1 00:00:20,650 --> 00:00:23,910 As-salamu alaykum and good day everyone. Welcome 2 00:00:23,910 --> 00:00:27,090 back and let's continue our lesson on our friend 3 00:00:27,090 --> 00:00:33,930 John Donne. As we saw last time we examined some 4 00:00:33,930 --> 00:00:38,970 texts by John Donne himself and by George Herbert 5 00:00:38,970 --> 00:00:42,450 who is also a follower of John Donne. We realized 6 00:00:42,450 --> 00:00:47,910 that during the Elizabethan and the Jacobian ages 7 00:00:47,910 --> 00:00:53,030 there were poets, major poets following the rules 8 00:00:53,030 --> 00:00:56,990 of decorum. They were writing according to a set 9 00:00:56,990 --> 00:00:59,910 of rules they had to follow in a way or another. 10 00:01:01,230 --> 00:01:04,830 But despite that, despite the strong current, the 11 00:01:04,830 --> 00:01:06,710 many people who were writing this kind of 12 00:01:06,710 --> 00:01:11,050 literature, there were some poets who were writing 13 00:01:11,050 --> 00:01:14,490 something different, totally different. In a way, 14 00:01:14,590 --> 00:01:17,590 they were experimenting on new forms, new 15 00:01:17,590 --> 00:01:20,150 language, new themes. They were breaking the rules 16 00:01:20,150 --> 00:01:23,970 of decorum. They were challenging the authority 17 00:01:23,970 --> 00:01:28,010 itself, the mainstream opinion of what it is to 18 00:01:28,010 --> 00:01:31,510 write poetry and literature. Today, I'll continue 19 00:01:31,510 --> 00:01:35,900 talking about John Donne. and examine the features 20 00:01:35,900 --> 00:01:38,660 of his poetry and that of the metaphysical poetry. 21 00:01:38,740 --> 00:01:42,500 In general, last time I summed up the class and I 22 00:01:42,500 --> 00:01:46,820 concluded saying that because John Donne did this, 23 00:01:46,860 --> 00:01:50,240 because he wrote different poetry, he was not 24 00:01:50,240 --> 00:01:54,400 welcomed in a way. He was not received well. He 25 00:01:54,400 --> 00:01:58,940 was negatively framed, remember? As a bad poet, as 26 00:01:58,940 --> 00:02:02,840 a difficult poet, A person who doesn't write 27 00:02:02,840 --> 00:02:05,740 poetry but writes verse. So his poetry is not 28 00:02:05,740 --> 00:02:10,520 poetry because it breaks the rules. For about 200 29 00:02:10,520 --> 00:02:13,840 years, John Donne and his followers were outside 30 00:02:13,840 --> 00:02:16,580 the English canon. Remember the English canon when 31 00:02:16,580 --> 00:02:20,000 we said it's not objective? Because the people who 32 00:02:20,000 --> 00:02:23,200 determine the canon are the people who benefit 33 00:02:23,200 --> 00:02:25,540 from the canon, who are closer to the king 34 00:02:25,540 --> 00:02:31,720 probably or the queen. And it was T.S. Eliot. And 35 00:02:31,720 --> 00:02:34,280 we already know who T.S. Eliot is. He's a famous 36 00:02:34,280 --> 00:02:39,460 20th century poet and critic. T.S. Eliot brought 37 00:02:39,460 --> 00:02:44,500 those poets back to life. He resurrected them. He 38 00:02:44,500 --> 00:02:47,780 opened their graves and brought them back to life 39 00:02:47,780 --> 00:02:50,360 and made them famous again. He showed how 40 00:02:50,360 --> 00:02:52,980 important their poetry was. And as a matter of 41 00:02:52,980 --> 00:02:55,180 fact, many poets in the 20th century were 42 00:02:55,180 --> 00:02:59,620 following the example of John Donne and his poets. 43 00:02:59,980 --> 00:03:02,900 And a very important example how John Donne and 44 00:03:02,900 --> 00:03:07,860 his followers were negatively framed is the fact 45 00:03:07,860 --> 00:03:10,000 that they were described as metaphysical poets. 46 00:03:11,160 --> 00:03:14,220 The term meta and physical, what does it have to 47 00:03:14,220 --> 00:03:16,560 do with pottery? Physical and metaphysical, beyond 48 00:03:16,560 --> 00:03:19,720 nature and supernatural and beyond the physical. 49 00:03:21,040 --> 00:03:23,180 Many people try to explain the term, what it 50 00:03:23,180 --> 00:03:27,560 means. But personally, I believe it doesn't mean 51 00:03:27,560 --> 00:03:32,300 much. Because it was used as a negative word, as 52 00:03:32,300 --> 00:03:37,070 TSE let's say, as a term of abuse. As an insult, 53 00:03:37,170 --> 00:03:40,990 thank you. Metaphysical. Seriously, when you see, 54 00:03:41,130 --> 00:03:44,650 when I tell you, OK, here is a romantic poem, and 55 00:03:44,650 --> 00:03:46,810 here is a metaphysical poem, which one would you 56 00:03:46,810 --> 00:03:49,810 choose before reading? Probably the romantic, 57 00:03:50,010 --> 00:03:54,250 because it's a romantic poem. Something you might 58 00:03:54,250 --> 00:03:57,290 find good, you think would be good. But 59 00:03:57,290 --> 00:04:02,010 metaphysical poetry. So early in the 20th century, 60 00:04:02,270 --> 00:04:03,430 TS Eliot again 61 00:04:06,180 --> 00:04:10,120 showed how important Don and his followers were at 62 00:04:10,120 --> 00:04:14,450 Marvel and at George Herbert. And many poets 63 00:04:14,450 --> 00:04:16,770 started, in a way, imitating them, following them, 64 00:04:17,050 --> 00:04:19,650 using them as examples. And they become, nowadays, 65 00:04:20,130 --> 00:04:21,930 John Donne and his followers are more important 66 00:04:21,930 --> 00:04:25,670 than Johnson and even probably Dryden and other 67 00:04:25,670 --> 00:04:29,490 poets. And this is how funny life can be and 68 00:04:29,490 --> 00:04:32,130 literature can be. When you are alive, nobody 69 00:04:32,130 --> 00:04:34,710 cares about you. 100 years later, nobody cares 70 00:04:34,710 --> 00:04:37,450 about you. 100 years, even 200 years later, nobody 71 00:04:37,450 --> 00:04:39,510 cares about you. But later on, something happens 72 00:04:39,510 --> 00:04:42,410 and you become the most important poet around. 