PL9fwy3NUQKwYGN66V9CL-c7DFnG0_Swb2/5rU-7taayAk.srt

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Assalamualaikum, welcome back again to English

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poetry. Last time we defined poetry. I gave you

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the chance to express your own thoughts about what

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you think poetry is. We also examined 12 famous

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English definitions of poetry. Today we will study

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our first official poem for the course. I know

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this is an English poetry course, but I always

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like to give my courses comparatively, in a

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comparative sense, so we can understand how

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different cultures, different poets, different

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ages do probably the same thing, more or less. So

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the first poem is by a Palestinian poet,

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Palestinian young poet and icon, actually. His

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name is Dareen Barghouti. Probably you are all

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familiar with Tamim Al Barghouti's work. But

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before we go to Tamim Al Barghouti, I want to ask

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you again to tell me what definitions you remember

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from last time. Remember the 12 definitions. So

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which one do you still remember? Which one do you

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cherish? Which one do you consider to be probably

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the definition closest to your heart?

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Poetry is a criticism of life. That's one of the

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most powerful modern definitions. And usually, I

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think, I gave you this question to think of how

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the definition could possibly reflect the age, the

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time. If I say poetry is criticism of life, and I

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compare it to the neoclassicist definition of

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poetry, teaching and delighting. How are they

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related or not?

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Poetry is to take life by the throat. Does this

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indicate violence? What do you think? Because of

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course this is a metaphorical definition. Defining

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a language heavily based on metaphors, using

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metaphors, is not sometimes the wisest thing to

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do. But I think this is deliberately done. So what

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would you understand? I know some of you objected

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to this. And some of you love this, by the way. So

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what does it indicate? Like taking life by the

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throat, of course metaphorically. Please. I think

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that means that you talk about anything that makes

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you feel that you want to make it out of it. If

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you have a feeling of anger or of sadness or anything

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of the sort, so you want to get this feeling out

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so you can move forward. Okay, thank you. I feel

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like it means the poet was patient for a long time

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and it came to this moment when he said that's

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enough. He or she. Okay, so the moment comes when

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he or she, the poet, does what? Like he feels the

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weight of being patient. Okay, thank you very

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much. The feeling of having had enough and finding

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a way to release this through poetry could be part

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of it. It's an expression of feelings and at the

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same time it gives you as a poet

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trying to make sense out of the mess around us,

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the chaos. Because yeah, this is an act of

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violence, holding someone down, don't do this. But it's

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also an act of controlling the object, whatever

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you're dealing with. And life is uncontrollable.

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So if in poetry you try to release, you have had

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enough and you try to make sense out of the

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environment, out of life, probably this is some

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kind of controlling life. Another definition,

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please.

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Are you sure this is Wordsworth, not someone

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else's?

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Okay, say it again.

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What's the definition again?

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Thank you very much. Please don't forget the

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second half of Wordsworth's definition.

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Okay,

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different schools have different opinions. You

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seem to believe in the Romantic definition of

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poetry more than any other definition. One more,

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please.

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The rhythmical creation of beauty. Turning beauty,

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the abstract thing, into music.  Still, music is

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still abstract, but it's more probably concrete

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than beauty. One more.  Pottery is

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painting. Pottery is painting. But we don't use

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paints in poetry, but again, when we talk about

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imagery and images in poetry, the image is an

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imagery. In poetry, an image is something you can

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feel, touch, hear, or smell. So there is imagery

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in poetry that is similar to the colors and the

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shapes we use when painting. One more. And you like

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this? Yes. But did you have a chat with Rahaf

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about how good or bad this definition is? We had a

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chat, but we don't agree that Boolean words were

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the definition. Okay. I agree with that, so isn't

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it fine? So you couldn't come to a compromise about

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this? No. Okay. Finally, please, somebody, yeah?

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Okay, so you like the definition that highlights

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the fact that poetry is different from prose

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because there is rhythm, there's music there. This

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is what basically makes it, because in rhyme,

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sometimes we don't have rhyme in poetry. We don't

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have at least a regular rhyme in poetry. There's

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blank verse, there's free verse. But sometimes,

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and sometimes again we have musical prose. But the

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fact that you're emphasizing the music aspect here

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of poetry, that tells how I'm not sure how if you

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want to compare poetry personally with prose, which

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one you you would be preferring here? What do you

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think, poetry or prose, which one do you like

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reading more? Are you sure? Okay, nice. So I tried to

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summarize, just to remind you that to choose five

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out of, just probably basically randomly done here.

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But yeah, I agree that this is significant because

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with Sidney and the neoclassicists, teaching and

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delighting being a reason behind poetry and

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literature remained for more than a thousand

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years. Many people still believe today that the

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first purpose of writing, of poetry, of literature

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is to teach and delight. And then we come to your

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favorite definition, the spontaneous overflow of

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powerful emotions recollected in tranquility, the

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Romantic definition of poetry. I know most of you

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like this, no offense to you, but we are at a time

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here, at an age where yeah, overflow of emotions.

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I'm not sure at the end of this course or in two

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years, five years, fifteen years, whether you

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believe literature to be or poetry to be not only

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an act of taking life by the throat, but an act

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of, I don't know, shooting life right between the

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eyes, as an act of protest. And then familiarizing

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and familiarizing, defamiliarizing things.

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Criticism of life, poetry is a way of taking life

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by the throat that you just mentioned. And the

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last time we ended the class with very significant

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points here.

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When you comment on poetry, criticize poetry,

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there are many ways to do it.

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But because you don't usually do it in an

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organized way, like academically, because this is

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you doing academic courses here. Sometimes you

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miss many points when you answer a question or

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talk about a point. All I want you to do is follow

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the academic logics here, where you go for the

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topic sentence, for example. When you say

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something, when you believe in something, when you

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see something in the text,

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go for the topic sentence which has the topic and

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the controlling idea, and then many students do

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like jump from topic sentence to the examples.

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Don't do this, or the evidence. I usually say, say

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something, say it again in other words, and then

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give examples or an example or evidence. Meaning if

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you believe that the poem has, going back to Ali

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Abunimah's poem, if you say I don't believe Ali

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Abunimah is or the speaker in the poem is going to

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change. Most of you will always say, like, I don't

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think that the poet is going, the speaker is going

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to change because, for example, try not to do

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this. Try to explain what you mean by the topic

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sentence, by the main idea here you have. So if

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you say something in the first sentence, when you

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open your paragraph, try to make it general. This

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is usually you making a judgment. I could differ

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with you, I could agree with you, but that's not

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where I give or don't give marks. Please always

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differ with people. Don't just follow people's

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ideas and opinions. So if you say, for example,

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the speaker in this poem is not willing to change,

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or the text shows here that the poet is not going

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to change. What do you mean by this? Explain it,

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say something about it, say something to make it

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clearer. If the poet is expressing regrets,

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perhaps he's not going to be a different person

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later on after the poem. And then you go for, for

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example, and there are two types of evidence.

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Number one, textual evidence. Use the text itself,

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like the use of "regrets" as plural. This is

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evidence. The use of the past simple tenses. This is

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evidence. You tell me like in this word, in

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this phrase. I don't expect you to memorize the

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poems, by the way, but I expect you to know these

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like little words and phrases. So in the poem, the

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poet did this and that. He said this and that. She

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said this and that. "Regrets" as plural could be

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used as evidence to indicate that somebody is

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willing to change. I don't have just one regret, I

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have regrets.  "Regrets," sorry. So the plurality

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here could be an indication that there is a

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willingness to change. Now the second type of

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evidence is based on thoughts, ideas. And again, I

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totally encourage you to express your opinions.

