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Assalamualaikum. Good morning. Are you okay? Good.

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Let's start. Today, we're going to continue

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analyzing the litany to explore more the implications 

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and the ramifications of certain tropes. I know we 

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started the analysis last time, but it was more a 

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response than analysis. Today, we're going to dive 

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deeper to discuss the other parts of the poem, and 

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then, like, to discuss the form and to see its 

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relationship to the meaning. Hopefully, like, we

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have five minutes to make you write a paragraph 

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about, you know, the rigidity of the lady. It's a 

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paragraph more just like, we'll see how it works.

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Good. Now, before we start, let's listen to a 

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wonderful report. Good? Let's see.

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Despite the hotness outside of the class, the last 

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lecture was amazing and cool, which made me 

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prepare a new report. Maybe I will read it in 

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front of my colleagues. The lecture talked about 

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courtly love, which is prohibited in our religion

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and also in our culture. But we are adults and

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aware about this kind of love. All in all, the 

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lecture and the lecturer were so amazing. That's

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made time run quickly. 

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thinking positively of the class in this way.

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Let's have another creative report, yes?

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I think you read last time? Hey, you're lucky, 

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huh? Good. Sir Philip Sidney was the writer of the

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poem Litany. He wrote a very famous essay called

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An Apology for Poetry. He complained his beloved

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lady because she is cocky. From the very

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beginning, he described love as a dead person and 

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then he said sorry. In that lecture, the teacher 

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was so nice especially when he walked among us and 

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asked questions about Litany. I don't know, maybe

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this poem is strange, but it has a special taste,

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the taste of honey. I liked the item when he said, 

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love is that it seems to be too funny. The teacher 

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explained to us some difficult items and then he

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said anyone can give me a summary. Some students 

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gave the poem an attitude of irony. In short, I 

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liked that poem because of having special sight of 

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beauty. Also, I admired the whole image, metaphors

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and simile.

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I was very pleased like you liked the poem, and I 

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know like many of you have, like many of us. But

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yesterday when I was expounding the poem further, 

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you know, like one student thought that, you know,

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love cannot die. Yes, I said like love, can die,

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but there is a unique love which will never die.

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Do you know which love we are talking about? Our 

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love for our creator, Allah. Our love for our

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prophet. This is eternal love, you know? Okay, we

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developed now this emotion, this love, and it will

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remain with us forever, even after our death. 

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Good. So I think you had more time at home to read

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the poem, more and more. And I think we discussed

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the first stanza. Today, we're going to go to the 

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second stanza, in which he is appealing to people. 

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We, neighbors, we. So he's invoking people. Why do

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you think he's invoking people? Weak, neighbors 

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weak, yes. He's calling weak neighbors weak. It's

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a repetition. And again, because you know, the

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whole atmosphere is a funeral atmosphere, so this,

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you know, this says that, continues to suggest the

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funeral atmosphere. And why do you think he chose

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the funeral atmosphere? Or what does this add to 

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the poem? You have more seriousness? More sadness? 

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Because if you remember, when he declared in the 

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second line that love is dead, that was a very

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funny thing, you know? Very ridiculous, yes. Yeah, 

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okay, and this is what he did when he declared 

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that all love is dead. However, here, we, 

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neighbors, we, he wanted like You know, to 

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complete this atmosphere of the funeral, and I

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think the atmosphere of the funeral is Jahan. It 

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also makes the metaphor more visual and more...

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It's complicated because love is dead and you

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imagine a funeral, so if it's, as if it's, you

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know, it's love... And I think this adds, you 

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know, this adds some dignity to the whole 

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situation. 

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A funeral scene, we're talking about somebody 

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who's dying, and this person seems to be a high

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-ranking person because the monarch, the rich

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ones, you know? It's a church, the place itself

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gives some feeling of awe and pity, which makes 

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the poem more attractive, I think. Okay, we 

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neighbors, we do not hear it said that love is 

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dead. Again, he is reminding the audience of the 

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crisis of his ordeal. That love is dead, and the

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personification runs. Now we reach this, you know, 

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stanza which is very rich in its figurative 

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language. Is death that peacock's folly? You know?

