L9fwy3NUQKwYNxhPlUU9pxwfg8zlh4TPZ/-Z_jjBjonoU_postprocess.srt

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As-salamu alaykum and good day everyone. Welcome

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back and let's continue our lesson on our friend

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John Donne. As we saw last time we examined some

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texts by John Donne himself and by George Herbert

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who is also a follower of John Donne. We realized

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that during the Elizabethan and the Jacobian ages

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there were poets, major poets following the rules

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of decorum. They were writing according to a set

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of rules they had to follow in a way or another.

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But despite that, despite the strong current, the

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many people who were writing this kind of

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literature, there were some poets who were writing

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something different, totally different. In a way,

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they were experimenting on new forms, new

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language, new themes. They were breaking the rules

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of decorum. They were challenging the authority

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itself, the mainstream opinion of what it is to

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write poetry and literature. Today, I'll continue

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talking about John Donne. and examine the features

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of his poetry and that of the metaphysical poetry.

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In general, last time I summed up the class and I

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concluded saying that because John Donne did this,

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because he wrote different poetry, he was not

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welcomed in a way. He was not received well. He

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was negatively framed, remember? As a bad poet, as

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a difficult poet, A person who doesn't write

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poetry but writes verse. So his poetry is not

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poetry because it breaks the rules. For about 200

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years, John Donne and his followers were outside

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the English canon. Remember the English canon when

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we said it's not objective? Because the people who

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determine the canon are the people who benefit

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from the canon, who are closer to the king

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probably or the queen. And it was T.S. Eliot. And

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we already know who T.S. Eliot is. He's a famous

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20th century poet and critic. T.S. Eliot brought

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those poets back to life. He resurrected them. He

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opened their graves and brought them back to life

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and made them famous again. He showed how

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important their poetry was. And as a matter of

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fact, many poets in the 20th century were

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following the example of John Donne and his poets.

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And a very important example how John Donne and

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his followers were negatively framed is the fact

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that they were described as metaphysical poets.

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The term meta and physical, what does it have to

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do with pottery? Physical and metaphysical, beyond

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nature and supernatural and beyond the physical.

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Many people try to explain the term, what it

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means. But personally, I believe it doesn't mean

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much. Because it was used as a negative word, as

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TSE let's say, as a term of abuse. As an insult,

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thank you. Metaphysical. Seriously, when you see,

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when I tell you, OK, here is a romantic poem, and

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here is a metaphysical poem, which one would you

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choose before reading? Probably the romantic,

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because it's a romantic poem. Something you might

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find good, you think would be good. But

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metaphysical poetry. So early in the 20th century,

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TS Eliot again

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showed how important Don and his followers were at

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Marvel and at George Herbert. And many poets

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started, in a way, imitating them, following them,

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using them as examples. And they become, nowadays,

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John Donne and his followers are more important

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than Johnson and even probably Dryden and other

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poets. And this is how funny life can be and

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literature can be. When you are alive, nobody

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cares about you. 100 years later, nobody cares

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about you. 100 years, even 200 years later, nobody

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cares about you. But later on, something happens

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and you become the most important poet around.

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John Donne, in my opinion, is one of the most

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famous poets. Not only for his good poetry,

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wonderful poetry, that still even today talks to

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us like Shakespeare. But because he brought new

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things, new themes, new forms to English poetry

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early in the 17th century. So let's study more

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about John Donne.

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Remember this? Did we study this already before?

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Can someone read? Please. Come live with me and be

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my love and we will have some new pleasures as

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well. Very good. Come live with me and be my love

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and we will have some new pleasures as well.

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Pleasures as well. Did we study this before

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already? Yes. Who is the poet here? Did we study

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this? Haven't we studied this before? Oh, we

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studied something by Marlowe, remember? Are you

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sure? Are you sure this is Marlowe? Remember the

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passionate Chiba to his love? How does it begin?

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Does anybody memorize the lines, the first

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couplet? The passionate Chiba to his love. What

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does he say? He says, What is this Marlowe? The

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first line is Marlowe. What is the second one

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Marlowe? All. This is Marlowe. Come live with me

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and be my love and we will all the pleasures grow.

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And this is done. Done says some, new. Here all,

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old. Here some, but this some is new it's

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interesting so let's try to compare between these

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couplets so again this is مانو but this is دانس

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what do you notice what is the major difference

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here same number of feet same rhyme scheme same

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almost everything same first line but the second

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line we have here all the definite article, and

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here we have some, but this some is new. And this

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is the metaphysical poetry, this is John Donne. He

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knew, he was conscious that he was writing new

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poetry, that he was writing something different.

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that he was changing the history of English poetry

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in a way or another, that he was breaking the

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rule. Many people, critics say that Jonathan was

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just a digression. He just was writing poetry the

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way he liked. That's true, but There's also strong

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evidence in his poetry that John Donne knew that

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he was contradicting, swimming against the

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current, like some of you said last time, that he

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was breaking the rules of decorum of the

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Elizabethan poetry writing process. So here,

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remember we said this represents the Elizabethan

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English poetry. Rules, decorum, everything counts,

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and the poet is idealistic. Remember the courtly

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love? Come live with me and be like, because I own

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all the pleasures, the idealism. Idealized love.