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But try to mix and vary here. In the same idea, in

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the same argument, try to use this and that to

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show that you are a critical human being. And

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again, going back to Ali Abunimah's poem, you could

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say the poet is willing to change. Basically, the

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very act of writing the poem is an expression of

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change. At least if he doesn't want to change, he

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wants other people to change. Okay, this is what

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we did

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And number three, we try to understand the

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poeticality of the text, the literary devices, the

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metaphors, the examined link between what we

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notice and what the poem or the poet says. So

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let's just look at the shape of the poem.

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Okay, this is stanza number one. And this is

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stanza number two. We usually don't see poems like

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this; they usually either follow this highly

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structured, highly organized form or this formless

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free verse, blank verse kind of writing. And this

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is stanza number three, four, et cetera, et

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cetera.

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Okay, so what do you notice? Please. Yeah. Okay,

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well, as you said, we noticed that the first

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stanza starts in a traditional, more of a

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traditional way, the old way, which is like the

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broken, I think you can say, verses, and then it

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goes to pre-verses, and I think this is very

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important. Now, again, first stanza. How would you

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comment on this? How would you describe this part

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of the poem? Okay, even if you don't know Arabic,

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you could still guess that the sound here, the

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last three letters are the same and probably not

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always in Arabic; they do usually, but in English

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don't be tricked by the letters; all we care about

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is the sounds. We've seen again in Ali Abraham's

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poem: there was "I," there was "cry," and there was "sigh,"

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but the sound is what we care about, and this is

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called the rhyme (القافية), the ending sound or

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sounds of a line or verse. The sound here is

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phonetically transcribed /a/, despite the fact that

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the letters are totally not related. In Arabic

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here, we have سورها، تزورها، دورها، يضيرها، سرورها،

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تديرها. We call this a regular rhyme scheme, not

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only a rhyme, because you will find a regular rhyme

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scheme. That's good. So there is regularity here.

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What else? Please.

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Okay.

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I'll come back to this. Again, my question always,

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my first question always is about noticing things

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without reading. Even if you don't read here, you

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still can guess that there's some kind of

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repetition in the last sound. Thank you very much.

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If you do this, the poem is going to look like

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this beautiful box that we want you to think about

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all the time. It's a block. What else do we

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notice about the shape and the form of the poem?

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Please.

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Thank you very much. Each line is split in half.

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What do you call this? Thank you very much.

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Caesura.  Caesura, from Caesar, Caesarean.

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That's nice. All the lines are divided into two.

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All the lines end in the same three letters, same

276
00:18:45,650 --> 00:18:50,930
sound. Now, we look at the poem as we read it. So

277
00:18:50,930 --> 00:18:53,930
somebody please read the first stanza. Okay, Mara,

278
00:18:54,690 --> 00:18:55,450
could you speak up?

279
00:19:06,990 --> 00:19:10,390
So I said to myself, perhaps it is a blessing. So

280
00:19:10,390 --> 00:19:13,110
what do you see in Jerusalem when you visit it?

281
00:19:13,450 --> 00:19:17,450
You see all the possibilities it has, if you start

282
00:19:17,450 --> 00:19:19,770
from the side of the road that goes around it. And

283
00:19:19,770 --> 00:19:22,090
not every soul, when it meets its beloved,

284
00:19:22,450 --> 00:19:25,810
rejoices, nor does all absence make it go away. So

285
00:19:25,810 --> 00:19:29,210
if it rejoices before meeting it, then its joy is

286
00:19:29,210 --> 00:19:33,450
not guaranteed. When will you see the ancient

287
00:19:33,450 --> 00:19:34,290
Jerusalem again?

288
00:19:36,930 --> 00:19:40,570
That's beautiful. One more. Yeah, please.

289
00:20:21,210 --> 00:20:24,210
That's also beautiful. One more. I don't want you

290
00:20:24,210 --> 00:20:29,290
to make mistakes in the... We are at the house of the

291
00:20:29,290 --> 00:20:31,970
Beloved, so return us from the house of the law of

292
00:20:31,970 --> 00:20:34,990
return and return. So I said to myself, perhaps it

293
00:20:34,990 --> 00:20:37,190
is a blessing. So what do you see in Jerusalem

294
00:20:37,190 --> 00:20:39,870
when you look at it? You see everything that you

295
00:20:39,870 --> 00:20:42,510
cannot possibly see, if it does not start from the

296
00:20:42,510 --> 00:20:44,990
side of the road around it. And not every soul,

297
00:20:45,130 --> 00:20:47,130
when it meets its Beloved, secludes itself, and

298
00:20:47,130 --> 00:20:49,790
not all the rest around it. So if it secludes

299
00:20:49,790 --> 00:20:51,930
itself before the separation of meeting it, then

300
00:20:51,930 --> 00:20:54,810
there is no guarantee that it will be happy. When

301
00:20:54,810 --> 00:20:59,470
will you see ancient Jerusalem again? Thank you,

302
00:20:59,650 --> 00:21:03,610
also excellent. So does the reading make a

303
00:21:03,610 --> 00:21:07,690
difference, the recitation, reading aloud? Does it

304
00:21:07,690 --> 00:21:11,730
give you any sense, the musicality of it? You feel

305
00:21:11,730 --> 00:21:14,270
that it's actually the same meter again and again.

306
00:21:15,050 --> 00:21:18,810
I'm not sure what *bahar* this is, what meter this

307
00:21:18,810 --> 00:21:23,030
is in Arabic. Probably mutafa'alun, mutafa'alun,

308
00:21:23,090 --> 00:21:25,870
fa'ulun, whatever. I have to check with someone

309
00:21:25,870 --> 00:21:30,150
in the Arabic department. But we do say the same

310
00:21:30,150 --> 00:21:34,370
thing. And it's like, musically speaking, we go up

311
00:21:34,370 --> 00:21:38,850
and down, up and down, up and down in the same way

312
00:21:38,850 --> 00:21:44,430
in the six lines. So when we read this, we could

313
00:21:44,430 --> 00:21:47,630
add to the fact that, again, highly irregular

314
00:21:47,630 --> 00:21:53,410
shape, regular rhyme scheme, the caesura in the

315
00:21:53,410 --> 00:21:57,700
middle, the gap, the pause. And then the music,

316
00:21:58,420 --> 00:22:00,920
this is what we call the rhythm, the music of the

317
00:22:00,920 --> 00:22:04,320
poetry. In Arabic, some people learn to say the

318
00:22:04,320 --> 00:22:08,300
rhythm, rhythm. It's the same, the rhythm. Okay,

319
00:22:08,380 --> 00:22:10,320
so what else do we notice again? About the

320
00:22:10,320 --> 00:22:12,800
language, about what he says, the vocabulary, the

321
00:22:12,800 --> 00:22:16,320
choice of words, and other things. Please. Again,

322
00:22:16,400 --> 00:22:18,260
it's a physical thing because we don't know the

323
00:22:18,260 --> 00:22:21,000
meaning. Like, he talks about his beloved wife.

