L9fwy3NUQKwYNxhPlUU9pxwfg8zlh4TPZ/CmMYpMgTlD0_postprocess.srt

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Okay, Assalamualaikum and welcome back. Last class

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we started discussing romanticism, romantic

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literature and romantic poets. We spoke about the

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major features of Romanticism and how different it

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was from the poetry of the Augustan Age, or what

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is generally known as the Neoclassical Age or the

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Age of Reason. Before I begin, we finished talking

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about William Blake. We can't speak enough about

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William Blake. And generally, William Blake was a

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pre-romantic. He was writing poetry from London

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before, I think, the publication of the lyrical

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ballads by the two major romantic figures, Samuel

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Coleridge and William Wadsworth. Today, we'll see

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what William Wadsworth has for us. But before I

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begin doing this, I want to do some kind of

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revision for last time's class. So could you

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please remind me of the major features of

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Romanticism? Why is Romantic literature or mainly

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Romantic poetry different from the poetry of the

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previous age? Yes. What makes Romantic poetry

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romantic? Can you tell me, please? Okay, for the

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Romantics, the heart controls the head, not vice

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versa. Thank you. Please. So the romantics

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advocated simplicity, and mainly simplicity in

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diction, in language. You don't have to use elite,

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highly embellished, sophisticated, powerful

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language, language that mainly university educated

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people would understand. Simple language. And,

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please.

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Thank you very much. So the subject matter, again,

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is no longer about courtly love, the life in the

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court and in the palace about God and kings and

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queens and the noble families. It's taken

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situations from the common life. And that's why

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we'll find many poems about ordinary people, poor

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people, about kids, about poor women, about

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unnamed people sometimes. Yes, please. So it's

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usually right to express themselves. Okay, so

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poetry is now self-expression. It's no longer

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didactic. In the sense that before this, following

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the rules of decorum literature in general, poetry

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had to teach and please, to teach and delight. So

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the significant point is, what influence is your

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poetry going to have on the others, on the

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readers, on your audiences? But now poetry is self

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-expression. A poet has extra comprehensive

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sensibility to use his feelings and his

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imagination in order to convey particular emotions

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and experiences of his own. That's why generally

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the speaker in, for example, William Wadsworth's

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poetry, the speaker is William Wadsworth himself.

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Because the I is the poet. Self-expressive. The

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first person narrator. Yes? Nature was a source of

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expression unlike the city, which is a source of

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corruption. Thank you. Generally, romantic poetry

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is poetry that is described as anti-city. Because

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we've seen how the city has become the politics,

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the political division, the corruption, the

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factories, the industrial revolution, and

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everything. So in a way, the romantic said, OK,

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This is enough. But instead of fixing the problem,

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working on the problems, They make escape. They

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kind of escape. And that's why some people

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criticize them as escapists. Escapism. Escapism.

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Escapism is when you don't have to face the

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problem, to come with the problem face to face.

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You just leave it somewhere and you go to live

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your life somewhere else. So nature was a source

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of inspiration. And we've seen nature in

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Shakespeare and other poets. But remember

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Shakespeare would like Use, utilize, and exploit

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nature. Shall I compare thee to a summer's day?

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And then he goes on to speak how his beloved, or

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the dark lady, is more beautiful than nature, than

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a summer's day. But here, nature is the theme.

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Nature is the poem itself. And we'll see William

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Wordsworth in a bit. More. Please. Say again?

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Childhood. OK.

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Inspiration. So we have simplicity, purity,

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innocence. Inspiration can be taken from

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childhood. And childhood, even childhood in the

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city was corrupted because kids were also sent to

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work in factories here and there and places where

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their future, everything was destroyed, ruined. So

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those poets believe that the child is the father

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of man. And this is actually a line by William

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Wadsworth himself, because an adult can learn a

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lot from childhood from children. And childhood

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doesn't have to be a particular age. It could be a

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state of mind, like innocence and experience. It's

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a state of mind. You could be innocent. You could

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be experienced, depending on the situation, but

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generally they were advocating a state of

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innocence, which you can find in the countryside.

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More, please. For the romantics, the intellect and

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reason were dangerous, and like the Augustans, the

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imaginations and emotions were dangerous. So for

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the romantics, imagination is one of the most

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powerful faculties a person could have. And they

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were encouraging us to look more inside our hearts

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and to use our imagination. And this is connected

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with feelings and connected with memory. We've

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seen, I think, The Sick Rose last class. What is

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it about? We came up with like what, ten themes?

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Some of the themes could have been meant by the

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poet himself. But even now, today, we can give

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extra meanings to the text. And that's why the

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reader as an individual is significant to the

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romantic poet. We are encouraged to use our

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imagination to give our own interpretations to to

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the poems we read, to the texts we read. In the

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Augustan Age, generally, you read a poem and it

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has one meaning, generally, one interpretation.

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Because when there's satire, someone is

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criticizing someone else, and that's it. But here,

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you read a poem. Is it about nature? Is it about a

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woman? Is it about a child? Is it about childhood?

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Is it about the city, the village, because

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symbolism here gives it layers and layers of

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meanings. And that's why, in a way or another, The

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Sick Rose is a poem about the power of

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imagination. Because when you depend on your

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imagination, when you release your imagination,

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you can see things differently. break the rules

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imposed upon us. In the past, it was like

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mathematical. You had to follow the rules,

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remember, but a regular rhyme scheme, particular

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language, particular subject matters, particular

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number of syllables even. So everything was

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restricted, was chained, but not for the

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romantics. One more. Teacher, please.

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Individualism was also important. And this is

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connected with the fact that poetry is self

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-expression. You have to express your opinion and

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feelings and emotions as an individual, as a

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person. And the individual, no matter how poor or

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how rich he or she is, is significant. Because in

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the city, the individuals were destroyed. People

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were like machines, or like slaves. You have to

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work from early hours until late at night for just

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little money, money enough to keep you alive, but

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also to keep you working hard for the factories.

