L9fwy3NUQKwYNxhPlUU9pxwfg8zlh4TPZ/LIKvgoqM1PA_postprocess.srt

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Today we start something probably different,

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something new, related but still something new.

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Last time we finished speaking about major

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Renaissance poets and before that we studied major

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Renaissance dramatists. We spoke about several

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terms that we needed to understand and we still

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do. We spoke about censorship, patronage, and we

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also spoke about the canon, and last time, the

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rules of Decorum. What do you know about the rules

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of decorum? Did you read more stuff about the

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rules of decorum? What does the term rules of

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decorum mean in the context of literature here?

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Rules of decorum, yes, please. The rules of

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decorum are the rules that the poet has to have in

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his personality or in his style of writing to be

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in the group of canon. To write great poetry, you

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had to follow certain rules, specific rules. And

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many of these rules were strict. You had to follow

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them. What topic to choose? Universal truths,

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remember? The language itself. Not everything can

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be poetic. Only highly embellished poetic

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language. And then the form itself. You had to

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follow a particular structure. a highly organized

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form of poetry. And in the 17th century and 18th

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century, this became even more famous than now,

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more common than now. But during the time of

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Elizabeth and later on, we have a group of poets

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who did not follow the rules of the Quran, who did

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not want to obey these ancient rules of writing

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poetry, of versification. Before I explain things,

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I'll give you examples from their poetry, and I'll

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let you come to certain conclusions yourself. Look

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at this poem. And again, I'm not mentioning the

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name of the poet, because we care more about the

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text itself. We need to appreciate the text

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regardless of who the poet is. This is a poem, The

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Sun Rising. Look at the shape of the poem and tell

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me what you think.

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Please. How do you know? Did you count the lines?

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How many lines? This is not a sonnet. Ten lines,

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not fourteen. So it's not definitely not. By the

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way, this is the first stanza of a poem consisting

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of Three stanzas. So the sun rising, number one.

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Okay, you noticed very quickly the rhyme scheme.

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Good, very good of you. And you think it has in

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part something from the Italian sonnet Petrarca.

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Something clearer than this, please. Oh, remember

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the poems before when we studied the sonnets? More

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or less they were like this. Oh, sorry. They were

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like this. Remember five feet, five feet, five

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feet, five feet, ten syllables, ten syllables, ten

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syllables. Sometimes four feet, four feet, four

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feet, like eight syllables, eight syllables, eight

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syllables. So you read a whole poem, a long poem.

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And I said this about Shakespeare's sonnet. We

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have over 150. Sonnets, and almost all the lines

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consist of 10 syllables, because this is the rules

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of decorum, this strict, rigid form of poetry in

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general, but of the sonnet in particular. So the

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first thing we notice is that this poem, this was

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written again in the Elizabethan Age. Clearly the

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shape is not following the rules of decorum. If

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you count the syllables, how many syllables do we

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have in the first line? How many syllables in

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busy? Busy, happy, two. Okay, one, two, three,

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four, five, six, seven, eight. So four feet.

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Unruly three. Unruly, like happy, two. Happiness,

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three. Happily, three. Ha, pi, li, three. The

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syllable depends on how many vowel sounds we have.

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And then, why dost thou thus? How do you know the

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number of feet generally? You divide the number

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seven by two. And then, through windows and

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through curtains call on us. One, two, three,

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four, five, six, seven, eight, nine, ten. Come on.

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Clearly there is an intention to change, to be

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different. An intention to not follow the rules.

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Not write a poem with strictly the same number of

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syllables and the same number of feet.

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If you code more, you'll find again, I think this

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is also 10. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. 1, 2,

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3, 4, 5, 6, 7, 8, and then 5 feet, 4 feet. So

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number one, we notice the irregular form. The

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number of lines, the number of feet in the first

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line is not the same, second, third, etc. What

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about the rhyme scheme? Can someone do the rhyme

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scheme? Can you come here please? Yes?

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Sun A Y, tell them why. The first sound takes the

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first letter of the alphabet. Okay. Why B? Why not

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A? It's different. It's not the same. So we go to

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the second letter of the alphabet, which is B.

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Okay. A.

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New sound, we go to the next letter.

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Parenthesis, C? No, definitely not. This is thus,

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us, this is parenthesis. This is D.

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Offices, parentheses?

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No way. This is M. This is D. Not the same sound.

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Definitely not the same sound. It's a couplet.

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Thank you very much. Thank you. Is it regular? How

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can we tell? Is it musical? Does it make a musical

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pattern? A, B, B, A, C, D, C, D, E. It is. It is

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musical. But we can double check when we look at

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the other stanzas. So this is stanza number one,

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this is stanza number two. Strong? Someone do it

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quickly. Someone. The rhyme scheme. Yeah, quickly

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Also

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D

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E E So the same go here. It's the same. So this is

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a regular rhyme scheme regular rhyme scheme

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musical but The number of feet in each line is not

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the same. But does that mean this is not musical?

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Let's read the poem. Someone read the poem. The

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first one, someone, please. Yeah, go on. The sun

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rising, busy old fool and lonely sun. Why does

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thou thus throw windows and throw curtains calm on

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us? Must desire motions lovers seasons run saucy

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saucy pedantic rich rich gosh child life is cool

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boys and princesses princesses princesses go

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talker handsome handsome handsome man that the

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king will ride cold country ants to harvest

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offices. Love all life, no season, no clime, nor

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hours, days, months, which are the rags of time. I

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think there is some music to this. Can you do it?