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What is like the folly of, you know, of course 

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here we have a metaphor. What's the metaphor? 

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What's the metaphor? No, I mean, the deathbed,

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deathbed itself is the peacock's folly. You know,

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like death, or love which is dead, is lying on the 

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deathbed. But what is the deathbed? It is

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arrogance. It is peacock's folly. So what is

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peacock's folly? It is the arrogance, the conceit.

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And do you think that conceit And arrogance is a

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bad value? Yeah. Because here, in a very indirect

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way, he's telling us the many terrible attributes

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of the lady. Like she's well-reserved, that she's 

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changeable, well-reserved, that she is, you know, 

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like disdainful, scornful. And now he's telling

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us, like, she's arrogant. And his deathbed

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peacocks falling. His winding sheet is what?

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Shame. You know? Like the shameful behavior. It's 

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like what? A winding sheet. And here, the winding

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sheet is what? What does he mean by winding sheet? 

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Like when a, you know, somebody dies, they wrap

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him, you know? And this is the winding sheet. It's 

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like, you know, the coffin itself. It's the coffin 

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itself. So the winding sheet is what? Shame. Like,

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she's wrapped by shame. Shame why? Shame why?

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Because of her shameful behavior. Because of not 

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considering him. Yes, she rejected him. And his 

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will falls seemingly early. Like, okay, when we 

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are talking about somebody who died, sometimes 

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like if, you know, some people leave a will. It 

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wasn't a will. Yeah, a will, something, take this,

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take that, this is a will. So what kind of will 

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did love leave? What kind of love? It was full of 

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lies. Again, this is another offensive, 

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veterinarian-like attribute. Veterinarian-like, 

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it's a very offensive one. His warning, she in his

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shame, his will falls even on him. And then his 

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sole executor in blame. So blame here, again, we 

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have another personification. The blame is seen 

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like what? A human being who executes. Who

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executes. So yes, the executor, the one who by

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Terminates the life of a suspect, the life of a

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criminal, or execution here has double meaning. It 

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could be the judge. So blame itself is a

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terminator of love. When lovers or friends keep 

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blaming each other, what happens? This noble 

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relationship between them comes to an end. Yes, so

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blame, is being seen as a person, you know, who's

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an executor, executes, kills, you know, or give a

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terrible judgment. And then, you know, the refrain

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is repeating itself, and we'll talk about the

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refrain, the value of the refrain later. But the 

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refrain, it is like more supplication. You know, 

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what's mean supplication? He is supplicating, he's

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praying God to protect men Against the madness of

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women and the madness of women, you know their 

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pride, their shame, their arrogance. You know their

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disdain and so on. Very disturbing, isn't it? Very 

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disturbing and I'm sorry. Yes, 

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let dirge be sung. What is a dirge? 

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Trentons, also this is taken from church 

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situation, like when somebody dies, they keep 

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singing songs, they are called Trentons for 30

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days, in memory of the dead person. So Trentons is 

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like a sad religious song. Because the dead is of

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high ranking, position, so there should be you know

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a manifestation, which or a certain manifestation

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that said well, you know the infected or the 

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deceased one. Let theirs be sung and printers write 

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the red for love is dead. Lit okay, um sarang, yes

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sarang his tombs ordained. Again, what figure of

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speech when we say Sir Rong? No, it's a personal

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occasion because Sir Rong is portrayed like what? 

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Like a sculptor who is carving, digging on a

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stone. You see? So, Serrang his tomb ordained. I 

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think Serrang, you know, it's a kind of, you know, 

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sarcastic. It's sarcastic. Yes, Serrang his tomb

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ordained. Now we are talking about, you know, the 

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tomb itself, the grave. But what is the grave? You

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know, here, what is the grave? My mistress' marble

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heart. Wow. This is very bad, yeah. So, so the grave of 

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the dead love will be where, what, his mistress'

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marble heart. What do you think of this image, you 

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know, marble heart, yeah, yeah. It's irony in what 

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sense, because he's saying he's calling your marble 

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heart, but at the same time he's attributing

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something really bad. Yeah. Yeah. But you think

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that marble has a positive? Is he praising her? Or 

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is he complaining? Yes. So, what is like known

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about marble? Let's see. Let's together figure out 

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the connotations of the word marble. Yes, please.