73 00:04:43,600 --> 00:04:46,120 John Donne, in my opinion, is one of the most 74 00:04:46,120 --> 00:04:49,240 famous poets. Not only for his good poetry, 75 00:04:49,340 --> 00:04:51,620 wonderful poetry, that still even today talks to 76 00:04:51,620 --> 00:04:55,640 us like Shakespeare. But because he brought new 77 00:04:55,640 --> 00:04:59,200 things, new themes, new forms to English poetry 78 00:04:59,200 --> 00:05:06,200 early in the 17th century. So let's study more 79 00:05:06,200 --> 00:05:08,640 about John Donne. 80 00:05:11,780 --> 00:05:14,340 Remember this? Did we study this already before? 81 00:05:14,500 --> 00:05:21,480 Can someone read? Please. Come live with me and be 82 00:05:21,480 --> 00:05:24,740 my love and we will have some new pleasures as 83 00:05:24,740 --> 00:05:30,000 well. Very good. Come live with me and be my love 84 00:05:30,000 --> 00:05:32,620 and we will have some new pleasures as well. 85 00:05:32,680 --> 00:05:34,420 Pleasures as well. Did we study this before 86 00:05:34,420 --> 00:05:39,120 already? Yes. Who is the poet here? Did we study 87 00:05:39,120 --> 00:05:41,480 this? Haven't we studied this before? Oh, we 88 00:05:41,480 --> 00:05:45,640 studied something by Marlowe, remember? Are you 89 00:05:45,640 --> 00:05:52,020 sure? Are you sure this is Marlowe? Remember the 90 00:05:52,020 --> 00:05:54,460 passionate Chiba to his love? How does it begin? 91 00:05:56,020 --> 00:05:57,800 Does anybody memorize the lines, the first 92 00:05:57,800 --> 00:06:00,760 couplet? The passionate Chiba to his love. What 93 00:06:00,760 --> 00:06:07,840 does he say? He says, What is this Marlowe? The 94 00:06:07,840 --> 00:06:11,200 first line is Marlowe. What is the second one 95 00:06:11,200 --> 00:06:17,860 Marlowe? All. This is Marlowe. Come live with me 96 00:06:17,860 --> 00:06:21,600 and be my love and we will all the pleasures grow. 97 00:06:22,520 --> 00:06:28,580 And this is done. Done says some, new. Here all, 98 00:06:28,920 --> 00:06:34,530 old. Here some, but this some is new it's 99 00:06:34,530 --> 00:06:37,850 interesting so let's try to compare between these 100 00:06:37,850 --> 00:06:42,970 couplets so again this is مانو but this is دانس 101 00:06:42,970 --> 00:06:45,290 what do you notice what is the major difference 102 00:06:45,290 --> 00:06:50,730 here same number of feet same rhyme scheme same 103 00:06:50,730 --> 00:06:54,210 almost everything same first line but the second 104 00:06:54,210 --> 00:07:01,890 line we have here all the definite article, and 105 00:07:01,890 --> 00:07:09,950 here we have some, but this some is new. And this 106 00:07:09,950 --> 00:07:11,790 is the metaphysical poetry, this is John Donne. He 107 00:07:11,790 --> 00:07:15,210 knew, he was conscious that he was writing new 108 00:07:15,210 --> 00:07:18,450 poetry, that he was writing something different. 109 00:07:19,520 --> 00:07:22,540 that he was changing the history of English poetry 110 00:07:22,540 --> 00:07:24,180 in a way or another, that he was breaking the 111 00:07:24,180 --> 00:07:28,280 rule. Many people, critics say that Jonathan was 112 00:07:28,280 --> 00:07:31,340 just a digression. He just was writing poetry the 113 00:07:31,340 --> 00:07:35,790 way he liked. That's true, but There's also strong 114 00:07:35,790 --> 00:07:39,050 evidence in his poetry that John Donne knew that 115 00:07:39,050 --> 00:07:41,950 he was contradicting, swimming against the 116 00:07:41,950 --> 00:07:44,650 current, like some of you said last time, that he 117 00:07:44,650 --> 00:07:47,090 was breaking the rules of decorum of the 118 00:07:47,090 --> 00:07:52,570 Elizabethan poetry writing process. So here, 119 00:07:52,930 --> 00:07:55,590 remember we said this represents the Elizabethan 120 00:07:55,590 --> 00:07:59,030 English poetry. Rules, decorum, everything counts, 121 00:07:59,170 --> 00:08:02,150 and the poet is idealistic. Remember the courtly 122 00:08:02,150 --> 00:08:05,260 love? Come live with me and be like, because I own 123 00:08:05,260 --> 00:08:09,320 all the pleasures, the idealism. Idealized love. 124 00:08:09,780 --> 00:08:11,500 And in John Donne, we said John Donne is 125 00:08:11,500 --> 00:08:15,320 realistic. He's an individual. He's more 126 00:08:15,320 --> 00:08:19,520 realistic. He knows he can't own all. But when he 127 00:08:19,520 --> 00:08:22,400 is doing this, he's contradicting. So he's saying 128 00:08:22,400 --> 00:08:26,200 some in other ways. He's telling us, no one can 129 00:08:26,200 --> 00:08:29,880 own all things. And at the same time, he tells us, 130 00:08:30,770 --> 00:08:35,950 I have new kinds of pleasure, exactly like his 131 00:08:35,950 --> 00:08:40,950 poetry, new kinds of poetry, poems in a way that 132 00:08:40,950 --> 00:08:44,090 he is giving us new forms. We saw, for example, 133 00:08:44,550 --> 00:08:47,250 the new rhyme scheme for the sonnet and we saw the 134 00:08:47,250 --> 00:08:52,760 new themes he introduced to the sonnet. Turn the 135 00:08:52,760 --> 00:08:57,080 sonnet from a love poem into a religious poem. 136 00:08:58,160 --> 00:09:01,220 Remember, the sonnet is the most sacred form of 137 00:09:01,220 --> 00:09:05,080 all poetry. 