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Yeah? OK.

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It's not throw,

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it's like you throwing windows, through windows.

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So are apprentices.

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Beautiful reading. Thank you very much. Let's see

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what the poet is saying here. What is he talking

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to? Who is he talking to? Who's he addressing?

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Okay, who's that? Is he talking to a woman, to a

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person? Yeah, he's talking to the sun. A

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personification. And there is, if you don't read

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the title here of the poem, and someone tells you,

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busy, old, fool, unruly son, I'm sure some of you

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will write it this way with O. Because these

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features, unruly means naughty. Fool, busy,

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adjectives that describe people rather than

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things. So there is a personification of the son.

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And generally, the son is also a symbol. A symbol

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means something that stands for something else. It

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symbolizes power. It symbolizes authority.

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Probably, a new start, generally. But here, is he

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happy with the sun? Remember that text, when the

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sun was good because of the winter of discontent?

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But here, the guy is attacking the sun, calling it

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unruly, old, fool, busy. He's not happy with the

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sun because the sun keeps sticking its nose, its

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head, through the windows and the curtains. So

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he's busy, old fool, unruly sun. Why dost thou?

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He's interrogating the sun. Through windows and

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through curtains call upon us. Must thy motions

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lovers' seasons run? Saucy, pedantic, rich, go.

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Go. Get out. That's why I would usually here in

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this context take the sun as a symbol of

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authority.

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What's authority? Power. The mainstream. The

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mainstream, the official worldview.

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The poet, in a way, is personifying the son to

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make this idea clear, as if he's talking to a

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human being, to, I don't know, the king, or

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probably the people, the critics who decide the

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rules of poetry. You know what the word pedantic

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is? Pedantic is someone who uses language in a way

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to show off, like using big words, powerful

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language just to show off that I can use better

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language than you. So the fact that the poet is

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personifying the sun and describing it as pedantic

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and as nosy, you know, nosy because it sticks its

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nose, curious, waking them up, he's saying, go

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out. You're busy, you're old, you're a fool. Don't

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disturb us, the lovers, because the lovers must

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not or do not obey your rules. In my reading of

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this poem, I think the poet is, again, when he

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breaks the decorum of the lines here, he's also

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breaking the rules by challenging the authority

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itself, the sun that stands for power and

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authority. The sun here, in my opinion, could be

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the authority of criticism and poetry, the rules

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of decorum. Because you needed to write. You had

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to write poetry in a particular way. And the poet

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here is dismissing this. Get out. Don't tell me

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what I should do, when I should wake up. Why are

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you sticking your head through the windows and

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through the curtains? Get out. Go. Go instead of

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waking me up, disturbing me, telling me, dictating

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things on me. Go child. Let school boys. Go wake

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up school children. And sauer apprentices.

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Apprentices is originally apprentice. The boys who

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work at somebody's place to learn a craft or a

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skill. So sauer, you know, sauer is someone who

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doesn't want to go to work. Go wake them up. Go

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tell the court, the huntsman, the people in the

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court that the king is going outside. Go call the

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farmers. Tell the farmers, go harvest your crops.

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Leave us alone. And then we have the beautiful,

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beautiful, beautiful couplet here. Love, this is

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so like Shakespeare, probably more beautiful in

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many ways. When he says here, must thy emotions,

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lovers, seasons run? I shouldn't obey the sun,

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because we're more powerful. Love, all alike, no

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season knows, nor climb. Love is all the time.

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It's not in the morning. It's not at night. It's

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not in the afternoon. It's not when you're hungry,

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when you're thirsty. It's all the time. The sun

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does not dictate this. So in brief, we have a text

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here where the poet is clearly breaking the rules.

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How? Number one, the form itself. But is the form

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related to the meaning? In my opinion, yes. This

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is a revolutionary poem in which the poet, the

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speaker says, I don't want to obey anybody. And

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I'm breaking the rules. I'm breaking the rules.

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Look at the language. Remember, we said the

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language was especially the language of courtly

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love. This is a love poem. The language of courtly

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love. Remember the sonnet? Shall I compare thee to

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a summer's day? Now what more lovely and more

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temperate. Come live with me and be my love, and

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we will all the pleasures prove. But this is a

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poem about busy old fool and ruly son. Why dost

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thou through curtains and through windows call

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upon us? It's like there's a powerful beginning

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here. There's someone who is dramatic about this,

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probably expressing unhappiness or

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dissatisfaction. That's example number one. The

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same thing applies. to the other standard another

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text this is one we have in the book what do you

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notice quickly look at the text tell me what you

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notice about this raise your hand please remember

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generally i do it like this i look at the poem

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that's the first thing i do the second thing is I

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count the lines because it could be a sonnet if it

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is a sonnet there is something I can say out of

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the lines the counting I go for the rhyme scheme

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so what do you notice please okay

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so it's one block 14 lines interesting it is a

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sonnet remember the sonnet Italy Petrarch

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Particular subject matter, particular rhyme

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scheme, Shakespeare? The rhyme scheme. Let's go

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for the rhyme scheme. Can someone do it? This is

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going to be problematic. Come here please. Yes.

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Okay, no problem.

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Tell them what you're doing. Okay, the first one,

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first alphabet, A, U meant it's totally different,

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bent than meant A, sorry, B. Okay, good. U and U,

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A, U, C, and A. U and U are not the same, U, U, U.

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They're the same. M and bent B, different.

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Okay,

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before she continues, what does this remind you

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of? Italian sonnet, Petrarch, remember? A, B, B,

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A, A, B, B, A, C, D, C, D, C, D. Go on.