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And in John Donne, we said John Donne is

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realistic. He's an individual. He's more

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realistic. He knows he can't own all. But when he

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is doing this, he's contradicting. So he's saying

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some in other ways. He's telling us, no one can

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own all things. And at the same time, he tells us,

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I have new kinds of pleasure, exactly like his

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poetry, new kinds of poetry, poems in a way that

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he is giving us new forms. We saw, for example,

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the new rhyme scheme for the sonnet and we saw the

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new themes he introduced to the sonnet. Turn the

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sonnet from a love poem into a religious poem.

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Remember, the sonnet is the most sacred form of

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all poetry. 14 lines, love, Italian,

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Shakespearean. For Don, he broke this. He mixed

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both forms, and he had his own form, the John

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Donne form of sonnets. Is it about love? It's

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about religion, about God, batter my heart, three

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persons, God, death, be not proud, et cetera. In

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this context here, I need to talk about something

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called parody and something else called

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intertextuality.

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Listen. We spoke probably briefly about parody

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before. Parody is to parody something to imitate,

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to copy. You do something, I do something similar

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to it. But I change a little bit. So parody in

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Arabic is some kind of like muhaka, something like

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this. When someone writes a text, you write a text

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similar to it. We studied this probably in Arabic,

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Jareer, Al-Farazdaq, and how they were writing,

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using the same meter and the same rhyme to write

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about the same thing, but it's the opposite. Now,

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parody is a very important literary device.

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Generally, it means when you imitate another

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literary work. When you imitate another literal in

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a comic way, okay? In a comic way, just to make

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fun of it. However, for John Donne, comedy is also

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serious.

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It's not only comic, ha ha ha, let's laugh at

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Marlow, let's make fun of Marlow. It's also

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serious. Why is it serious? Because in his parody,

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when we study the whole poem, we see how, for

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example, Marlow is idealistic, is dreamy. Dreamy,

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you know? He dreams of owning all the pleasures.

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And we saw, for example, how he represents the

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woman as silent and weak. He's just, she doesn't

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reply, she doesn't act. She is not there in the

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text. She's just listening to him. Assuming that

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she is there. Probably he sent her a letter. So

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come live with me and be my love. In a way, he's

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very persuasive. He's tricking her. He doesn't

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think highly of the woman. He thinks the woman is

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not smart as he is. Because any smart woman would

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say, come on, you're just a shepherd. I can't come

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with you. You don't have one pleasure, let alone

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all the pleasures. And instead of wasting your

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time, go take care of the sheep you're supposed to

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be taken care of. So the woman here is weak. It's

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not weak, actually. It's presented as weak. And in

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Dan, when you read the whole poem, you will

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realize that he presents us with a smart woman, an

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intellectual.

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An intellectual, a woman who thinks for herself, a

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woman who understands poetry and understands

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debate and understands what the poet is trying to

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do. So when Jonathan is doing this, he's

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criticizing not only Marlowe, but criticizing

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Marlowe's society. Thank you very much. He's

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criticizing the society in which women are

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negatively portrayed. as objects for men to own

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and control. But in John Donne, the woman is

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strong, is powerful, is independent. You know

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independent? Yes. Not dependent on man. So that's

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why parody for John Donne is very serious. Serious

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because it criticizes not only other poets, but

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also the society itself. He's telling, why are you

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treating women this badly? Why? Why? Women are as

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smart as men and maybe smarter. We see this

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constantly in Joan Dunn's portrait. The other

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thing is intertextuality. So again, how does Joan

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Dunn criticize the society? By parodying it, by

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making fun, by mocking. You know mock? Make fun of

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something in a serious way. Intertextuality, in a

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way it's similar to this. Text, you know text?

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Intertext. Intertext, where texts are

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interconnected, linked. Intertextuality in Arabic

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is attanas.

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When a critic, sorry, a poet quotes, uses poetry

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from another poet, from another person. When a

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writer uses a quote, a quotation, or an extract

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from another text. This is called intertextuality.

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Marlow says, come live with me and be my love. Don

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says, come live with me and So this text has

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intertextuality. Why? Because originally it was

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said by Marlowe. But is John Donne criticizing,

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copying Marlowe 100%, copy-paste, photocopying

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him? No, he changed. But why does he do this? He

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could have written the whole poem without this

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couplet and it would be a totally different poem.

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But he's telling us, wait, my whole poem here is

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mainly to criticize Marlow and the society. So I'm

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beginning from Marlow. You would say, hey, Dan is

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using Marlow. I know many people confuse this,

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confused between these couplets. He is using

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Marlow not as, you know, to imitate him in a way

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where he is following his steps. Oh, I want to be

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like Marlow. I want to do like Marlow. He's doing

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this to criticize him and criticize his portrait.

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The idealism of the Elizabethan age, the way that

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women were negatively portrayed as silent and

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weak, and other things are mocked. criticized and

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attacked in John Donne. He does this constantly in

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an amazing way. That's why many women, by the way,

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love John Donne's poetry. Because it gives them a

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voice. It gives them a presence. And sometimes the

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woman is smarter than the man himself. She can't

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be tricked by, come live with me and be my love.

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OK? So if in the exam I ask you to contextualize

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this, In exam, there will be a question asking you

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to contextualize extracts from poetry we studied.