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Hard. Rigidness. Yeah.

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So, it is elusive, you know. It seems nice, but it 

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is like hard. Okay. Yes? It seems soft,

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but inside, it's cold. It seems, yeah, it 

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seems like, you know, soft, but it is cold. And I

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text. Allusion. It is different or reference to 

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another text or another, you know, something 

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outside the text, illusion. It's not 

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intertextuality here, but rather it is allusion 

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because he's like, he's not referring to a, you 

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know, a text, but he's referring to a myth, 

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something outside the text, to a Greek myth of 

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Cupid. Like, who's a cubit? Like in Greek 

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mythology, Cupid is an archer. You know what I'm 

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saying? An archer, a man carrying darts and 

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shooting. So if the dart hits and this man, Cupid 

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is blind, you know, is blind. So this is the Greek 

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mythology. And like, His daily activities are like 

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shooting and hitting people blindly. So this is 

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how the idea of love is blind comes from this 

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myth. 

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Her eyes were once his dart. So the two meanings, 

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the two possible meanings, what do you understand 

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from this line? You see? Yes? 

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Yes. Yes. 

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Yeah. Like how, you know, how could eyes like 

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kill? Yeah, but if you go back to the poem, when 

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we are talking about disdain, when we are talking 

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about, so if like the eyes are full of disdain, 

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disparagement, so yes, then the eyes would be like 

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the murderer of love. You see what I mean? So 

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there are two meanings. Either You know, her eyes 

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were, you know, fascinating or he was attracted by 

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her eyes and this, you know, she's beautiful. Or, 

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as we say, like, you know, her eyes were full of 

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scorn and this, you know, put an end or, you know, 

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terminated the life of love. Then suddenly, you 

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know, now believing this, this is a funeral 

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atmosphere and suddenly, We have the poet come and 

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say, Alas, I'm sorry, you know, I lie. I lie. 

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Don't believe me. Don't trust me. Come on. What 

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are you doing, you know? Are you playing with us? 

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Okay.

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Yeah, to retreat, to compliment. So you think it 

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is like, you know, he said what he wanted to say 

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and now he wants like to excuse himself by saying, 

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no, I'm sorry, like, you know, but he did. He sent 

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the message about the lady. Yes. 

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Yeah, but like here as you see it is the mind the 

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reason which dominates at the end, dominates the 

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passion of anger, the passion of revenge. So man 

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might get angry, but at the end of the day, the 

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reason should control and discipline this man. 

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Again here, he is reflecting a cultural value in 

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the Elizabethan age. Because, as we said, the 

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Elizabethan believed in the idea of order. Man 

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should be ordered. Man should not let any passion, 

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there should be balance in you. And reason should 

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control everything. So here, as you see, we have 

277
00:20:56,520 --> 00:20:59,800
conflict between passion and reason. And it is the 

278
00:20:59,800 --> 00:21:04,040
reason which dominates at the end, which controls 

279
00:21:04,040 --> 00:21:08,140
the whole situation and the whole behavior. So 

280
00:21:08,140 --> 00:21:11,400
love is not dead. It's backing up, backing up. 

281
00:21:11,940 --> 00:21:14,760
Love is not dead, but sleeps in her unmatched 

282
00:21:14,760 --> 00:21:18,600
mind. So he started now to praise. Is he placating 

283
00:21:18,600 --> 00:21:23,020
her? You know what it means to placate? hit a 

284
00:21:23,020 --> 00:21:26,360
child, the child would cry, and then you placate, 

285
00:21:26,700 --> 00:21:29,540
ah, don't do that, you know, this placation. Is he 

286
00:21:29,540 --> 00:21:33,240
placating her? You know, telling her, like, I'm 

287
00:21:33,240 --> 00:21:37,500
sorry, I didn't mean that, no, you know? It's a 

288
00:21:37,500 --> 00:21:40,940
possibility, but like, you see here, this is a 

289
00:21:40,940 --> 00:21:45,040
reversal of the whole, you know, the whole poem. 