14 lines, love, Italian, 138 00:09:05,520 --> 00:09:09,920 Shakespearean. For Don, he broke this. He mixed 139 00:09:09,920 --> 00:09:13,000 both forms, and he had his own form, the John 140 00:09:13,000 --> 00:09:18,750 Donne form of sonnets. Is it about love? It's 141 00:09:18,750 --> 00:09:22,510 about religion, about God, batter my heart, three 142 00:09:22,510 --> 00:09:29,110 persons, God, death, be not proud, et cetera. In 143 00:09:29,110 --> 00:09:31,970 this context here, I need to talk about something 144 00:09:31,970 --> 00:09:36,570 called parody and something else called 145 00:09:36,570 --> 00:09:40,210 intertextuality. 146 00:09:41,350 --> 00:09:46,080 Listen. We spoke probably briefly about parody 147 00:09:46,080 --> 00:09:49,160 before. Parody is to parody something to imitate, 148 00:09:50,680 --> 00:09:53,800 to copy. You do something, I do something similar 149 00:09:53,800 --> 00:09:58,920 to it. But I change a little bit. So parody in 150 00:09:58,920 --> 00:10:01,520 Arabic is some kind of like muhaka, something like 151 00:10:01,520 --> 00:10:04,320 this. When someone writes a text, you write a text 152 00:10:04,320 --> 00:10:07,360 similar to it. We studied this probably in Arabic, 153 00:10:07,940 --> 00:10:10,100 Jareer, Al-Farazdaq, and how they were writing, 154 00:10:10,520 --> 00:10:13,700 using the same meter and the same rhyme to write 155 00:10:13,700 --> 00:10:16,580 about the same thing, but it's the opposite. Now, 156 00:10:16,700 --> 00:10:20,520 parody is a very important literary device. 157 00:10:21,760 --> 00:10:25,080 Generally, it means when you imitate another 158 00:10:25,080 --> 00:10:30,490 literary work. When you imitate another literal in 159 00:10:30,490 --> 00:10:35,810 a comic way, okay? In a comic way, just to make 160 00:10:35,810 --> 00:10:40,950 fun of it. However, for John Donne, comedy is also 161 00:10:40,950 --> 00:10:41,570 serious. 162 00:10:44,450 --> 00:10:47,430 It's not only comic, ha ha ha, let's laugh at 163 00:10:47,430 --> 00:10:49,970 Marlow, let's make fun of Marlow. It's also 164 00:10:49,970 --> 00:10:53,130 serious. Why is it serious? Because in his parody, 165 00:10:53,230 --> 00:10:56,110 when we study the whole poem, we see how, for 166 00:10:56,110 --> 00:11:00,890 example, Marlow is idealistic, is dreamy. Dreamy, 167 00:11:00,930 --> 00:11:03,470 you know? He dreams of owning all the pleasures. 168 00:11:03,990 --> 00:11:07,110 And we saw, for example, how he represents the 169 00:11:07,110 --> 00:11:15,210 woman as silent and weak. He's just, she doesn't 170 00:11:15,210 --> 00:11:17,470 reply, she doesn't act. She is not there in the 171 00:11:17,470 --> 00:11:21,670 text. She's just listening to him. Assuming that 172 00:11:21,670 --> 00:11:25,070 she is there. Probably he sent her a letter. So 173 00:11:25,070 --> 00:11:26,970 come live with me and be my love. In a way, he's 174 00:11:26,970 --> 00:11:30,150 very persuasive. He's tricking her. He doesn't 175 00:11:30,150 --> 00:11:33,250 think highly of the woman. He thinks the woman is 176 00:11:33,250 --> 00:11:36,790 not smart as he is. Because any smart woman would 177 00:11:36,790 --> 00:11:40,980 say, come on, you're just a shepherd. I can't come 178 00:11:40,980 --> 00:11:43,620 with you. You don't have one pleasure, let alone 179 00:11:43,620 --> 00:11:46,460 all the pleasures. And instead of wasting your 180 00:11:46,460 --> 00:11:49,600 time, go take care of the sheep you're supposed to 181 00:11:49,600 --> 00:11:54,660 be taken care of. So the woman here is weak. It's 182 00:11:54,660 --> 00:11:58,100 not weak, actually. It's presented as weak. And in 183 00:11:58,100 --> 00:11:59,860 Dan, when you read the whole poem, you will 184 00:11:59,860 --> 00:12:04,980 realize that he presents us with a smart woman, an 185 00:12:04,980 --> 00:12:05,480 intellectual. 186 00:12:09,620 --> 00:12:12,620 An intellectual, a woman who thinks for herself, a 187 00:12:12,620 --> 00:12:15,840 woman who understands poetry and understands 188 00:12:15,840 --> 00:12:19,700 debate and understands what the poet is trying to 189 00:12:19,700 --> 00:12:24,280 do. So when Jonathan is doing this, he's 190 00:12:24,280 --> 00:12:28,400 criticizing not only Marlowe, but criticizing 191 00:12:28,400 --> 00:12:32,560 Marlowe's society. Thank you very much. He's 192 00:12:32,560 --> 00:12:35,480 criticizing the society in which women are 193 00:12:35,480 --> 00:12:41,440 negatively portrayed. as objects for men to own 194 00:12:41,440 --> 00:12:46,200 and control. But in John Donne, the woman is 195 00:12:46,200 --> 00:12:49,700 strong, is powerful, is independent. You know 196 00:12:49,700 --> 00:12:54,720 independent? Yes. Not dependent on man. So that's 197 00:12:54,720 --> 00:12:57,980 why parody for John Donne is very serious. Serious 198 00:12:57,980 --> 00:13:02,850 because it criticizes not only other poets, but 199 00:13:02,850 --> 00:13:06,050 also the society itself. He's telling, why are you 200 00:13:06,050 --> 00:13:11,130 treating women this badly? Why? Why? Women are as 201 00:13:11,130 --> 00:13:15,490 smart as men and maybe smarter. We see this 202 00:13:15,490 --> 00:13:20,050 constantly in Joan Dunn's portrait. The other 203 00:13:20,050 --> 00:13:23,950 thing is intertextuality. So again, how does Joan 204 00:13:23,950 --> 00:13:27,550 Dunn criticize the society? By parodying it, by 205 00:13:27,550 --> 00:13:32,440 making fun, by mocking. You know mock? Make fun of 206 00:13:32,440 --> 00:13:39,420 something in a serious way. Intertextuality, in a 207 00:13:39,420 --> 00:13:41,220 way it's similar to this. Text, you know text? 208 00:13:42,620 --> 00:13:47,300 Intertext. Intertext, where texts are 209 00:13:47,300 --> 00:13:50,880 interconnected, linked. Intertextuality in Arabic 210 00:13:50,880 --> 00:13:53,560 is attanas. 