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I for I are you

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sure maybe it is listen we started something

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called imperfect rhyme what is an imperfect rhyme

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there is rhyme but it doesn't rhyme hundred

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percent probably fifty percent so anime Enemy and

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I they are close but not close enough to be

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perfect rhyme. So it should be DD Before she

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continues. This is also Petrarch however Oh,

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00:20:30,650 --> 00:20:34,490
thank you. What is EE? Couplet. Thank you very

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much. Good Listen to me The imperfect rhyme again.

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00:20:39,250 --> 00:20:42,170
Remember we said this before either it was read in

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a particular way or when you read it you just do

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00:20:44,810 --> 00:20:47,450
it extend it stretch it a little bit so it could

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be like anime I in a way a little bit close or

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could have been pronounced in a way that But more

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important to me is that an imperfect rhyme tells

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us, when you read the text, be careful. The poet

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00:21:01,200 --> 00:21:04,920
is sending us a signal, a particular message. Why

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00:21:04,920 --> 00:21:07,180
we need to stop and see why there is imperfection

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00:21:07,180 --> 00:21:10,340
here. Does it reflect a particular idea? And

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usually it does. So is this a Shakespearean or a

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Petrarchan sonnet? Italian or English? Italian.

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Are you sure? Yes. Half and half, mixture.

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Generally, we have

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several forms, but the most important forms are

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again the Italian, the English, Petrarchan,

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Shakespeare. We have a person here who's going for

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00:21:46,000 --> 00:21:50,200
Petrarch, the original, Sonneteer and then at the

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00:21:50,200 --> 00:21:54,780
end all of a sudden shifts to Shakespeare in a way

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00:21:54,780 --> 00:21:59,940
creating a new form in a way mixing things and

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00:21:59,940 --> 00:22:08,080
bringing a new form a bb a a bb a cd cd ee and

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remember the sonnet With a couplet, it means

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00:22:12,330 --> 00:22:14,950
something. Remember we said some people believe

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that only Shakespeare could do this, where he

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develops in 12 lines a particular problem and

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00:22:21,830 --> 00:22:25,670
gives us the twist, the resolution, the closure in

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two lines. So this is someone saying, I don't want

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to follow Shakespeare, but I can be as smart as

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00:22:30,950 --> 00:22:32,790
Shakespeare, as good as Shakespeare, and this is

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00:22:32,790 --> 00:22:34,270
the couplet I have here.

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00:22:37,070 --> 00:22:40,980
So sonnet, different rhyme scheme. What do you

292
00:22:40,980 --> 00:22:43,400
notice? What else do you notice about it? Now

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00:22:43,400 --> 00:22:43,820
read.

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What is the sonnet about? Does anyone want to

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00:22:51,220 --> 00:22:55,900
read? Probably the first quatrain, yes? batter my

296
00:22:55,900 --> 00:22:59,540
heart, three persons God for you, as yet but not

297
00:22:59,540 --> 00:23:02,700
breathe shine and seek to mend, that I may rise

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00:23:02,700 --> 00:23:07,260
and stand o'er you, me and them, you're forced to

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00:23:07,260 --> 00:23:11,160
break, blow, burn and make me new. No, no, read

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00:23:11,160 --> 00:23:14,300
this again and pay attention to the B B B sound,

301
00:23:14,440 --> 00:23:17,460
the alliteration. You're forced to break, blow,

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00:23:17,600 --> 00:23:20,000
burn and make me new. Break, break, blow, burn.

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00:23:20,840 --> 00:23:24,300
Yeah, that's that's part of the strong language

304
00:23:24,300 --> 00:23:30,100
strong opening here. Is this a love poem? There's

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00:23:30,100 --> 00:23:34,500
God here. You know three persons in Christianity

306
00:23:34,500 --> 00:23:38,700
who have Trinity. The Trinity. This is a religious

307
00:23:38,700 --> 00:23:43,800
poem and the whole poem is about the poet trying

308
00:23:43,800 --> 00:23:49,500
to break free from the sins of God's enemy, Satan,

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00:23:49,640 --> 00:23:52,860
the devil. He's asking God to break this

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00:23:52,860 --> 00:23:57,820
relationship between him and Satan, to free him.

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00:23:58,460 --> 00:24:03,560
Divorce me from who? From his relationship with

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00:24:03,560 --> 00:24:08,620
the enemy of God, Satan. Because he wants to be

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00:24:08,620 --> 00:24:12,000
close to God. He wants to be free. And there's a

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00:24:12,000 --> 00:24:15,660
paradox. I like the paradox here. Imprison me to

315
00:24:15,660 --> 00:24:19,840
make me free. What is a paradox? Saying something

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00:24:19,840 --> 00:24:22,900
and saying the opposite. That's irony. Paradox is

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00:24:22,900 --> 00:24:25,820
a sentence that contradicts itself. When someone

318
00:24:25,820 --> 00:24:28,820
says imprison me because I want to be free. What?

319
00:24:32,060 --> 00:24:36,190
Feed me because I want to be hungry. Break me

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00:24:36,190 --> 00:24:41,750
because I want to be new. Generally, it's a

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00:24:41,750 --> 00:24:44,770
statement that contradicts itself. When you first

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00:24:44,770 --> 00:24:47,810
read it, you think it doesn't make sense. But when

323
00:24:47,810 --> 00:24:50,550
you analyze it, when you put it in its context,

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00:24:51,010 --> 00:24:54,550
you realize how smart and witty this is. So he

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00:24:54,550 --> 00:24:58,810
wants to break the old him, the sinner, the person

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00:24:58,810 --> 00:25:02,250
that is close to Satan, to the devil, because he

327
00:25:02,250 --> 00:25:06,270
wants to be new with God. He wants God to imprison

328
00:25:06,270 --> 00:25:10,690
him away from the enemy of God, from him to him.