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There's one significant thing I always focus on

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here, which is In Augustan age, maybe you can

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write a poem, but you may not change the whole

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society, but in Romantic, you can write a poem and

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you can change the race of itself. Okay, this is

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interesting. Can literature change lives? Yes. Can

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poetry change lives? Sometimes we watch movies and

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we become in a way better people. We read

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literature. We read fiction. And sometimes we

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learn new experiences. We are influenced. And this

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is an issue that needs a lot of discussion. For

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the Augustans, poetry aims at teaching and

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delighting. So there is this emphasis on changing

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people's lives. But in a way, poetry was living

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somewhere in ivory towers most of the time, in the

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court, in the palace. But here, those people

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brought it down, believing that the real change

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can happen at the grassroots. You know the

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grassroots? The masses, the ordinary people.

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Improve people's lives, imaginations, their way,

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their style, the way of living, and you will

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definitely have a better society. But again,

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remember, many people believe the romantics were

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escapists. They were not interested in fixing the

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problem. And others say, and I believe in this,

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that writing poetry itself is an act of change.

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You don't have to carry weapons or to use

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violence. You could change by nonviolent means.

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And the most powerful tool of resistance is

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writing and poetry and language, yeah? A final

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point, yeah? We just said feelings and emotions.

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Something else, something I always focus on. We

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said that already. More.

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The poetic forms, new poetic forms. Like the

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romantics, many people will disagree with me, but

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the romantics share common features with the

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metaphysicals. But the sensibility is different.

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But since John Donne was more into argument, more

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into intellectuality, here more into simplicity

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and more into feelings and emotions and

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imagination. But they share the most significant

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issue here, which is new poetic forms. You don't

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have to follow the rules of decorum. You try to

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follow them. If they don't help, you just break

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the rules. And that's why we'll see so many new

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poetic forms. We already saw some examples, and

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we'll see more as we go on with the romantic. So

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William Wadsworth. is probably the most

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significant romantic poet. Along with his friend

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Samuel Coleridge, they published a book called The

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Lyrical Ballads. We mentioned last time, The

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Lyrical Ballads. And everyone was like amazed,

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fascinated, because people were tired and fed up

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with the Augustan poetry. And they were like, oh,

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We want to know more. What are you doing here?

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What is this kind of new poetry? So in the second

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edition to the book, they included a preface, a

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kind of introduction where they define poetry, and

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they explain their romantic theory of what writing

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poetry is. So let's see the definition I mentioned

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last time in brief, and go on for examples from

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William Wildsworth. So what is poetry?

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is the flow of feelings or emotions. Feelings,

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generally feelings, emotions. But this is not only

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feelings or emotions, it's powerful. And it's not

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flow of emotions, it's overflow of powerful

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emotions. And this overflow is Spontaneous. So you

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don't have to sit and like, OK, what kind of

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poetry should I write about? I think I should

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write something here. And you keep squeezing your

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mind and counting the syllables and checking the

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rhyme scheme and using difficult language and

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using particular imagery or something. It's

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spontaneous. You know spontaneous? Like you don't

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push yourself. You don't pressure yourself to

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write poetry. Poetry just comes out. It overflows.

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The spontaneous overflow of powerful feelings.

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Many people only use this definition for the

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romantics. It's okay, but it's not accurate.

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Because the second part is also as significant.

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Recollected here means remembered or recalled. You

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know to recall something? To remember something in

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tranquility. And this emphasizes memory,

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especially for William Woodworth. Memory as a

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theme. Memory as a tool of recollecting something

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when you are in tranquility. And this tranquility,

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you know tranquility? Tranquility, tranquil. Like

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peace of mind. Like peace of mind, you're living

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among the trees in nature, mother nature. You feel

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at peace. You're peaceful. There are no troubles,

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no problems, no corruption, no city life issues.

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You're just in tranquility. That's basically what

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tranquility is more or less here. To be alone, in

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solitude, all alone, by yourself, somewhere in

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nature, among natural elements. So you recollect

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this. When you go to the city, you will not be

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able to write this kind of poetry according to

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William Wordsworth. alone somewhere in nature. So

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when you feel this peace, peace of mind, when you

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don't have trouble or problems from life and work

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and factories and the industry, you can recollect

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all the amazing or at least they can spontaneously

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flow these powerful emotions or experiences. So

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what is poetry according to William Wordsworth? A

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spontaneous of a flow of powerful emotions

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recollected in tranquility. Difficult? Big words?

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Okay, overflow of powerful emotions recollected in

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tranquility, recollected in peace. Now the

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diction, the language itself is the real language

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of men. Men and women, of course. Don't feel

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offended. But this is why English generally was

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considered the sexist language because many people

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were considering women to be second class and

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intellectual. And many people would defend this,

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saying that men also includes women. So this is

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the language of ordinary people, the masses. My

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language, your language, everyday language, the

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masses. And the subject matter includes situations

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00:16:12,130 --> 00:16:16,770
from common life. Not from the palace, not from

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the court, not from the church, not from heaven

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even. We've seen Milton go up to heaven, to God

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and Adam and Eve and Satan, to the original sin.

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So spontaneous overflow of powerful emotions

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recollected in tranquility. And the language of

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everyday men, situations from common mind. Let's

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see this poem and try to examine the definitions.

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The features and William Wordsworth. Theory of

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Romanticism. This is a poem, it's called The

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Daffodils.