211 00:13:56,740 --> 00:14:02,760 When a critic, sorry, a poet quotes, uses poetry 212 00:14:02,760 --> 00:14:07,560 from another poet, from another person. When a 213 00:14:07,560 --> 00:14:11,160 writer uses a quote, a quotation, or an extract 214 00:14:11,160 --> 00:14:16,400 from another text. This is called intertextuality. 215 00:14:18,300 --> 00:14:21,260 Marlow says, come live with me and be my love. Don 216 00:14:21,260 --> 00:14:25,040 says, come live with me and So this text has 217 00:14:25,040 --> 00:14:29,220 intertextuality. Why? Because originally it was 218 00:14:29,220 --> 00:14:33,920 said by Marlowe. But is John Donne criticizing, 219 00:14:34,140 --> 00:14:38,680 copying Marlowe 100%, copy-paste, photocopying 220 00:14:38,680 --> 00:14:43,800 him? No, he changed. But why does he do this? He 221 00:14:43,800 --> 00:14:45,840 could have written the whole poem without this 222 00:14:45,840 --> 00:14:48,540 couplet and it would be a totally different poem. 223 00:14:49,820 --> 00:14:53,880 But he's telling us, wait, my whole poem here is 224 00:14:53,880 --> 00:14:57,380 mainly to criticize Marlow and the society. So I'm 225 00:14:57,380 --> 00:14:59,860 beginning from Marlow. You would say, hey, Dan is 226 00:14:59,860 --> 00:15:03,240 using Marlow. I know many people confuse this, 227 00:15:04,020 --> 00:15:06,900 confused between these couplets. He is using 228 00:15:06,900 --> 00:15:12,040 Marlow not as, you know, to imitate him in a way 229 00:15:12,040 --> 00:15:15,840 where he is following his steps. Oh, I want to be 230 00:15:15,840 --> 00:15:18,360 like Marlow. I want to do like Marlow. He's doing 231 00:15:18,360 --> 00:15:21,920 this to criticize him and criticize his portrait. 232 00:15:22,640 --> 00:15:27,400 The idealism of the Elizabethan age, the way that 233 00:15:27,400 --> 00:15:30,060 women were negatively portrayed as silent and 234 00:15:30,060 --> 00:15:37,200 weak, and other things are mocked. criticized and 235 00:15:37,200 --> 00:15:39,880 attacked in John Donne. He does this constantly in 236 00:15:39,880 --> 00:15:41,780 an amazing way. That's why many women, by the way, 237 00:15:41,820 --> 00:15:44,760 love John Donne's poetry. Because it gives them a 238 00:15:44,760 --> 00:15:49,320 voice. It gives them a presence. And sometimes the 239 00:15:49,320 --> 00:15:53,860 woman is smarter than the man himself. She can't 240 00:15:53,860 --> 00:15:56,080 be tricked by, come live with me and be my love. 241 00:15:58,220 --> 00:16:02,120 OK? So if in the exam I ask you to contextualize 242 00:16:02,120 --> 00:16:06,000 this, In exam, there will be a question asking you 243 00:16:06,000 --> 00:16:09,140 to contextualize extracts from poetry we studied. 244 00:16:09,800 --> 00:16:13,580 Here, you should say, this is a text by Marlow 245 00:16:13,580 --> 00:16:16,200 from a passionate shepherd or a passionate 246 00:16:16,200 --> 00:16:22,160 shepherd to his love. In this couplet, the poet is 247 00:16:22,160 --> 00:16:26,540 inviting his mistress or beloved and promising her 248 00:16:26,540 --> 00:16:29,940 all the pleasures. Here, we have what we call 249 00:16:29,940 --> 00:16:38,040 courtly love. or idealized love. What is idealized 250 00:16:38,040 --> 00:16:44,260 love about idealism? Not realistic. Okay, so 251 00:16:44,260 --> 00:16:46,980 Marlow, the passionate shepherd promising all, 252 00:16:47,160 --> 00:16:55,180 however, the imperfect rhyme here might expose the 253 00:16:55,180 --> 00:17:03,660 poet as fake, as ungenuine. Not truthful, because 254 00:17:03,660 --> 00:17:06,820 we realize that he is a shepherd. He doesn't own 255 00:17:06,820 --> 00:17:10,740 anything. If you need to comment on this, you 256 00:17:10,740 --> 00:17:14,780 should say, this is by John Donne from a poem 257 00:17:14,780 --> 00:17:20,820 called The Bait. You know what a bait is? Remember 258 00:17:20,820 --> 00:17:30,770 Shylock? I'll bait with it. Bait. Shylock. When 259 00:17:30,770 --> 00:17:32,650 they said, what do you want to do with a pound of 260 00:17:32,650 --> 00:17:35,970 flesh? I will bait. Bait, to'am al-samaka. When 261 00:17:35,970 --> 00:17:39,290 you want to fish, you use some kind of food for 262 00:17:39,290 --> 00:17:43,350 strange name for a love poem. So this is by John 263 00:17:43,350 --> 00:17:48,310 Donne from The Bait. In this poem, John Donne is 264 00:17:48,310 --> 00:17:51,750 parodying Marlow. 265 00:17:52,930 --> 00:17:56,170 It's important to use the word parody. Parodying 266 00:17:56,170 --> 00:18:01,310 Marlow because he's criticizing Oh, and the 267 00:18:01,310 --> 00:18:05,430 society. In this couplet, John Donne is more 268 00:18:05,430 --> 00:18:12,410 realistic because he says some, not all, and at 269 00:18:12,410 --> 00:18:15,690 the same time, he clearly tells us that he's 270 00:18:15,690 --> 00:18:20,030 bringing new themes, new issues, new forms to 271 00:18:20,030 --> 00:18:25,150 poetry. Again, John Donne criticizes Malo by 272 00:18:25,150 --> 00:18:26,250 parodying him. 273 00:18:29,330 --> 00:18:32,850 Criticizes the way he represents women. Criticizes 274 00:18:32,850 --> 00:18:38,170 his idealized love. He's more realistic because he 275 00:18:38,170 --> 00:18:41,630 uses the word son. And at the same time, John 276 00:18:41,630 --> 00:18:48,570 Donne clearly and consciously tells us that he is 277 00:18:48,570 --> 00:18:53,750 bringing new themes, new issues, and new forms to 278 00:18:53,750 --> 00:18:54,050 poetry. 