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Here, you should say, this is a text by Marlow

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from a passionate shepherd or a passionate

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shepherd to his love. In this couplet, the poet is

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inviting his mistress or beloved and promising her

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all the pleasures. Here, we have what we call

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courtly love. or idealized love. What is idealized

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love about idealism? Not realistic. Okay, so

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Marlow, the passionate shepherd promising all,

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however, the imperfect rhyme here might expose the

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poet as fake, as ungenuine. Not truthful, because

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we realize that he is a shepherd. He doesn't own

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anything. If you need to comment on this, you

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should say, this is by John Donne from a poem

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called The Bait. You know what a bait is? Remember

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Shylock? I'll bait with it. Bait. Shylock. When

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they said, what do you want to do with a pound of

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flesh? I will bait. Bait, to'am al-samaka. When

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you want to fish, you use some kind of food for

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strange name for a love poem. So this is by John

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Donne from The Bait. In this poem, John Donne is

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parodying Marlow.

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It's important to use the word parody. Parodying

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Marlow because he's criticizing Oh, and the

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society. In this couplet, John Donne is more

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realistic because he says some, not all, and at

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the same time, he clearly tells us that he's

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bringing new themes, new issues, new forms to

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poetry. Again, John Donne criticizes Malo by

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parodying him.

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Criticizes the way he represents women. Criticizes

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his idealized love. He's more realistic because he

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uses the word son. And at the same time, John

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00:18:41,630 --> 00:18:48,570
Donne clearly and consciously tells us that he is

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bringing new themes, new issues, and new forms to

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poetry.

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It's interesting what parody can do.

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So this is again the summary I said last time.

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Okay, for next class we can probably examine two

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00:19:13,430 --> 00:19:19,650
extracts from Andrew Marvel and Herbert. What are

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00:19:19,650 --> 00:19:21,710
the features of John Donne's portrait?

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Someone.

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00:19:35,450 --> 00:19:38,590
Tell me, what are the features of John Donne's

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00:19:38,590 --> 00:19:42,410
poetry? What are the characteristics? I remember

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00:19:42,410 --> 00:19:44,490
we had the characteristics of Old English, Middle

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English, Shakespeare, Marlow.

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If you have to mention three or four features

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00:19:51,830 --> 00:19:54,690
about John Donne, what is special? What is

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00:19:54,690 --> 00:19:56,410
different about his poetry? Can you tell me,

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00:19:57,250 --> 00:20:01,930
please? His poetry,

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00:20:02,090 --> 00:20:05,110
thank you, is more realistic than the Elizabethan

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poetry, which is generally idealistic. He's more

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00:20:09,490 --> 00:20:11,450
realistic.

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00:20:12,710 --> 00:20:16,640
His poetry is about a man's problems, a woman's

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problems, about individual issues, things we face

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probably on a daily basis, not idealized love.

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In the sonnet, thank you. So this is an example,

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00:20:32,100 --> 00:20:36,240
but generally he introduced us to new poetic forms

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00:20:36,240 --> 00:20:40,620
where the meaning is more important than the rule.

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00:20:41,760 --> 00:20:45,400
For example, in the sonnet, He changes the rhyme

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00:20:45,400 --> 00:20:49,360
scheme, the form, and changes the theme itself of

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00:20:49,360 --> 00:20:50,560
the sonnet. Very good. More.

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00:20:54,360 --> 00:20:54,840
More.

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00:20:59,720 --> 00:21:01,780
I just, by the way, mentioned most of them right

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00:21:01,780 --> 00:21:07,100
now. OK, again, please. His poetry is a mixture

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00:21:07,100 --> 00:21:10,660
between love religion and daily life issues. OK,

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00:21:11,000 --> 00:21:15,910
so generally, his poetry mixes between secular and

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00:21:15,910 --> 00:21:19,930
religious. There are many love poems by John Donne

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00:21:19,930 --> 00:21:21,950
and many religious poems by John Donne, but

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00:21:21,950 --> 00:21:24,650
sometimes the same poem could have a mixture of

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00:21:24,650 --> 00:21:28,190
both. We discussed this when we spoke about battle

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00:21:28,190 --> 00:21:31,150
my heart three person God. There is this strong

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00:21:31,150 --> 00:21:33,570
love intimate relationship between him and the

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00:21:33,570 --> 00:21:39,860
person and the person in the poem is God. More.

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00:21:41,040 --> 00:21:42,760
Please. He uses parody.

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00:21:45,640 --> 00:21:48,400
Thank you very much. He was critical of his

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00:21:48,400 --> 00:21:53,160
community. In his poetry, he shows his opinion

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00:21:53,160 --> 00:21:56,900
about not only poetry, but also the society

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00:21:56,900 --> 00:22:00,000
itself. So he uses parody and intertextuality to

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00:22:00,000 --> 00:22:06,140
criticize. To criticize his society and poetry

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00:22:06,140 --> 00:22:11,930
itself. What else? Please. He had great knowledge

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00:22:11,930 --> 00:22:17,690
about the classical literature. Yeah, but it

325
00:22:17,690 --> 00:22:20,010
doesn't show much in his portrait, because he

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00:22:20,010 --> 00:22:24,010
doesn't follow the rules of neoclassicism. He

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00:22:24,010 --> 00:22:27,250
breaks these rules. But again, you don't break

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00:22:27,250 --> 00:22:31,110
something unless you are well read into it. Yeah?

