 00:00:38,730 --> 00:00:43,130 Remember, when you approach a poem, you have to do 9 00:00:43,130 --> 00:00:46,290 it strategically and systematically. You could use 10 00:00:46,290 --> 00:00:51,670 whatever approach, whatever system, 11 00:00:51,830 --> 00:00:54,720 whatever approach, whatever you like. But at the 12 00:00:54,720 --> 00:00:57,440 end of the day, you need to give me some kind of 13 00:00:57,440 --> 00:01:02,420 comprehensive reading of the poem. I personally 14 00:01:02,420 --> 00:01:05,360 like to start with the little things, so I can 15 00:01:05,360 --> 00:01:09,820 build a case, build a pattern out of the things 16 00:01:09,820 --> 00:01:15,040 that the poets give us. There's always this 17 00:01:15,040 --> 00:01:17,980 question of authorial intention, whether the 18 00:01:17,980 --> 00:01:21,580 author intended something or not. We don't care 19 00:01:21,580 --> 00:01:26,480 about this, because the poem, language, poetry, 20 00:01:26,640 --> 00:01:30,500 literature, they're bigger than us. They're more 21 00:01:30,500 --> 00:01:37,360 pervasive than us, than even the writers. And 22 00:01:37,360 --> 00:01:40,520 there's this theory that suggests that once the 23 00:01:40,520 --> 00:01:43,160 author, once somebody publishes a text, it no 24 00:01:43,160 --> 00:01:46,420 longer becomes his or hers, because this person, 25 00:01:46,540 --> 00:01:51,250 this author, writer, turns into a reader. So don't 26 00:01:51,250 --> 00:01:56,350 try to seek what the author originally intended. 27 00:01:57,250 --> 00:01:59,210 So sometimes we deal with a poem and try to see 28 00:01:59,210 --> 00:02:02,590 what we get from it. And because this is 29 00:02:02,590 --> 00:02:07,970 sometimes done with different approaches. For example, 30 00:02:08,070 --> 00:02:11,210 the reader response theories would suggest that 31 00:02:11,210 --> 00:02:14,530 there are as many meanings or interpretations to a 32 00:02:14,530 --> 00:02:18,160 text as there are readers. This is good. I always 33 00:02:18,160 --> 00:02:20,960 encourage you to give me your opinion to see how 34 00:02:20,960 --> 00:02:27,940 things are said or done. But in order to make a 35 00:02:27,940 --> 00:02:31,020 balance, we try to look at the text itself. And 36 00:02:31,020 --> 00:02:32,920 this is the most significant thing to me. This is 37 00:02:32,920 --> 00:02:34,740 how I like to do things. This is how I like to 38 00:02:34,740 --> 00:02:37,950 appreciate literature, studying the structures, 39 00:02:38,110 --> 00:02:40,370 studying the forms, studying the language, the 40 00:02:40,370 --> 00:02:45,470 word order, which could be called the close 41 00:02:45,470 --> 00:02:50,010 reading approach where you try to see the beauty 42 00:02:50,010 --> 00:02:53,550 of how words can do magic, how changing the word 43 00:02:53,550 --> 00:02:56,170 order, how changing or replacing one word with 44 00:02:56,170 --> 00:02:59,280 another can create a fascinating metaphor or 45 00:02:59,280 --> 00:03:02,920 a particular sound pattern or anything like we 46 00:03:02,920 --> 00:03:06,200 studied many times. That's why I know 47 00:03:06,200 --> 00:03:08,580 some of you would hate it when I just say, why is 48 00:03:08,580 --> 00:03:10,320 this stressed? Why isn't this stressed? Why is 49 00:03:10,320 --> 00:03:14,580 there a perfect rhyme, not a perfect rhyme? In my 50 00:03:14,580 --> 00:03:18,660 opinion, this is a more beautiful approach. It 51 00:03:18,660 --> 00:03:21,500 helps you to appreciate language and literature. 52 00:03:21,660 --> 00:03:26,750 It helps you dive deeper and deeper into the language 53 00:03:26,750 --> 00:03:31,370 itself. Because I believe that there are only a 54 00:03:31,370 --> 00:03:33,030 handful of themes out there. 55 00:03:35,950 --> 00:03:38,750 Romanticism, mainly it's about what? Anti- 56 00:03:38,750 --> 00:03:42,070 authoritarian, anti-establishment, nature, 57 00:03:42,290 --> 00:03:47,370 poetry. Isn't that it? Childhood, right? Right? 58 00:03:48,130 --> 00:03:54,360 Innocence. Countryside. Impact of nature on us. So 59 00:03:54,360 --> 00:03:56,840 if you study a hundred poems by William 60 00:03:56,840 --> 00:03:59,200 Wordsworth, and at the end of the day, all you 61 00:03:59,200 --> 00:04:03,200 look for is nature, nature, nature, nature, isn't 62 00:04:03,200 --> 00:04:07,080 that repetitive and boring? But look at how he 63 00:04:07,080 --> 00:04:11,120 does different things sometimes to get to the same 64 00:04:11,120 --> 00:04:14,760 theme, the same objective. And I mentioned this 65 00:04:14,760 --> 00:04:19,320 last time, if poets believed that it's all about 66 00:04:19,320 --> 00:04:21,420 the theme, they could have stopped writing poetry 67 00:04:21,420 --> 00:04:24,820 centuries ago. Because why would I write a new 68 00:04:24,820 --> 00:04:27,620 poem if there is another love poem that exists 69 00:04:27,620 --> 00:04:32,120 already? Why wouldn't I borrow the poem? And 70 00:04:32,120 --> 00:04:35,050 that's it, that's fine. Everyone is different. 71 00:04:35,210 --> 00:04:41,690 Everyone is amazing in his or her own way. 72 00:04:42,210 --> 00:04:48,310 And I quoted someone who told a critic, I have so 73 00:04:48,310 --> 00:04:52,850 many ideas, I want to write poetry. Because we 74 00:04:52,850 --> 00:04:55,210 think, we do this sometimes, wow, I'm reading 75 00:04:55,210 --> 00:04:58,590 these books, you know, listening to these speeches 76 00:04:58,590 --> 00:05:01,870 or talks or TEDx or whatever, and then like, you 77 00:05:01,870 --> 00:05:04,930 feel that you're inspired because you have so many 78 00:05:04,930 --> 00:05:05,570 ideas. 79 00:05:08,050 --> 00:05:11,990 And then the man said, poetry, my friend, is made 80 00:05:11,990 --> 00:05:15,410 with words, not with ideas. And I connected this 81 00:05:15,410 --> 00:05:19,730 with even Coleridge's definition of poetry, that 82 00:05:19,730 --> 00:05:25,830 poetry is the best words in the best order. So 83 00:05:25,830 --> 00:05:27,970 there is always this deliberate, conscious attempt 84 00:05:27,970 --> 00:05:30,650 to choose the word that is 85 00:05:30,650 --> 00:05:32,790 most suitable for its context. For 86 00:05:37,510 --> 00:05:40,610 example, with John Donne, remember before John 87 00:05:40,610 --> 00:05:42,830 Donne, during John Donne's time, the classical and 88 00:05:42,830 --> 00:05:45,370 Augustan poets, they were speaking about lofty 89 00:05:45,370 --> 00:05:48,910 subject matter and used lofty, elevated, highly 90 00:05:48,910 --> 00:05:53,990 sophisticated diction. This has to be balanced. 92 00:05:54,850 --> 00:05:57,590 Now when John Donne wrote differently, used 93 00:05:57,590 --> 00:06:00,070 different language, a different conversational tone 94 00:06:00,070 --> 00:06:03,030 and everything, he was accused in many books, if you 95 00:06:03,030 --> 00:06:06,030 open the books you will see them describing 96 00:06:06,030 --> 00:06:09,790 John Donne's language as vulgar. And I don't think 97 00:06:09,790 --> 00:06:12,530 John Donne's language is vulgar. It's just that 98 00:06:12,530 --> 00:06:15,030 people were not used to using this language in 99 00:06:15,030 --> 00:06:16,810 this particular way. It doesn't make it, it 100 00:06:16,810 --> 00:06:18,490 doesn't mean it's not poetic, doesn't mean it's 101 00:06:18,490 --> 00:06:20,410 wrong, but for them it was the wrong language 102 00:06:20,410 --> 00:06:22,770 because when you talk about God, how would you 103 00:06:22,770 --> 00:06:25,710 talk about God and say like what he did, for 104 00:06:25,710 --> 00:06:29,030 example, "Batter my heart, three-personed God, ravish 105 00:06:29,030 --> 00:06:34,010 me" and these phrases and giving orders to God or 106 00:06:34,010 --> 00:06:38,550 "Death be not proud." You see, he "spit in my face," 107 00:06:38,650 --> 00:06:42,130 Jews, with one of the sonnets. This is vulgar for 108 00:06:42,130 --> 00:06:43,910 so many, but for Donne, this is the most 109 00:06:43,910 --> 00:06:47,150 suitable language. This is the best of words. 