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It has four, I'll post this online, so just please

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pay attention. It has four stanzas, let me read

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them and do some commentary later on. The

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Daffodils, you know daffodils? The yellow roses,

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flowers. I wandered, I wandered lonely as a cloud

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that floats on high o'er vales and hills, when all

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at once I saw a crowd, a host of golden daffodils

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beside the lake beneath the trees, fluttering and

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dancing in the breeze. Continuous as the stars

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that shine and twinkle on the Milky Way, they

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stretched in never-ending line along the margin of

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a bay. Ten thousand saw I at a glance tossing

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their heads in sprightly dance. The waves beside

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them danced, but they outdid the sparkling waves

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00:18:03,990 --> 00:18:07,470
in glee. A poet could not but be gay in such a

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jocund company. I gazed. and gazed but little

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thought what wealth the show to me had brought for

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oft when on my couch I lie in vacant or in pensive

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mood they flash upon that inward eye which is the

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bliss of solitude and then my heart with pleasure

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fills and dances with the daffodils And that's a

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poem. And that, by the way, this is the most

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canonical romantic poem, the most famous romantic

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poem. You will study it many times in the future.

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Today we're just going to see the major features

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of romanticism according to William Wordsworth. So

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if you look at the first stanza we have here,

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Again, we can see several of the features we're

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00:19:07,270 --> 00:19:09,490
talking about here. There's nature here, right?

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00:19:10,810 --> 00:19:13,910
Individualism, I, personal experience, right?

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00:19:14,450 --> 00:19:18,710
Nature everywhere, floats. Are these difficult

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00:19:18,710 --> 00:19:23,390
words? Most of them. Even if you don't know what

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it means, you can easily guess from the context.

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00:19:27,510 --> 00:19:29,510
Or at least you can know that this is a natural

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00:19:29,510 --> 00:19:33,150
element. So what is he saying? He's saying, I

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00:19:33,150 --> 00:19:38,850
wandered lonely as a cloud. And remember in the

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past, We said there's something called a metaphor

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00:19:43,120 --> 00:19:46,720
and a simile. A simile is where you say something

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00:19:46,720 --> 00:19:49,480
is like or as something. When you use the word is

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00:19:49,480 --> 00:19:52,820
or like, this is a simile. And this is how you

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00:19:52,820 --> 00:19:56,960
write a simile. Where you pronounce the E by the

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00:19:56,960 --> 00:20:00,900
way. And generally, a simile is easier than a

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00:20:00,900 --> 00:20:03,580
metaphor. I know people who do research on the

315
00:20:03,580 --> 00:20:06,160
simile and the metaphor. A metaphor is generally

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00:20:06,160 --> 00:20:09,200
not clear. The meaning is implied. You don't know

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00:20:09,200 --> 00:20:11,900
when you say, the teacher roared. I'm just being

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00:20:11,900 --> 00:20:14,720
very simplistic here. The teacher roared. You

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00:20:14,720 --> 00:20:17,020
know, roar is a word you use to describe a lion.

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00:20:17,620 --> 00:20:21,560
So what does that indicate? He spoke loudly. He

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00:20:21,560 --> 00:20:24,740
was angry. He was hungry. You just can't make up

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00:20:24,740 --> 00:20:29,990
your mind. But when you say the teacher ate like a

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00:20:29,990 --> 00:20:33,570
lion or spoke like a lion, so the word like makes

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00:20:33,570 --> 00:20:36,870
it easy for you to know where you're going. So he

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00:20:36,870 --> 00:20:40,190
chooses here a cloud, which is a natural element.

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00:20:40,550 --> 00:20:49,030
And cloud, he could have said a tree, right? But a

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00:20:49,030 --> 00:20:52,350
tree doesn't wander, right? It doesn't move just a

328
00:20:52,350 --> 00:20:55,290
little bit. It's fixed. So he doesn't pick this.

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00:20:55,650 --> 00:20:58,710
Or he could have said, I wandered lonely as a cow,

330
00:20:59,510 --> 00:21:05,510
or as a sheep, or as a bird. But he chooses a

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00:21:05,510 --> 00:21:07,570
cloud. A cloud.

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00:21:10,960 --> 00:21:13,800
Thank you. It's up above. That's one. What else

333
00:21:13,800 --> 00:21:16,700
about cloud that makes it really interesting for

334
00:21:16,700 --> 00:21:21,440
William Wadsworth? It takes water and gives water.

335
00:21:21,520 --> 00:21:22,240
Thank you. What else?

336
00:21:25,000 --> 00:21:28,760
It can easily be reached probably also through...

337
00:21:28,760 --> 00:21:33,540
White? It's also wild. White. White probably

338
00:21:33,540 --> 00:21:36,600
signifies, but not always white, but could be gray

339
00:21:36,600 --> 00:21:40,260
sometimes or dark or black. And sometimes,

340
00:21:40,740 --> 00:21:44,380
generally, it's free. The issue of being free here

341
00:21:44,380 --> 00:21:48,940
is highlighted. It moves freely. No human being

342
00:21:48,940 --> 00:21:53,020
can control it in a way. It's up above from the,

343
00:21:53,540 --> 00:21:58,540
what is going on down, that floats on high ore

344
00:21:58,540 --> 00:22:03,940
veils and hills. The high places, the low places.

345
00:22:04,680 --> 00:22:07,720
Or the low places, high places. When all at once,

346
00:22:08,200 --> 00:22:12,980
I, I saw, I also saw, notice the tense here is

347
00:22:12,980 --> 00:22:17,390
past simple, right? I saw a crowd, and a crowd

348
00:22:17,390 --> 00:22:19,690
generally a crowd of people, a crowd of something.

349
00:22:20,430 --> 00:22:23,530
Crowd could be negative, right? If it's crowded,

350
00:22:23,890 --> 00:22:27,290
not always, but if it's crowded, it's bad. There

351
00:22:27,290 --> 00:22:29,370
is a good crowd, like a lot of people are coming.