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00:22:31,590 --> 00:22:38,080
More? He wanted to say the same thing. He broke

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00:22:38,080 --> 00:22:41,840
the rules of Decorum. We've seen his poem,

331
00:22:41,940 --> 00:22:46,140
remember, The Sun Rising? Some lines are five

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00:22:46,140 --> 00:22:50,880
feet, some two, some three. So he, simply

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00:22:50,880 --> 00:22:53,860
speaking, he breaks the rules of Decorum. What

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00:22:53,860 --> 00:22:54,100
else?

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00:22:59,310 --> 00:23:03,350
Okay, so let's go through the list and speak about

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00:23:03,350 --> 00:23:06,050
two or three features that I didn't mention

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00:23:06,050 --> 00:23:10,950
before. So number one, he introduces us to new

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00:23:10,950 --> 00:23:13,510
poetic forms, for example, the sonnet. Sorry, this

339
00:23:13,510 --> 00:23:18,830
should be the sonnet, okay? And he didn't create

340
00:23:18,830 --> 00:23:22,290
the sonnet, it was already there, but he changed

341
00:23:22,290 --> 00:23:26,350
the theme and the form. He uses parody and

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00:23:26,350 --> 00:23:30,900
intertextuality sometimes. to make fun of, to

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00:23:30,900 --> 00:23:34,040
criticize the existing rules of decorum and social

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00:23:34,040 --> 00:23:38,440
rules. Mainly here, the status of women. In Donne,

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00:23:38,860 --> 00:23:42,920
the woman is equal to man. If not, sometimes

346
00:23:42,920 --> 00:23:46,180
smarter and more intellectual than him. This is

347
00:23:46,180 --> 00:23:49,260
new. This is like Shakespeare, like Portia in The

348
00:23:49,260 --> 00:23:52,700
Magic of Venice. He uses the conceit. Listen, the

349
00:23:52,700 --> 00:23:54,120
conceit is a very important

350
00:23:57,030 --> 00:23:59,870
literary device in the metaphysical photo. A

351
00:23:59,870 --> 00:24:01,390
conceit is generally a metaphor.

352
00:24:04,470 --> 00:24:07,570
Remember a metaphor when you liken something to

353
00:24:07,570 --> 00:24:10,710
something? But here a conceit is a literal device

354
00:24:10,710 --> 00:24:12,590
where the relationship between the two things

355
00:24:12,590 --> 00:24:17,670
you're talking about is unlikely. So you liken a

356
00:24:17,670 --> 00:24:24,220
woman to a rose, right? You liken a woman to what?

357
00:24:24,320 --> 00:24:28,760
To a tree, to the moon. Beautiful thing. But these

358
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are conventional images. For Jonathan, he uses

359
00:24:32,120 --> 00:24:35,940
totally different imagery. He uses what we call

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00:24:35,940 --> 00:24:38,800
the conceit. The conceit is a long metaphor.

361
00:24:41,880 --> 00:24:45,120
a long metaphor. Sometimes the whole poem is one

362
00:24:45,120 --> 00:24:47,820
metaphor, one conceit, in which the relationship

363
00:24:47,820 --> 00:24:52,020
between A and B, when you say A is like B,

364
00:24:53,560 --> 00:24:55,580
sometimes there is a similarity. When you say she

365
00:24:55,580 --> 00:25:00,660
is like a rose, she is like a dove, you want to

366
00:25:00,660 --> 00:25:04,410
say that she's peaceful like the dove. She's

367
00:25:04,410 --> 00:25:08,690
beautiful as the rose, right? But here, for Joan

368
00:25:08,690 --> 00:25:12,050
Dunn, the vehicle and the tenor do not usually

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00:25:12,050 --> 00:25:14,310
have an apparent relationship. Take this example.

370
00:25:14,730 --> 00:25:20,150
When he talks to his wife, he tells her, we are

371
00:25:20,150 --> 00:25:22,890
like stiff twin compasses. Do you know what a

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00:25:22,890 --> 00:25:27,910
compass is? Yeah, the compass is the device that

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00:25:27,910 --> 00:25:31,790
shows us north. But that's the compass. Here, this

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00:25:31,790 --> 00:25:34,550
is different. This is, in geometry, when you're

375
00:25:34,550 --> 00:25:37,630
doing mathematics and draw shapes in geometry, you

376
00:25:37,630 --> 00:25:42,710
know, you need to use this device to make circles.

377
00:25:43,550 --> 00:25:45,950
You know? What do you call this? Yeah.

378
00:25:50,190 --> 00:25:55,990
So Jonathan is telling his wife that you and I are

379
00:25:55,990 --> 00:25:58,490
like a stiff twin compasses.

380
00:26:02,340 --> 00:26:05,100
What? Weird, strange. We're not used to this. This

381
00:26:05,100 --> 00:26:10,740
is new. How? It's like you and I are like this,

382
00:26:10,880 --> 00:26:13,820
like we're part of the same thing. We are one.

383
00:26:14,440 --> 00:26:20,020
It's like you and I are like this notebook. How?