110 00:06:47,870 --> 00:06:50,210 Unlike Trump, of course, who claims to have the best words, 111 00:06:50,330 --> 00:06:51,870 who claims to have the best words. So when you 112 00:06:51,870 --> 00:06:55,070 look at this poem, we try to make sense of the 113 00:06:55,070 --> 00:06:57,590 form, of the shape. We say this is a short poem of 114 00:06:57,590 --> 00:07:00,910 four stanzas. We count the lines, so try to see if 115 00:07:00,910 --> 00:07:04,410 he is creating a perfect structure or not. And then 116 00:07:04,410 --> 00:07:07,620 in poetry, we always have this. So one, two, 117 00:07:07,740 --> 00:07:10,440 three, four, five, six, right? Six lines, six 118 00:07:10,440 --> 00:07:14,200 lines, six lines, six lines. We examine the rhyme 119 00:07:14,200 --> 00:07:19,140 scheme and we realize that stanza one, stanza two, 120 00:07:19,260 --> 00:07:21,840 and stanza four have perfect rhyme schemes. The 121 00:07:21,840 --> 00:07:25,220 same regular, perfect rhyme scheme except for 122 00:07:25,220 --> 00:07:28,910 stanza number three. Here we take a note 123 00:07:28,910 --> 00:07:32,150 because there could be something significant. If there is any 124 00:07:32,150 --> 00:07:35,910 imperfection, or a stanza that has, or a line that 125 00:07:35,910 --> 00:07:39,470 has an extra syllable or two extra syllables, it is 126 00:07:39,470 --> 00:07:42,370 usually something the poet is trying to draw our 127 00:07:42,370 --> 00:07:44,950 attention to. Like he's telling us, slow down 128 00:07:44,950 --> 00:07:48,310 here, I'm sending you a message. Of course, people 129 00:07:48,310 --> 00:07:50,490 who don't study poetry will not pay attention to 130 00:07:50,490 --> 00:07:52,130 these things. That's why it makes you special, 131 00:07:52,250 --> 00:07:55,740 makes you different. That's why I always say this, 132 00:07:55,880 --> 00:07:57,680 those who study English literature and English 133 00:07:57,680 --> 00:08:01,480 poetry become the best translators and the best 134 00:08:01,480 --> 00:08:04,380 writers and the best journalists because you 135 00:08:04,380 --> 00:08:07,300 understand these tiny differences that people 136 00:08:07,300 --> 00:08:10,210 never pay attention to. You just say, Wait a minute, 137 00:08:10,290 --> 00:08:15,170 some time ago a student came to me and said, I met 138 00:08:15,170 --> 00:08:18,390 a student from another university and I discussed 139 00:08:18,390 --> 00:08:20,830 with her, we spoke about poetry, she's studying 140 00:08:20,830 --> 00:08:23,150 poetry, I'm studying poetry, and she was amazed at 141 00:08:23,150 --> 00:08:27,310 how we do things and how beautifully different we 142 00:08:27,310 --> 00:08:30,250 are. And I hope this is going to make a huge 143 00:08:30,250 --> 00:08:36,830 impact on you. So like I remember we said the 144 00:08:36,830 --> 00:08:38,950 themes, for example, we understand that this is a 145 00:08:38,950 --> 00:08:42,170 Romantic text, we understand even if we don't 146 00:08:42,170 --> 00:08:45,410 know in the final exam you will have an unseen 147 00:08:45,410 --> 00:08:48,920 extract from a poem you didn't study, unless you 148 00:08:48,920 --> 00:08:52,660 really read a lot of poetry and you come across it. 149 00:08:53,480 --> 00:08:57,560 And it's your job to try to tell whether this is 150 00:08:57,560 --> 00:09:01,400 probably Romantic or Metaphysical or 20th-century 151 00:09:01,400 --> 00:09:06,960 or war poetry or Shakespearean from the sensibility, 152 00:09:07,220 --> 00:09:10,820 the features, the form, you know? So if you study 153 00:09:10,820 --> 00:09:16,220 this poem, this is a pure nature poem, right? Is 154 00:09:16,220 --> 00:09:19,200 he saying at the end of the day, for example, and 155 00:09:19,200 --> 00:09:23,280 these daffodils look like your cheeks when you eat 156 00:09:23,280 --> 00:09:26,800 pizza? He's not using this whole scene just as 157 00:09:26,800 --> 00:09:30,520 some kind of decoration to make a point, etc. 158 00:09:30,700 --> 00:09:34,720 He's writing this about nature, inspired by nature, 159 00:09:34,840 --> 00:09:37,040 to nature. And we've seen at the end how he 160 00:09:37,040 --> 00:09:42,120 submitted himself totally to nature. Okay. 161 00:09:45,420 --> 00:09:48,740 Now, we paid attention to little things that I 162 00:09:48,740 --> 00:09:51,320 consider to be huge, like a poet could not but be 163 00:09:51,320 --> 00:09:55,640 in awe of nature, and the ending line where we have a stress on 164 00:09:55,640 --> 00:09:59,640 a word that normally shouldn't be stressed, and we 165 00:09:59,640 --> 00:10:02,200 connected this with the theme of the poem. If you 166 00:10:02,200 --> 00:10:05,540 were to read it with, "and dances with the daffodils." 167 00:10:06,670 --> 00:10:09,850 "and dances with the daffodils" in this stressed 168 00:10:09,850 --> 00:10:13,930 way, indicating the emphasis of this word being 169 00:10:13,930 --> 00:10:16,470 the key issue in the whole, being the theme of the 170 00:10:16,470 --> 00:10:19,950 poem. This is about oneness, melting in nature, 171 00:10:20,850 --> 00:10:23,390 becoming one with, I don't know if adopting is the right 172 00:10:23,390 --> 00:10:26,670 word, but submitting yourself to nature, allowing 173 00:10:26,670 --> 00:10:29,590 yourself to be controlled and overwhelmed by 174 00:10:29,590 --> 00:10:31,890 nature, not the other way around. 175 00:10:33,690 --> 00:10:35,550 Now, and then I spoke a little bit about this. 176 00:10:37,700 --> 00:10:42,100 Fascinating poem. Remember the first thing that we 177 00:10:42,100 --> 00:10:44,880 look at, it's a short poem, and then we count the 178 00:10:44,880 --> 00:10:48,180 lines, 14 lines. Some of you might be 179 00:10:48,180 --> 00:10:52,880 surprised because, wait a minute, didn't some of 180 00:10:52,880 --> 00:10:55,100 you say the best definition for poetry is the 181 00:10:55,100 --> 00:10:57,400 spontaneous overflow of powerful feelings 182 00:10:57,400 --> 00:11:02,200 recollected in tranquility? Probably it still is. 183 00:11:02,970 --> 00:11:05,410 And now, when we realize that this is a sonnet, 184 00:11:05,690 --> 00:11:07,890 and then we examine it and we understand that this 185 00:11:07,890 --> 00:11:11,430 is a Petrarchan, or Italian sonnet with an A, B, B, A, 186 00:11:11,530 --> 00:11:16,030 A, B, B, A, C, D, C, D, C, D rhyme scheme. If you 187 00:11:16,030 --> 00:11:19,170 count the syllables and you realize that they're 188 00:11:19,170 --> 00:11:23,050 all 10 syllables, five feet each, except maybe 189 00:11:23,050 --> 00:11:27,050 this one. Unless, remember we said, "and all bright 190 00:11:27,050 --> 00:11:31,910 and glittering in the smokeless air." If you, I'm 191 00:11:31,910 --> 00:11:34,430 not sure if the original manuscript, if it just 192 00:11:34,430 --> 00:11:36,830 removes the, you know, sometimes the apostrophe 193 00:11:36,830 --> 00:11:40,170 instead of one syllable here, the apostrophe, the 194 00:11:40,170 --> 00:11:45,190 schwa. So if you could still say, "all bright and 195 00:11:45, 223 00:13:31,920 --> 00:13:34,740 Sad, that probably he's like at home, like, 224 00:13:35,320 --> 00:13:39,520 Okay. But so this could be, this could apply here. 225 00:13:39,600 --> 00:13:42,620 He's, he's at home asleep, hungry, thinking of 226 00:13:42,620 --> 00:13:44,900 something in a vacant or impulsive mood. And then he 227 00:13:44,900 --> 00:13:50,440 remembered this experience on the bridge early in 228 00:13:50,440 --> 00:13:56,720 the morning and then, wow. Actually, he denies that, 229 00:13:56,820 --> 00:14:00,260 because the word "recollected" means that it's being 230 00:14:00,260 --> 00:14:03,240 studied, it's being thought of, and it's being 231 00:14:03,240 --> 00:14:06,620 organized. So maybe the spontaneous overflow of 232 00:14:06,620 --> 00:14:10,080 feelings is when he actually looked at it. Then he 233 00:14:10,080 --> 00:14:12,940 recollected it, and studied it, and organized it. 234 00:14:13,100 --> 00:14:16,180 Recollected, okay, if you take "recollected" as 235 00:14:16,180 --> 00:14:19,760 such, possible. But "recollected" doesn't 236 00:14:19,760 --> 00:14:22,820 necessarily, doesn't only mean this. The first 237 00:14:22,820 --> 00:14:26,850 thing that comes to mind is "recalled," remembered. 