352
00:22:29,970 --> 00:22:32,110
And then he repeats the same word in other words,

353
00:22:32,170 --> 00:22:36,650
in a more positive word, a host. Someone who hosts

354
00:22:36,650 --> 00:22:39,310
you, someone who takes care of you, hospitability

355
00:22:39,310 --> 00:22:44,230
here. A host of golden daffodils. So the daffodils

356
00:22:44,230 --> 00:22:47,650
are described as golden and they are personified

357
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as welcoming, hosting you. They attract you. They

358
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make you feel at home, at peace, tranquility and

359
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solitude. Where? Where did he see them? Beside the

360
00:23:00,330 --> 00:23:03,050
lake beneath the trees. Although he was up above,

361
00:23:03,410 --> 00:23:06,430
he saw them like the clouds because the power of

362
00:23:06,430 --> 00:23:09,150
imagination, the onward eye, fluttering and

363
00:23:09,150 --> 00:23:13,470
dancing in the breeze. Dancing is also a

364
00:23:13,470 --> 00:23:16,450
personification. Generally, people dance, not

365
00:23:16,450 --> 00:23:20,150
flowers. So what is happening here is the man, the

366
00:23:20,150 --> 00:23:27,170
poet, is depersonified. He is likened to... A

367
00:23:27,170 --> 00:23:30,950
cloud. But nature is personified. And that's an

368
00:23:30,950 --> 00:23:35,710
interesting mixture of exchanging of places. If

369
00:23:35,710 --> 00:23:42,470
you go for the rhyme scheme, it should be A, B, A,

370
00:23:42,710 --> 00:23:49,370
B, C, C. So A, B, A, B, and then we have a couplet

371
00:23:49,370 --> 00:23:53,230
here. Yeah, trees and breeze. So what happens

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00:23:53,230 --> 00:24:00,760
next? Continuous. So the scene of daffodils were

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continuous as, again, another simile, as the stars

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00:24:03,900 --> 00:24:08,540
that shine and twinkle in the milky way, they,

375
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again referring to the daffodils, stretched past

376
00:24:11,960 --> 00:24:17,740
simple never-ending line along the margin of a bay

377
00:24:17,740 --> 00:24:23,590
near the water, 10,000 so high at once. At a

378
00:24:23,590 --> 00:24:26,650
glance? Yeah. Saw I at a glance. Just one glance

379
00:24:26,650 --> 00:24:29,670
and 10,000 daffodils. That's how overwhelmingly

380
00:24:29,670 --> 00:24:36,150
beautiful nature is. 10,000, it should be I saw 10

381
00:24:36,150 --> 00:24:39,650
,000 at a glance. But the emphasis on the nature

382
00:24:39,650 --> 00:24:42,230
rather than on the man himself seeing this.

383
00:24:42,330 --> 00:24:44,970
Because nature will make you in a way react to

384
00:24:44,970 --> 00:24:48,710
this. Saw I at once at a glance tossing their

385
00:24:48,710 --> 00:24:52,270
heads, emphasizing what? The personification here,

386
00:24:52,450 --> 00:24:56,010
tossing their heads in a sprightly dance again.

387
00:24:56,170 --> 00:24:59,870
And that's how beautiful and pure nature is. The

388
00:24:59,870 --> 00:25:03,510
waves, so because of this scene, the waves were

389
00:25:03,510 --> 00:25:08,390
dancing. The waves beside them danced, also past

390
00:25:08,390 --> 00:25:12,510
simple, but they, referring to the daffodils,

391
00:25:13,550 --> 00:25:17,150
outdid the, also past simple, the sparkling waves

392
00:25:17,150 --> 00:25:22,890
in glee, A poet could not but be gay in such a

393
00:25:22,890 --> 00:25:29,150
jocund company. I gazed and gazed, but little

394
00:25:29,150 --> 00:25:31,530
thought. You remember? The feelings, the senses,

395
00:25:31,750 --> 00:25:35,180
the emotions, the heart just You're looking at the

396
00:25:35,180 --> 00:25:38,700
amazing magical magisterial scene. He didn't

397
00:25:38,700 --> 00:25:42,320
think. If it is an ordinary poet, like an Augustan

398
00:25:42,320 --> 00:25:46,520
poet, they would think more than gazing, like, ah,

399
00:25:46,780 --> 00:25:50,980
what an interesting rose or daffodil or flower.

400
00:25:51,520 --> 00:25:53,900
Maybe this looks like something. He doesn't care

401
00:25:53,900 --> 00:25:56,260
about what it looks like. He cares much about the

402
00:25:56,260 --> 00:25:59,700
inspiration, the imagination, the feelings, the

403
00:25:59,700 --> 00:26:04,080
beauty. I gazed and gazed. But little thought what

404
00:26:04,080 --> 00:26:07,820
wealth the show to me had brought. I didn't care

405
00:26:07,820 --> 00:26:10,340
about what it brought to me. All I cared about was

406
00:26:10,340 --> 00:26:14,300
the scene and gazing and absorbing the beauty of

407
00:26:14,300 --> 00:26:17,300
nature. Look also at the past simple and past

408
00:26:17,300 --> 00:26:20,140
simple. Now, if you go to the rhyme scheme, the

409
00:26:20,140 --> 00:26:23,540
rhyme scheme was A, B, A, B, C, C. Second

410
00:26:23,540 --> 00:26:26,300
syllable, second sounds are the same. And here we

411
00:26:26,300 --> 00:26:33,780
have they, B, B, K, Company. Company. Company.

412
00:26:35,220 --> 00:26:36,120
Company. Company. Company. Company. Company.

413
00:26:36,120 --> 00:26:36,400
Company. Company. Company. Company. Company.

414
00:26:36,400 --> 00:26:36,480
Company. Company. Company. Company. Company.

415
00:26:36,480 --> 00:26:39,320
Company. Company. Company. Company. Company.

416
00:26:40,060 --> 00:26:42,120
Company. Company. Company. Company. Company.

417
00:26:42,120 --> 00:26:42,140
Company. Company. Company. Company. Company.

418
00:26:42,140 --> 00:26:42,180
Company. Company. Company. Company. Company.

419
00:26:42,180 --> 00:26:42,260
Company. Company. Company. Company. Company.

420
00:26:42,440 --> 00:26:42,500
Company. Company. Company. Company. Company.