384
00:26:20,960 --> 00:26:24,460
Weird, strange. But when you think of it, oh, we

385
00:26:24,460 --> 00:26:26,600
are connected, we come together, even if we are

386
00:26:26,600 --> 00:26:29,440
sometimes far away from each other, we're still

387
00:26:29,440 --> 00:26:32,180
connected in the center here. Oh, that's genius.

388
00:26:32,880 --> 00:26:35,840
That's new at the same time. So the stiff twin

389
00:26:35,840 --> 00:26:38,540
compasses, he tells his wife lesson, we are one

390
00:26:38,540 --> 00:26:41,040
because sometimes it's like this, the stiff twin

391
00:26:41,040 --> 00:26:45,500
compasses. Sometimes I go away, but when I am

392
00:26:45,500 --> 00:26:51,020
away, we are still connected. And he tells the

393
00:26:51,020 --> 00:26:53,960
woman, his wife, you are the fixed foot. You are

394
00:26:53,960 --> 00:26:56,880
here. So again, it's the woman who controls this

395
00:26:56,880 --> 00:27:00,320
relationship. She is fixed here. She is the core

396
00:27:00,320 --> 00:27:03,160
of the relationship. So no matter how long I am

397
00:27:03,160 --> 00:27:06,820
far away, when I go around, at the end of the day,

398
00:27:06,860 --> 00:27:10,100
I'm going to go back as long as you are fixed in

399
00:27:10,100 --> 00:27:13,840
the middle. This is called a conceit. In another

400
00:27:13,840 --> 00:27:18,560
poem called The Flea, this is another example. You

401
00:27:18,560 --> 00:27:22,140
know what the flea is? What's the flea? A tiny

402
00:27:22,140 --> 00:27:28,620
insect? Barghout? Barghout? You know? Barghout?

403
00:27:29,620 --> 00:27:33,500
Insect? The flea. So a flea bites him, sucks his

404
00:27:33,500 --> 00:27:36,500
blood, and bites the woman and sucks her blood.

405
00:27:36,560 --> 00:27:43,600
And he tells her, listen, we are you, I, the flea

406
00:27:43,600 --> 00:27:49,160
are one. Because our blood is inside one. And at

407
00:27:49,160 --> 00:27:51,660
the beginning, it's like, this is strange in a

408
00:27:51,660 --> 00:27:54,800
way. But when you come to think of it, it's also

409
00:27:54,800 --> 00:27:58,560
genius. And imagine they, remember we spoke about

410
00:27:58,560 --> 00:28:02,220
three persons, God, Trinity. Here, there's the

411
00:28:02,220 --> 00:28:06,720
idea of Trinity again. Because the flea, you, and

412
00:28:06,720 --> 00:28:10,160
I are like a religious triangle. We form it here.

413
00:28:11,550 --> 00:28:14,330
His imagery and conceit sometimes might sound

414
00:28:14,330 --> 00:28:17,710
strange. But when you analyze them, when you

415
00:28:17,710 --> 00:28:20,810
understand them in their context, they are new and

416
00:28:20,810 --> 00:28:23,290
innovative and genius and smart. They always make

417
00:28:23,290 --> 00:28:26,990
you laugh. Really interesting. Because for John

418
00:28:26,990 --> 00:28:30,770
Donne, he was fit up with, shall I compare the

419
00:28:30,770 --> 00:28:34,030
blossoms of the day or the trees or the flowers or

420
00:28:34,030 --> 00:28:37,790
the moon or the sun. Okay, realism against

421
00:28:37,790 --> 00:28:42,170
Elizabethan idealism, display of wit. He was

422
00:28:42,170 --> 00:28:46,510
educated and also wit, he was smart. He uses his

423
00:28:46,510 --> 00:28:49,690
argumentative style. He tells you an idea and

424
00:28:49,690 --> 00:28:52,410
you're like, you're crazy, this can't be possible.

425
00:28:52,530 --> 00:28:55,310
At the end of the poem, interesting, that could be

426
00:28:55,310 --> 00:28:56,110
possible in a way.

427
00:28:59,270 --> 00:29:02,130
Yeah, and then he's convincing, you know, he's

428
00:29:02,130 --> 00:29:04,550
argumentative. But when he does this, he's not

429
00:29:06,970 --> 00:29:10,650
controlling the other person. Because in the flea,

430
00:29:11,050 --> 00:29:14,510
when he tells the woman, oh, this flea is sacred.

431
00:29:14,650 --> 00:29:19,250
It has our blood. What does she do? She kills the

432
00:29:19,250 --> 00:29:23,850
flea. Yeah. Because she can't be deceived. She's

433
00:29:23,850 --> 00:29:27,430
powerful. She's smart. Come on. And she kills the

434
00:29:27,430 --> 00:29:35,770
flea to show that she can't be tricked by him. And

435
00:29:35,770 --> 00:29:40,010
the dramatic, remember the poem last time, The Sun

436
00:29:40,010 --> 00:29:46,370
Rising? How does it begin? Busy old fool unruly

437
00:29:46,370 --> 00:29:49,810
sun. This is drama. This is dramatic. He

438
00:29:49,810 --> 00:29:53,890
dramatizes his experience. He's sitting here. His

439
00:29:53,890 --> 00:29:57,270
beloved is sitting there. A flea bites her, and a

440
00:29:57,270 --> 00:29:59,330
flea bites him. And it's a whole poetic

441
00:29:59,330 --> 00:30:01,850
experience. He dramatizes this in a beautiful way.