238 00:14:27,430 --> 00:14:30,590 He could have said, "and I would be studying it." 239 00:14:31,330 --> 00:14:35,210 I'm not denying this. There's no such, I know like 240 00:14:35,210 --> 00:14:38,290 great poets always do this. That's why free verse 241 00:14:38,290 --> 00:14:40,310 sometimes, you know, poetry, blank verse, 242 00:14:40,390 --> 00:14:41,970 sometimes you could write something and you never 243 00:14:41,970 --> 00:14:44,630 touch it and it's the perfect text. If you want to 244 00:14:44,630 --> 00:14:48,190 write a sonnet, you sometimes take the hammer and 245 00:14:48,190 --> 00:14:51,450 do some, you know, hammering here or there in 246 00:14:51,450 --> 00:14:55,360 order to just make it smoother, or not, to indicate 247 00:14:55,360 --> 00:14:58,740 something. Okay. Let me first discuss the meaning 248 00:14:58,740 --> 00:15:03,220 of poetry. Like, this word's definition was my 249 00:15:03,220 --> 00:15:05,540 least favorite because I did not really believe in 250 00:15:05,540 --> 00:15:09,240 all the spontaneous overflow of thoughts and 251 00:15:09,240 --> 00:15:11,500 feelings. But at the same time, I remember, like, 252 00:15:11,540 --> 00:15:13,320 I tried to compare this with Arabic. And I 253 00:15:13,320 --> 00:15:14,920 remember in Arabic, we have something, I do not 254 00:15:14,920 --> 00:15:18,380 remember the term, but like when poets used to 255 00:15:18,380 --> 00:15:21,200 stand in front of each other and start, like, 256 00:15:21,280 --> 00:15:24,810 mocking each other and satirizing. But many people 257 00:15:24,810 --> 00:15:28,330 still do this. Yes, but they write the poetry on 258 00:15:28,330 --> 00:15:31,710 the spot and it is spontaneous overflow of 259 00:15:31,710 --> 00:15:33,790 powerful feelings and it is very highly 260 00:15:33,790 --> 00:15:36,430 structured. So I think that in Arabic it's like a 261 00:15:36,430 --> 00:15:38,930 more, like, I don't know, maybe because it's an 262 00:15:38,930 --> 00:15:41,210 older language and it's more structured than 263 00:15:41,210 --> 00:15:44,010 English. English is more of a modern language, so 264 00:15:44,010 --> 00:15:48,730 I don't think that it applies to these. That's 265 00:15:48,730 --> 00:15:53,550 also possible if you are a poet. I'm sure some of 266 00:15:53,550 --> 00:15:55,890 you have started writing more and more poetry recently. 267 00:15:57,190 --> 00:15:59,030 And that's why it's the best thing to understand 268 00:15:59,030 --> 00:16:03,670 poetry is to write it. Try to write a sonnet. Give 269 00:16:03,670 --> 00:16:06,990 it a try. Tell yourself, okay, next inspiration, 270 00:16:07,170 --> 00:16:11,010 next revelation, I'm writing a sonnet. I'm sure 271 00:16:11,010 --> 00:16:12,690 it's not going to be easy, but it's not going to 272 00:16:12,690 --> 00:16:15,410 be impossible at the same time. If you write it, 273 00:16:15,470 --> 00:16:17,710 you'll end up, and we're not native speakers, 274 00:16:17,810 --> 00:16:20,090 we're not Shakespeare, we're not Wordsworth. There 275 00:16:20,090 --> 00:16:22,910 is a possibility that he just wrote it and he did 276 00:16:22,910 --> 00:16:26,790 nothing. Many people feel this, that the music is 277 00:16:26,790 --> 00:16:30,410 there, there is harmony, and some people would 278 00:16:30,410 --> 00:16:33,990 say, no, there is no harmony. Like when you, it's 279 00:16:33,990 --> 00:16:38,310 just try to read the poem for yourself aloud. If 280 00:16:38,310 --> 00:16:40,230 you look at Shakespeare's sonnets, they mostly 281 00:16:40,230 --> 00:16:44,690 flow. You know? They mostly flow. Try to sing it 282 00:16:44,690 --> 00:16:48,630 alone. They mostly flow. John Donne, for example, 283 00:16:48,730 --> 00:16:50,990 they don't usually flow. Because with John Donne, 284 00:16:51,590 --> 00:16:58,150 he, you know, plays with the meter a lot. Not just 285 00:16:58,150 --> 00:17:01,170 like, for example, with, we said, "Shall I compare 286 00:17:01,170 --> 00:17:03,170 thee to a summer's day?" That were more lovely and 287 00:17:03,170 --> 00:17:05,090 more temperate? Rough winds do shake the darling 288 00:17:05,090 --> 00:17:07,530 buds of May, and summer's lease hath all too short 289 00:17:07,530 --> 00:17:11,560 a date. Like, it flows. But with John Donne, 290 00:17:11,640 --> 00:17:13,520 sometimes you have to slow down, even with the 291 00:17:13,520 --> 00:17:15,700 romantics, despite the simplicity of structure, 292 00:17:16,440 --> 00:17:19,660 sometimes it doesn't flow as it used to because 293 00:17:19,660 --> 00:17:23,640 they have more freedom nowadays. They have this 294 00:17:23,640 --> 00:17:27,580 intention to break the rules. So I'm not saying 295 00:17:27,580 --> 00:17:31,860 that it doesn't totally, but again, it attracts 296 00:17:31,860 --> 00:17:33,920 our attention. So why are you choosing, that's the 297 00:17:33,920 --> 00:17:37,660 question I'm raising. Why are you using the form 298 00:17:37,660 --> 00:17:41,790 of a sonnet? Could this be connected with the fact 299 00:17:41,790 --> 00:17:46,270 that he is in London? You know, the sonnet being, 300 00:17:46,990 --> 00:17:49,470 sorry to use this term, being restrictive, in a way 301 00:17:49,470 --> 00:17:51,350 it doesn't allow you to say everything, it 302 00:17:51,350 --> 00:17:55,070 controls you. And London controlling everybody's 303 00:17:55,070 --> 00:17:59,790 life, even the tiny little, you know, like things 304 00:17:59,790 --> 00:18:03,750 you do. There are so many rules, there are so many 305 00:18:03,750 --> 00:18:06,330 regulations in London, and that's why he chose 306 00:18:06,330 --> 00:18:10,710 this perfect form, the sonnet, to mirror this kind 307 00:18:10,710 --> 00:18:13,310 of relationship between man and poetry and man and 308 00:18:13,310 --> 00:18:18,850 the city and man and London. Okay? And at the same 309 00:18:18,850 --> 00:18:23,110 time, you could also be surprised by the fact that 310 00:18:23,110 --> 00:18:26,810 this man is praising London. The meme I posted the 311 00:18:26,810 --> 00:18:29,850 other day, last night, about this man saying, 312 00:18:30,050 --> 00:18:31,710 you know, "My heart with pleasure fills and dances 313 00:18:31,710 --> 00:18:33,450 with the daffodils." The daffodils are everything. 314 00:18:34,190 --> 00:18:37,590 I love them. They're the most perfect thing I have 315 00:18:37,590 --> 00:18:41,860 ever seen. And then he is saying, "the city now 316 00:18:41,860 --> 00:18:44,120 does like a garment, wear the beauty of the 317 00:18:44,120 --> 00:18:48,020 morning, silent, bare, and still, so touching in its 318 00:18:48,020 --> 00:18:51,500 majesty." Why on earth is this man praising the 319 00:18:51,500 --> 00:18:56,040 city? We said romantic literature, this is a core 320 00:18:56,040 --> 00:19:02,040 feature of Romanticism. It's in its essence, an 321 00:19:02,040 --> 00:19:02,960 anti-city portrait. 322 00:19:06,360 --> 00:19:08,280 A kind of poetry that hates the city, that 323 00:19:08,280 --> 00:19:10,960 considers the city to be the source of corruption, 324 00:19:11,100 --> 00:19:13,800 the source of depersonalization, the source of 325 00:19:13,800 --> 00:19:18,660 fragmentation, whatever you call it. So go back, 326 00:19:18,760 --> 00:19:21,920 that's why a return to nature is a major Romantic 327 00:19:21,920 --> 00:19:23,860 feature. Let's go back to nature, to Mother 328 00:19:23,860 --> 00:19:28,700 Nature. And by the way, the name "Romantic," at that 329 00:19:28,700 --> 00:19:31,300 time, they didn't call themselves the Romantic 330 00:19:31,300 --> 00:19:35,180 poets or Romantics. Later critics did this. And 331 00:19:35,180 --> 00:19:37,180 the term at that time, the term "Romantic" was used 332 00:19:37,180 --> 00:19:42,880 to refer to medieval times. To medieval times, a 333 00:19:42,880 --> 00:19:46,060 time when there was less, there was basically no 334 00:19:46,060 --> 00:19:49,720 industrial revolution, no factories, no steam 335 00:19:49,720 --> 00:19:52,540 engine, no engines, no pollution, at least 336 00:19:52,540 --> 00:19:54,380 compared to that time. Pollution, corruption, 337 00:19:55,820 --> 00:20:00,690 people were basically, of course, man was never 338 00:20:00,690 --> 00:20:04,790 good. But compared to those times, it was a lot 339 00:20:04,790 --> 00:20:08,070 better in the past. And this, I guess, why he 340 00:20:08,070 --> 00:20:12,550 jumps over Shakespeare and picks a form that is 341 00:20:12,550 --> 00:20:17,670 also as old as those, you know, medieval times. 