421
00:26:42,500 --> 00:26:42,520
Company. Company. Company. Company. Company.

422
00:26:42,520 --> 00:26:42,580
Company. Company. Company. Company. Company.

423
00:26:42,580 --> 00:26:42,600
Company. Company. Company. Company. Company.

424
00:26:42,600 --> 00:26:43,620
company. company. company.

425
00:26:47,660 --> 00:26:53,820
company. company. company. company. company.

426
00:26:57,760 --> 00:26:58,080
company.

427
00:27:02,060 --> 00:27:03,780
Because the poet is indicating that there is

428
00:27:03,780 --> 00:27:06,540
something wrong with this symmetry. It looks

429
00:27:06,540 --> 00:27:09,780
symmetrical and perfect, but in reality it has

430
00:27:09,780 --> 00:27:13,580
trouble. It has problems. The second stanza had

431
00:27:13,580 --> 00:27:15,720
also a perfect rhyme, and the last stanza had a

432
00:27:15,720 --> 00:27:18,400
perfect rhyme. So this is the only stanza that has

433
00:27:19,170 --> 00:27:22,030
Imperfect rhyme, there could be a reason. But more

434
00:27:22,030 --> 00:27:25,030
interesting to me is the fact that the poet shifts

435
00:27:25,030 --> 00:27:31,830
from I, I, I, I wandered lonely, so I, and then he

436
00:27:31,830 --> 00:27:36,110
moves to say a poet could not but be gay to

437
00:27:36,110 --> 00:27:44,850
generally he or she. Why did he shift from he,

438
00:27:45,290 --> 00:27:47,690
from I to he or to she?

439
00:27:54,620 --> 00:27:57,300
The word gay means happy. So it's not about he's

440
00:27:57,300 --> 00:28:01,020
ashamed that people will say he's gay. Gay is

441
00:28:01,020 --> 00:28:04,720
happy. In the past, it meant happy. So a poet

442
00:28:04,720 --> 00:28:07,060
could not, could not, but there's emphasis here.

443
00:28:07,420 --> 00:28:10,180
In Arabic, we call this hasr wa qasr, right, for

444
00:28:10,180 --> 00:28:15,940
emphasis. So I couldn't but be happy means I am

445
00:28:15,940 --> 00:28:19,380
happy, very happy actually. There's no way I can't

446
00:28:19,380 --> 00:28:23,240
be happy. So there is negative here for emphasis.

447
00:28:24,060 --> 00:28:28,440
There's an imperfect rhyme here. in this area, and

448
00:28:28,440 --> 00:28:31,560
there is a shift from the first-person narrator to

449
00:28:31,560 --> 00:28:34,120
the third-person narrator. To show that this

450
00:28:34,120 --> 00:28:38,860
perfect scene could make any person's emotions

451
00:28:38,860 --> 00:28:41,560
especially good because... They have more

452
00:28:41,560 --> 00:28:44,200
sensitivity. Yes, make him happy. Thank you.

453
00:28:44,380 --> 00:28:50,820
Interesting. Yes? The bias came from B or A? A, B,

454
00:28:51,440 --> 00:28:52,060
A, B.

455
00:28:54,960 --> 00:28:57,860
They and gay is different. This is the sound.

456
00:29:00,860 --> 00:29:03,340
You will learn how to do the phonemic

457
00:29:03,340 --> 00:29:09,590
transcription hopefully next year. Yes? So we have

458
00:29:09,590 --> 00:29:12,950
a suggestion here, because this is all poets. All

459
00:29:12,950 --> 00:29:15,570
poets, because poets especially have the

460
00:29:15,570 --> 00:29:18,310
sensibility, the emotions, the extra emotions to

461
00:29:18,310 --> 00:29:21,870
do, to react to this beautiful scene in nature. So

462
00:29:21,870 --> 00:29:25,070
all people, especially poets, will be happy. That

463
00:29:25,070 --> 00:29:27,950
is true, but I think there is more to this. Let me

464
00:29:27,950 --> 00:29:31,070
go back to this after I finish the last sentence,

465
00:29:31,170 --> 00:29:34,770
OK? So we'll go back to a poet could not but be

466
00:29:34,770 --> 00:29:38,640
gay, because he could have easily said, I was gay.

467
00:29:38,780 --> 00:29:43,680
I was happy. The last stanza, this is how it ends.

468
00:29:44,080 --> 00:29:47,020
Notice there is a change in what? The first thing.

469
00:29:49,200 --> 00:29:53,420
He shifts

470
00:29:53,420 --> 00:29:58,800
to the present and also we have something back. We

471
00:29:58,800 --> 00:30:01,780
have the I back.

472
00:30:06,350 --> 00:30:10,430
Why is, again, the poem is part past simple and

473
00:30:10,430 --> 00:30:14,730
part present simple? So what's going on now?

474
00:30:18,070 --> 00:30:18,590
How?

475
00:30:21,410 --> 00:30:23,950
So how did the story happen? Where is the poet

476
00:30:23,950 --> 00:30:27,310
now? Very now? He's in the present. What is he

477
00:30:27,310 --> 00:30:31,710
doing? Oh, recollecting tranquility. And that's an

478
00:30:31,710 --> 00:30:34,190
interesting romantic issue here. You need to pay

479
00:30:34,190 --> 00:30:36,630
attention to the tenses to know what's going on.

480
00:30:36,770 --> 00:30:39,910
So what is the poet doing? He says, for oft, when

481
00:30:39,910 --> 00:30:45,290
on my couch I lie. When I lie, I lie down.