290
00:21:45,720 --> 00:21:48,420
And it seems like he's praising, he's praising 

291
00:21:48,420 --> 00:21:54,940
her. Yes? that it's ironic at the end because you 

292
00:21:54,940 --> 00:21:57,800
can you can grasp like how really how honest his 

293
00:21:57,800 --> 00:22:00,620
entire poem was and then at the end he goes and 

294
00:22:00,620 --> 00:22:02,580
reverses everything so it might seem a bit 

295
00:22:02,580 --> 00:22:06,960
sarcastic. Yeah so in this in this sense Jihan you 

296
00:22:06,960 --> 00:22:12,290
want like to suggest this is like only a stylistic 

297
00:22:12,290 --> 00:22:17,070
shift, but it is not a thematic shift. The theme 

298
00:22:17,070 --> 00:22:21,890
is the same. He's still criticizing the woman, and 

299
00:22:21,890 --> 00:22:25,130
he's criticizing her by using ironic. He's 

300
00:22:25,130 --> 00:22:28,310
sarcastic in her unmatched mind, and he means like 

301
00:22:28,310 --> 00:22:31,990
she doesn't have. See what I mean? It's another 

302
00:22:31,990 --> 00:22:35,510
possibility. But if we look at Spencer, I think 

303
00:22:36,520 --> 00:22:40,560
Spencer, sorry, Sidney. Sidney was a noble man. 

304
00:22:41,020 --> 00:22:44,640
And I think his vision and idea of the woman was 

305
00:22:44,640 --> 00:22:48,320
not like, you know, the other courtly lovers. He 

306
00:22:48,320 --> 00:22:51,500
returned, you know, her dignity. He respected her. 

307
00:22:52,540 --> 00:22:56,640
And as we said, you know, because, you know, the 

308
00:22:56,640 --> 00:23:00,860
queen of that time was, you know, a woman. So he 

309
00:23:00,860 --> 00:23:03,990
should behave himself. But this is what we observe 

310
00:23:03,990 --> 00:23:06,790
in all his poems. Like, he is not like other 

311
00:23:06,790 --> 00:23:10,850
court— he writes about courtly love, but he's not 

312
00:23:10,850 --> 00:23:14,170
frustrated to the end. He keeps hope, you know? He 

313
00:23:14,170 --> 00:23:19,010
keeps hope. And, like, he thinks that women is not 

314
00:23:19,010 --> 00:23:23,670
that, like, that bad. Women, like, has dignity, 

315
00:23:23,890 --> 00:23:27,370
you know, and so on. But I don't know. You are 

316
00:23:27,370 --> 00:23:30,330
still cynical. You don't believe him. Are you 

317
00:23:30,330 --> 00:23:33,800
cynical? I mean, like, you don't trust the poet. 

318
00:23:37,560 --> 00:23:42,040
Yeah, look at him. And like, it's not sorry. Like 

319
00:23:42,040 --> 00:23:46,460
he is saying love is not dead, but asleep. in her 

320
00:23:46,460 --> 00:23:50,000
unmatched mind and I think you know whether this 

321
00:23:50,000 --> 00:23:53,820
is irony but if we are looking about this yeah it 

322
00:23:53,820 --> 00:23:58,420
is good you know when people use their mind you 

323
00:23:58,420 --> 00:24:01,400
know so she's using her unmatched mind excellent 

324
00:24:01,400 --> 00:24:05,680
she's brilliant where she his counsel keep you 

325
00:24:05,680 --> 00:24:10,690
know till due dessert till the right person comes. 

326
00:24:10,750 --> 00:24:13,870
And then she would go ahead. So she's not a lady 

327
00:24:13,870 --> 00:24:18,130
who's swayed by her passion, by her emotions. But 

328
00:24:18,130 --> 00:24:22,270
she's a lady who employs her mind to control her 

329
00:24:22,270 --> 00:24:26,410
behavior. And he's a poet also who uses his mind 

330
00:24:26,410 --> 00:24:30,330
to control his behavior. And perhaps we admire him 

331
00:24:30,330 --> 00:24:35,230
for this. Right, as you see, like, the poem is, 

332
00:24:35,470 --> 00:24:40,730
you know, funny, lovely, you know. It made us sad 