342 00:20:18,800 --> 00:20:25,940 At times described as, I don't know, like when man 343 00:20:25,940 --> 00:20:28,440 was not in control of nature like he is now, 344 00:20:28,440 --> 00:20:31,820 destroying nature at that time. And this also 345 00:20:31,820 --> 00:20:35,120 could be connected with the fact that he's using 346 00:20:35,120 --> 00:20:41,860 these words, "doth." If he said "does," it's the same 347 00:20:41,860 --> 00:20:44,360 thing. It's going to be the same thing meter-wise, 348 00:20:44,700 --> 00:20:50,370 rhythm-wise. But he opts for "doth." And then 349 00:20:50,370 --> 00:20:53,010 the same thing with the river Glym. It's 350 00:20:53,010 --> 00:20:56,530 "glides," if you add this, it takes an extra 351 00:20:56,530 --> 00:21:00,070 syllable here. Glym. So river Glym. He goes 352 00:21:00,070 --> 00:21:03,470 back. I'm sure some of you are familiar with 353 00:21:03,470 --> 00:21:08,310 William Blake's "London." When he expresses his 354 00:21:08,310 --> 00:21:10,950 anger that everything is chartered, everything is 355 00:21:10,950 --> 00:21:16,020 in chains, in manacles. Man is controlling and 356 00:21:16,020 --> 00:21:18,120 regulating everything, there's no freedom, 357 00:21:18,280 --> 00:21:21,560 everything, even whatever is suffocating, being 358 00:21:21,560 --> 00:21:24,820 polluted and being controlled. So he's again 359 00:21:24,820 --> 00:21:27,120 jumping to the past, and that's why again the 360 00:21:27,120 --> 00:21:30,080 beauty of how to understand this, and these are 361 00:21:30,080 --> 00:21:33,360 the kind of questions I want to ask you in the 362 00:21:33,360 --> 00:21:38,940 exam. Why is he using "doth" instead of "does"? Why 363 00:21:38,940 --> 00:21:41,600 does he use the Middle English form of the word 364 00:21:41,600 --> 00:21:47,450 "glides"? Using "glides." Is that significant? 365 00:21:48,190 --> 00:21:51,570 Remember we said in a way also poetry, if it is 366 00:21:51,570 --> 00:21:54,430 the best of words in the best order, this is a 367 00:21:54,430 --> 00:21:57,850 process of making choices, what 368 00:21:57,850 --> 00:22:01,630 word to choose, what word not to choose. If you 369 00:22:01,630 --> 00:22:05,150 are a beginner, it begins as artificial. You try 370 00:22:05,150 --> 00:22:09,930 to make the best impact. 371 00:22:11,000 --> 00:22:13,320 But when you are a professional like Wordsworth, 372 00:22:13,520 --> 00:22:17,480 things naturally flow, of course, and will be more 373 00:22:17,480 --> 00:22:22,500 spontaneous compared to others. So we realize at 374 00:22:22,500 --> 00:22:28,560 the end that this is a poem written in London from 375 00:22:28,560 --> 00:22:31,940 a particular place, the bridge. There's a distance 376 00:22:31,940 --> 00:22:35,000 between him and the people, and probably the 377 00:22:35,000 --> 00:22:38,500 London Bridge here wasn't as high as we can 378 00:22:38,500 --> 00:22:40,440 imagine, but still it's in a high position. And 379 00:22:40,440 --> 00:22:44,420 even the timing here, at dawn, sunrise, the 380 00:22:44,420 --> 00:22:46,320 beauty, even here he's saying the beauty of the 381 00:22:46,320 --> 00:22:50,820 morning. Silent and bare, everything is silent and 382 00:22:50,820 --> 00:22:54,180 bare. So we realize that he's not praising London 383 00:22:54,180 --> 00:22:57,740 as London as such, he's actually praising a 384 00:22:57,740 --> 00:23:00,800 people-less London. No people, there's no 385 00:23:00,800 --> 00:23:04,330 reference, there's no mention of people. Even when 386 00:23:04,330 --> 00:23:07,390 they use the word "asleep," it doesn't refer to 387 00:23:07,390 --> 00:23:11,350 people. The very houses, and "very" here is for 388 00:23:11,350 --> 00:23:15,050 emphasis. The houses themselves are asleep. 389 00:23:15,190 --> 00:23:19,650 There's a personification here. How peaceful this 390 00:23:19,650 --> 00:23:19,910 is. 391 00:23:23,370 --> 00:23:27,050 Therefore, that's why I would take "lie" as a pun. 392 00:23:29,170 --> 00:23:34,580 To lie, to sit, or to sleep. He's lying. Let 393 00:23:34,580 --> 00:23:41,280 sleeping dogs lie. Or, not to tell the truth. So this 394 00:23:41,280 --> 00:23:47,700 silent, beautiful, majestic scenery is a lie. 395 00:23:47,940 --> 00:23:49,920 Because in a minute, in five minutes, in ten 396 00:23:49,920 --> 00:23:52,960 minutes, in thirty minutes, it's all going to be 397 00:23:52,960 --> 00:23:58,890 again smoke and smog and noise and shouting and 398 00:23:58,890 --> 00:24:04,850 street vendors and these things and then there's 399 00:24:04,850 --> 00:24:07,730 no peace, there's no quiet, there's no calm any 400 00:24:07,730 --> 00:24:11,670 longer. But what I find disturbing is the last 401 00:24:11,670 --> 00:24:17,590 line: "Dear God, the very houses seem asleep." This 402 00:24:17,590 --> 00:24:21,710 is not real because "seem asleep," even "asleep," it's 403 00:24:21,710 --> 00:24:24,090 just a short time. And here it's a garment, 404 00:24:24,810 --> 00:24:26,950 something that you wear and you can shed, you take 405 00:24:26,950 --> 00:24:27,890 off, you change. 406 00:24:31,610 --> 00:24:35,850 And all the might and all that mighty heart, not 407 00:24:35,850 --> 00:24:40,290 sure exactly what he means by the mighty heart. Is 408 00:24:40,290 --> 00:24:43,570 it the machine? The heart? The heart of England? 409 00:24:43,990 --> 00:24:47,250 The city itself? The city, the idea of the city? 410 00:24:47,450 --> 00:24:49,690 The factories? The heart of the beast? The 411 00:24:49,690 445 00:26:58,950 --> 00:27:05,450 manufacturing, the factories became dominant. 446 00:27:05,530 --> 00:27:07,630 That's correct. That's correct. Yeah, I agree. 447 00:27:15,190 --> 00:27:17,630 Is this a sonnet? 448 00:27:22,630 --> 00:27:28,690 Fourteen lines, Petrarchan, the octave, the 449 00:27:28,690 --> 00:27:33,100 sextet, it is a sonnet. But he changed, like John 450 00:27:33,100 --> 00:27:34,640 Donne, he changed. Remember we said there are 451 00:27:34,920 --> 00:27:37,100 many of you probably didn't see this. There are so 452 00:27:37,100 --> 00:27:38,960 many similarities between the metaphysicals and 453 00:27:38,960 --> 00:27:42,920 the Romantics. John Donne changed that; this is a 454 00:27:42,920 --> 00:27:47,560 sonnet. The sonnet, the class; John Donne freed 455 00:27:47,560 --> 00:27:50,380 the sonnet. He broke the chains around the sonnet 456 00:27:50,380 --> 00:27:52,720 and everybody else started to take the sonnet the 457 00:27:52,720 --> 00:27:55,020 way they liked. So thank you, John Donne. 458 00:27:58,720 --> 00:28:04,360 But remember the imperfect rhyme here. This could 459 00:28:04,360 --> 00:28:07,960 also be part of the fact that this is still, even 460 00:28:07,960 --> 00:28:11,000 though the word "majesty" is not majestic; it's not 461 00:28:11,000 --> 00:28:13,820 perfect. It's not, you know, perfect; it's not 462 00:28:13,820 --> 00:28:17,200 complete. So there's still this tension that this 463 00:28:17,200 --> 00:28:19,340 imperfect rhyme creates, the tension that creates 464 00:28:19,340 --> 00:28:22,160 a conflict that could tell us that this is all 465 00:28:22,160 --> 00:28:26,720 just a sham. It's just temporary; it's not going 466 00:28:26,720 --> 00:28:31,800 to live forever. This is not, but with nature, 467 00:28:32,180 --> 00:28:35,520 it's all the time. That's why I say, "For oft when 468 00:28:35,520 --> 00:28:39,180 on my couch I lie," the present simple, every time 469 00:28:39,180 --> 00:28:44,000 I lie. But here, it's not the same; different. So 470 00:28:44,000 --> 00:28:46,860 yeah, I agree; he's not present. There's a whole 471 00:28:46,860 --> 00:28:52,420 genre of poetry called "city poetry." You could do 472 00:28:52,420 --> 00:28:54,800 some research on this in the future. City poetry, 473 00:28:54,920 --> 00:29:02,130 how poets tackle the city in different ways. And the 474 00:29:02,130 --> 00:29:04,770 most fascinating thing about this is when you 475 00:29:04,770 --> 00:29:08,030 compare between outsiders, like Wordsworth; he 476 00:29:08,030 --> 00:29:10,830 wasn't a Londoner; he was an outsider, and William 477 00:29:10,830 --> 00:29:14,490 Blake, who was a Londoner, who lived in London. 