324
00:22:24,280 --> 00:22:28,520
That's an excellent thing to notice. This is a

325
00:22:28,520 --> 00:22:31,120
poem written, I'm not sure how long ago, fifteen

326
00:22:31,120 --> 00:22:37,320
years ago or so, ten years ago. And the poet, in

327
00:22:37,320 --> 00:22:39,500
the other groups, I asked them to take the first

328
00:22:39,500 --> 00:22:41,940
line and to try to quiz the people around them,

329
00:22:42,000 --> 00:22:44,080
the people they know, your mom, your friends,

330
00:22:44,220 --> 00:22:48,740
somebody in the taxi, people studying something

331
00:22:48,740 --> 00:22:52,840
other than Arabic, people who don't know Tamim

332
00:22:52,840 --> 00:22:55,820
maybe, not familiar with the poem. So probably you

333
00:22:55,820 --> 00:22:59,060
need to go look under some rock here or there to

334
00:22:59,060 --> 00:23:01,220
find somebody who doesn't know this line. And ask

335
00:23:01,220 --> 00:23:05,860
them, can you guess who the poet is here? And

336
00:23:05,860 --> 00:23:08,920
please

337
00:23:08,920 --> 00:23:12,460
report to me. Tell me what they think about the

338
00:23:12,460 --> 00:23:15,500
author, the poet behind this. My guess is that

339
00:23:15,500 --> 00:23:18,440
many people, or at least some people, will not

340
00:23:18,440 --> 00:23:23,360
recognize Tamim or will not relate this line to

341
00:23:23,360 --> 00:23:27,900
someone alive, a contemporary poet, because of the way

342
00:23:27,900 --> 00:23:30,780
he begins—at least, number one, because of the way he begins

343
00:23:30,780 --> 00:23:36,800
classically. Many, uh, uh, like many Arab poets

344
00:23:36,800 --> 00:23:39,980
started their poems, opened their poems, in Arabic;

345
00:23:39,980 --> 00:23:45,860
we call it *to begin*; in English you said the

346
00:23:45,860 --> 00:23:53,560
opening, the beginning, by beginning with passing by

347
00:23:53,560 --> 00:24:00,620
the home, the houses of the beloved, and also

348
00:24:00,620 --> 00:24:05,180
standing over the ruins of a past tribe or

349
00:24:05,180 --> 00:24:07,500
something, connecting the present with the past.

350
00:24:11,130 --> 00:24:16,550
It's a classical way of beginning poetry. The

351
00:24:16,550 --> 00:24:18,810
Arabs did this many, many, many times in the past,

352
00:24:18,850 --> 00:24:20,690
when we're talking about 1,000 years ago, 2,000

353
00:24:20,690 --> 00:24:25,130
years ago. What else in addition to this? What

354
00:24:25,130 --> 00:24:26,050
else do you notice?

355
00:24:29,190 --> 00:24:29,690
Please.

356
00:24:32,570 --> 00:24:36,590
It's felt the same way. What's that?

357
00:24:39,630 --> 00:24:43,710
No, the foot is different from the line skin. The

358
00:24:43,710 --> 00:24:45,990
same—we're not familiar with the meter here, but

359
00:24:45,990 --> 00:24:54,710
when we read it, it sounded the same. It's the

360
00:24:54,710 --> 00:24:59,410
same movement we do here. It can easily be sung,

361
00:24:59,590 --> 00:25:01,550
by the way. And that's why it's called lyrical

362
00:25:01,550 --> 00:25:04,690
poetry. Almost all poetry is lyrical because it

363
00:25:04,690 --> 00:25:09,070
can be sung. More about the words, the language.

364
00:25:11,210 --> 00:25:15,250
Yeah, please. He used simple language. The

365
00:25:15,250 --> 00:25:17,290
language is basically simple, true. He used words...

366
00:25:19,850 --> 00:25:22,370
This is simple language. What is the most

367
00:25:22,370 --> 00:25:27,310
difficult word here? يضيرها. يضيرها and ضرر, to

368
00:25:27,310 --> 00:25:30,490
harm something, to hurt something. Simple

369
00:25:30,490 --> 00:25:31,790
language, that's true. More.

370
00:25:34,670 --> 00:25:38,730
Please. He uses contradiction when he says "أنت قافِ"

371
00:25:38,730 --> 00:25:43,190
"وأخيك." Okay. So the, the, there are a lot of

372
00:25:43,190 --> 00:25:47,550
binaries here, the opposites. He used many words

373
00:25:47,550 --> 00:25:49,750
to mean the thing and its opposite. Like what?

374
00:25:51,930 --> 00:25:55,750
Like what? Yeah. Okay.

375
00:25:58,210 --> 00:26:01,930
There is *لقاء* here and there is also, where is

376
00:26:01,930 --> 00:26:07,650
it? Same line. What else? Thank you very much. You

377
00:26:07,650 --> 00:26:11,830
dear. This is called binary opposites. Binary

378
00:26:11,830 --> 00:26:19,310
opposites, *الفراق*, *لقاء*, what else? *طَبْسَرُ، تَرَقّ، طَبْسَرُ*

379
00:26:19,310 --> 00:26:23,350
*تَرَقّ* is the same. *الحبيب الحبيب الحبيب الحبيب الحبيب*

380
00:26:23,350 --> 00:26:23,770
*الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب*

381
00:26:23,770 --> 00:26:24,350
*الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب*

382
00:26:24,350 --> 00:26:24,550
*الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب*

383
00:26:24,550 --> 00:26:27,290
*الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب الحبيب*

384
00:26:27,290 --> 00:26:30,530
*الحبيب الحبيب*

385
00:26:30,530 --> 00:26:36,450
*الحبي*...

386
00:26:36,830 --> 00:26:41,010
A very important place to start in a poem. Try to

387
00:26:41,010 --> 00:26:47,070
understand the opposites in the poem. Can we find

388
00:26:47,070 --> 00:26:52,290
more, more opposites other than these? I think you

389
00:26:52,290 --> 00:26:55,770
can. If you dig deeper, please. *حبيبه*, what

390
00:26:55,770 --> 00:26:59,130
else? More.

391
00:27:02,780 --> 00:27:06,080
Excellent, *مَرَرْنَا* again with the intention of

392
00:27:06,080 --> 00:27:09,680
being there, passing by to visit, and then we were

393
00:27:09,680 --> 00:27:11,580
sent back, *فَرَدْنَا*, true, more.

394
00:27:16,100 --> 00:27:18,980
What else? Okay, go back to things you notice

395
00:27:18,980 --> 00:27:26,960
about the poem. Please. Okay, what is that?

396
00:27:29,300 --> 00:27:33,580
Please, respect your friend, yeah. Where's that?

397
00:27:38,340 --> 00:27:42,720
Okay, that's also beautiful. Here, I'm not sure

398
00:27:42,720 --> 00:27:46,000
who he means here by *مَرَرْنَا*, probably the poet

399
00:27:46,000 --> 00:27:50,540
with friends and family or with other people going

400
00:27:50,540 --> 00:27:55,200
to visit Jerusalem and again. But then the moment

401
00:27:55,200 --> 00:27:59,520
there is here hope of meeting somebody you like,

402
00:27:59,760 --> 00:28:03,600
going somewhere you love. And then the enemy

403
00:28:03,600 --> 00:28:09,080
occupier sends him, sends them back, or at least

404
00:28:09,080 --> 00:28:14,660
makes it difficult to be there. And then he

405
00:28:14,660 --> 00:28:17,380
probably talks to himself here. The dialogue is,

406
00:28:17,600 --> 00:28:19,940
this is an internal dialogue, but it is still a

407
00:28:19,940 --> 00:28:25,540
dialogue. He didn't speak to someone else, to

408
00:28:25,540 --> 00:28:30,750
anyone else. I don't know why. That's a beautiful

409
00:28:30,750 --> 00:28:35,610
thing to notice. There is a dialogue. There is a

410
00:28:35,610 --> 00:28:40,670
dialogue. And again, this is the reply. He's still

445
00:31:15,550 --> 00:31:17,090
jump. Why would you jump to the second point?

446
00:31:18,390 --> 00:31:23,500
Finish this. Make it clear. So the tense is when

447
00:31:23,500 --> 00:31:26,440
you study a poem, it's important to examine the

448
00:31:26,440 --> 00:31:28,720
tense or the tenses and the shift from one tense

449
00:31:28,720 --> 00:31:30,360
to the other. This is part of understanding the

450
00:31:30,360 --> 00:31:36,780
poem. So here this is past simple tense. This is

451
00:31:36,780 --> 00:31:44,280
past simple tense. This is past. This is present.