329
00:25:11,050 --> 00:25:15,010
If you are a prisoner with God, you're still free.

330
00:25:15,830 --> 00:25:18,950
He offers you a lot of freedom. So what is this

331
00:25:18,950 --> 00:25:24,510
poet doing? Again, changing the form, changing the

332
00:25:24,510 --> 00:25:28,130
rhyme scheme, and changing the subject matter of

333
00:25:28,130 --> 00:25:31,310
the most important form of English literature of

334
00:25:31,310 --> 00:25:33,710
that time, the sonnet. So there is a deliberate

335
00:25:35,590 --> 00:25:38,890
Insistence on this, on bringing something new, on

336
00:25:38,890 --> 00:25:41,430
breaking the rules of the Qur'an. This is someone

337
00:25:41,430 --> 00:25:44,130
saying, no, I am more powerful than the rules of

338
00:25:44,130 --> 00:25:46,270
the Qur'an. Because the rules of the Qur'an are

339
00:25:46,270 --> 00:25:50,770
busy old fool and unruly. They keep just calling

340
00:25:50,770 --> 00:25:53,270
upon us, telling us what to do and what not to do.

341
00:25:53,350 --> 00:25:58,690
I'm not going to follow this. OK. One more. This

342
00:25:58,690 --> 00:26:01,490
is another sonnet. Probably I can pass it on. Look

343
00:26:01,490 --> 00:26:07,140
at this poem. it's in the book by the way and the

344
00:26:07,140 --> 00:26:12,540
title is Easter Wings you know not Red Bull this

345
00:26:12,540 --> 00:26:17,840
time but if you look at the text from afar it

346
00:26:17,840 --> 00:26:23,680
sounds like a bird flying or probably two birds

347
00:26:23,680 --> 00:26:27,780
flying because this is body the wings the body the

348
00:26:27,780 --> 00:26:28,300
wings

349
00:26:31,180 --> 00:26:34,540
What was that? The M?

350
00:26:37,520 --> 00:26:41,240
But generally I just turned it this way because I

351
00:26:41,240 --> 00:26:44,680
wanted to show you how it could look like a bird,

352
00:26:44,860 --> 00:26:48,140
like wings. Easter, wings. Also Easter, you know

353
00:26:48,140 --> 00:26:50,400
Easter, we are in March, Easter. This is also a

354
00:26:50,400 --> 00:26:52,860
really just Christian thing here.

355
00:26:57,060 --> 00:27:00,220
This is the poem. Now, the title, Easter Wings,

356
00:27:00,380 --> 00:27:06,400
might sound religious. It is religious. But when

357
00:27:06,400 --> 00:27:11,380
you look at the shape of the poem, remember, when

358
00:27:11,380 --> 00:27:13,440
we go for Shakespeare, for Ben Jonson, even

359
00:27:13,440 --> 00:27:18,280
Marlowe and those poets, same number of syllables

360
00:27:18,280 --> 00:27:22,840
and feet. This looks crazy, because we have long

361
00:27:22,840 --> 00:27:26,600
line, shorter, short, and then the shortest, and

362
00:27:26,600 --> 00:27:31,260
then it gets long. Listen. Now these group, these

363
00:27:31,260 --> 00:27:36,860
poets, this group of poets did something new to

364
00:27:36,860 --> 00:27:41,320
literature, to English poetry. And this is

365
00:27:41,320 --> 00:27:46,880
important because to them, the meaning is more

366
00:27:46,880 --> 00:27:51,860
important than the rule. Again, the meaning is

367
00:27:51,860 --> 00:27:55,360
more important than the rule. If I feel like

368
00:27:55,360 --> 00:27:57,680
writing a religious poem in the sonnet form, you

369
00:27:57,680 --> 00:28:02,620
go for it. If I feel that the line needs five

370
00:28:02,620 --> 00:28:06,000
feet, I go there. If I feel it needs less or more,

371
00:28:06,200 --> 00:28:11,500
I go there. The idea is more important. The idea

372
00:28:11,500 --> 00:28:14,780
is more significant than the rule itself, than the

373
00:28:14,780 --> 00:28:19,680
number of the syllables in many ways. Let's see

374
00:28:19,680 --> 00:28:22,640
how they connect where the meaning and the form

375
00:28:22,640 --> 00:28:26,060
are connected. In the rules of the Quran, like in

376
00:28:26,060 --> 00:28:28,360
Arabic poetry by the way, sometimes when you read

377
00:28:28,360 --> 00:28:30,600
Arabic poetry you find that a particular word

378
00:28:30,600 --> 00:28:33,300
doesn't fit in the context. I'm not sure if I

379
00:28:33,300 --> 00:28:37,970
mentioned this before here. What's his name? Elia

380
00:28:37,970 --> 00:28:42,010
Boumadie, in one of his poems, Kam Tashtaki, He's

381
00:28:42,010 --> 00:28:45,630
inviting people to be optimistic. And in one line,

382
00:28:45,710 --> 00:28:46,190
he says,

383
00:28:50,660 --> 00:28:53,360
So he's saying, like, be happy because the sun is