478 00:29:17,830 --> 00:29:21,030 In London, if I can recall, he said, "I wandered 479 00:29:21,030 --> 00:29:24,850 through each street," or something like this. He was 480 00:29:24,850 --> 00:29:28,670 in the streets, chartered streets, exactly; in the 481 00:29:28,670 --> 00:29:32,950 streets, feeling and sensing the pain, the woes, 482 00:29:33,150 --> 00:29:37,810 the cries, the babies, the harlots, the soldiers, 483 00:29:37,930 --> 00:29:40,690 the blood; feeling it and touching it and sensing 484 00:29:40,690 --> 00:29:46,330 it. But this man, he is himself; he's just up 485 00:29:46,330 --> 00:29:52,230 above. He goes to London and sees beauty. Many 486 00:29:52,230 --> 00:29:56,410 people will be revolted by this. Come on! At the 487 00:29:56,410 --> 00:29:58,690 time, London... like there was a lot of pain, a lot of 488 00:29:58,690 --> 00:30:01,350 suffering, hunger, and diseases, and people were 489 00:30:01,350 --> 00:30:05,200 dying. This is one reason why the younger 490 00:30:05,200 --> 00:30:08,600 generation of the Romantics hated, in many ways, 491 00:30:08,640 --> 00:30:11,380 to some extent, hated Wordsworth, accusing him of 492 00:30:11,380 --> 00:30:15,400 being an escapist, instead of coming face to face 493 00:30:15,400 --> 00:30:15,720 with 494 00:30:19,800 --> 00:30:22,740 the problems, the trouble, the pain, the suffering; 495 00:30:22,740 --> 00:30:27,140 it's just running away. Some people call them tree 496 00:30:27,140 --> 00:30:30,160 huggers, just making fun of them. Tree-huggers; 497 00:30:30,220 --> 00:30:33,180 they just want to hug trees, and then all their 498 00:30:33,180 --> 00:30:37,580 pains just go away. Are you poor? Just come see 499 00:30:37,580 --> 00:30:42,180 these daffodils, and you'll be fine. Do you have 500 00:30:42,180 --> 00:30:46,440 exams? You want to cope with that stress? 501 00:30:47,170 --> 00:30:50,890 Come to nature. This could help. I'm not being 502 00:30:50,890 --> 00:30:55,550 condescending here; this could help. And people 503 00:30:55,550 --> 00:30:57,490 who would... I would defend Wordsworth saying that 504 00:30:57,490 --> 00:31:03,940 this is a revolution in poetry, because 505 00:31:03,940 --> 00:31:09,160 politically speaking, the British government was 506 00:31:09,160 --> 00:31:12,860 really shaking, because there was a rebellion, a 507 00:31:12,860 --> 00:31:15,700 revolution in America, a revolution in France, and 508 00:31:15,700 --> 00:31:17,640 they were like, "Oh my God! Oh my God!" By the way, 509 00:31:17,720 --> 00:31:22,130 you could read... there are so many later 510 00:31:22,130 --> 00:31:24,710 declassified reports, because the English 511 00:31:24,710 --> 00:31:26,690 intelligence was spying on Wordsworth and 512 00:31:26,690 --> 00:31:28,190 Coleridge because they thought that those people 513 00:31:28,190 --> 00:31:31,990 were planning a revolution. And they were, but not 514 00:31:31,990 --> 00:31:35,490 like the revolution, the political revolution. 515 00:31:35,610 --> 00:31:37,490 They were doing a revolution in poetry, in 516 00:31:37,490 --> 00:31:41,310 language, in thinking, and in sensibility, which is 517 00:31:41,310 --> 00:31:44,290 fascinating in itself, which paved the way. And 518 00:31:44,290 --> 00:31:48,870 when you compare this to Chile... Chile is a... 519 00:31:51,020 --> 00:31:54,220 Che Guevara, right? He was a man of actions; he 520 00:31:54,220 --> 00:31:58,060 wanted to topple the government. You are many; 521 00:31:58,300 --> 00:31:59,620 they are few. 522 00:32:03,160 --> 00:32:06,980 Read "The Anarchy." There was a 523 00:32:06,980 --> 00:32:10,760 massacre in Manchester, and read the "Ode to the 524 00:32:10,760 --> 00:32:15,980 West Wind" and even "Ozymandias," mocking 525 00:32:15,980 --> 00:32:24,070 authority. You know? Which one? Yeah, I too, but 526 00:32:24,070 --> 00:32:26,810 some people, again, for this; again, the thing 527 00:32:26,810 --> 00:32:30,270 that makes you love Shelley, many people say, "Hmm, 528 00:32:30,590 --> 00:32:33,130 he's too political. I don't like poetry to be too 529 00:32:33,130 --> 00:32:35,550 political." So there's always somebody who would 530 00:32:35,550 --> 00:32:38,030 hate something about your writing or somebody's 531 00:32:38,030 --> 00:32:44,700 writing. Yeah, yeah, right. Byron; you should, you 532 00:32:44,700 --> 00:32:46,680 should read something by Byron. Byron was 533 00:32:46,680 --> 00:32:51,220 deliberately attacking, openly attacking, even 534 00:32:51,220 --> 00:32:53,560 naming Coleridge and Wordsworth in his poetry, not 535 00:32:53,560 --> 00:32:56,660 just alluding to them, calling them, making fun of 536 00:32:56,660 --> 00:33:00,940 them. Okay, if you have questions here, just say 537 00:33:00,940 --> 00:33:02,700 something very briefly, and we'll just do the 538 00:33:02,700 --> 00:33:05,600 review for the whole course. I think what 539 00:33:05,600 --> 00:33:08,740 happens between Blake and Wordsworth is the same 540 00:33:08,740 --> 00:33:10,860 thing that's happening here in Gaza; like some 541 00:33:10,860 --> 00:33:12,960 people show you some good pictures and some 542 00:33:12,960 --> 00:33:15,520 fascinating pictures of Gaza, and you look at them 543 00:33:15,520 --> 00:33:18,340 you say, like, "Okay, this is Paris. Okay, so okay, let 544 00:33:18,340 --> 00:33:21,060 me get this straight. Well, let's agree on this: 545 00:33:21,060 --> 00:33:24,480 Wordsworth is Instagram of Gaza, and William Blake 546 00:33:24,480 --> 00:33:27,800 is Twitter of Gaza. Okay, so with Instagram, it's like 547 00:33:27,800 --> 00:33:31,560 it's always beautiful; it's always cheesy, and you 548 00:33:31,560 --> 00:33:37,070 know... Really? The funny thing is that when we see 549 00:33:37,070 --> 00:33:39,690 those people who give that flowery image, we call 550 00:33:39,690 --> 00:33:42,490 them Romantics in Arabic. Yes, exactly. We say 551 00:33:42,490 --> 00:33:45,010 that they are... "Don't romanticize pain; don't 552 00:33:45,010 --> 00:33:47,370 romanticize occupation; don't romanticize 553 00:33:47,370 --> 00:33:52,130 suffering." Right? We do this. The thing is that 554 00:33:52,130 --> 00:33:55,670 both of them, or these both sides, or both parties 555 00:33:55,670 --> 00:33:59,190 want to serve their own good. Their own? Yes, 556 00:33:59,310 --> 00:34:01,630 their own good. Okay. And maybe like Wordsworth, 557 00:34:01,630 --> 00:34:04,110 when he wrote his poetry, he wanted to serve his 558 00:34:04,110 --> 00:34:06,410 own part of the book, the narrative palace that 559 00:34:06,410 --> 00:34:09,130 they wrote. And for maybe like—being self 560 00:34:09,130 --> 00:34:10,910 expression. He doesn't care about the society; he 561 00:34:10,910 --> 00:34:15,090 just cares about himself. Exactly. That's a huge 562 00:34:15,090 --> 00:34:16,950 thing to say. I'm not going to get into this 563 00:34:16,950 --> 00:34:20,030 because there's a lot of things to unravel here. 564 00:34:20,210 --> 00:34:23,530 Okay? So anything you want to say about 565 00:34:23,530 --> 00:34:30,810 Wordsworth? Okay, so do you have questions for the 566 00:34:30,810 --> 00:34:34,530 course, exams, anything quickly before we see last 567 00:34:34,530 --> 00:34:36,370 year's midterm exam? 568 00:34:47,410 --> 00:34:51,850 What do you think? 569 00:34:55,420 --> 00:35:01,980 I tend usually not to take sides, so I raise 570 00:35:01,980 --> 00:35:04,800 issues, raise questions for you to think and to 571 00:35:04,800 --> 00:35:09,060 adopt whatever opinion you like. I don't want to 572 00:35:09,060 --> 00:35:11,560 put you in a corner and tell you this is what you 573 00:35:11,560 --> 00:35:14,800 need to do, although you know teachers sometimes 574 00:35:14,800 --> 00:35:15,520 shouldn't be believed. 575 00:35:18,680 --> 00:35:25,100 So yeah, "out did the sparkling waves in glee." 576 00:35:29,480 --> 00:35:35,920 Continuous? No, it's continuous "as the stars that 577 00:35:35,920 --> 00:35:39,200 shine." That's the only one that has an extra 578 00:35:39,200 --> 00:35:39,820 syllable, yeah? 579 00:35:43,830 --> 00:35:46,290 In these cases, remember, it's either one 580 00:35:46,290 --> 00:35:50,250 syllable, one vowel sound is not pronounced as we 581 00:35:50,250 --> 00:35:54,070 pronounce it these days, or there is, again, a 582 00:35:54,070 --> 00:35:56,390 deliberate attempt to tell us that something is 583 00:35:56,390 --> 00:36:00,430 more, extra; something doesn't conform with the 584 00:36:00,430 --> 00:36:03,850 rules here. So this "continuous," because he's 585 00:36:03,850 --> 00:36:06,150 reaching to the stars; that's a possibility. 586 00:36:09,330 --> 00:36:12,330 Possible, yeah. Like with "glittering" here. 587 00:36:21,570 --> 00:36:24,750 possible, but I, again, I'm honest with you; I could 588 00:36:24,750 --> 00:36:31,310 say the same thing about each line, any line. Okay, 589 00:36:31,310 --> 00:36:34,630 more questions about the course? Do you have 590 00:36:34,630 --> 00:36:40,370 questions, any poem, any text, any poet, any idea? 591 00:36:44,550 --> 00:36:50,190 Okay, we have a question here from Noha. Excuse 592 00:36:50,190 --> 00:36:54,450 me? Could you just please...? Yeah. The question that 593 00:36:54,450 --> 00:36:58,190 we raised like minutes ago, when we said like about 594 00:36:58,190 --> 00:37:01,130 spontaneous overthrow; I think this corresponds 595 00:37:01,130 --> 00:37:05,090 with our controversial question of "Is a poet made 596 00:37:05,090 --> 00:37:09,640 or born?" Thank you very much. That's very, very 597 00:37:09,640 --> 00:37:13,660 significant, important. I think of this all the 598 00:37:13,660 --> 00:37:19,480 time. Are poets born or made? 599 00:37:22,360 --> 00:37:26,700 Are you just born a poet? And you realize at one 600 00:37:26,700 --> 00:37:30,560 point that, "Oh, I'm a poet. I can write poetry." 