452
00:31:44,660 --> 00:31:50,380
This is also present. This is present. Present,

453
00:31:50,600 --> 00:32:00,120
past, present, present, present, nice, past,

454
00:32:03,960 --> 00:32:08,560
present, future,

455
00:32:09,980 --> 00:32:10,300
future.

456
00:32:14,630 --> 00:32:18,010
And todiraha is also present. Could be possibly

457
00:32:18,010 --> 00:32:25,150
connected with the future. So a

458
00:32:25,150 --> 00:32:29,230
poem, short stanza in a poem that includes three

459
00:32:29,230 --> 00:32:36,490
tenses. Past, a lot of past. And some present and

460
00:32:36,490 --> 00:32:41,410
also future. Okay, so look at what we did here.

461
00:32:41,590 --> 00:32:45,830
Number one, we noticed this is the form. And we

462
00:32:45,830 --> 00:32:48,770
concluded that the form is highly irregular

463
00:32:48,770 --> 00:32:52,890
because of three things. Number one, the shape. It

464
00:32:52,890 --> 00:32:56,770
looks like a box, a block. And then the way it

465
00:32:56,770 --> 00:33:02,110
ended, it ended in the same sound or sounds. We

466
00:33:02,110 --> 00:33:05,670
call this rhyme, irregular rhyme. And also we

467
00:33:05,670 --> 00:33:10,500
noticed the caesura, the break, the gap in the

468
00:33:10,500 --> 00:33:12,840
middle. By the way, Old English poetry used to

469
00:33:12,840 --> 00:33:17,000
employ the same poetic technique, this device in

470
00:33:17,000 --> 00:33:19,400
the middle. But later on, they started using

471
00:33:19,400 --> 00:33:23,320
punctuation marks to create the caesura, the

472
00:33:23,320 --> 00:33:26,580
break. So that's number one. And then number two,

473
00:33:27,860 --> 00:33:30,020
when we read it, we felt that this is musical.

474
00:33:30,160 --> 00:33:32,540
This is poetry because of the way it reads when

475
00:33:32,540 --> 00:33:37,900
you recite it. And then we looked at the binaries,

476
00:33:38,120 --> 00:33:42,480
the opposites. We realized that there is Habib,

477
00:33:42,860 --> 00:33:51,200
Aadi, Ghiyab, Yalqa, Luqia, Tasor, Yudhir are like

478
00:33:51,200 --> 00:33:54,540
basically three or four major binaries, opposites.

479
00:33:57,380 --> 00:34:00,100
And then the language itself, one of you said this

480
00:34:00,100 --> 00:34:02,660
is simple language, but I'm not sure if you paid

481
00:34:02,660 --> 00:34:04,900
attention to this. The vocabulary, the diction

482
00:34:04,900 --> 00:34:06,900
here, you know the word diction from dictionary?

483
00:34:08,420 --> 00:34:11,980
The language, the poetic diction here is also

484
00:34:11,980 --> 00:34:13,560
inspired by old Arabic poetry.

485
00:34:22,310 --> 00:34:25,070
The words, the vocabulary, if you take them out,

486
00:34:25,170 --> 00:34:27,290
you feel that these are ... it doesn't mean we

487
00:34:27,290 --> 00:34:32,030
don't use them these days. The way sounds

488
00:34:32,030 --> 00:34:38,830
like an old Arabic poet. And then most importantly,

489
00:34:38,990 --> 00:34:43,070
I think, the fact that it begins, it opens with a

490
00:34:43,070 --> 00:34:47,210
very famous old Arabic way of starting poetry.

491
00:34:47,290 --> 00:34:52,190
مرنا على دار الحبيب، عنترة بيقول يا دار عبلة

492
00:34:52,190 --> 00:34:58,130
بالجواي تكلمي، مظبوط؟ قايس ايش بيقول؟ أمرّوا على

493
00:34:58,130 --> 00:35:02,930
دياري دياري ليلة، right؟ و قايس بيقول أرى البين

494
00:35:02,930 --> 00:35:09,800
يشكو البين، البعد، فراق محبين كلهم، يا ربي قرّب

495
00:35:09,800 --> 00:35:14,360
دار كل حبيباني، like the daar here, the house, the

496
00:35:14,360 --> 00:35:19,220
home of the people you love. This has always been

497
00:35:19,220 --> 00:35:25,920
there in Arabic poetry. Okay, more before we move?

498
00:35:27,100 --> 00:35:28,400
Where are the questions?

499
00:35:38,990 --> 00:35:41,410
Okay, thank you very much. This is a question,

500
00:35:41,970 --> 00:35:43,830
what would you see in your ceremony, you visit

501
00:35:43,830 --> 00:35:48,270
here or it? But this is not a question. This is

502
00:35:48,270 --> 00:35:50,190
not a question, this is conditional. This is the

503
00:35:50,190 --> 00:35:53,890
matter that means if or when, whenever or. So

504
00:35:53,890 --> 00:35:57,270
there's one question here, not more than one

505
00:35:57,270 --> 00:36:02,230
question. Now, the second part of the poem, See,

506
00:36:02,310 --> 00:36:04,790
what we do is that we try to notice things to

507
00:36:04,790 --> 00:36:10,290
build up a case to create patterns. To create a

508
00:36:10,290 --> 00:36:14,310
pattern or patterns. And then we move, for example

509
00:36:14,310 --> 00:36:17,550
here, we move to the second part to see if we find

510
00:36:17,550 --> 00:36:22,570
the same thing there. In order to try to answer

511
00:36:22,570 --> 00:36:28,690
your question here, Rosanne. Why? Okay?

512
00:36:31,520 --> 00:36:36,640
Yalla, let's see. What do you think? If you're not

513
00:36:36,640 --> 00:36:38,760
familiar with the poem already, I could have asked

514
00:36:38,760 --> 00:36:42,140
you to tell me if this is part of the same poem or

515
00:36:42,140 --> 00:36:45,740
not. Many would say, it's not the same. They don't

516
00:36:45,740 --> 00:36:49,000
look the same. It doesn't fit. Please.

517
00:36:52,560 --> 00:36:54,960
Before that, again, remember, always go easy.

518
00:36:55,540 --> 00:36:59,760
Shape, what do you see? Is this as structured?

519
00:37:01,010 --> 00:37:03,770
organized as regular as the first part.

520
00:37:07,520 --> 00:37:09,620
There could be a pattern. The thing with this, if

521
00:37:09,620 --> 00:37:13,060
you check online resources, you'll find different

522
00:37:13,060 --> 00:37:17,400
websites using different ways of layout for the

523
00:37:17,400 --> 00:37:20,620
same poem. I saw websites going for making this one

524
00:37:20,620 --> 00:37:22,820
whole line, one whole line, because it's one

525
00:37:22,820 --> 00:37:26,660
thought and going for a long line. في القدس باع

526
00:37:26,660 --> 00:37:30,400
وقدرة من جورجيا بريمون بزوجته يفكر في قضاء إجازة

527
00:37:30,400 --> 00:37:31,460
أو في طلاء البيت

528
00:37:35,000 --> 00:37:37,800
That's called spoken poetry or performance poetry.

529
00:37:38,900 --> 00:37:43,580
Spoken poetry. There is poetry that is meant to be

530
00:37:43,580 --> 00:37:46,540
delivered, performed by the poet himself or

531
00:37:46,540 --> 00:37:50,520
herself. It's treated differently, totally

532
00:37:50,520 --> 00:37:53,120
differently. So number one, compared to the first

533
00:37:53,120 --> 00:38:00,300
part, this is kind of irregular. Do we have the

534
00:38:00,300 --> 00:38:05,050
same sounds or letters repeated at the end? So

535
00:38:05,050 --> 00:38:07,790
possibly there is no rhyme, at least there is no

536
00:38:07,790 --> 00:38:11,810
rhyme, or there is an irregular rhyme scheme. What

537
00:38:11,810 --> 00:38:18,790
else? What else do you notice? Say again? There is

538
00:38:18,790 --> 00:38:21,890
a lot of repetition, in Jerusalem, in Jerusalem,

539
00:38:22,010 --> 00:38:25,070
in Jerusalem, in Jerusalem, in Jerusalem, in

540
00:38:25,070 --> 00:38:26,490
Jerusalem. That's like how many in Jerusalem?