384
00:28:53,360 --> 00:28:57,640
burning. It doesn't work. Why? Because he chose

385
00:28:57,640 --> 00:28:59,560
this particular word, although it is the wrong

386
00:28:59,560 --> 00:29:02,220
word, because of the rhyme and because of the

387
00:29:02,220 --> 00:29:04,980
meter. It wasn't mulqafiyah. For those

388
00:29:04,980 --> 00:29:08,000
metaphysical poets, for those poets we're studying

389
00:29:08,000 --> 00:29:11,100
today, the meaning is more important. They can

390
00:29:11,100 --> 00:29:13,680
break the rule for the right word, for the right

391
00:29:13,680 --> 00:29:18,240
idea. Let's see how the meaning, the theme, is

392
00:29:18,240 --> 00:29:19,420
connected with

393
00:29:22,470 --> 00:29:28,490
The form. So this is the longest line, right? And

394
00:29:28,490 --> 00:29:32,690
this is the shortest line. Same here, two lines,

395
00:29:32,790 --> 00:29:35,830
very short, long, long. The first line says, Lord,

396
00:29:35,950 --> 00:29:42,730
again, God, religious. Lord who created man in

397
00:29:42,730 --> 00:29:44,870
wealth and store. And that's why we have the

398
00:29:44,870 --> 00:29:49,350
longest line. He's saying, God gave man

399
00:29:49,350 --> 00:29:54,450
everything. This big, the biggest thing. God

400
00:29:54,450 --> 00:29:59,710
created man in wealth and store. And that's why

401
00:29:59,710 --> 00:30:04,270
it's the longest line. What happens next? Man

402
00:30:04,270 --> 00:30:06,930
begins to lose.

403
00:30:08,750 --> 00:30:12,390
And then because there is loss here, the line

404
00:30:12,390 --> 00:30:17,240
shrinks. Thank you for the word, shrinks. And then

405
00:30:17,240 --> 00:30:21,440
decay, you know, decay decline, fades, decaying

406
00:30:21,440 --> 00:30:28,320
even more and more till he became most poor, most

407
00:30:28,320 --> 00:30:33,200
poor and we have the shortest line. But what

408
00:30:33,200 --> 00:30:37,900
happens next with thee, thee here, Lord. Let me

409
00:30:37,900 --> 00:30:40,980
rise. Because there's rising, it grows again

410
00:30:40,980 --> 00:30:43,940
bigger because you connect, you go back to God. As

411
00:30:43,940 --> 00:30:46,960
larks, as birds. You know the lark? Harmoniously

412
00:30:46,960 --> 00:30:50,920
and sing this day thy victories. Then shall the

413
00:30:50,920 --> 00:30:55,260
fall further the flight in me. Oh, thank you. I

414
00:30:55,260 --> 00:31:00,660
love the further alliteration. The fall further

415
00:31:00,660 --> 00:31:05,790
the flight. It's alliteration where the sound It's

416
00:31:05,790 --> 00:31:11,210
like, it's like wings fluttering. Similar to this

417
00:31:11,210 --> 00:31:15,710
in a way, fluttering. The fall, further, the

418
00:31:15,710 --> 00:31:20,110
flight, there is alliteration here, but also there

419
00:31:20,110 --> 00:31:27,910
is a paradox. What's a paradox? A sentence that is

420
00:31:27,910 --> 00:31:32,190
self-contradictory. How does the fall further the

421
00:31:32,190 --> 00:31:36,030
flight? If you fall, you fall. But here he says,

422
00:31:36,530 --> 00:31:41,030
if I fall, I rise up above. Because this is a

423
00:31:41,030 --> 00:31:44,470
religious concept here. If you commit a sin and

424
00:31:44,470 --> 00:31:49,150
you repent, you go back to God, you will rise

425
00:31:49,150 --> 00:31:52,270
higher than ever before. If you count the number

426
00:31:52,270 --> 00:31:57,310
of syllables here, Ten. Can you say how that

427
00:31:57,310 --> 00:32:05,530
worked with you? One, two, three, four,

428
00:32:05,790 --> 00:32:07,610
five, six, seven, eight, nine, ten. One, two,

429
00:32:07,810 --> 00:32:10,030
three, four, five, six, seven, eight, nine, ten.

430
00:32:10,030 --> 00:32:11,050
nine, ten. One, two, three, four, five, six,

431
00:32:11,050 --> 00:32:11,590
seven, eight, nine, ten. One, two, three, four,

432
00:32:11,590 --> 00:32:11,990
five, six, seven, eight, nine, ten. One, two,

433
00:32:12,090 --> 00:32:12,090
One, two, three, four, five, six, seven, eight,

434
00:32:12,090 --> 00:32:13,010
nine, ten. One, two, three, four, five, six,

435
00:32:13,010 --> 00:32:14,750
seven, eight, nine, ten. One, two, three, four,

436
00:32:14,750 --> 00:32:15,250
five, six, seven, eight, nine, ten. One, two,

437
00:32:16,670 --> 00:32:17,150
One, two,

438
00:32:19,930 --> 00:32:21,470
three, four, five, six, seven

439
00:32:24,690 --> 00:32:28,870
One foot. One foot. No, two syllables, one foot.

440
00:32:29,770 --> 00:32:35,270
Plural of foot. And then one, two, three, four,

441
00:32:35,510 --> 00:32:39,950
five. The same thing happens again and again. But

442
00:32:39,950 --> 00:32:42,250
again, what I'm saying here is that the longest

443
00:32:42,250 --> 00:32:46,330
line corresponds, is connected with what it means.