601 00:37:32,480 --> 00:37:36,440 Or do you have to study, to learn, to go to 602 00:37:36,440 --> 00:37:39,140 university, to attend classes? Of course, 603 00:37:39,260 --> 00:37:42,880 everybody is going to say "both." But what is it? Is 604 00:37:42,880 --> 00:37:47,760 it more of this or more of that? Yeah, please. I 605 00:37:47,760 --> 00:37:51,520 think that some people are born with a talent, and 606 00:37:51,520 --> 00:37:55,940 if they get more skillful with studying, their 607 00:37:55,940 --> 00:37:58,490 coaching will be the best. Some people can learn 608 00:37:58,490 --> 00:38:01,630 writing poetry through skill, but they won't be as 609 00:38:01,630 --> 00:38:06,230 good as the talented. It's more patience than having 610 00:38:06,230 --> 00:38:10,490 talent. If you have the patience to read more, to 611 00:38:10,490 --> 00:38:13,530 develop yourself, you'll do great things. Is it 612 00:38:13,530 --> 00:38:17,770 like patience or attitude? Like, you know, I 613 00:38:17,770 --> 00:38:21,430 always quote Monica Geller: "You are a poet, and you 614 00:38:21,430 --> 00:38:27,360 know it." So this is an attitude. Like, "I think I 615 00:38:27,360 --> 00:38:30,160 can be a poet." I think I can be a poet. In Arabic, 616 00:38:30,400 --> 00:38:33,160 in our culture, there is an Arab poet called 617 00:38:33,160 --> 00:38:35,240 Nabigha. I'm not sure which one of them. There are 618 00:38:35,240 --> 00:38:40,200 three Nabighas. Nabigha Al-Jaadī or something. No, 619 00:38:40,400 --> 00:38:46,640 I got this totally wrong. Somebody called, a man 620 00:38:46,640 --> 00:38:50,120 who kept writing poetry for like 40 years, and it 621 00:38:50,120 --> 00:38:54,540 was all, it sucked all. And then at one point he 622 00:38:54,540 --> 00:38:57,540 became a poet all of a sudden, and then he said 623 00:38:57,540 --> 00:39:01,720 لازال يهدي حتى 624 00:39:01,720 --> 00:39:06,180 قال شعران He kept writing trash until all of a 625 00:39:06,180 --> 00:39:08,960 sudden he started writing poetry. So yeah, practice, 626 00:39:08,960 --> 00:39:12,880 patience, practice, patience; but significantly, an 627 00:39:12,880 --> 00:39:17,790 attitude. Look at the fascinating concrete poems 628 00:39:17,790 --> 00:39:20,910 you wrote; all you need is just a push; there's a 629 00:39:20,910 --> 00:39:23,790 bonus mark if you write this, and all of a sudden 630 00:39:23,790 --> 00:39:28,030 you all turn into poets, right? So you could add 631 00:39:28,030 --> 00:39:31,050 this to the list: patience, attitude, passion, 632 00:39:31,250 --> 00:39:36,330 practice, and marks, or linen, yeah? Sorry? 633 00:39:40,980 --> 00:39:44,000 Thank you very much. Good writers are originally 634 00:3 667 00:41:34,190 --> 00:41:36,960 rules. And you have to follow them, the rules of 668 00:41:36,960 --> 00:41:41,220 decorum; you have to be well-read in Latin, in 669 00:41:41,220 --> 00:41:44,780 Greek, in ancient literatures, so you can, you 670 00:41:44,780 --> 00:41:48,380 know what's going on and you know what to do in 671 00:41:48,380 --> 00:41:52,860 your poetry. And always people who learn, who work 672 00:41:52,860 --> 00:41:55,860 hard to get to become readers, writers, good 673 00:41:55,860 --> 00:41:57,960 writers and good poets, they will not be happy 674 00:41:57,960 --> 00:42:03,600 with naturals. And the same thing is, again, if you 675 00:42:03,600 --> 00:42:05,880 talk about football, Messi and Ronaldo, many 676 00:42:05,880 --> 00:42:10,640 people say Messi is a natural. He's a talent. But 677 00:42:10,640 --> 00:42:13,240 Ronaldo worked very, very, very, very hard to be 678 00:42:13,240 --> 00:42:15,480 the world footballer he is now. 679 00:42:18,340 --> 00:42:23,140 Okay, more, more questions. More questions. I want 680 00:42:23,140 --> 00:42:26,700 to conclude something that both of us, if you take 681 00:42:26,700 --> 00:42:32,680 this way or take this way, you will succeed at the 682 00:42:32,680 --> 00:42:35,620 end. This is the point. Exactly. That's why I say 683 00:42:35,620 --> 00:42:38,860 everybody is a poet. There is a poet asleep 684 00:42:38,860 --> 00:42:43,900 inside. Keep feeding him or her pizza, and you will 685 00:42:43,900 --> 00:42:46,380 have a lot of poetry at the end of the day. 686 00:42:47,770 --> 00:42:51,190 Because if you don't, again, if you think that, I 687 00:42:51,190 --> 00:42:53,250 know someone who said, "I will never ever be able 688 00:42:53,250 --> 00:42:58,570 to drive a car. It would be tough." So this 689 00:42:58,570 --> 00:43:03,380 attitude is significant. Like how I believe that 690 00:43:03,380 --> 00:43:05,960 some people are born really clever, and some 691 00:43:05,960 --> 00:43:08,500 people work really hard at school. So we would 692 00:43:08,500 --> 00:43:11,520 find the clever person would study on the exam 693 00:43:11,520 --> 00:43:13,180 night, and he would get a full mark, while the 694 00:43:13,180 --> 00:43:15,900 other would be studying the whole semester to get 695 00:43:15,900 --> 00:43:18,680 that full mark. So some people are natural. Some 696 00:43:18,680 --> 00:43:21,900 people work hard, and both deserve respect. And 697 00:43:21,900 --> 00:43:24,840 another thing, speaking about rhyme schemes and 698 00:43:24,840 --> 00:43:28,540 the meter, I don't know if you were the one who 699 00:43:28,540 --> 00:43:30,860 said it, or I read it somewhere, but it says that 700 00:43:30,860 --> 00:43:36,120 a poet has the music in his head, so he basically 701 00:43:36,120 --> 00:43:38,280 doesn't even have to think of the meter. Some 702 00:43:38,280 --> 00:43:41,560 poets just have the music; they write it based on 703 00:43:41,560 --> 00:43:48,220 how they read the poem. Again, this is a question 704 00:43:48,220 --> 00:43:53,640 I'm not interested in whether he worked to tweak 705 00:43:53,640 --> 00:43:56,700 the poem for the rhyme scheme, or it just 706 00:43:56,700 --> 00:43:59,880 naturally came this way. What I care about is that 707 00:43:59,880 --> 00:44:03,320 we have it this way now. And you can, by the way, 708 00:44:03,380 --> 00:44:05,880 if you are interested in this, you will find so 709 00:44:05,880 --> 00:44:10,800 many poets' writing the manuscripts. You'll find 710 00:44:10,800 --> 00:44:12,760 first drafts, and second drafts, and third drafts of 711 00:44:12,760 --> 00:44:14,810 the same poem. And I know many people who are 712 00:44:14,810 --> 00:44:17,470 interested, who do a lot of research on this. Like 713 00:44:17,470 --> 00:44:21,910 with Tamim al-Barghouti, for example, you will 714 00:44:21,910 --> 00:44:26,730 find that the poem sometimes he recites here or 715 00:44:26,730 --> 00:44:30,910 there. He would add a couple of lines here. He 716 00:44:30,910 --> 00:44:32,630 would change a word there. He would change 717 00:44:32,630 --> 00:44:36,090 something there. So people try to compare early 718 00:44:36,090 --> 00:44:39,070 editions with late editions, and why the change is 719 00:44:39,070 --> 00:44:42,570 taking place. And is this related to how somebody 720 00:44:42,570 --> 00:44:49,930 wants to work to improve the poem, you know, see the 721 00:44:49,930 --> 00:44:52,910 point, like when you change the rhyme scheme or 722 00:44:52,910 --> 00:44:55,950 something. Is this you improving the poem? Does it 723 00:44:55,950 --> 00:44:58,990 change it? Doesn't make it better? Does it? But again, 724 00:44:58,990 --> 00:45:01,870 we don't—we—when I never said that this is a good 725 00:45:01,870 --> 00:45:06,510 poem and this is a bad poem, yeah, because there are 726 00:45:06,510 --> 00:45:08,210 millions of poems in English literature, and we're 727 00:45:08,210 --> 00:45:11,630 studying only like 30 of them, so naturally we pick 728 00:45:12,270 --> 00:45:14,450 And that's also bad in a way because we choose the 729 00:45:14,450 --> 00:45:17,110 canonical texts, the canonical writers, and 730 00:45:17,110 --> 00:45:21,110 sometimes other writers remain ignored. Something 731 00:45:21,110 --> 00:45:22,250 else. 732 00:45:24,230 --> 00:45:29,430 Something else. Something else. Please. I think 733 00:45:29,430 --> 00:45:29,810 yeah. 734 00:45:34,310 --> 00:45:36,850 Some people believe that modernism started with 735 00:45:36,850 --> 00:45:40,670 William Blake or with the Lyrical Ballads or the 736 00:45:40,670 --> 00:45:43,950 preface to the Lyrical Ballads. I do believe, and I 737 00:45:43,950 --> 00:45:49,690 have evidence for this, that our friend Joan Dunn 738 00:45:49,690 --> 00:45:53,770 is the pioneer in modernism. It was he who 739 00:45:53,770 --> 00:45:57,130 started this whole movement of changing the way, 740 00:45:57,830 --> 00:46:00,590 not only just the way, everything about pottery. 