541
00:38:27,110 --> 00:38:34,400
That's six of them. More? Let's do the way we did

542
00:38:34,400 --> 00:38:35,360
with the first stanza.

543
00:38:40,880 --> 00:38:46,140
There's no break in the middle of the lines. There

544
00:38:46,140 --> 00:38:49,160
is no break. Although, again, sometimes the comma

545
00:38:49,160 --> 00:38:52,160
or a punctuation mark could function as a caesura.

546
00:38:52,280 --> 00:38:54,420
It doesn't have to be physical space. But yeah,

547
00:38:54,460 --> 00:38:59,120
there is no break in the middle of the line. More.

548
00:39:02,280 --> 00:39:05,160
Different lengths, true, so probably different

549
00:39:05,160 --> 00:39:08,740
musical pattern, different rhythm, different meter

550
00:39:08,740 --> 00:39:13,080
maybe, more. Basically, thank you very much, no

551
00:39:13,080 --> 00:39:16,720
rhyme scheme, whether you ended here البيت أحكامها

552
00:39:16,720 --> 00:39:20,900
عشرين etc. or زوجته بيته عليها أحكامها totally

553
00:39:20,900 --> 00:39:27,620
different. There's no rhyme scheme, please. A lot of

554
00:39:31,970 --> 00:39:33,450
prepositions like what?

555
00:39:36,510 --> 00:39:44,310
Okay, I don't know why, but I think yeah, you have a

556
00:39:44,310 --> 00:39:53,530
point. More, please. Okay.

557
00:39:53,530 --> 00:39:57,590
Nice to notice this, the last, the last two lines

558
00:39:57,590 --> 00:40:03,010
rhyme, more musical. The last two lines, probably

559
00:40:03,010 --> 00:40:05,050
because this is بعمرات أنت بيعرفيش ده في الساحات

560
00:40:05,050 --> 00:40:07,550
طول اليوم فالقدس ده بجمع المطر عليهم فوق الغيم,

561
00:40:07,690 --> 00:40:10,570
possibly. But they're not the same, like the same,

562
00:40:10,890 --> 00:40:13,490
is it the same? No, this is a little bit

563
00:40:13,490 --> 00:40:21,390
different, we'll come to this, okay. Not always,

564
00:40:21,590 --> 00:40:24,510
this is small, this is long, small, long, it

565
00:40:24,510 --> 00:40:28,080
varies, it's shapeless. The second part is

566
00:40:28,080 --> 00:40:30,760
formless, probably this is blank or free verse.

567
00:40:32,340 --> 00:40:34,040
And then we come to the conclusion here, to the

568
00:40:34,040 --> 00:40:40,120
question, why is the poet using two different

569
00:40:40,120 --> 00:40:44,300
forms of poetry in the same poem? Why does the

570
00:40:44,300 --> 00:40:47,680
poet shift? Why does the meme here or the speaker

571
00:40:47,680 --> 00:40:52,390
shift from a highly regular, highly structured,

572
00:40:52,830 --> 00:40:58,690
well-organized form of poetry to shapeless,

573
00:40:59,650 --> 00:41:07,230
formless kind of poetry. Is there a reason? And

574
00:41:07,230 --> 00:41:12,290
again, don't ask whether Tamim or the poet meant

575
00:41:12,290 --> 00:41:18,510
it or not. We deal with the text. I'm not sure how

576
00:41:18,510 --> 00:41:21,630
you reacted when you first heard this poem or read

577
00:41:21,630 --> 00:41:25,590
this poem. Did you feel that there was a jump, an

578
00:41:25,590 --> 00:41:28,090
abrupt shift?

579
00:41:29,450 --> 00:41:30,630
When it's read? No?

580
00:41:36,030 --> 00:41:38,990
Personally, when I first heard the poem online,

581
00:41:39,610 --> 00:41:42,890
Amir al Shu'ara, I was like, oh, there was a

582
00:41:42,890 --> 00:41:44,830
subject, probably because I'm specialized in

583
00:41:44,830 --> 00:41:48,490
poetry. I felt it instantly. I was like, there is

584
00:41:48,490 --> 00:41:51,190
a reason here. Why is he shifting? What's going on

585
00:41:51,190 --> 00:41:54,330
in the first stanza that we don't have in the

586
00:41:54,330 --> 00:41:56,670
second stanza, or vice versa? Please.

587
00:42:00,280 --> 00:42:02,680
Yeah, but this is not a poetic answer. I know at

588
00:42:02,680 --> 00:42:05,440
school you used to say to attract the attention of

589
00:42:05,440 --> 00:42:08,700
the reader. To emphasize. These two things mean

590
00:42:08,700 --> 00:42:15,740
nothing because the question is why, again. And

591
00:42:15,740 --> 00:42:19,640
how. We just mentioned the how. But if you say to

592
00:42:19,640 --> 00:42:21,540
attract the attention of the reader, this is not a

593
00:42:21,540 --> 00:42:23,880
poetic answer. This is not a critical answer. This

594
00:42:23,880 --> 00:42:29,140
is a school answer. To emphasize the idea. Where

595
00:42:29,140 --> 00:42:32,760
is the emphasis? And what's the idea? This is what

596
00:42:32,760 --> 00:42:35,500
we do at university. So you have the repetition,

597
00:42:35,620 --> 00:42:36,980
you could say you have the repetition of في القدس,

598
00:42:37,040 --> 00:42:40,180
في القدس, في القدس to emphasize the idea. What

599
00:42:40,180 --> 00:42:44,720
idea? See my point? We usually give, we are here

600
00:42:44,720 --> 00:42:46,880
to learn, to learn how to be as poetic as

601
00:42:46,880 --> 00:42:50,220
possible. Please. Maybe it refers to Jerusalem

602
00:42:50,220 --> 00:42:53,540
itself. Say, say again. It refers to Jerusalem

603
00:42:53,540 --> 00:42:57,160
itself. What? The poet stands and it was highly

604
00:42:57,160 --> 00:43:01,120
organized. Nice.

605
00:43:07,480 --> 00:43:10,940
That's beautiful. More please.

606
00:43:13,030 --> 00:43:16,750
When I tried, and the first stanza he was

607
00:43:16,750 --> 00:43:20,070
describing it from outside where there's the

608
00:43:20,070 --> 00:43:23,630
walls, and he depicted the walls with the rigid

609
00:43:23,630 --> 00:43:26,530
form, and then the second stanza, when he went

610
00:43:26,530 --> 00:43:32,050
inside, it's small alleys and haraj, and so he

611
00:43:32,050 --> 00:43:36,730
used the blank verse. So what's happening from

612
00:43:36,730 --> 00:43:39,170
the outside? What can you see from the inside? And

613
00:43:39,170 --> 00:43:42,590
what is there inside that makes it change shape

614
00:43:42,590 --> 00:43:50,310
and form? Please. Yeah. Because I think that it's

615
00:43:50,310 --> 00:43:53,610
related to Jerusalem itself, like you said.