333
00:24:40,730 --> 00:24:45,730
and we laughed, you know. It made us like, you 

334
00:24:45,730 --> 00:24:50,270
know, or attracted us by its concrete 

335
00:24:50,270 --> 00:24:54,690
personifications, by metaphors, you know, and even 

336
00:24:54,690 --> 00:24:59,660
by music. I don't know like it seems like Amal is 

337
00:24:59,660 --> 00:25:02,300
having something to say about music rhyme and 

338
00:25:02,300 --> 00:25:08,700
rhythm okay so Amal is always like helping us look 

339
00:25:08,700 --> 00:25:13,700
here how she filled this with you know At first, 

340
00:25:13,880 --> 00:25:17,480
the poem consists of four stanzas, ten lines each. 

341
00:25:18,220 --> 00:25:21,520
And at the end of each stanza, there's a four-line 

342
00:25:21,520 --> 00:25:25,040
refrain or a choral that is some sort of musical, 

343
00:25:25,220 --> 00:25:29,380
you know, fancy, frenzy, thus, and us. As for the 

344
00:25:29,380 --> 00:25:33,940
rhyme scheme, it is complicated to some extent and 

345
00:25:33,940 --> 00:25:37,280
a bit tricky. Yeah, excuse me. I noticed that, 

346
00:25:37,420 --> 00:25:40,540
like, the rhyme, sometimes it is masculine, 

347
00:25:40,800 --> 00:25:44,320
sometimes it's feminine. And even I rhyme there is 

348
00:25:44,320 --> 00:25:48,020
these spreads that Infected and rejected so you 

349
00:25:48,020 --> 00:25:50,880
want the rhyme is not consistent sometimes it is 

350
00:25:50,880 --> 00:25:55,600
like feminine like you know Rejected like this 

351
00:25:55,600 --> 00:26:00,320
game, but it is game is like masculine Thus is 

352
00:26:00,320 --> 00:26:04,040
masculine us is masculine. So it is one syllable. 

353
00:26:04,300 --> 00:26:08,840
So we are dealing with you know A rhyme which is 

354
00:26:08,840 --> 00:26:11,500
not like very systematic, go ahead. Which goes of 

355
00:26:11,500 --> 00:26:14,040
course with the atmosphere of the poem and his 

356
00:26:14,040 --> 00:26:20,220
state of mind. The rhyme goes A, A, B, C, B, C, D, 

357
00:26:20,360 --> 00:26:24,760
D, and E, E. As for the rhythm, the rhythm was 

358
00:26:24,760 --> 00:26:28,600
also complicated. It is I am, it goes unstressed, 

359
00:26:28,840 --> 00:26:31,920
stressed, unstressed, stressed. But as for the 

360
00:26:31,920 --> 00:26:34,280
bass meter, whether to decide whether it's a 

361
00:26:34,280 --> 00:26:37,720
diameter or a pentameter, Because of the line 

362
00:26:37,720 --> 00:26:42,120
length, it was also hard to decide. So the numbers 

363
00:26:42,120 --> 00:26:44,060
here I have enlisted are the numbers of the 

364
00:26:44,060 --> 00:26:46,840
overall syllables, whether stressed or unstressed. 

365
00:26:47,200 --> 00:26:49,220
But when you want to decide what kind of base 

366
00:26:49,220 --> 00:26:52,580
meter, monomer, diameter, you have to only count 

367
00:26:52,580 --> 00:26:55,500
the stressed syllables. So we have here- So I 

368
00:26:55,500 --> 00:26:57,200
think in the first line we have ten syllables? 