741 00:46:00,850 --> 00:46:03,470 The sensibility, the themes, the forms, the 742 00:46:03,470 --> 00:46:07,130 structures, the rules. The man toppled everything, 743 00:46:07,410 --> 00:46:10,810 brought pottery down to earth, to us, to the 744 00:46:10,810 --> 00:46:15,710 masses. Pottery is for all, for the 99%, not for 745 00:46:15,710 --> 00:46:16,990 the one percent, the elite. 746 00:46:20,450 --> 00:46:26,560 Please. Doctor, we studied the schools and jump 747 00:46:26,560 --> 00:46:30,780 from school to another school. Do the poets, or 748 00:46:30,780 --> 00:46:34,980 where they know each other as one school, follow? 749 00:46:36,790 --> 00:46:42,670 Sometimes, yes. There is this small circle. Poets, 750 00:46:42,970 --> 00:46:47,730 not every poet liked others. And many things 751 00:46:47,730 --> 00:46:49,890 written about this. There's a book called, a 752 00:46:49,950 --> 00:46:53,030 beautiful book called *Poets on Poets*. What poets 753 00:46:53,030 --> 00:46:57,790 said about other poets. And there's Harold Bloom, 754 00:46:57,890 --> 00:47:00,570 who just passed away two weeks ago, wrote this book 755 00:47:00,570 --> 00:47:05,990 about *The Anxiety of Influence*. Like poets, all 756 00:47:05,990 --> 00:47:09,210 poets influence each other. That's why 757 00:47:09,210 --> 00:47:13,030 intertextuality is everywhere. Sometimes even when 758 00:47:13,030 --> 00:47:15,050 you don't want to be influenced, you get 759 00:47:15,050 --> 00:47:17,610 influenced. It creates this anxiety. 760 00:47:20,050 --> 00:47:22,910 So sometimes, yes, they did know each other. They 761 00:47:22,910 --> 00:47:24,710 would, like the Romantics, Wordsworth and 762 00:47:24,710 --> 00:47:28,310 Coleridge were best friends. Shelley, Byron, and 763 00:47:28,310 --> 00:47:33,650 Keats, and what's that other guy? Shelley, Byron, 764 00:47:33,650 --> 00:47:37,510 Keats, and Shelley, and even Mary Shelley, like they 765 00:47:37,510 --> 00:47:40,230 were friends; they would meet regularly, and even 766 00:47:40,230 --> 00:47:44,190 with *Frankenstein*, the novel, it came as a kind of 767 00:47:44,190 --> 00:47:45,830 context, a challenge, "Let's write something." 768 00:47:48,570 --> 00:47:51,310 So yeah, more or less. 769 00:48:11,670 --> 00:48:15,310 We're talking about a time when women were not 770 00:48:15,310 --> 00:48:20,990 believed to be as intellectual as men were, when 771 00:48:20,990 --> 00:48:23,810 women were not considered to be poets. Like, you 772 00:48:23,810 --> 00:48:25,770 could write prose; you could write your own 773 00:48:25,770 --> 00:48:28,250 diaries, but you couldn't write poetry because you're 774 00:48:28,250 --> 00:48:30,630 not a man; you're not—like this was still 775 00:48:30,630 --> 00:48:35,030 implanted in the mentalities of women. Her text is 776 00:48:35,030 --> 00:48:38,890 really beautiful. In many ways, it's very vivid, 777 00:48:39,030 --> 00:48:43,930 it's very—this entry. But Wordsworth, sorry, what 778 00:48:43,930 --> 00:48:46,430 erases her altogether; he kicks her out of his 779 00:48:46,430 --> 00:48:50,230 poem. She's no longer there. Some people would 780 00:48:50,230 --> 00:48:53,170 accuse him of being anti-feminist. Again, imagine 781 00:48:53,170 --> 00:48:57,350 yourself, if it was a dead body they saw; he's not 782 00:48:57,350 --> 00:48:59,470 going to go to the police and say, "Hey, I saw a 783 00:48:59,470 --> 00:49:01,530 dead body; I was wondering." He would say, "My 784 00:49:01,530 --> 00:49:05,630 sister saw a dead body, and I was there." Imagine 785 00:49:05,630 --> 00:49:08,110 yourself finding a treasure or winning the 786 00:49:08,110 --> 00:49:09,950 lottery, you and your brother scratching something, 787 00:49:09,950 --> 00:49:13,350 and then he goes to your mom and says, "Mom, I won 788 00:49:13,350 --> 00:49:16,310 the lottery," or "Mom, I found this treasure," or 789 00:49:16,310 --> 00:49:20,810 something. It would be—it is frustrating. Again, 790 00:49:20,970 --> 00:49:25,190 some people say, sorry? Yeah, possible. It's just 791 00:49:25,190 --> 00:49:28,990 selfishness. He felt that he is more superior than 792 00:49:28,990 --> 00:49:31,470 her. So why bring her in the text? Why, you know? 793 00:49:33,560 --> 00:49:35,660 Some people would say, "Because he loves nature 794 00:49:35,660 --> 00:49:38,680 more." And again, I'm trying to imagine this 795 00:49:38,680 --> 00:49:43,480 scenario where, again, she's complaining to her 796 00:49:43,480 --> 00:49:46,580 mom, saying, "Mom, he even looked, had a peek at my 797 00:49:46,580 --> 00:49:50,680 own diaries, and he got inspired by this," because 798 00:49:50,680 --> 00:49:53,820 we don't know what inspired him. Was it this? No, 799 00:49:54,020 --> 00:49:55,960 it's nothing against you, Dorothy. It's just I 800 00:49:55,960 --> 00:49:59,500 love the daffodils more. That's even worse, yeah? 801 00:50:00,610 --> 00:50:06,550 That's even worse. But again, many believe that 802 00:50:06,550 --> 00:50:11,470 this is just an issue of solitude that is a core 803 00:50:11,470 --> 00:50:15,990 Romantic issue. The issue of solitude and 804 00:50:15,990 --> 00:50:19,350 imagination and individuality requires—head out of 805 00:50:19,350 --> 00:50:24,670 the text. If you want to study, to take this as an 806 00:50:24,670 --> 00:50:26,870 anti-feminist, it's up to you. I don't—I wouldn't 807 00:50:26,870 --> 00:50:29,050 say no. But if you want to trace whether he is 808 00:50:29,050 --> 00:50:30,570 anti-feminist or not, you need to look at other 809 00:50:30,570 --> 00:50:35,170 texts, what he does with them. Okay, one more 810 00:50:35,170 --> 00:50:37,810 before we see last year's questions. 811 00:50:41,230 --> 00:50:47,870 Please. Who also used that reform of the UN? The 812 00:50:47,870 --> 00:50:51,990 Romantics and people later on. With the Romantics 813 00:50:51,990 --> 00:50:54,230 and the Modernist movement, 20th century. 814 00:50:56,890 --> 00:50:58,930 Yeah, yeah. He's a Metaphysical. 815 00:51:01,850 --> 00:51:05,830 Okay, last year's exam had two main questions. 816 00:51:06,030 --> 00:51:10,570 Will be in a way similar to this year's exam. You 817 00:51:10,570 --> 00:51:14,630 will be asked to comment, to write three or two 818 00:51:14,630 --> 00:51:18,720 paragraphs to contextualize. I am not going to 819 00:51:18,720 --> 00:51:24,000 give you the extract from the poem and just leave 820 00:51:24,000 --> 00:51:26,860 it open to you. I want to give you the topic 821 00:51:26,860 --> 00:51:29,500 sentence, the issue. Like this question with 822 00:51:29,500 --> 00:51:32,560 Shakespeare: "Uses the rigid form of the sonnet to 823 00:51:32,560 --> 00:51:36,100 control the uncontrollable." Look at this. And I'm 824 00:51:36,100 --> 00:51:39,520 giving you this; focus on this. At least 80, 70% 825 00:51:39,520 --> 00:51:42,040 of your answer will be focused on the text given. 