279 00:18:57,290 --> 00:18:59,790 It's interesting what parody can do. 280 00:19:02,950 --> 00:19:05,970 So this is again the summary I said last time. 281 00:19:09,750 --> 00:19:13,430 Okay, for next class we can probably examine two 282 00:19:13,430 --> 00:19:19,650 extracts from Andrew Marvel and Herbert. What are 283 00:19:19,650 --> 00:19:21,710 the features of John Donne's portrait? 284 00:19:31,390 --> 00:19:31,890 Someone. 285 00:19:35,450 --> 00:19:38,590 Tell me, what are the features of John Donne's 286 00:19:38,590 --> 00:19:42,410 poetry? What are the characteristics? I remember 287 00:19:42,410 --> 00:19:44,490 we had the characteristics of Old English, Middle 288 00:19:44,490 --> 00:19:46,410 English, Shakespeare, Marlow. 289 00:19:49,350 --> 00:19:51,830 If you have to mention three or four features 290 00:19:51,830 --> 00:19:54,690 about John Donne, what is special? What is 291 00:19:54,690 --> 00:19:56,410 different about his poetry? Can you tell me, 292 00:19:57,250 --> 00:20:01,930 please? His poetry, 293 00:20:02,090 --> 00:20:05,110 thank you, is more realistic than the Elizabethan 294 00:20:05,110 --> 00:20:09,490 poetry, which is generally idealistic. He's more 295 00:20:09,490 --> 00:20:11,450 realistic. 296 00:20:12,710 --> 00:20:16,640 His poetry is about a man's problems, a woman's 297 00:20:16,640 --> 00:20:21,180 problems, about individual issues, things we face 298 00:20:21,180 --> 00:20:24,720 probably on a daily basis, not idealized love. 299 00:20:28,340 --> 00:20:32,020 In the sonnet, thank you. So this is an example, 300 00:20:32,100 --> 00:20:36,240 but generally he introduced us to new poetic forms 301 00:20:36,240 --> 00:20:40,620 where the meaning is more important than the rule. 302 00:20:41,760 --> 00:20:45,400 For example, in the sonnet, He changes the rhyme 303 00:20:45,400 --> 00:20:49,360 scheme, the form, and changes the theme itself of 304 00:20:49,360 --> 00:20:50,560 the sonnet. Very good. More. 305 00:20:54,360 --> 00:20:54,840 More. 306 00:20:59,720 --> 00:21:01,780 I just, by the way, mentioned most of them right 307 00:21:01,780 --> 00:21:07,100 now. OK, again, please. His poetry is a mixture 308 00:21:07,100 --> 00:21:10,660 between love religion and daily life issues. OK, 309 00:21:11,000 --> 00:21:15,910 so generally, his poetry mixes between secular and 310 00:21:15,910 --> 00:21:19,930 religious. There are many love poems by John Donne 311 00:21:19,930 --> 00:21:21,950 and many religious poems by John Donne, but 312 00:21:21,950 --> 00:21:24,650 sometimes the same poem could have a mixture of 313 00:21:24,650 --> 00:21:28,190 both. We discussed this when we spoke about battle 314 00:21:28,190 --> 00:21:31,150 my heart three person God. There is this strong 315 00:21:31,150 --> 00:21:33,570 love intimate relationship between him and the 316 00:21:33,570 --> 00:21:39,860 person and the person in the poem is God. More. 317 00:21:41,040 --> 00:21:42,760 Please. He uses parody. 318 00:21:45,640 --> 00:21:48,400 Thank you very much. He was critical of his 319 00:21:48,400 --> 00:21:53,160 community. In his poetry, he shows his opinion 320 00:21:53,160 --> 00:21:56,900 about not only poetry, but also the society 321 00:21:56,900 --> 00:22:00,000 itself. So he uses parody and intertextuality to 322 00:22:00,000 --> 00:22:06,140 criticize. To criticize his society and poetry 323 00:22:06,140 --> 00:22:11,930 itself. What else? Please. He had great knowledge 324 00:22:11,930 --> 00:22:17,690 about the classical literature. Yeah, but it 325 00:22:17,690 --> 00:22:20,010 doesn't show much in his portrait, because he 326 00:22:20,010 --> 00:22:24,010 doesn't follow the rules of neoclassicism. He 327 00:22:24,010 --> 00:22:27,250 breaks these rules. But again, you don't break 328 00:22:27,250 --> 00:22:31,110 something unless you are well read into it. Yeah? 329 00:22:31,590 --> 00:22:38,080 More? He wanted to say the same thing. He broke 330 00:22:38,080 --> 00:22:41,840 the rules of Decorum. We've seen his poem, 331 00:22:41,940 --> 00:22:46,140 remember, The Sun Rising? Some lines are five 332 00:22:46,140 --> 00:22:50,880 feet, some two, some three. So he, simply 333 00:22:50,880 --> 00:22:53,860 speaking, he breaks the rules of Decorum. What 334 00:22:53,860 --> 00:22:54,100 else? 335 00:22:59,310 --> 00:23:03,350 Okay, so let's go through the list and speak about 336 00:23:03,350 --> 00:23:06,050 two or three features that I didn't mention 337 00:23:06,050 --> 00:23:10,950 before. So number one, he introduces us to new 338 00:23:10,950 --> 00:23:13,510 poetic forms, for example, the sonnet. Sorry, this 339 00:23:13,510 --> 00:23:18,830 should be the sonnet, okay? And he didn't create 340 00:23:18,830 --> 00:23:22,290 the sonnet, it was already there, but he changed 341 00:23:22,290 --> 00:23:26,350 the theme and the form. He uses parody and 342 00:23:26,350 --> 00:23:30,900 intertextuality sometimes. to make fun of, to 343 00:23:30,900 --> 00:23:34,040 criticize the existing rules of decorum and social 344 00:23:34,040 --> 00:23:38,440 rules. Mainly here, the status of women. In Donne, 345 00:23:38,860 --> 00:23:42,920 the woman is equal to man. If not, sometimes 346 00:23:42,920 --> 00:23:46,180 smarter and more intellectual than him. This is 347 00:23:46,180 --> 00:23:49,260 new. This is like Shakespeare, like Portia in The 348 00:23:49,260 --> 00:23:52,700 Magic of Venice. He uses the conceit. Listen, the 349 00:23:52,700 --> 00:23:54,120 conceit is a very important 350 00:23:57,030 --> 00:23:59,870 literary device in the metaphysical photo. A 351 00:23:59,870 --> 00:24:01,390 conceit is generally a metaphor. 