369
00:26:57,460 --> 00:27:01,180
Yes. You know? And this is I am in. Pentameter 

370
00:27:01,180 --> 00:27:04,520
because it goes five it goes bring out your guns 

371
00:27:04,520 --> 00:27:07,820
the morning should be spread for love is dead You 

372
00:27:07,820 --> 00:27:11,460
know, it's very systematic iambic pentameter Okay, 

373
00:27:11,700 --> 00:27:15,620
and then you have the diameter You know, which is 

374
00:27:15,620 --> 00:27:18,480
it consists of two feet. It means to stress 

375
00:27:18,480 --> 00:27:21,060
syllables unstressed stressed unstressed 

376
00:27:21,060 --> 00:27:24,050
unstressed And then we have triameter I think. I 

377
00:27:24,050 --> 00:27:26,550
was going to ask them actually that I want someone 

378
00:27:26,550 --> 00:27:30,830
of you to come and to divide the line and to 

379
00:27:30,830 --> 00:27:32,930
choose with and to decide whether it's a triameter 

380
00:27:32,930 --> 00:27:35,630
or any kind of them who wants to come and give it 

381
00:27:35,630 --> 00:27:41,170
a shot. Yes. Come on. It's not hard. Yeah, all of 

382
00:27:41,170 --> 00:27:45,110
them are infected with plague or disease they were 

383
00:27:45,110 --> 00:27:48,730
stopped or rejected. I think all of them are 

384
00:27:48,730 --> 00:27:53,610
having Yeah, the same rhythm. Would you like to 

385
00:27:53,610 --> 00:27:56,750
come and do this, please? Yeah, yeah. Try it out. 

386
00:27:56,810 --> 00:27:59,810
It is easy. It doesn't rise. 

387
00:28:03,430 --> 00:28:07,730
Allah. Allah. Allah. 

388
00:28:20,830 --> 00:28:30,370
because they never color okay so 

389
00:28:30,370 --> 00:28:36,430
yeah you can just say Allah is dead and second 

390
00:28:36,430 --> 00:28:44,090
dead so like six syllables Allah Allah look we 

391
00:28:44,090 --> 00:28:48,090
don't say all Allah Allah 

392
00:28:50,380 --> 00:28:55,420
unstressed stressed unstressed stressed is that is 

393
00:28:55,420 --> 00:28:58,740
that unstressed test you know stressed and then 

394
00:28:58,740 --> 00:29:02,740
infected you know infected by two syllables you 

395
00:29:02,740 --> 00:29:06,140
know you're 

396
00:29:06,140 --> 00:29:06,360
right you're right 

397
00:29:17,210 --> 00:29:17,890
Okay. 

398
00:29:20,390 --> 00:29:27,890
No, like here, excuse me, you know, all done. And 

399
00:29:27,890 --> 00:29:31,590
then infected. 

400
00:29:32,390 --> 00:29:35,350
Infected, you know. Infected, unstressed, 

401
00:29:35,690 --> 00:29:40,010
stressed, you know. So, this is like five meters. 

402
00:29:40,150 --> 00:29:44,230
Six feet. Now. Yes, six feet. But the feet is only 

403
00:29:44,230 --> 00:29:51,990
the chest, so they're free. Okay. Okay. So it is 

404
00:29:51,990 --> 00:29:55,570
trimeter. So like here in the poem, we have 

405
00:29:55,570 --> 00:30:00,130
pentameter, we have trimeter, we have diameter. I 

406
00:30:00,130 --> 00:30:03,250
don't know why. Why do you think, you know, like 

407
00:30:0

445
00:32:37,790 --> 00:32:42,490
Write a paragraph commenting on, like, the marble

446
00:32:42,490 --> 00:32:47,110
heart issue, you see? I lie, you know, what is

447
00:32:47,110 --> 00:32:52,390
that? It is here. Let the, you know, surround his

448
00:32:52,390 --> 00:32:54,630
tomb to ordain my merciless marble heart which

449
00:32:54,630 --> 00:32:57,670
epitaph contained. Her eyes were, you know, his

450
00:32:57,670 --> 00:33:01,310
dart. I need you to comment on this. You know, you

451
00:33:01,310 --> 00:33:04,890
can do it in like groups of two or three, so you

452
00:33:04,890 --> 00:33:08,050
have 10 minutes for this exercise. Of course, this

453
00:33:08,050 --> 00:33:11,410
is an idea which shows, you know, the angle of

454
00:33:11,410 --> 00:33:15,180
rigidity. Like how she's rigid, you know? Talk

455
00:33:15,180 --> 00:33:17,540
about this and try to link it with the other

456
00:33:17,540 --> 00:33:20,620
themes, with the overall theme of the poet, because