826 00:51:44,180 --> 00:51:48,370 This is significant to me. Okay? So you could say, 827 00:51:48,510 --> 00:51:53,850 for example, this—the lines given is the couplet 828 00:51:53,850 --> 00:51:57,330 of Sonnet 18, "Shall I compare thee to a summer's 829 00:51:57,330 --> 00:52:06,070 day?" This couplet rhymes perfectly, and each has 830 00:52:06,070 --> 00:52:10,990 ten syllables, five feet. This reflects the 831 00:52:10,990 --> 00:52:15,850 rigidity, the strict structure that the sonnet 832 00:52:15,850 --> 00:52:19,010 follows. See their organization, or something. Now, 833 00:52:19,630 --> 00:52:21,890 in these lines, Shakespeare is saying, "I'm going 834 00:52:21,890 --> 00:52:27,190 to live forever," because previously in the lines 835 00:52:27,190 --> 00:52:33,570 above, he was kind of complaining that life is not 836 00:52:33,570 --> 00:52:37,430 good to him or to anyone. Because every fear from 837 00:52:37,430 --> 00:52:40,710 fear sometimes declines. And he wants to control 838 00:52:40,710 --> 00:52:45,170 this, to control his own destiny, to take things 839 00:52:45,170 --> 00:52:49,290 in his own hands by writing poetry. So life that 840 00:52:49,290 --> 00:52:54,690 is being uncontrollable is being controlled in a 841 00:52:54,690 --> 00:52:57,950 couple of lines by Shakespeare here. It's being 842 00:52:57,950 --> 00:53:04,330 squeezed into a space of ten syllables, two lines, 843 00:53:04,650 --> 00:53:07,570 perfect rhyme scheme. This could indicate 844 00:53:07,570 --> 00:53:14,850 Shakespeare's attempt to seek immortality. This is 845 00:53:14,850 --> 00:53:18,610 controlling his own destiny, his own life. He 846 00:53:18,610 --> 00:53:22,750 determined what will happen to him, not life—that 847 00:53:22,750 --> 00:53:30,310 destroys the darling buds of man. Did he succeed? 848 00:53:31,490 --> 00:53:34,730 Definitely. He's bigger than life now, Shakespeare. 849 00:53:37,300 --> 00:53:42,340 And you can't ask Harold Bloom about that. If you 850 00:53:42,340 --> 00:53:46,920 look here, "though you make up to kill me, lead not 851 00:53:46,920 --> 00:53:50,400 to that self-murder added. B and sacrilege, three 852 00:53:50,400 --> 00:53:53,860 sins in killing three." What is a metaphysical 853 00:53:53,860 --> 00:53:58,520 conceit, and how does Donne use it in this, in his 854 00:53:58,520 --> 00:54:03,770 argument? Again, with special focus on this. A 855 00:54:03,770 --> 00:54:06,090 889 00:56:27,880 --> 00:56:35,840 Is stressed like this and unstressed. It's 890 00:56:35,840 --> 00:56:38,540 the main verb stressed. It says anything you add to 891 00:56:38,540 --> 00:56:44,100 the verb is unstressed: articles, determiners, 892 00:56:44,100 --> 00:56:46,780 functional words, you call them in linguistics, 893 00:56:46,780 --> 00:56:52,940 are unstressed. So the only part that emphasizes this 894 00:56:52,940 --> 00:56:56,720 unity with nature is where we say "with," right? So 895 00:56:56,720 --> 00:56:59,960 and dances with the daffodils, and dances with the 896 00:56:59,960 --> 00:57:03,660 daffodils. Number 897 00:57:03,660 --> 00:57:06,560 one is the opposite: stressed, unstressed, stressed, 898 00:57:06,560 --> 00:57:10,440 unstressed, stressed, unstressed. And number two, 899 00:57:10,760 --> 00:57:13,760 which syllable is this? One, two, three, four, 900 00:57:13,880 --> 00:57:18,140 stress, syllable number four. One, two, three, 901 00:57:18,600 --> 00:57:22,760 four, stressed. One, two, three, four, not 902 00:57:22,760 --> 00:57:26,360 stressed. One, two, three, four, stressed. One, 903 00:57:26,540 --> 00:57:29,120 two, three, four, stressed. So we exclude this and 904 00:57:29,120 --> 00:57:33,760 we try to make sense of this. It turns out to be 905 00:57:33,760 --> 00:57:34,140 which one? 906 00:57:49,970 --> 00:57:50,530 Yeah. 907 00:58:01,330 --> 00:58:04,290 It's "and." 908 00:58:05,070 --> 00:58:07,730 The lion says "and dances with the daffodil." It's 909 00:58:07,730 --> 00:58:15,990 D. and "done," unstressed, stressed. "Says" with 910 00:58:15,990 --> 00:58:20,490 unstressed, stressed. "The," "the," unstressed, stressed. 911 00:58:20,490 --> 00:58:24,490 who deals according to Virginia Woolf, 912 00:58:37,840 --> 00:58:40,460 Unstressed, stressed, unstressed, stressed, 913 00:58:40,600 --> 00:58:42,820 unstressed, stressed, unstressed, stressed, 914 00:58:42,820 --> 00:58:45,640 unstressed, stressed, 915 00:58:49,180 --> 00:58:49,180 unstressed, unstressed, unstressed, unstressed, 916 00:58:49,180 --> 00:58:49,260 unstressed, unstressed, unstressed, unstressed, 917 00:58:49,260 --> 00:58:49,980 unstressed, unstressed, unstressed, unstressed, 918 00:58:49,980 --> 00:58:50,020 unstressed, unstressed, unstressed, unstressed, 919 00:58:50,020 --> 00:58:50,660 unstressed, unstressed, unstressed, unstressed, 920 00:58:50,660 --> 00:58:51,820 unstressed, unstressed, unstressed, unstressed, 921 00:58:51,820 --> 00:58:54,500 unstressed, unstressed, unstressed, unstressed, 922 00:58:54,620 --> 00:58:55,880 unstressed, 923 00:58:58,380 --> 00:59:04,720 unstressed, unstressed, unstressed, unstressed, 924 00:59:04,720 --> 00:59:08,630 unstressed. Empowers women, presents women as 925 00:59:08,630 --> 00:59:12,870 dependent on men, perplexes the minds of women, 926 00:59:13,650 --> 00:59:20,310 presents women as silent, meek, and submissive. The 927 00:59:20,310 --> 00:59:22,770 fact that the sick rose could have various 928 00:59:22,770 --> 00:59:27,270 interpretations indicates Blake's belief in 929 00:59:36,300 --> 00:59:38,660 the individual over the collective, the collective 930 00:59:38,660 --> 00:59:42,260 over the individual; an anti-romantic philosophy that 931 00:59:42,260 --> 00:59:44,680 states a duty to control public thought. 932 00:59:50,820 --> 00:59:57,440 It is. In "A poet could not but be gay," words were 933 00:59:57,440 --> 01:00:05,130 shifts from "I" to "a poet" because he was referring 934 01:00:05,130 --> 01:00:09,690 to his sister Dorothy, trying to avoid naming his 935 01:00:09,690 --> 01:00:13,950 sister. Three 936 01:00:13,950 --> 01:00:17,510 afraid 937 01:00:17,510 --> 01:00:21,970 people will say he is gay; he doesn't want to come 938 01:00:21,970 --> 01:00:26,590 out of the closet. Criticizing neoclassical poets 939 01:00:32,000 --> 01:00:35,080 Sorry? What's that? 940 01:00:38,960 --> 01:00:43,300 I don't 941 01:00:43,300 --> 01:00:44,880 think he meant his sister. 942 01:00:48,750 --> 01:00:56,750 Both believe that a poem's 943 01:00:56,750 --> 01:01:00,090 content or theme should create its form or 944 01:01:00,090 --> 01:01:03,970 structure. Shakespeare and Donne, the neoclassicists 945 01:01:03,970 --> 01:01:06,690 and the romantics, the romantics and the 946 01:01:06,690 --> 01:01:12,350 metaphysicals, Donne and Marvell, Donne 947 01:01:12,350 --> 01:01:17,130 and the romantics. The repetition of the same or 948 01:01:17,130 --> 01:01:20,830 similar sounds in two or more words, usually in 949 01:01:20,830 --> 01:01:25,950 the ending syllables of lines in poems and songs. 950 01:01:32,650 --> 01:01:39,050 What's the key word in the question? Ending, ending 951 01:01:39,050 --> 01:01:39,670 rhyme. 952 01:01:42,190 --> 01:01:46,090 The literary device in Wyatt's sonnet, "Fainting I 953 01:01:46,090 --> 01:01:53,390 follow, I leave off therefore," is in the opening 954 01:01:53,390 --> 01:01:56,850 couplet of "The Bait." John Donne subverts 955 01:01:56,850 --> 01:02:01,490 mainstream artistic traditions by employing parody, 956 01:02:01,490 --> 01:02:05,490 alternating rhyme, apostrophe, meter variations. 957 01:02:07,890 --> 01:02:11,090 The official institution of poetry attacked John 958 01:02:11,090 --> 01:02:14,650 Donne and rejected his poetry. In literature, this 959 01:02:14,650 --> 01:02:18,270 phenomenon is described as feminism, 960 01:02:19,270 --> 01:02:22,530 intertextuality, a literary movement, or framing. 961 01:02:25,570 --> 01:02:27,890 At least in these cases, if you're not sure, try 962 01:02:27,890 --> 01:02:30,350 to eliminate one or two answers and try just to 963 01:02:30,350 --> 01:02:34,320 think about them. To condemn Zionist alien rule 964 01:02:34,320 --> 01:02:37,900 over Jerusalem in his masterpiece, *Fil Quds* in 965 01:02:37,900 --> 01:02:42,340 Jerusalem, Tamim al-Barghouti invokes old Arabic 966 01:02:42,340 --> 01:02:45,620 traditions of gallantry and chivalry in the second 967 01:02:45,620 --> 01:02:51,840 stanza, openly calls for armed struggle, begins 968 01:02:51,840 --> 01:02:55,260 with a classical poetic form, and shifts to 969 01:02:55,260 --> 01:02:59,900 a loose poetic form, shifts from a loose poetic form to a 970 01:02:59,900 --> 01:03:07,350 classical one. And that's it. Good 971 01:03:07,350 --> 01:03:19,970 question, please. Stressed 972 01:03:19,970 --> 01:03:23,790 that 973 01:03:23,790 --> 01:03:28,390 no, with... oh no, I'm talking about "with"—that is not 974 01:03:28,390 --> 01:03:33,650 stressed. Okay, any questions? If you want to stay 975 01:03:33,650 --> 01:03:36,930 behind for questions, please do. Thank you very much 976 01:03:36,930 --> 01:03:40,990 and see you in two weeks. Do your best for the 977 01:03:40,990 --> 01:03:41,450 exams.