442
00:30:02,250 --> 00:30:04,710
He wants to talk about his relationship to God,

443
00:30:04,770 --> 00:30:09,370
with God. And then, butter my heart, three-person

444
00:30:09,370 --> 00:30:13,410
God. It's like every poem is either an inner

445
00:30:13,410 --> 00:30:15,990
personal dialogue, a soliloquy, or a public

446
00:30:15,990 --> 00:30:19,920
speech. And that's the drama here. Again, he lived

447
00:30:19,920 --> 00:30:22,660
during the golden age of drama, during the time of

448
00:30:22,660 --> 00:30:25,220
Shakespeare. And he must have seen some of

449
00:30:25,220 --> 00:30:28,620
Shakespeare's plays and other dramatists. So the

450
00:30:28,620 --> 00:30:32,280
dramatic style is also there. Each poem is like a

451
00:30:32,280 --> 00:30:34,440
sketch. When you go home today, try to read, for

452
00:30:34,440 --> 00:30:38,640
example, or watch or listen to The Sun Rising on

453
00:30:38,640 --> 00:30:41,700
YouTube. You'll see a lot of drama. Even if you

454
00:30:41,700 --> 00:30:45,340
look at the poem, remember? I think I still have

455
00:30:45,340 --> 00:30:45,960
it here.

456
00:30:52,060 --> 00:30:58,640
okay okay okay do i have it i don't okay if you

457
00:30:58,640 --> 00:31:04,440
look here everyone there's

458
00:31:04,440 --> 00:31:11,600
also curtain what's curtain It's like there's a

459
00:31:11,600 --> 00:31:14,820
stage here, and the curtain opens, and people are,

460
00:31:15,140 --> 00:31:18,100
in a way, performing this act. This is what is

461
00:31:18,100 --> 00:31:22,800
meant by drama. Drama that the singular experience

462
00:31:22,800 --> 00:31:28,240
he lives comes out to life as a play, as a short

463
00:31:28,240 --> 00:31:32,300
sketch that can easily be performed. He dramatizes

464
00:31:32,300 --> 00:31:35,180
the experience, the way he speaks, the way he

465
00:31:35,180 --> 00:31:35,980
portrays it.

466
00:31:41,810 --> 00:31:45,910
And don't forget this, there is a lot of criticism

467
00:31:45,910 --> 00:31:50,290
of mainstream established rules of decorum. Simply

468
00:31:50,290 --> 00:31:56,250
speaking, John Donne breaks the rules. And

469
00:31:56,250 --> 00:32:00,430
thematically speaking, Metaphysical poetry

470
00:32:00,430 --> 00:32:04,270
empowers women. You know what empower means? Gives

471
00:32:04,270 --> 00:32:07,330
them power. Gives them a voice and gives them

472
00:32:07,330 --> 00:32:10,850
space in their... When you compare women in

473
00:32:10,850 --> 00:32:13,650
Marlow, for example, sometimes Shakespeare, and

474
00:32:13,650 --> 00:32:16,490
women in John Donne, you'll find that they have a

475
00:32:16,490 --> 00:32:19,870
strong presence. Even if sometimes they don't

476
00:32:19,870 --> 00:32:22,050
speak, they act. In The Flea, the woman doesn't

477
00:32:22,050 --> 00:32:26,440
speak. But what does she do? She does the most

478
00:32:26,440 --> 00:32:29,740
important thing. She acts. She kills the flame. He

479
00:32:29,740 --> 00:32:33,160
gives her voice. That's why many women critics,

480
00:32:34,460 --> 00:32:38,240
they love John Donne. And they praise him for the

481
00:32:38,240 --> 00:32:40,600
way he depicts a powerful, strong woman. Even

482
00:32:40,600 --> 00:32:42,640
Virginia Woolf. We'll talk about Virginia Woolf

483
00:32:42,640 --> 00:32:45,000
probably in two months. She's a very famous

484
00:32:45,000 --> 00:32:47,560
feminist of the 20th century. She praises John

485
00:32:47,560 --> 00:32:52,360
Donne as a poet who depicts women as powerful as

486
00:32:52,360 --> 00:32:57,200
the man is. And we have many personal experiences

487
00:32:57,200 --> 00:32:59,780
rather than a poet who talks about the fairy queen

488
00:32:59,780 --> 00:33:03,140
or the queen of England or the battles and the...