616
00:43:54,610 --> 00:44:00,310
Because when he used the classical way of poetry,

617
00:44:00,530 --> 00:44:03,850
he emphasized that Jerusalem is

618
00:44:07,300 --> 00:44:12,980
Uh-huh. And still, it still exists because he, you

619
00:44:12,980 --> 00:44:17,180
know, like Jews say that. We don't say Jews. It's

620
00:44:17,180 --> 00:44:22,720
not about Jews. Israelis. The Zionists say that

621
00:44:22,720 --> 00:44:27,840
Jerusalem is for them, not for us. So he used

622
00:44:27,840 --> 00:44:29,980
first a political way to convince them that

623
00:44:29,980 --> 00:44:36,870
Jerusalem is ours. But the second, and she's Okay,

624
00:44:37,290 --> 00:44:40,510
so you're connecting here the old form with what

625
00:44:40,510 --> 00:44:46,210
used to be, how Jerusalem is ours, bringing the

626
00:44:46,210 --> 00:44:50,710
past with the present. Thank you. He was trying to

627
00:44:50,710 --> 00:44:53,130
put us in the same kind of atmosphere that he felt

628
00:44:53,130 --> 00:44:55,690
at that time. He was expecting to see Jerusalem

629
00:44:55,690 --> 00:44:56,490
organized.

630
00:45:02,280 --> 00:45:05,220
Okay, I like this point. So point number one, the

631
00:45:05,220 --> 00:45:10,500
first part is the expectation that Jerusalem in

632
00:45:10,500 --> 00:45:14,440
our mind and heart, in our imagination, the city

633
00:45:14,440 --> 00:45:18,440
that we as Palestinians can't have, can't even

634
00:4

667
00:47:52,810 --> 00:47:54,430
shift? That's the question.

668
00:47:58,390 --> 00:48:02,170
What's going on inside Jerusalem? Who is there?

669
00:48:07,810 --> 00:48:10,710
Okay, if this is a story, who are the characters?

670
00:48:10,710 --> 00:48:16,010
in the second part of the poem? Someone from

671
00:48:16,010 --> 00:48:20,590
Georgia, someone from Abu Dhabi, someone from

672
00:48:20,590 --> 00:48:26,310
Bologna, whatever this is, someone from Ethiopia,

673
00:48:27,610 --> 00:48:31,250
possibly around Ethiopia, and someone from France

674
00:48:31,250 --> 00:48:37,290
or the UK, or Brazil, or Canada, or Australia. The

675
00:48:37,290 --> 00:48:39,610
only person, the only Arab person, and then also

676
00:48:39,610 --> 00:48:45,760
the blonde tourists coming to Jerusalem. The only

677
00:48:45,760 --> 00:48:49,180
person here is this poor nameless, faceless woman

678
00:48:49,180 --> 00:48:53,260
doing stupid things. Sorry, there's no business, no

679
00:48:53,260 --> 00:48:57,280
work. It's stupid work, but she's selling this turnip

680
00:48:57,280 --> 00:49:03,020
kind of thing. It's not sage or thyme or olive oil

681
00:49:03,020 --> 00:49:06,220
or olives or something. So in the second stanza, what

682
00:49:06,220 --> 00:49:09,260
I'm saying here is that while the expectations, the

683
00:49:09,260 --> 00:49:13,270
meme, or like all of our expectations... Have you ever

684
00:49:13,270 --> 00:49:15,550
been to Jerusalem? I asked this maybe before. How

685
00:49:15,550 --> 00:49:19,170
many of you? Like three? Oh, that's very few

686
00:49:19,170 --> 00:49:23,130
again. So the point is, when you go there, for

687
00:49:23,130 --> 00:49:25,630
whatever reason, you have these great expectations.

688
00:49:25,630 --> 00:49:28,990
Like, wow, beautiful, the ancient city, our

689
00:49:28,990 --> 00:49:32,550
eternal capital. But once you are there, and we

690
00:49:32,550 --> 00:49:34,450
know that there is the Israeli occupation all the

691
00:49:34,450 --> 00:49:36,930
time controlling it. But again, the expectations

692
00:49:36,930 --> 00:49:41,050
are high. When you go there, what do you do in

693
00:49:41,050 --> 00:49:44,130
Jerusalem, basically? Of course, you could go eat

694
00:49:44,130 --> 00:49:46,990
kaak or whatever, first and foremost, but we go to

695
00:49:46,990 --> 00:49:50,070
pray, thank you, to worship, because the

696
00:49:50,070 --> 00:49:52,730
spirituality of Jerusalem, the place itself has

697
00:49:52,730 --> 00:49:56,810
this sacred aura about it, spirituality. By the

698
00:49:56,810 --> 00:49:59,690
way, if you Google "Jerusalem syndrome," there's

699
00:49:59,690 --> 00:50:02,350
this crazy thing that people believe in, that if

700
00:50:02,350 --> 00:50:03,970
you go to Jerusalem, you're going to lose it

701
00:50:03,970 --> 00:50:06,990
sometimes. Some people lose it because of, I don't

702
00:50:06,990 --> 00:50:11,520
know why. So you go, you pray. Yes, you take

703
00:50:11,520 --> 00:50:13,960
pictures. And you take pictures with the top of

704
00:50:13,960 --> 00:50:18,940
the rock, with the famous stairs there, the

705
00:50:18,940 --> 00:50:22,880
scenery, the old places, the souks, the old

706
00:50:22,880 --> 00:50:27,580
streets and alleys. You don't go take pictures

707
00:50:27,580 --> 00:50:30,800
with stupid *figl* here. I love how Tamim is using

708
00:50:30,800 --> 00:50:36,850
*figl*. Because those tourists, those enemy

709
00:50:36,850 --> 00:50:41,870
occupiers, those intruders do not understand the

710
00:50:41,870 --> 00:50:45,050
nature of the city. The traditions here, the

711
00:50:45,050 --> 00:50:49,450
heritage is that as Palestinians, zaatar, rehan,

712
00:50:50,070 --> 00:50:57,900
mint, sage, thyme—these are identity things,

713
00:50:57,900 --> 01:00:00,020
identity issues. *Figl*—you could live for two, three

714
01:00:00,020 --> 01:00:02,160
years without eating *figl*. But those people say,

715
01:00:02,240 --> 01:00:04,380
"Wow, let's take a picture with this woman selling

716
01:00:04,380 --> 01:00:10,080
this grenade kind of thing." So what I'm suggesting is

717
01:00:10,080 --> 01:00:12,540
that... And look at this man. What is he doing? He

718
01:00:12,540 --> 01:00:18,980
came all the way from Georgia to fight

719
01:00:18,980 --> 01:00:22,000
with his wife here. I think we have had enough

720
01:00:22,000 --> 01:00:25,070
fights with our wives. We don't want more people,

721
01:00:25,210 --> 01:00:31,230
more negativity. Planning to do what in Jerusalem?

722
01:00:32,070 --> 01:00:34,410
This is unfathomable. To me, this is unfathomable.

723
01:00:34,590 --> 01:00:36,930
Many people who say, like, "If I am in Jerusalem, if

724
01:00:36,930 --> 01:00:38,870
I were in Jerusalem, I would be just, I don't

725
01:00:38,870 --> 01:00:42,630
know, resisting all the time, probably praying all

726
01:00:42,630 --> 01:00:48,860
the time." The spirituality comes first. And then

727
01:00:48,860 --> 01:00:51,580
the old man coming all the way from Upper

728
01:00:51,580 --> 01:00:54,600
Manhattan, teaching people who came all the way

729
01:00:54,600 --> 01:01:00,020
from this place. And look at this guy from Africa,

730
01:01:01,180 --> 01:01:05,380
closing Jerusalem. Jerusalem should not be closed. No place

731
01:01:05,380 --> 01:01:07,920
of worship should be closed or controlled this

732
01:01:07,920 --> 01:01:11,220
way. And look at the gun, the machine gun.

733
01:01:11,730 --> 01:01:15,310
Remember, there's the other poem, Jadatul. I'm

734
01:01:15,310 --> 01:01:18,530
going to call her Jannatul. She's nine years old.