457
00:33:20,620 --> 00:33:24,860
we are talking about courtly love or unrequited

458
00:33:24,860 --> 00:33:29,780
love. And here, as you see, the poet is

459
00:33:29,780 --> 00:33:34,820
complaining. Isn't he? Is he complaining? Again,

460
00:33:35,240 --> 00:33:38,780
there is a possibility that he was acclaiming. So

461
00:33:38,780 --> 00:33:41,440
you can talk about two possibilities, you can talk

462
00:33:41,440 --> 00:33:45,020
about one possibility, but okay, go ahead, And I

463
00:33:45,020 --> 00:33:47,980
want you to write like what we did in Sir Thomas

464
00:33:47,980 --> 00:33:50,860
Wyatt. I need a nice paragraph, okay? Go ahead.

465
00:33:56,980 --> 00:34:00,020
Just write it, huh? Write it. Okay,

466
00:34:04,260 --> 00:34:08,620
I think now you're done. It's only a small

467
00:34:08,620 --> 00:34:13,310
paragraph. So let's see those who succeeded in

468
00:34:13,310 --> 00:34:17,030
writing a small paragraph. Yes, Ola, I think. You

469
00:34:17,030 --> 00:34:21,990
come here and read what you have, okay? Read. It's

470
00:34:21,990 --> 00:34:24,450
a paragraph, it's a part of the whole commentary,

471
00:34:24,950 --> 00:34:27,830
but we are concentrating on the image of the

472
00:34:27,830 --> 00:34:30,770
marble heart and, you know, the gold standard.

473
00:34:30,930 --> 00:34:33,290
Yes, what do you want to say? Like since everybody

474
00:34:33,290 --> 00:34:35,690
is deceived by the delicacy of the females

475
00:34:35,690 --> 00:34:37,910
apparent claiming that passion dominates their

476
00:34:37,910 --> 00:34:40,830
decisions. Could you like slow down and raise your

477
00:34:40,830 --> 00:34:43,190
voice a little bit? Since everybody is deceived by

478
00:34:43,190 --> 00:34:46,310
the delicacy of the females apparent claiming that

479
00:34:46,310 --> 00:34:49,510
passion dominates their decisions and behaviors.

480
00:34:49,690 --> 00:34:52,210
So it's the time for everyone to know that women

481
00:34:52,210 --> 00:34:56,030
are rigid and hard as much as they seem delicate.

482
00:34:56,580 --> 00:34:58,460
This is what the poet thinks, you know? Yeah.

483
00:34:58,700 --> 00:35:02,820
Yeah. So there is elusive, you know. Apparent or

484
00:35:02,820 --> 00:35:05,620
elusive like appearance. Appearance about her.

485
00:35:06,240 --> 00:35:10,240
Also, how the poet complained from the killing eyes

486
00:35:10,240 --> 00:35:13,540
since she cannot do anything to make them less

487
00:35:13,540 --> 00:35:15,960
attractive or even less arrogant or disdainful.

488
00:35:16,600 --> 00:35:19,280
Okay, good. Thank you. But it's still like you

489
00:35:19,280 --> 00:35:23,700
didn't talk about the mythical myth itself. Good.

490
00:35:23,760 --> 00:35:27,150
Let's see another paragraph. Yes, Jinan?

491
00:35:33,950 --> 00:35:37,130
Okay, good. Because I didn't have time. Okay, Sir

492
00:35:37,130 --> 00:35:39,670
Philip Sidney's litany sure does portray his

493
00:35:39,670 --> 00:35:41,990
love in the most rigid fashion a lady can be.

494
00:35:43,820 --> 00:35:45,960
Though he tempered his wrath with some reason

495
00:35:45,960 --> 00:35:48,760
towards the end, his third stanza pictures the

496
00:35:48,760 --> 00:35:51,520
grape of his love lying in his mistress' marble

497
00:35:51,520 --> 00:35:54,500
heart, i.e., stone-tough heart. The poet seems

498
00:35:54,500 --> 00:35:56,940
quite offended for being rejected, which is

499
00:35:56,940 --> 00:35:59,620
suggested by his wrath and the courtly love theme

500
00:35:59,620 --> 00:36:02,880
that is dominating his discourse. Wow, it's a

501
00:36:02,880 --> 00:36:07,520
critique. Yes, please. Have we done all of this in

502
00:36:07,520 --> 00:36:11,690
ten minutes? It's good, you know. You see here, as

503
00:36:11,690 --> 00:36:16,310
we see, we reach this point of connecting the

504
00:36:16,310 --> 00:36:18,190
specialized language with the public language.