489
00:33:03,140 --> 00:33:06,300
We have someone who speaks about, who conveys the

490
00:33:06,300 --> 00:33:10,040
inner feelings of an individual, of a man. How he

491
00:33:10,040 --> 00:33:12,440
feels when he's sad, when he's in love, when he's

492
00:33:12,440 --> 00:33:16,990
not, etc. In brief, Metaphysical poetry is full of

493
00:33:16,990 --> 00:33:21,130
modern ideas, modern ideas that we still feel

494
00:33:21,130 --> 00:33:26,010
today and can internalize and externalize. There

495
00:33:26,010 --> 00:33:29,150
are scientific geographical explorations, there is

496
00:33:29,150 --> 00:33:32,170
original imagery there, and sometimes the inner

497
00:33:32,170 --> 00:33:35,610
conflict in the soliloquies like the ones we had

498
00:33:35,610 --> 00:33:38,710
in Shakespeare. The whole poem could be an

499
00:33:38,710 --> 00:33:42,430
internal monologue in a way. Finally, they

500
00:33:42,430 --> 00:33:45,530
experimented with language and verse forms with

501
00:33:45,530 --> 00:33:48,390
great originality. Originality means new things.

502
00:33:49,250 --> 00:33:52,570
They experimented with poetic forms like we saw in

503
00:33:52,570 --> 00:33:58,830
the sonnet and the other texts, The Sun Rising.

504
00:34:00,610 --> 00:34:05,570
Now, to conclude this, remember I said John Donne

505
00:34:05,570 --> 00:34:09,210
was not well-received during his time and after.

506
00:34:10,600 --> 00:34:13,840
Many critics of that time were not happy with John

507
00:34:13,840 --> 00:34:17,240
Donne. And they said many horrible things about

508
00:34:17,240 --> 00:34:22,140
him. So horrible that it influenced the way we see

509
00:34:22,140 --> 00:34:26,260
John Donne even today. Many people nowadays, not

510
00:34:26,260 --> 00:34:29,280
many, but some people who don't like John Donne

511
00:34:30,360 --> 00:34:33,040
Generally, it's not because they don't like John

512
00:34:33,040 --> 00:34:36,520
Donne, but because they read John Donne through

513
00:34:36,520 --> 00:34:39,860
these critics. When you read what Ben Jonson, John

514
00:34:39,860 --> 00:34:44,520
Dryden, Alexander Poe, Osama Johnson, what they

515
00:34:44,520 --> 00:34:46,620
say about John Donne, you think, oh my God, this

516
00:34:46,620 --> 00:34:50,460
is a horrible poet. And this is how serious and

517
00:34:50,460 --> 00:34:53,900
dangerous framing is, remember? Framing when

518
00:34:53,900 --> 00:34:57,780
critics make us think in a particular way. So I

519
00:34:57,780 --> 00:34:59,620
tell you, don't read Shakespeare. Shakespeare is

520
00:34:59,620 --> 00:35:02,420
difficult. So what do you think of Shakespeare?

521
00:35:02,480 --> 00:35:05,620
He's difficult. Have you read Shakespeare? No. Ben

522
00:35:05,620 --> 00:35:07,280
Jonson told me this, or somebody else told me.

523
00:35:07,600 --> 00:35:11,080
That's why it's always good to read the text

524
00:35:11,080 --> 00:35:15,930
itself for yourself. Go for the text. Try to

525
00:35:15,930 --> 00:35:18,110
understand it. Read it once and twice and see how

526
00:35:18,110 --> 00:35:23,090
it relates to you. So to summarize, the whole

527
00:35:23,090 --> 00:35:26,450
reception thing, the framing, reception and

528
00:35:26,450 --> 00:35:29,670
framing of John Donne, generally by mainstream

529
00:35:29,670 --> 00:35:32,450
critics, the official critics, he was received

530
00:35:32,450 --> 00:35:35,890
negatively. See, for example, Ben Johnson said he

531
00:35:35,890 --> 00:35:41,330
would perish. Hanging. And he deserved hanging.

532
00:35:41,450 --> 00:35:45,410
Oh, my God. When someone commits a crime, kills

533
00:35:45,410 --> 00:35:49,010
somebody, maybe he deserves hanging, right? Why

534
00:35:49,010 --> 00:35:51,970
would you hang someone because he breaks the rules

535
00:35:51,970 --> 00:35:57,830
of poetry? This is how extreme. But in my opinion,

536
00:35:58,410 --> 00:36:02,110
those people viewed John Donne as a threat. Oh,

537
00:36:02,210 --> 00:36:04,090
someone writing different poetry. Maybe he's going

538
00:36:04,090 --> 00:36:07,770
to steal all the patrons, all the money from us,

539
00:36:07,790 --> 00:36:11,420
maybe. But many people love the rules of Decorum.

540
00:36:11,500 --> 00:36:14,000
If you don't follow the rules, you're not a good

541
00:36:14,000 --> 00:36:17,620
person. John Dryden said, John Donne affects the

542
00:36:17,620 --> 00:36:20,480
metaphysics and he perplexes the mind of the first

543
00:36:20,480 --> 00:36:25,280
six. The first six, women. You know what perplex

544
00:36:25,280 --> 00:36:31,240
means? Confused. John Donne confuses women. This

545
00:36:31,240 --> 00:36:36,320
is what Dryden says. Who the hell are you to speak

546
00:36:36,320 --> 00:36:41,720
for women? Seriously. Who are you to speak for

547
00:36:41,720 --> 00:36:44,520
women? Why do you appoint yourself as the

548
00:36:44,520 --> 00:36:45,700
spokesperson for women?