352 00:24:04,470 --> 00:24:07,570 Remember a metaphor when you liken something to 353 00:24:07,570 --> 00:24:10,710 something? But here a conceit is a literal device 354 00:24:10,710 --> 00:24:12,590 where the relationship between the two things 355 00:24:12,590 --> 00:24:17,670 you're talking about is unlikely. So you liken a 356 00:24:17,670 --> 00:24:24,220 woman to a rose, right? You liken a woman to what? 357 00:24:24,320 --> 00:24:28,760 To a tree, to the moon. Beautiful thing. But these 358 00:24:28,760 --> 00:24:32,120 are conventional images. For Jonathan, he uses 359 00:24:32,120 --> 00:24:35,940 totally different imagery. He uses what we call 360 00:24:35,940 --> 00:24:38,800 the conceit. The conceit is a long metaphor. 361 00:24:41,880 --> 00:24:45,120 a long metaphor. Sometimes the whole poem is one 362 00:24:45,120 --> 00:24:47,820 metaphor, one conceit, in which the relationship 363 00:24:47,820 --> 00:24:52,020 between A and B, when you say A is like B, 364 00:24:53,560 --> 00:24:55,580 sometimes there is a similarity. When you say she 365 00:24:55,580 --> 00:25:00,660 is like a rose, she is like a dove, you want to 366 00:25:00,660 --> 00:25:04,410 say that she's peaceful like the dove. She's 367 00:25:04,410 --> 00:25:08,690 beautiful as the rose, right? But here, for Joan 368 00:25:08,690 --> 00:25:12,050 Dunn, the vehicle and the tenor do not usually 369 00:25:12,050 --> 00:25:14,310 have an apparent relationship. Take this example. 370 00:25:14,730 --> 00:25:20,150 When he talks to his wife, he tells her, we are 371 00:25:20,150 --> 00:25:22,890 like stiff twin compasses. Do you know what a 372 00:25:22,890 --> 00:25:27,910 compass is? Yeah, the compass is the device that 373 00:25:27,910 --> 00:25:31,790 shows us north. But that's the compass. Here, this 374 00:25:31,790 --> 00:25:34,550 is different. This is, in geometry, when you're 375 00:25:34,550 --> 00:25:37,630 doing mathematics and draw shapes in geometry, you 376 00:25:37,630 --> 00:25:42,710 know, you need to use this device to make circles. 377 00:25:43,550 --> 00:25:45,950 You know? What do you call this? Yeah. 378 00:25:50,190 --> 00:25:55,990 So Jonathan is telling his wife that you and I are 379 00:25:55,990 --> 00:25:58,490 like a stiff twin compasses. 380 00:26:02,340 --> 00:26:05,100 What? Weird, strange. We're not used to this. This 381 00:26:05,100 --> 00:26:10,740 is new. How? It's like you and I are like this, 382 00:26:10,880 --> 00:26:13,820 like we're part of the same thing. We are one. 383 00:26:14,440 --> 00:26:20,020 It's like you and I are like this notebook. How? 384 00:26:20,960 --> 00:26:24,460 Weird, strange. But when you think of it, oh, we 385 00:26:24,460 --> 00:26:26,600 are connected, we come together, even if we are 386 00:26:26,600 --> 00:26:29,440 sometimes far away from each other, we're still 387 00:26:29,440 --> 00:26:32,180 connected in the center here. Oh, that's genius. 388 00:26:32,880 --> 00:26:35,840 That's new at the same time. So the stiff twin 389 00:26:35,840 --> 00:26:38,540 compasses, he tells his wife lesson, we are one 390 00:26:38,540 --> 00:26:41,040 because sometimes it's like this, the stiff twin 391 00:26:41,040 --> 00:26:45,500 compasses. Sometimes I go away, but when I am 392 00:26:45,500 --> 00:26:51,020 away, we are still connected. And he tells the 393 00:26:51,020 --> 00:26:53,960 woman, his wife, you are the fixed foot. You are 394 00:26:53,960 --> 00:26:56,880 here. So again, it's the woman who controls this 395 00:26:56,880 --> 00:27:00,320 relationship. She is fixed here. She is the core 396 00:27:00,320 --> 00:27:03,160 of the relationship. So no matter how long I am 397 00:27:03,160 --> 00:27:06,820 far away, when I go around, at the end of the day, 398 00:27:06,860 --> 00:27:10,100 I'm going to go back as long as you are fixed in 399 00:27:10,100 --> 00:27:13,840 the middle. This is called a conceit. In another 400 00:27:13,840 --> 00:27:18,560 poem called The Flea, this is another example. You 401 00:27:18,560 --> 00:27:22,140 know what the flea is? What's the flea? A tiny 402 00:27:22,140 --> 00:27:28,620 insect? Barghout? Barghout? You know? Barghout? 403 00:27:29,620 --> 00:27:33,500 Insect? The flea. So a flea bites him, sucks his 404 00:27:33,500 --> 00:27:36,500 blood, and bites the woman and sucks her blood. 405 00:27:36,560 --> 00:27:43,600 And he tells her, listen, we are you, I, the flea 406 00:27:43,600 --> 00:27:49,160 are one. Because our blood is inside one. And at 407 00:27:49,160 --> 00:27:51,660 the beginning, it's like, this is strange in a 408 00:27:51,660 --> 00:27:54,800 way. But when you come to think of it, it's also 409 00:27:54,800 --> 00:27:58,560 genius. And imagine they, remember we spoke about 410 00:27:58,560 --> 00:28:02,220 three persons, God, Trinity. Here, there's the 411 00:28:02,220 --> 00:28:06,720 idea of Trinity again. Because the flea, you, and 412 00:28:06,720 --> 00:28:10,160 I are like a religious triangle. We form it here. 413 00:28:11,550 --> 00:28:14,330 His imagery and conceit sometimes might sound 414 00:28:14,330 --> 00:28:17,710 strange. But when you analyze them, when you 415 00:28:17,710 --> 00:28:20,810 understand them in their context, they are new and 416 00:28:20,810 --> 00:28:23,290 innovative and genius and smart. They always make 417 00:28:23,290 --> 00:28:26,990 you laugh. Really interesting. Because for John 418 00:28:26,990 --> 00:28:30,770 Donne, he was fit up with, shall I compare the 419 00:28:30,770 --> 00:28:34,030 blossoms of the day or the trees or the flowers or 420 00:28:34,030 --> 00:28:37,790 the moon or the sun. Okay, realism against 421 00:28:37,790 --> 00:28:42,170 Elizabethan idealism, display of wit. He was 422 00:28:42,170 --> 00:28:46,510 educated and also wit, he was smart. He uses his 423 00:28:46,510 --> 00:28:49,690 argumentative style. He tells you an idea and 424 00:28:49,690 --> 00:28:52,410 you're like, you're crazy, this can't be possible. 