735
01:01:19,310 --> 01:01:25,390
She isn't 18 years old; she's nine years old and

736
01:01:25,390 --> 01:01:28,970
nine years old. This is how small and little she

737
01:01:28,970 --> 01:01:32,890
is, young she is. This man—the machine gun is on

738
01:01:32,890 --> 01:01:35,930
this settler—because compared to the gun, the gun

739
01:01:35,930 --> 01:01:43,810
is even bigger than himself. Look at this—not even

740
01:01:43,810 --> 01:01:45,990
someone like... deliberate, because we've seen like

741
01:01:45,990 --> 01:01:48,970
we've seen Christian Zionists familiar with this

742
01:01:48,970 --> 01:01:53,210
concept. Christian Zionists—Christians who believe

743
01:01:53,210 --> 01:01:55,970
that the Jews have to convert to Christianity at

744
01:01:55,970 --> 01:02:00,730
the end of the day. They love Israel—not because

745
01:02:00,730 --> 01:02:02,350
they love Israel, but because they hate Israel—

746
01:02:02,350 --> 01:02:04,490
because they believe that at the end of the day,

747
01:02:06,230 --> 01:02:10,590
all Jews should come to Palestine, to Jerusalem,

748
01:02:10,730 --> 01:02:14,150
to Palestine, so they can convert to Christianity.

749
01:02:15,570 --> 01:02:19,430
And the people around Trump are some of them. So

750
01:02:19,430 --> 01:02:23,010
those people, and even some, I don't know, some

751
01:02:23,010 --> 01:02:25,330
Jewish Zionists from the end of the world, they

752
01:02:25,330 --> 01:02:27,590
come here; they don't just come for the

753
01:02:27,590 --> 01:02:30,630
spirituality of Jerusalem, they just... But I know, I

754
01:02:30,630 --> 01:02:32,250
believe that some of them are religious people, and

755
01:02:32,250 --> 01:02:34,530
they believe in this. But others just like—they

756
01:02:34,530 --> 01:02:35,930
want to show off; they want to take a picture.

757
01:02:36,370 --> 01:02:39,890
And many, many times they come here on free tours,

758
01:02:40,270 --> 01:02:46,710
the Birthright, paid. If I tell any one of

759
01:02:46,710 --> 01:02:49,830
you, "Okay, let's go on a paid tour. You just pay

760
01:02:49,830 --> 01:02:53,750
nothing. Two months, one month, you go anywhere

761
01:02:53,750 --> 01:02:56,250
around the world," many of you would be willing to

762
01:02:56,250 --> 01:03:01,870
say, "Okay, I'm in." But be careful, because

763
01:03:01,870 --> 01:03:05,190
sometimes you will be like destroying others, like

764
01:03:05,190 --> 01:03:10,130
those Zionists are doing. And again, the blonde

765
01:03:10,130 --> 01:03:13,990
foreigners coming here—they just don't see

766
01:03:13,990 --> 01:03:18,210
Jerusalem. And that's why Tamim says, somewhere,

767
01:03:18,350 --> 01:03:22,430
they don't see Jerusalem. Because there are two

768
01:03:22,430 --> 01:03:26,270
Jerusalems. The Jerusalem that is ours, belongs to

769
01:03:26,270 --> 01:03:30,280
the Arabs—Christians or Muslims, by the way—

770
01:03:30,740 --> 01:03:32,900
because he will be emphasizing, and this is a

771
01:03:32,900 --> 01:03:34,940
feature of Palestinian poetry about Jerusalem.

772
01:03:35,100 --> 01:03:37,440
I've noticed this all the time. If a Palestinian

773
01:03:37,440 --> 01:03:40,860
poet writes about Jerusalem, there are always

774
01:03:40,860 --> 01:03:43,880
Christians, and there are always Muslims. There's

775
01:03:43,880 --> 01:03:47,260
always the church, there's always the mosque,

776
01:03:47,380 --> 01:03:49,220
there's always the Bible, and there's always the

777
01:03:49,220 --> 01:03:52,340
Quran there, because Jerusalem unites us, brings us

778
01:03:52,340 --> 01:03:55,340
together. But it's the Israeli enemy occupier that

779
01:03:55,340 --> 01:03:58,300
is destroying the very fabric of Jerusalem, that

780
01:03:58,300 --> 01:04:00,880
is turning this well-structured, beautiful place

781
01:04:00,880 --> 01:04:06,380
that should be beautiful, should be as we imagine

782
01:04:06,380 --> 01:04:11,420
it, a place for all that unites. The existence of

783
01:04:11,420 --> 01:04:16,280
those outsiders is destroying the structure of the

784
01:04:16,280 --> 01:04:19,500
poem as much as it is destroying the structure of

785
01:04:19,500 --> 01:04:25,470
the very essence of our lives, Palestinians. Okay,

786
01:04:26,010 --> 01:04:27,550
before I move to the second question, you want to

787
01:04:27,550 --> 01:04:31,210
say something? I was going to say something about

788
01:04:31,210 --> 01:04:35,850
the pattern, why I think it changed. In the first

789
01:04:35,850 --> 01:04:37,910
stanza, basically he's not describing anything;

790
01:04:38,150 --> 01:04:43,050
he's just stating ideas and thoughts. And in the

791
01:04:43,050 --> 01:04:45,890
other stanza, we find descriptions. So what I

792
01:04:45,890 --> 01:04:51,640
think happened is that if he used the classical

793
01:04:51,640 --> 01:04:55,140
style, the description of the modern view would

794
01:04:55,140 --> 01:04:59,240
seem like an archaic picture. So he shifted to a

795
01:04:59,240 --> 01:05:03,380
more modern way of description in order to give us

796
01:05:03,380 --> 01:05:07,580
a sense that this is the present day. To not make

797
01:05:07,580 --> 01:05:12,140
the... a sense that is chaotic and messy. No, like

798
01:05:12,140 --> 01:05:15,660
if he used the classical style, a description, and

799
01:05:15,660 --> 01:05:19,920
using the same way, maybe the picture... Are you

800
01:05:19,920 --> 01:05:24,360
suggesting that Arabic poetry, classical Arab

801
01:05:24,360 --> 01:05:27,060
poetry is incapable of describing this in this

802
01:05:27,060 --> 01:05:27,360
way?

803
01:05:30,320 --> 01:05:35,540
Okay, so this is going back to attracting the

804
01:05:35,540 --> 01:05:40,920
attention of the readers. The classical Arabic

805
01:05:40,920 --> 01:05:44,040
poetry is capable of describing modern pictures,

806
01:05:44,220 --> 01:05:46,480
but if we're going to describe something that's

807
01:05:46,480 --> 01:05:50,840
going on, something chaotic, as you said, I think

808
01:05:50,840 --> 01:05:54,620
he did the right thing by using—by taking out the

809
01:05:54,620 --> 01:05:56,760
structure? Yeah, taking out the structure. And

810
01:05:56,760 --> 01:05:58,580
again, this is what some of you already suggested,

811
01:05:58,720 --> 01:06:02,660
that the fact that the second stanza is dominated by

812
01:06:02,660 --> 01:06:07,300
outsiders, invading intruders, the Zionist

813
01:06:07,300 --> 01:06:11,890
occupation, the enemy occupier, destroys the very

814
01:06:11,890 --> 01:06:14,710
shape and form and fabric and structure of the

815
01:06:14,710 --> 01:06:18,540
poem. But other than this, if you look at the

816
01:06:18,540 --> 01:06:21,160
first poem, some of you suggested that here we

817
01:06:21,160 --> 01:06:22,740
have the past, present, and future. I think Tamim

818
01:06:22,740 --> 01:06:27,560
is also trying to connect Jerusalem with our past,

819
01:06:27,660 --> 01:06:31,380
our future, and our present. The fact that he's

820
01:06:31,380 --> 01:06:35,080
using this, again, Arabic tradition, traditional

821
01:06:35,080 --> 01:06:38,460
form, he's basically connecting, I think,

822
01:06:39,220 --> 01:06:42,580
connecting Jerusalem with our identity as Arabs.