482
00:30:45,470 --> 00:30:48,990
Remember, tranquility, peace of mind, carefree,

483
00:30:49,210 --> 00:30:51,930
carefree, nothing to bother him, nothing to

484
00:30:51,930 --> 00:30:55,410
trouble him. What happens? Whether he is in vacant

485
00:30:55,410 --> 00:31:00,930
or in pensive mood, They, referring to? The

486
00:31:00,930 --> 00:31:05,310
daffodils. They flash, not something he sees first

487
00:31:05,310 --> 00:31:08,810
experience. They flash upon the inward eye, in his

488
00:31:08,810 --> 00:31:13,750
imagination, inside him. His mind's eye, his

489
00:31:13,750 --> 00:31:17,470
heart's eye, I would say. They flash upon the

490
00:31:17,470 --> 00:31:21,630
inward eye, which is the bliss of solitude.

491
00:31:21,750 --> 00:31:24,910
Solitude from solo. From being alone. Being alone.

492
00:31:25,210 --> 00:31:29,830
Not emotionally, just no one around you. Bliss.

493
00:31:29,930 --> 00:31:34,830
This is a bliss of solitude. This is, as a result,

494
00:31:34,950 --> 00:31:38,690
this is a good advantage of being alone in nature,

495
00:31:38,930 --> 00:31:43,570
individuality. What happens then? How does the

496
00:31:43,570 --> 00:31:47,500
poet, the I, react? His heart with pleasure fills

497
00:31:47,500 --> 00:31:52,780
and then my heart with pleasure fills and dances

498
00:31:52,780 --> 00:31:56,480
with the daffodils. When we speak normally,

499
00:31:56,640 --> 00:31:59,540
naturally, the determiners, the articles, the

500
00:31:59,540 --> 00:32:02,040
prepositions, the auxiliaries are not generally

501
00:32:02,040 --> 00:32:07,120
stressed. When I say, I went with him. I went with

502
00:32:07,120 --> 00:32:10,000
her. She came with me. You don't say, she came

503
00:32:10,000 --> 00:32:12,720
with me. But here, when you count the stressed and

504
00:32:12,720 --> 00:32:15,020
unstressed syllables, something you'll study later

505
00:32:15,020 --> 00:32:19,120
on, this with is emphasized, is stressed. It

506
00:32:19,120 --> 00:32:22,500
becomes and dances with the daffodils, because the

507
00:32:22,500 --> 00:32:25,600
theme is withness with nature, togetherness with

508
00:32:25,600 --> 00:32:29,160
nature, unity, melting down, becoming nature, and

509
00:32:29,160 --> 00:32:31,320
nature overwhelmingly

510
00:32:33,430 --> 00:32:35,930
claiming you, controlling you. So this is the

511
00:32:35,930 --> 00:32:39,150
reaction of the poet. His heart with pleasure

512
00:32:39,150 --> 00:32:44,230
fills. It overflows with pleasure. And he, it's

513
00:32:44,230 --> 00:32:48,290
not clear here whether he says like he himself

514
00:32:48,290 --> 00:32:51,570
dances with the daffodils or his heart, both. But

515
00:32:51,570 --> 00:32:55,630
here it's probably more his heart doing this and

516
00:32:55,630 --> 00:32:59,070
dances with the daffodils. So this is a reaction.

517
00:32:59,330 --> 00:33:02,770
What is the difference between this reaction and

518
00:33:02,770 --> 00:33:06,650
this reaction. This is a romantic poet, in my

519
00:33:06,650 --> 00:33:12,810
opinion. You just don't react. You just fill your

520
00:33:12,810 --> 00:33:17,190
heart with pleasure, with beauty and innocence of

521
00:33:17,190 --> 00:33:20,030
nature. And as a result, you become a totally

522
00:33:20,030 --> 00:33:23,730
different person. You remember. You recollect. Not

523
00:33:23,730 --> 00:33:26,930
once. Not an instant reaction. You just don't look

524
00:33:26,930 --> 00:33:30,150
at the daffodils and then You react in this

525
00:33:30,150 --> 00:33:32,430
particular way. A romantic poet generally

526
00:33:32,430 --> 00:33:37,170
encounters something, sees something. They don't

527
00:33:37,170 --> 00:33:39,670
react instantly, because this is going to be

528
00:33:39,670 --> 00:33:42,270
artificial. If you see a beautiful scene, nature,

529
00:33:42,870 --> 00:33:45,330
element, something, and you write poetry

530
00:33:45,330 --> 00:33:47,850
instantly, according to the romantics generally,

531
00:33:47,970 --> 00:33:50,050
this is not good poetry. So you just absorb

532
00:33:50,050 --> 00:33:52,550
everything. You store this. You know store? You

533
00:33:52,550 --> 00:33:56,860
bear it. He used the word bear, actually. There

534
00:33:56,860 --> 00:34:00,160
was bear in this or that was another poem. So he

535
00:34:00,160 --> 00:34:05,280
keeps it somewhere. When he is in solitude, alone,

536
00:34:05,620 --> 00:34:08,320
in vacant or impulsive mood, when he's lying on

537
00:34:08,320 --> 00:34:13,140
his couch all alone, he recollects. He remembers.

538
00:34:14,280 --> 00:34:17,680
He recalls this experience and then starts to live

539
00:34:17,680 --> 00:34:21,680
it again. And this is more powerful for the

540
00:34:21,680 --> 00:34:25,720
romantics than reacting to a scene you just see.

541
00:34:26,060 --> 00:34:30,280
So what's going on here? In my opinion, this is a

542
00:34:30,280 --> 00:34:33,240
direct criticism from William Wordsworth to

543
00:34:33,240 --> 00:34:38,140
classical Augustan poets. He's saying any ordinary

544
00:34:38,140 --> 00:34:42,870
poet would just only feel happy. but not William

545
00:34:42,870 --> 00:34:47,370
Wordsworth, the romantic poet. So a poet, this is

546
00:34:47,370 --> 00:34:49,650
the shift. This is the negative here. And this is

547
00:34:49,650 --> 00:34:52,230
the imperfect trying. This is an imperfect

548
00:34:52,230 --> 00:34:55,470
reaction on nature. If you just react to nature by

549
00:34:55,470 --> 00:35:00,110
being happy, that's not what it, you know, it

550
00:35:00,110 --> 00:35:03,710
takes more to be a romantic poet, to be like us,

551
00:35:04,010 --> 00:35:06,510
the romantics. And that's why in the end, the poem

552
00:35:06,510 --> 00:35:10,570
ends with, and then, my heart with pleasure fills.