425 00:28:52,530 --> 00:28:55,310 At the end of the poem, interesting, that could be 426 00:28:55,310 --> 00:28:56,110 possible in a way. 427 00:28:59,270 --> 00:29:02,130 Yeah, and then he's convincing, you know, he's 428 00:29:02,130 --> 00:29:04,550 argumentative. But when he does this, he's not 429 00:29:06,970 --> 00:29:10,650 controlling the other person. Because in the flea, 430 00:29:11,050 --> 00:29:14,510 when he tells the woman, oh, this flea is sacred. 431 00:29:14,650 --> 00:29:19,250 It has our blood. What does she do? She kills the 432 00:29:19,250 --> 00:29:23,850 flea. Yeah. Because she can't be deceived. She's 433 00:29:23,850 --> 00:29:27,430 powerful. She's smart. Come on. And she kills the 434 00:29:27,430 --> 00:29:35,770 flea to show that she can't be tricked by him. And 435 00:29:35,770 --> 00:29:40,010 the dramatic, remember the poem last time, The Sun 436 00:29:40,010 --> 00:29:46,370 Rising? How does it begin? Busy old fool unruly 437 00:29:46,370 --> 00:29:49,810 sun. This is drama. This is dramatic. He 438 00:29:49,810 --> 00:29:53,890 dramatizes his experience. He's sitting here. His 439 00:29:53,890 --> 00:29:57,270 beloved is sitting there. A flea bites her, and a 440 00:29:57,270 --> 00:29:59,330 flea bites him. And it's a whole poetic 441 00:29:59,330 --> 00:30:01,850 experience. He dramatizes this in a beautiful way. 442 00:30:02,250 --> 00:30:04,710 He wants to talk about his relationship to God, 443 00:30:04,770 --> 00:30:09,370 with God. And then, butter my heart, three-person 444 00:30:09,370 --> 00:30:13,410 God. It's like every poem is either an inner 445 00:30:13,410 --> 00:30:15,990 personal dialogue, a soliloquy, or a public 446 00:30:15,990 --> 00:30:19,920 speech. And that's the drama here. Again, he lived 447 00:30:19,920 --> 00:30:22,660 during the golden age of drama, during the time of 448 00:30:22,660 --> 00:30:25,220 Shakespeare. And he must have seen some of 449 00:30:25,220 --> 00:30:28,620 Shakespeare's plays and other dramatists. So the 450 00:30:28,620 --> 00:30:32,280 dramatic style is also there. Each poem is like a 451 00:30:32,280 --> 00:30:34,440 sketch. When you go home today, try to read, for 452 00:30:34,440 --> 00:30:38,640 example, or watch or listen to The Sun Rising on 453 00:30:38,640 --> 00:30:41,700 YouTube. You'll see a lot of drama. Even if you 454 00:30:41,700 --> 00:30:45,340 look at the poem, remember? I think I still have 455 00:30:45,340 --> 00:30:45,960 it here. 456 00:30:52,060 --> 00:30:58,640 okay okay okay do i have it i don't okay if you 457 00:30:58,640 --> 00:31:04,440 look here everyone there's 458 00:31:04,440 --> 00:31:11,600 also curtain what's curtain It's like there's a 459 00:31:11,600 --> 00:31:14,820 stage here, and the curtain opens, and people are, 460 00:31:15,140 --> 00:31:18,100 in a way, performing this act. This is what is 461 00:31:18,100 --> 00:31:22,800 meant by drama. Drama that the singular experience 462 00:31:22,800 --> 00:31:28,240 he lives comes out to life as a play, as a short 463 00:31:28,240 --> 00:31:32,300 sketch that can easily be performed. He dramatizes 464 00:31:32,300 --> 00:31:35,180 the experience, the way he speaks, the way he 465 00:31:35,180 --> 00:31:35,980 portrays it. 466 00:31:41,810 --> 00:31:45,910 And don't forget this, there is a lot of criticism 467 00:31:45,910 --> 00:31:50,290 of mainstream established rules of decorum. Simply 468 00:31:50,290 --> 00:31:56,250 speaking, John Donne breaks the rules. And 469 00:31:56,250 --> 00:32:00,430 thematically speaking, Metaphysical poetry 470 00:32:00,430 --> 00:32:04,270 empowers women. You know what empower means? Gives 471 00:32:04,270 --> 00:32:07,330 them power. Gives them a voice and gives them 472 00:32:07,330 --> 00:32:10,850 space in their... When you compare women in 473 00:32:10,850 --> 00:32:13,650 Marlow, for example, sometimes Shakespeare, and 474 00:32:13,650 --> 00:32:16,490 women in John Donne, you'll find that they have a 475 00:32:16,490 --> 00:32:19,870 strong presence. Even if sometimes they don't 476 00:32:19,870 --> 00:32:22,050 speak, they act. In The Flea, the woman doesn't 477 00:32:22,050 --> 00:32:26,440 speak. But what does she do? She does the most 478 00:32:26,440 --> 00:32:29,740 important thing. She acts. She kills the flame. He 479 00:32:29,740 --> 00:32:33,160 gives her voice. That's why many women critics, 480 00:32:34,460 --> 00:32:38,240 they love John Donne. And they praise him for the 481 00:32:38,240 --> 00:32:40,600 way he depicts a powerful, strong woman. Even 482 00:32:40,600 --> 00:32:42,640 Virginia Woolf. We'll talk about Virginia Woolf 483 00:32:42,640 --> 00:32:45,000 probably in two months. She's a very famous 484 00:32:45,000 --> 00:32:47,560 feminist of the 20th century. She praises John 485 00:32:47,560 --> 00:32:52,360 Donne as a poet who depicts women as powerful as 486 00:32:52,360 --> 00:32:57,200 the man is. And we have many personal experiences 487 00:32:57,200 --> 00:32:59,780 rather than a poet who talks about the fairy queen 488 00:32:59,780 --> 00:33:03,140 or the queen of England or the battles and the... 489 00:33:03,140 --> 00:33:06,300 We have someone who speaks about, who conveys the 490 00:33:06,300 --> 00:33:10,040 inner feelings of an individual, of a