444
00:32:47,030 --> 00:32:51,930
Wealth and store. God gave man everything. And

445
00:32:51,930 --> 00:32:55,930
when man lost everything, became the most, most

446
00:32:55,930 --> 00:33:00,930
poor. Same thing happens again. Most thin, because

447
00:33:00,930 --> 00:33:03,210
this is the most thin physically, it's the most

448
00:33:03,210 --> 00:33:07,930
thin. But the poet is saying that I want to imp.

449
00:33:08,030 --> 00:33:12,230
Imp means like link, glue, connect. My wing on

450
00:33:12,230 --> 00:33:14,850
thine. And that's why we have here, this is a bird

451
00:33:14,850 --> 00:33:18,220
probably standing for man. And this is another

452
00:33:18,220 --> 00:33:23,040
bird standing for Jesus or God. And he wants the

453
00:33:23,040 --> 00:33:27,920
wings to be connected so they can... Affliction,

454
00:33:28,140 --> 00:33:31,680
pain shall advance the flight in me. I want to go

455
00:33:31,680 --> 00:33:34,840
back to you, God. Forgive my sins. I love you,

456
00:33:34,960 --> 00:33:38,380
God. I'm coming back to you. Look at the rhyme

457
00:33:38,380 --> 00:33:48,240
scheme here. We have Thor. Same. B, more, A, B,

458
00:33:48,780 --> 00:33:56,820
Puro, so A, D, C, rise, D, listen, harmoniously

459
00:33:56,820 --> 00:34:02,660
rhymes with D but imperfectly. So C, also rise and

460
00:34:02,660 --> 00:34:07,640
victories, they rhyme but imperfect rhyme. So D

461
00:34:07,640 --> 00:34:09,600
and C.

462
00:34:12,280 --> 00:34:18,680
So A, B, A, B, A. C, D, C, D, C. And the same

463
00:34:18,680 --> 00:34:25,760
thing happens later on. What do we see here again

464
00:34:25,760 --> 00:34:31,100
is that a poet deliberately, on purpose, changing

465
00:34:31,100 --> 00:34:35,460
the form. And the form is not random. It's

466
00:34:35,460 --> 00:34:39,830
connected with the meaning in many ways. If you

467
00:34:39,830 --> 00:34:42,610
notice, we have in one stanza, we have two

468
00:34:42,610 --> 00:34:46,090
imperfect rhymes here. So they don't look for the

469
00:34:46,090 --> 00:34:47,950
perfect rhyme. They don't look for the most

470
00:34:47,950 --> 00:34:51,030
beautiful, most elegant, most powerful, most

471
00:34:51,030 --> 00:34:55,590
highly, you know. Like a word that really is

472
00:34:55,590 --> 00:34:59,110
poetic that only poets and only people who go to

473
00:34:59,110 --> 00:35:02,430
university know. The right word in the right place

474
00:35:02,430 --> 00:35:06,070
is usually used. Because the meaning is more

475
00:35:06,070 --> 00:35:10,610
important than the rule. What is this?

476
00:35:13,410 --> 00:35:17,550
Okay, see, this is clearer here. What is this?

477
00:35:17,750 --> 00:35:25,890
This is John Donne and his school of poets. John

478
00:35:25,890 --> 00:35:31,910
Donne. John Donne. And his followers, George

479
00:35:31,910 --> 00:35:35,710
Herbert. The Easter Wings poem is a poem by

480
00:35:37,930 --> 00:35:44,450
Someone named George Herbert. So in brief, to wrap

481
00:35:44,450 --> 00:35:48,850
things up, John Donne as a poet clearly was

482
00:35:48,850 --> 00:35:51,830
dissatisfied with the way English poetry was

483
00:35:51,830 --> 00:35:54,270
written during his time. He didn't like the rules

484
00:35:54,270 --> 00:35:57,470
of decorum, so he broke them. He changed many

485
00:35:57,470 --> 00:36:00,270
things. He changed something about the form, about

486
00:36:00,270 --> 00:36:05,210
the language, about the rules, the meter. For this

487
00:36:05,210 --> 00:36:08,150
poet, the idea is more important than the rule. So

488
00:36:08,150 --> 00:36:11,570
he would break the rule just to convey the right

489
00:36:11,570 --> 00:36:12,010
idea.

490
00:36:15,150 --> 00:36:18,330
And what does that mean? Does it mean that it was

491
00:36:18,330 --> 00:36:24,390
okay to do this then? Of course not. Remember,

492
00:36:24,510 --> 00:36:27,450
this is the heyday of Renaissance. And then we

493
00:36:27,450 --> 00:36:30,950
will be having the neoclassical age, the age that

494
00:36:30,950 --> 00:36:34,970
emphasized rules over meanings in so many ways.

495
00:36:35,810 --> 00:36:37,810
The rules of decorum were sacred. You had to

496
00:36:37,810 --> 00:36:40,790
follow them. And when someone comes to do this,

497
00:36:41,210 --> 00:36:45,300
number one, he's viewed as a threat. Writing

498
00:36:45,300 --> 00:36:47,960
something different, writing something new could

499
00:36:47,960 --> 00:36:51,640
be viewed as a threat because some patrons might

500
00:36:51,640 --> 00:36:53,880
find this interesting and would be, oh, I want

501
00:36:53,880 --> 00:36:57,260
this poet who writes different poetry. And I want

502
00:36:57,260 --> 00:37:00,020
to give him money. I want to bring him. So

503
00:37:00,020 --> 00:37:03,940
probably some critics of that time viewed this as

504
00:37:03,940 --> 00:37:06,700
a threat. But definitely, they didn't like

505
00:37:06,700 --> 00:37:10,980
Diondan. But not because Diondan was writing bad

506
00:37:10,980 --> 00:37:17,700
poetry. or difficult poetry, or complex poetry. It

507
00:37:17,700 --> 00:37:20,260
was because John Donne was breaking the rules. And

508
00:37:20,260 --> 00:37:22,760
the rules for them are the most important things.