553
00:35:11,420 --> 00:35:13,460
and dances with the daffodils. There is an

554
00:35:13,460 --> 00:35:17,160
interesting fact here. William Wordsworth, when he

555
00:35:17,160 --> 00:35:20,500
saw the daffodils, he saw them for real. He had

556
00:35:20,500 --> 00:35:25,590
his sister Dorothy with him. And in her diaries,

557
00:35:25,830 --> 00:35:29,350
you know, diaries, there is an entry where she

558
00:35:29,350 --> 00:35:32,230
tells us something about, I was working with Will,

559
00:35:32,590 --> 00:35:35,490
Willie, or Bill, I don't know what she called him,

560
00:35:35,650 --> 00:35:39,230
but William Wadsworth, and we saw this beautiful,

561
00:35:39,630 --> 00:35:42,350
magical, it was magisterial, the daffodils,

562
00:35:42,450 --> 00:35:45,230
everything. She describes this in prose, very

563
00:35:45,230 --> 00:35:50,910
beautiful. But here, where is she in the poem? Is

564
00:35:50,910 --> 00:35:56,410
she in the poem? He kicks her out because two is a

565
00:35:56,410 --> 00:36:00,520
company. Two is a company, and this is more about

566
00:36:00,520 --> 00:36:04,140
a personal, self-expressive experience about

567
00:36:04,140 --> 00:36:07,200
individuality. Some people would hate him for

568
00:36:07,200 --> 00:36:10,240
doing this. He's silencing her. Hey, Dorothy, get

569
00:36:10,240 --> 00:36:13,020
out of this, which is an anti-feminist thing.

570
00:36:13,740 --> 00:36:15,540
Maybe you can take it this way, but generally,

571
00:36:16,100 --> 00:36:18,040
because this is what the romanticist is saying,

572
00:36:18,440 --> 00:36:21,660
his own experience, and the sister can say her own

573
00:36:21,660 --> 00:36:28,010
experience in a way or another. A final point, we

574
00:36:28,010 --> 00:36:29,810
don't have time to go for Lucy Gray, another

575
00:36:29,810 --> 00:36:32,230
beautiful poem, but next class we can do Lucy Gray

576
00:36:32,230 --> 00:36:35,430
and we go back to Blake's London. We'll have time

577
00:36:35,430 --> 00:36:39,130
to do that. One final thing I want to say about

578
00:36:39,130 --> 00:36:41,290
the romantics is the fact that there's something

579
00:36:41,290 --> 00:36:46,030
called, not baby actually, childlike experience.

580
00:36:51,610 --> 00:36:55,470
Childlike experience. What is this? The romantics

581
00:36:55,470 --> 00:36:58,890
say the most beautiful, important, significant

582
00:36:58,890 --> 00:37:01,830
thing about city, about the romantics themselves,

583
00:37:02,490 --> 00:37:07,810
is they have this romantic childlike reaction to

584
00:37:07,810 --> 00:37:13,180
life. They believe because of corruption and

585
00:37:13,180 --> 00:37:15,240
pollution in the city and the factories and the

586
00:37:15,240 --> 00:37:18,080
industrial revolution, people go out early in the

587
00:37:18,080 --> 00:37:21,160
morning, they keep working until late hours, and

588
00:37:21,160 --> 00:37:23,600
they don't have time to appreciate life themselves

589
00:37:23,600 --> 00:37:26,840
or nature or the environment, right? They're

590
00:37:26,840 --> 00:37:31,340
always busy. They believe that the city has a

591
00:37:31,340 --> 00:37:35,560
veil. You know what veil is? Veil. Veil, like

592
00:37:35,560 --> 00:37:40,680
hijab. A veil of familiarity. You know familiar?

593
00:37:41,680 --> 00:37:44,880
Familiarity? What is familiarity in Arabic? Ulfa.

594
00:37:45,640 --> 00:37:49,640
Thank you. Yeah, yeah. So the city life adds a

595
00:37:49,640 --> 00:37:52,960
veil of familiarity. Like here, you for example,

596
00:37:53,140 --> 00:37:56,620
us. We're always rushing and busy and competing

597
00:37:56,620 --> 00:37:58,720
and running. We have classes. We have exams. We

598
00:37:58,720 --> 00:38:00,940
have quizzes. We have to read, right? We have to

599
00:38:00,940 --> 00:38:03,420
do assignments. We have to take a taxi. We care

600
00:38:03,420 --> 00:38:06,300
about our parents and the salaries and the work.

601
00:38:06,340 --> 00:38:08,540
And what should I do when I finish this? There is

602
00:38:08,540 --> 00:38:11,440
a lot. of care here, a lot of trouble, a lot of

603
00:38:11,440 --> 00:38:14,180
problems, that we don't sometimes stop to

604
00:38:14,180 --> 00:38:16,840
appreciate the moon or appreciate the flowers or

605
00:38:16,840 --> 00:38:19,120
the roses or even the cats here at campus, right?

606
00:38:19,280 --> 00:38:21,880
Maybe you play with the cats once in a while, but

607
00:38:21,880 --> 00:38:24,760
how many times did you stop to appreciate a rose

608
00:38:24,760 --> 00:38:27,590
or a flower? And even these roses and flowers,

609
00:38:27,750 --> 00:38:30,290
they are artificial. They are man-made in a way

610
00:38:30,290 --> 00:38:33,590
that man controls them and keeps trimming them. If

611
00:38:33,590 --> 00:38:36,470
your friend tells you, hey, look at the moon.