549
00:36:49,000 --> 00:36:52,300
His idea here, he says, in other words, he says

550
00:36:52,300 --> 00:36:55,760
John Donne is anti-feminist. But I think he is

551
00:36:55,760 --> 00:36:58,180
anti-feminist, because he assumes that women will

552
00:36:58,180 --> 00:37:01,680
not understand John Donne's poetry. He thinks

553
00:37:01,680 --> 00:37:04,500
women are less intellectual, are, I don't know,

554
00:37:04,560 --> 00:37:09,470
maybe stupid. And that's how anti-feminist Dryden

555
00:37:09,470 --> 00:37:16,390
is himself. So this guy says he would perish, he

556
00:37:16,390 --> 00:37:20,770
deserves hanging. Dryden said he perplexes, he

557
00:37:20,770 --> 00:37:25,450
confuses the mind of the fair sex, the women. And

558
00:37:25,450 --> 00:37:30,210
then Samuel Johnson, another critic, said John

559
00:37:30,210 --> 00:37:38,010
Donne uses a combination of dissimilar images and

560
00:37:38,010 --> 00:37:41,790
heterogeneous ideas linked with violence.

561
00:37:44,310 --> 00:37:47,270
Yeah, there is some dissimilarity when you read

562
00:37:47,270 --> 00:37:50,270
some imagery by John Donne, some poetry, but later

563
00:37:50,270 --> 00:37:53,010
on, upon second reading and a third reading and

564
00:37:53,010 --> 00:37:55,790
more analysis and more interpretation, you can see

565
00:37:55,790 --> 00:37:58,450
the connection. But if you don't want to see the

566
00:37:58,450 --> 00:37:59,650
connection, you're not going to see the

567
00:37:59,650 --> 00:38:03,670
connection. But again, I'll go back to framing.

568
00:38:04,650 --> 00:38:06,790
When you study John Donne, and the first thing you

569
00:38:06,790 --> 00:38:09,590
read about John Donne is what Johnson says here,

570
00:38:09,670 --> 00:38:11,790
that he uses dissimilar ideas. And oh, yeah, he

571
00:38:11,790 --> 00:38:14,830
uses dissimilar ideas. Bye bye, Donne. That's why

572
00:38:14,830 --> 00:38:18,010
it's dangerous to read poets through what critics

573
00:38:18,010 --> 00:38:21,410
say about him. Read the poet. Read the writer face

574
00:38:21,410 --> 00:38:23,690
to face. Come face to face with his poetry. And

575
00:38:23,690 --> 00:38:29,510
finally, many people said, OK, even Dryden. And

576
00:38:29,510 --> 00:38:33,630
Johnson said, John Donne is not a poet, but they

577
00:38:33,630 --> 00:38:38,910
said he is an intelligent person. He is a wit. He

578
00:38:38,910 --> 00:38:44,110
has a strong sharp wit. He's smart. He's genius.

579
00:38:45,070 --> 00:38:50,670
Even this Alexander Pope says no. John Donne

580
00:38:50,670 --> 00:38:54,610
doesn't have imagination. This is how much they

581
00:38:54,610 --> 00:39:00,580
disliked him. But believe me, it was much for his

582
00:39:00,580 --> 00:39:04,080
breaking the rules, for him criticizing their way

583
00:39:04,080 --> 00:39:08,480
of writing, the way poetry was written, than

584
00:39:08,480 --> 00:39:10,420
anything else. It wasn't because his poetry was

585
00:39:10,420 --> 00:39:13,480
bad. The evidence is that people like T.S. Eliot

586
00:39:13,480 --> 00:39:17,260
nowadays, in the 20th century, 21st century,

587
00:39:17,900 --> 00:39:21,880
studied him, loved him, and quoted him, and used

588
00:39:21,880 --> 00:39:28,410
his poetry as praised him in a way or another. So

589
00:39:28,410 --> 00:39:30,550
Ben Jonson was a contemporary of Shakespeare, but

590
00:39:30,550 --> 00:39:34,310
Dryden and Johnson and Alexander Pope came later

591
00:39:34,310 --> 00:39:37,230
after Shakespeare. But they played a very

592
00:39:37,230 --> 00:39:40,450
important role in negatively framing John Donne

593
00:39:40,450 --> 00:39:43,770
and kicking him out. But because John Donne is a

594
00:39:43,770 --> 00:39:47,390
beautiful poet, strong genius, he came back to

595
00:39:47,390 --> 00:39:51,790
life 200 years later. I'll stop here. And if you

596
00:39:51,790 --> 00:39:54,310
have a question, please do ask.

597
00:40:02,390 --> 00:40:05,030
No, no, no, you don't. But just that those people

598
00:40:05,030 --> 00:40:09,370
criticized John Donne, it's probably too much for

599
00:40:09,370 --> 00:40:11,510
you. Just I want you to know that at least Ben

600
00:40:11,510 --> 00:40:14,090
Jensen said he deserved hanging. If you know this,

601
00:40:14,450 --> 00:40:17,910
maybe one other thing that perplexes the minds of

602
00:40:17,910 --> 00:40:19,490
the first six, that's enough. You don't have to

603
00:40:19,490 --> 00:40:21,830
memorize everything. And you don't have to

604
00:40:21,830 --> 00:40:27,290
memorize word for word. Thank you very much. I'll

605
00:40:27,290 --> 00:40:27,750
stop here.