505
00:36:18,250 --> 00:36:22,190
Yes. The poet tried to gain the reader's sympathy.

506
00:36:22,190 --> 00:36:25,110
Could you raise? The poet tries to gain the

507
00:36:25,110 --> 00:36:27,890
reader's sympathy. He describes his beloved's

508
00:36:27,890 --> 00:36:31,890
heart as marble in its hardness and crudely. He

509
00:36:31,890 --> 00:36:36,810
continued that her eyes killed him and his love.

510
00:36:37,270 --> 00:36:40,410
He tried to convey a bad picture about all women

511
00:36:40,410 --> 00:36:43,130
to make the readers share him in his suffering. So

512
00:36:43,130 --> 00:36:46,150
I think you are more general. You are very general

513
00:36:46,150 --> 00:36:48,240
because we need here like when you're talking

514
00:36:48,240 --> 00:36:51,400
about her eyes were like a dart, you have to talk

515
00:36:51,400 --> 00:36:56,120
about like how deadly and fatal, you know, like

516
00:36:56,120 --> 00:37:00,580
her eyes were to that to love itself. So you

517
00:37:00,580 --> 00:37:02,800
escaped from that and you started to talk about

518
00:37:02,800 --> 00:37:06,240
general things. Try to be more specific. Good.

519
00:37:07,020 --> 00:37:07,300
Yes.

520
00:37:10,520 --> 00:37:14,300
The last one before we leave. Next time we're

521
00:37:14,300 --> 00:37:18,360
doing Spencer. I wrote her name upon this thread,

522
00:37:18,480 --> 00:37:21,460
which is like a very important Elizabethan theme.

523
00:37:22,220 --> 00:37:25,600
The poet is starting the stanza with a calling of

524
00:37:25,600 --> 00:37:28,000
the breeze to say his terms because of the death

525
00:37:28,000 --> 00:37:33,340
of his lover, who describes her as a marvel. I

526
00:37:33,340 --> 00:37:36,320
think he meant the dark side in the marvel, that

527
00:37:36,320 --> 00:37:38,620
she is tough and doesn't complain with others,

528
00:37:39,100 --> 00:37:41,480
because when a marvel comes close to another one,

529
00:37:41,620 --> 00:37:44,000
it pushes him away. That's exactly what the lover

530
00:37:44,000 --> 00:37:47,470
did to the poet. The other metaphor is in the

531
00:37:47,470 --> 00:37:49,970
heart. He symbolizes her to the deal that can't be

532
00:37:49,970 --> 00:37:54,570
easily touched. At the end, the poem, the poet...

533
00:37:54,570 --> 00:37:58,160
So I think when he portrays her... hard like a

534
00:37:58,160 --> 00:38:03,520
marble stone like it's very offensive you know so

535
00:38:03,520 --> 00:38:06,940
there is no chance even, you know, for any passion

536
00:38:06,940 --> 00:38:11,960
to survive. Yes, good. Yes, at the end, he mentioned

537
00:38:11,960 --> 00:38:15,700
her eyes as the dart who makes him fall in love

538
00:38:15,700 --> 00:38:18,180
and at the same time those are the one who killed

539
00:38:18,180 --> 00:38:19,980
him and rejected him. Good. Thank you very much.

540
00:38:19,980 --> 00:38:25,310
Thank you for listening, and next time, we hope you

541
00:38:25,310 --> 00:38:29,270
come with a new poem and a new poet, you know. But

542
00:38:29,270 --> 00:38:33,450
remember, try to jot down all, I mean, the points

543
00:38:33,450 --> 00:38:37,910
we discussed. You can look at the class again, and

544
00:38:37,910 --> 00:38:39,790
hopefully you'll be okay. Thank you.