612
00:38:36,590 --> 00:38:39,090
There's a super moon. It's beautiful. Maybe you

613
00:38:39,090 --> 00:38:41,680
don't even see the moon through your window. And

614
00:38:41,680 --> 00:38:43,520
maybe you don't have the time because you are on

615
00:38:43,520 --> 00:38:45,980
social media spending time and chatting. Maybe

616
00:38:45,980 --> 00:38:48,320
because you only have four hours of electricity

617
00:38:48,320 --> 00:38:52,020
here in Gaza that you just want to do your stuff

618
00:38:52,020 --> 00:38:53,640
that requires electricity, that you don't care

619
00:38:53,640 --> 00:38:57,040
about nature. So the romantics say life,

620
00:38:57,280 --> 00:39:01,560
especially in the city, has added some sort of

621
00:39:01,560 --> 00:39:08,650
avail of familiarity. where we don't see things as

622
00:39:08,650 --> 00:39:12,650
they should be seen, beautiful and majestic. So

623
00:39:12,650 --> 00:39:16,390
they invite us to have this childlike experience.

624
00:39:16,550 --> 00:39:20,410
Children, they always react to the same thing.

625
00:39:20,490 --> 00:39:22,910
They see the same thing for a hundred times and

626
00:39:22,910 --> 00:39:26,690
they're like, Wow, this is a childlike reaction.

627
00:39:27,130 --> 00:39:29,630
When kids start learning words, for example, and

628
00:39:29,630 --> 00:39:32,130
they see the lights, they keep referring to it

629
00:39:32,130 --> 00:39:36,970
like a hundred times every day. Right? When they

630
00:39:36,970 --> 00:39:39,410
go out, when you are in a taxi or something, they

631
00:39:39,410 --> 00:39:44,670
see a donkey and they were like, more right like I

632
00:39:44,670 --> 00:39:48,970
know but this is how children generally react to

633
00:39:48,970 --> 00:39:52,250
things they see again and again but for us adults

634
00:39:52,250 --> 00:39:57,970
experience deprives us of this beautiful child not

635
00:39:57,970 --> 00:40:02,230
childish childlike reaction where every time you

636
00:40:02,230 --> 00:40:07,350
see something you just So he shifts from the past

637
00:40:07,350 --> 00:40:09,710
to the present because he's recollecting and

638
00:40:09,710 --> 00:40:13,150
because he's telling us, I relive this beautiful

639
00:40:13,150 --> 00:40:19,410
moment every time I want to relive this. So

640
00:40:19,410 --> 00:40:22,810
beautiful encounter, kind of flashbacking on

641
00:40:22,810 --> 00:40:26,810
something. Please, put this in mind. When I teach

642
00:40:26,810 --> 00:40:29,810
literature, I always invite my students to

643
00:40:29,810 --> 00:40:33,310
reconsider their lives. This is not about exams.

644
00:40:33,870 --> 00:40:36,050
Yeah, I know you want to get high marks. You

645
00:40:36,050 --> 00:40:39,490
should. And you study. But also think of how

646
00:40:39,490 --> 00:40:43,330
literature can change you, can change your lives,

647
00:40:43,530 --> 00:40:45,590
can make you better human beings, can make you

648
00:40:45,590 --> 00:40:50,530
think, can make you grow. Exactly like movies. And

649
00:40:50,530 --> 00:40:53,210
poetry here invites us to be different, to care

650
00:40:53,210 --> 00:40:57,530
about others, to like, to love.

651
00:41:00,240 --> 00:41:01,980
And this is part of the question you need to

652
00:41:01,980 --> 00:41:05,220
answer. How literature influences life. Literature

653
00:41:05,220 --> 00:41:10,040
is a criticism of life and a tool of empowerment.

654
00:41:10,180 --> 00:41:13,670
It makes us better people, more powerful people,

655
00:41:13,990 --> 00:41:16,750
especially for people like us here oppressed and

656
00:41:16,750 --> 00:41:19,110
occupied by the Israeli occupation, especially if

657
00:41:19,110 --> 00:41:22,070
we are women and we need to raise our voices and

658
00:41:22,070 --> 00:41:24,910
reach out to people and break the barriers, break

659
00:41:24,910 --> 00:41:30,790
the glass ceiling, break the unfavorable rules

660
00:41:30,790 --> 00:41:35,410
around us here or there. So this is one poem by

661
00:41:35,410 --> 00:41:37,910
William Wordsworth that has almost all the

662
00:41:37,910 --> 00:41:40,670
features of romanticism. Nature, tick.

663
00:41:41,410 --> 00:41:44,690
Individuality, tick. Imagination, tick. Man and

664
00:41:44,690 --> 00:41:47,390
nature, simplicity, tick. I think you'll find two,

665
00:41:47,530 --> 00:41:50,530
three words. Imagine yourself a native speaker in

666
00:41:50,530 --> 00:41:53,310
grade seven in England or America. You will get

667
00:41:53,310 --> 00:41:57,670
most of the words, if not all of them. Subject

668
00:41:57,670 --> 00:42:01,750
matter, common life, flowers from nature, also

669
00:42:01,750 --> 00:42:10,470
tick. What else? Recalling memory, tick. How you

670
00:42:10,470 --> 00:42:13,090
break the rules in order to, you know, sometimes

671
00:42:13,090 --> 00:42:16,490
to get to convey a message with the imperfect

672
00:42:16,490 --> 00:42:23,030
rhyme, also tick. I'll stop here. And if you have

673
00:42:23,030 --> 00:42:26,330
any question, you can definitely ask. Next class,

674
00:42:26,410 --> 00:42:29,570
we'll continue doing Lucy Gray by William

675
00:42:29,570 --> 00:42:32,770
Wordsworth, and we will have time to do London by

676
00:42:32,770 --> 00:42:36,670
William Blake. Thank you very much. And hopefully

677
00:42:36,670 --> 00:42:38,610
this will change something in you.