509
00:37:24,640 --> 00:37:27,160
One critic, Johnson, we studied Johnson already as

510
00:37:27,160 --> 00:37:29,560
a dramatist and a poet, he said, John Donne

511
00:37:29,560 --> 00:37:35,260
deserves hanging. Yeah, that's extreme. He

512
00:37:35,260 --> 00:37:38,040
deserves hanging.

513
00:37:38,740 --> 00:37:43,210
For what? For writing different poetry? Where's

514
00:37:43,210 --> 00:37:46,070
the freedom of speech, right? And he said, John

515
00:37:46,070 --> 00:37:50,310
Donne will perish. You know perish? He will

516
00:37:50,310 --> 00:37:55,030
decline. He will be forgotten. Perish. No one will

517
00:37:55,030 --> 00:38:01,130
remember him. Perish. He will vanish. He will

518
00:38:01,130 --> 00:38:03,630
disappear because no one will like his poetry.

519
00:38:03,730 --> 00:38:06,550
Actually, many people liked his poetry, but the

520
00:38:06,550 --> 00:38:10,790
mainstream critics The critics who called for the

521
00:38:10,790 --> 00:38:12,470
rules of the Quran did it like this, and they

522
00:38:12,470 --> 00:38:14,450
kicked John Donne and his followers from the

523
00:38:14,450 --> 00:38:18,590
canon. They would also not talk about them, ignore

524
00:38:18,590 --> 00:38:20,710
them, and when they talk about them, they would

525
00:38:20,710 --> 00:38:23,110
negatively frame them. Remember the word frame?

526
00:38:24,190 --> 00:38:28,370
Important word here. Frame? to describe somebody

527
00:38:28,370 --> 00:38:31,130
in a negative way or a positive way. But here,

528
00:38:31,210 --> 00:38:35,310
John Donne was negatively framed by the mainstream

529
00:38:35,310 --> 00:38:39,210
critics. How? Someone said, he deserves hanging.

530
00:38:39,430 --> 00:38:43,810
Someone said, he will perish. Someone said, he

531
00:38:43,810 --> 00:38:47,650
writes a perplexing poetry. Someone said, John

532
00:38:47,650 --> 00:38:49,650
Donne, this is not poetry, this is verse.

533
00:38:52,340 --> 00:38:55,620
Someone said even, because a lot of critics agree

534
00:38:55,620 --> 00:38:59,520
that John Donne is smart, witty. Alexander Pope

535
00:38:59,520 --> 00:39:05,060
said, no, he doesn't have an extraordinary kind of

536
00:39:05,060 --> 00:39:09,240
wit. All poets have the same level of wit like

537
00:39:09,240 --> 00:39:14,120
Donne. So John Donne and his followers, for about

538
00:39:14,120 --> 00:39:20,390
200 years, was in a way marginalized, was not in

539
00:39:20,390 --> 00:39:24,790
the canon, was kicked out. And thanks to a very

540
00:39:24,790 --> 00:39:28,790
important man, a very important critic, a very

541
00:39:28,790 --> 00:39:32,130
important poet in the 20th century, early 20th

542
00:39:32,130 --> 00:39:38,930
century, T.S. Eliot. The Wasteland, April is the

543
00:39:38,930 --> 00:39:44,390
cruelest month. When he was reading poetry, he

544
00:39:44,390 --> 00:39:48,530
came across the metaphysical poets, John Donne.

545
00:39:49,510 --> 00:39:52,190
And he said, wow, these are important poets. He

546
00:39:52,190 --> 00:39:57,030
showed how important their poetry was, to the

547
00:39:57,030 --> 00:40:00,770
extent that in the 20th century, John Donne and

548
00:40:00,770 --> 00:40:03,630
his followers became more important than Johnson,

549
00:40:04,370 --> 00:40:06,790
than Dryden, than Samuel Johnson, and then

550
00:40:06,790 --> 00:40:10,810
Alexander Pope combined. Many poets in the 20th

551
00:40:10,810 --> 00:40:13,510
century started to imitate them in a way. That's

552
00:40:13,510 --> 00:40:17,530
why John Donne is considered a modernist. What is

553
00:40:17,530 --> 00:40:18,190
a modernist?

554
00:40:22,130 --> 00:40:25,750
Modernism. He brings new ideas, he experiments, he

555
00:40:25,750 --> 00:40:30,870
changes. The 20th century went back to the poets

556
00:40:30,870 --> 00:40:34,030
like John Donne to imitate them, to learn from

557
00:40:34,030 --> 00:40:39,540
them. And finally, when we read the literature

558
00:40:39,540 --> 00:40:42,480
box, we will come across the term metaphysical.