823
01:06:43,400 --> 01:06:46,110
Again, whether Muslims or Christians. And again,

824
01:06:46,530 --> 01:06:49,010
maybe he's saying, he's implying that if we want

825
01:06:49,010 --> 01:06:51,210
to have Jerusalem back, we have to go back to our

826
01:06:51,210 --> 01:06:55,130
roots. Arabs have never been united, but in the

827
01:06:55,130 --> 01:06:58,830
past, we were a lot more united than now. Because

828
01:06:58,830 --> 01:07:03,770
today, we're not only fighting against the Israeli

829
01:07:03,770 --> 01:07:05,870
enemy occupier; we're also fighting against...

830
01:07:06,310 --> 01:07:11,230
because sometimes we are hurt more by ourselves

831
01:07:11,230 --> 01:07:15,880
and by Arabs around us, the Arab regimes. Sadly,

832
01:07:15,880 --> 01:07:19,260
normalization with the occupant. So this could be

833
01:07:19,260 --> 01:07:22,910
an indication that... an indication that we need to

834
01:07:22,910 --> 01:07:25,870
go back to our roots. We need to go back to our

835
01:07:25,870 --> 01:07:30,270
past, to our origins as Arabs, in order to have

836
01:07:30,270 --> 01:07:31,890
Jerusalem back. And that's why, probably basically,

837
01:07:31,890 --> 01:07:34,170
the past simple, the present simple, and the

838
01:07:34,170 --> 01:07:39,410
future simple tenses are used here. And I want to

839
01:07:39,410 --> 01:07:43,390
go back to the dialogue here. Yes, there is a

840
01:07:43,390 --> 01:07:46,030
dialogue in the first stanza, although it's a

841
01:07:46,030 --> 01:07:48,950
dialogue made up between an internal dialogue.

842
01:07:50,050 --> 01:07:55,430
Monologue—what's a monologue? Between yourself.

843
01:07:55,650 --> 01:07:58,590
So you and yourself; it's basically some kind of

844
01:07:58,590 --> 01:07:59,350
dialogue also.

845
01:08:03,230 --> 01:08:10,140
But here, look, we lose the dialogue. We lose the

846
01:08:10,140 --> 01:08:14,160
dialogue. This is a monologue now, monologic. It's

847
01:08:14,160 --> 01:08:17,320
one way. There's one image; sorry, there's one

848
01:08:17,320 --> 01:08:21,200
worldview here, dominated by the occupation, the

849
01:08:21,200 --> 01:08:27,740
occupiers. There is one worldview in the second

850
01:08:27,740 --> 01:08:33,140
part. One party dominating everything. Even when

851
01:08:33,140 --> 01:08:37,350
Arabs are mentioned, they are only on the margin,

852
01:08:37,810 --> 01:08:42,430
a street vendor selling something exotic—not that

853
01:08:42,430 --> 01:08:44,970
I'm suggesting that *figl* is exotic, but something

854
01:08:44,970 --> 01:08:50,430
that would attract the tourists. "Wow, what is this

855
01:08:50,430 --> 01:08:53,570
woman selling? Let's take pictures with her."

856
01:08:55,200 --> 01:08:59,040
Suggesting that for them, this *figl* is probably

857
01:

889
01:02:44,720 --> 01:02:52,610
masterfully done by him, by Tamim, because in

890
01:02:52,610 --> 01:02:56,850
Palestinian ancient mosques and churches, there's

891
01:02:56,850 --> 01:03:00,830
the mosaic, you know, windows with yellow and blue

892
01:03:00,830 --> 01:03:06,790
and green and very colorful mosaics, so the windows

893
01:03:06,790 --> 01:03:11,620
are saying, "Because the day, the daylight is

894
01:03:11,620 --> 01:03:14,840
colorless, right? It's colorless. So it's like,

895
01:03:14,860 --> 01:03:16,760
you know, you go to your grandma and she looks at

896
01:03:16,760 --> 01:03:19,520
you, looks at you all thin and she keeps stuffing

897
01:03:19,520 --> 01:03:22,620
you with food. And it's like, "What? You're

898
01:03:22,620 --> 01:03:26,980
colorless here. If you come here to me, this is

899
01:03:26,980 --> 01:03:30,000
how you become colorful. You pass by me from one

900
01:03:30,000 --> 01:03:32,660
side, outside to the inside, and then it's all

901
01:03:32,660 --> 01:03:36,340
colorful. But this is still a kid, a baby, day.

902
01:03:38,220 --> 01:03:41,600
And again, this is another dialogue here. But this

903
01:03:41,600 --> 01:03:44,120
is not the dialogue that ends with, you know, a

904
01:03:44,120 --> 01:03:47,810
lot of bloodshed. حتى إذا طال الخلاف وإن طال

905
01:03:47,810 --> 01:03:51,390
الخلاف تقاسمه فالصبح حر خارج العتبات if the day

906
01:03:51,390 --> 01:03:54,890
wants to stay outside the window, you're free, you

907
01:03:54,890 --> 01:03:57,710
do whatever you want, you be the way you like, but

908
01:03:57,710 --> 01:04:00,410
if you get inside the mosque, under the dome

909
01:04:00,410 --> 01:04:05,390
through the window فعليه أن يرضى في حكم نوافذ

910
01:04:05,390 --> 01:04:08,610
الرحمن and I love the word نوافذ again here, it

911
01:04:08,610 --> 01:04:12,780
doesn't mean, it doesn't mean windows. Nawafidh ar

912
01:04:12,780 --> 01:04:15,840
Rahman here means the orders, the commands, the

913
01:04:15,840 --> 01:04:19,380
will and the wishes of God. And this is in English

914
01:04:19,380 --> 01:04:25,100
called a pun, a word with two meanings, playing on

915
01:04:25,100 --> 01:04:28,800
this thing. Look at the imagery, look at how

916
01:04:28,800 --> 01:04:36,030
concrete this is. Some of the most beautiful

917
01:04:36,030 --> 01:04:40,030
poetry ever. I'll stop here. My question for you,

918
01:04:41,470 --> 01:04:43,970
other than again trying to connect the reason why

919
01:04:43,970 --> 01:04:48,470
Tamim is shifting from a well-structured stanza in

920
01:04:48,470 --> 01:04:53,650
the opening to a formless stanza, what are the

921
01:04:53,650 --> 01:04:57,270
features of Palestinian literature as seen in

922
01:04:57,270 --> 01:05:00,650
Tamim's poem? Listen, if some of you are

923
01:05:00,650 --> 01:05:02,970
interested in doing a research paper, optional, I'm

924
01:05:02,970 --> 01:05:05,230
not saying this is part of the class assessment.

925
01:05:05,370 --> 01:05:08,170
If some of you are interested in doing a research

926
01:05:08,170 --> 01:05:10,590
paper, come to me. We can talk about these things.

927
01:05:10,690 --> 01:05:15,150
We can examine dialogism in Tamim. We can examine

928
01:05:15,150 --> 01:05:17,930
how Christians and Muslims always come together.

929
01:05:18,210 --> 01:05:22,110
We talk about features of Palestinian poetry and

930
01:05:22,110 --> 01:05:24,810
literature. I'll stop here. Thank you very much.

931
01:05:25,170 --> 01:05:27,610
If you have a question, please ask. And for next

932
01:05:27,610 --> 01:05:33,420
class, we're going to do an English poem from the

933
01:05:33,420 --> 01:05:35,560
16th century, "Who Saw Lisle Hunt?"