559
00:40:43,040 --> 00:40:46,780
Listen to this again. Metaphysical poetry,

560
00:40:46,900 --> 00:40:48,860
metaphysical poets. This is an ugly term. Look at

561
00:40:48,860 --> 00:40:51,900
it. It's horrible, right? Metaphysical poetry. It

562
00:40:51,900 --> 00:40:57,580
sounds terrorizing, intimidating, spooky. Now,

563
00:40:57,920 --> 00:41:00,900
this term was used again by the mainstream critics

564
00:41:00,900 --> 00:41:04,220
Dryden and Johnson to describe John Donne and his

565
00:41:04,220 --> 00:41:07,340
followers. What does it mean, metaphysical?

566
00:41:07,620 --> 00:41:10,180
Believe me, it doesn't mean much. It doesn't mean

567
00:41:10,180 --> 00:41:16,360
anything. But it was used in order to, again, make

568
00:41:16,360 --> 00:41:19,740
people just, in a way, hate those poets, not read

569
00:41:19,740 --> 00:41:23,840
them. Because I want to read poetry. Oh, yeah.

570
00:41:24,830 --> 00:41:27,070
Metaphysical, it sounds, the name even sounds

571
00:41:27,070 --> 00:41:29,950
difficult. So this is also negative framing. So

572
00:41:29,950 --> 00:41:34,290
according to T.S. Eliot, the term metaphysical was

573
00:41:34,290 --> 00:41:41,870
a term of abuse. What's abuse? As an insult. So it

574
00:41:41,870 --> 00:41:44,710
wasn't used to describe them, but it was used to

575
00:41:44,710 --> 00:41:48,510
insult them. To tell people, don't read this

576
00:41:48,510 --> 00:41:48,830
poetry.

577
00:41:53,340 --> 00:41:57,380
I'll stop here. I will continue this later on. But

578
00:41:57,380 --> 00:42:00,480
let me just summarize the last point here and see

579
00:42:00,480 --> 00:42:05,160
how funny literature is and how life works against

580
00:42:05,160 --> 00:42:12,160
certain ideologies and ideas. Ben Jonson said John

581
00:42:12,160 --> 00:42:14,260
Donne will perish for breaking the rules.

582
00:42:15,640 --> 00:42:17,880
Ironically, nowadays John Donne is more important

583
00:42:17,880 --> 00:42:22,470
than Ben Jonson. and probably other mainstream

584
00:42:22,470 --> 00:42:27,090
critics, neoclassical critics of that type. So no

585
00:42:27,090 --> 00:42:29,710
matter how much sometimes the official mainstream

586
00:42:29,710 --> 00:42:34,790
critics and poets try to dismiss some poetry, not

587
00:42:34,790 --> 00:42:37,250
because it's bad, but because it's against their

588
00:42:37,250 --> 00:42:40,590
ideology, against their rules, because it

589
00:42:40,590 --> 00:42:43,670
threatens them, no matter how much, how hard they

590
00:42:43,670 --> 00:42:48,420
try. Later on, people will have the chance to read

591
00:42:48,420 --> 00:42:51,980
this poetry and appreciate it for its beauty and

592
00:42:51,980 --> 00:42:57,500
its contribution. Okay? So these are the major

593
00:42:57,500 --> 00:43:00,700
points I just discussed here.

594
00:43:04,260 --> 00:43:06,300
You don't have to write them down. You can see

595
00:43:06,300 --> 00:43:07,360
them in the video, by the way.

596
00:43:13,450 --> 00:43:17,270
Our next class will continue doing John Donne,

597
00:43:17,970 --> 00:43:21,770
George Herbert, and Andrew Marvel. And I'll repeat

598
00:43:21,770 --> 00:43:24,510
these ideas and speak about the features of

599
00:43:24,510 --> 00:43:27,250
metaphysical portrait. Do you have any question?

600
00:43:27,730 --> 00:43:33,030
Please. How we can know the irregular rhyme scheme

601
00:43:33,030 --> 00:43:40,390
like this? When you look at the poem and trace the

602
00:43:40,390 --> 00:43:41,590
rhyme

603
00:43:45,760 --> 00:43:51,360
Generally, go with your gut, meaning like, what do

604
00:43:51,360 --> 00:43:54,580
you feel here? How do you feel? And then go

605
00:43:54,580 --> 00:43:57,800
through it again and try to see whether two rhymes

606
00:43:57,800 --> 00:44:02,560
are close, not close enough to be perfect rhymes,

607
00:44:03,000 --> 00:44:06,260
but probably 50% and you bring them together. So

608
00:44:06,260 --> 00:44:09,390
here, generally, when I first read this, I didn't

609
00:44:09,390 --> 00:44:13,870
like rise with victories. Because rise is

610
00:44:13,870 --> 00:44:16,290
different from victories. But does it sound like

611
00:44:16,290 --> 00:44:22,030
it? In a way, yes. A little bit. Not 100%. So we

612
00:44:22,030 --> 00:44:24,190
go for imperfect rhyme. When we remember these are

613
00:44:24,190 --> 00:44:25,930
the metaphysical powers, we say, oh, they didn't

614
00:44:25,930 --> 00:44:29,270
want to follow the rules 100%. But there is more

615
00:44:29,270 --> 00:44:31,970
to this. When you study the imperfect rhyme, I

616
00:44:31,970 --> 00:44:34,690
think you will find more reasons why this is

617
00:44:34,690 --> 00:44:37,310
imperfect. There's something going on. We need to

618
00:44:37,310 --> 00:44:39,860
analyze. Okay, thank you. If you have any

619
00:44:39,860 --> 00:44:42,480
question, we can continue after this. Thank you

620
00:44:42,480 --> 00:44:42,960
and good luck.