man. How he 491 00:33:10,040 --> 00:33:12,440 feels when he's sad, when he's in love, when he's 492 00:33:12,440 --> 00:33:16,990 not, etc. In brief, Metaphysical poetry is full of 493 00:33:16,990 --> 00:33:21,130 modern ideas, modern ideas that we still feel 494 00:33:21,130 --> 00:33:26,010 today and can internalize and externalize. There 495 00:33:26,010 --> 00:33:29,150 are scientific geographical explorations, there is 496 00:33:29,150 --> 00:33:32,170 original imagery there, and sometimes the inner 497 00:33:32,170 --> 00:33:35,610 conflict in the soliloquies like the ones we had 498 00:33:35,610 --> 00:33:38,710 in Shakespeare. The whole poem could be an 499 00:33:38,710 --> 00:33:42,430 internal monologue in a way. Finally, they 500 00:33:42,430 --> 00:33:45,530 experimented with language and verse forms with 501 00:33:45,530 --> 00:33:48,390 great originality. Originality means new things. 502 00:33:49,250 --> 00:33:52,570 They experimented with poetic forms like we saw in 503 00:33:52,570 --> 00:33:58,830 the sonnet and the other texts, The Sun Rising. 504 00:34:00,610 --> 00:34:05,570 Now, to conclude this, remember I said John Donne 505 00:34:05,570 --> 00:34:09,210 was not well-received during his time and after. 506 00:34:10,600 --> 00:34:13,840 Many critics of that time were not happy with John 507 00:34:13,840 --> 00:34:17,240 Donne. And they said many horrible things about 508 00:34:17,240 --> 00:34:22,140 him. So horrible that it influenced the way we see 509 00:34:22,140 --> 00:34:26,260 John Donne even today. Many people nowadays, not 510 00:34:26,260 --> 00:34:29,280 many, but some people who don't like John Donne 511 00:34:30,360 --> 00:34:33,040 Generally, it's not because they don't like John 512 00:34:33,040 --> 00:34:36,520 Donne, but because they read John Donne through 513 00:34:36,520 --> 00:34:39,860 these critics. When you read what Ben Jonson, John 514 00:34:39,860 --> 00:34:44,520 Dryden, Alexander Poe, Osama Johnson, what they 515 00:34:44,520 --> 00:34:46,620 say about John Donne, you think, oh my God, this 516 00:34:46,620 --> 00:34:50,460 is a horrible poet. And this is how serious and 517 00:34:50,460 --> 00:34:53,900 dangerous framing is, remember? Framing when 518 00:34:53,900 --> 00:34:57,780 critics make us think in a particular way. So I 519 00:34:57,780 --> 00:34:59,620 tell you, don't read Shakespeare. Shakespeare is 520 00:34:59,620 --> 00:35:02,420 difficult. So what do you think of Shakespeare? 521 00:35:02,480 --> 00:35:05,620 He's difficult. Have you read Shakespeare? No. Ben 522 00:35:05,620 --> 00:35:07,280 Jonson told me this, or somebody else told me. 523 00:35:07,600 --> 00:35:11,080 That's why it's always good to read the text 524 00:35:11,080 --> 00:35:15,930 itself for yourself. Go for the text. Try to 525 00:35:15,930 --> 00:35:18,110 understand it. Read it once and twice and see how 526 00:35:18,110 --> 00:35:23,090 it relates to you. So to summarize, the whole 527 00:35:23,090 --> 00:35:26,450 reception thing, the framing, reception and 528 00:35:26,450 --> 00:35:29,670 framing of John Donne, generally by mainstream 529 00:35:29,670 --> 00:35:32,450 critics, the official critics, he was received 530 00:35:32,450 --> 00:35:35,890 negatively. See, for example, Ben Johnson said he 531 00:35:35,890 --> 00:35:41,330 would perish. Hanging. And he deserved hanging. 532 00:35:41,450 --> 00:35:45,410 Oh, my God. When someone commits a crime, kills 533 00:35:45,410 --> 00:35:49,010 somebody, maybe he deserves hanging, right? Why 534 00:35:49,010 --> 00:35:51,970 would you hang someone because he breaks the rules 535 00:35:51,970 --> 00:35:57,830 of poetry? This is how extreme. But in my opinion, 536 00:35:58,410 --> 00:36:02,110 those people viewed John Donne as a threat. Oh, 537 00:36:02,210 --> 00:36:04,090 someone writing different poetry. Maybe he's going 538 00:36:04,090 --> 00:36:07,770 to steal all the patrons, all the money from us, 539 00:36:07,790 --> 00:36:11,420 maybe. But many people love the rules of Decorum. 540 00:36:11,500 --> 00:36:14,000 If you don't follow the rules, you're not a good 541 00:36:14,000 --> 00:36:17,620 person. John Dryden said, John Donne affects the 542 00:36:17,620 --> 00:36:20,480 metaphysics and he perplexes the mind of the first 543 00:36:20,480 --> 00:36:25,280 six. The first six, women. You know what perplex 544 00:36:25,280 --> 00:36:31,240 means? Confused. John Donne confuses women. This 545 00:36:31,240 --> 00:36:36,320 is what Dryden says. Who the hell are you to speak 546 00:36:36,320 --> 00:36:41,720 for women? Seriously. Who are you to speak for 547 00:36:41,720 --> 00:36:44,520 women? Why do you appoint yourself as the 548 00:36:44,520 --> 00:36:45,700 spokesperson for women? 549 00:36:49,000 --> 00:36:52,300 His idea here, he says, in other words, he says 550 00:36:52,300 --> 00:36:55,760 John Donne is anti-feminist. But I think he is 551 00:36:55,760 --> 00:36:58,180 anti-feminist, because he assumes that women will 552 00:36:58,180 --> 00:37:01,680 not understand John Donne's poetry. He thinks 553 00:37:01,680 --> 00:37:04,500 women are less intellectual, are, I don't know, 554 00:37:04,560 --> 00:37:09,470 maybe stupid. And that's how anti-feminist Dryden 555 00:37:09,470 --> 00:37:16,390 is himself. So this guy says he would perish, he 556 00:37:16,390 --> 00:37:20,770 deserves hanging. Dryden said he perplexes, he 557 00:37:20,770 --> 00:37:25,450 confuses the mind of the fair sex, the women. And 558 00:37:25,450 --> 00:37:30,210 then Samuel Johnson, another critic, said John 559 00:37:30,210 --> 00:37:38,010 Donne uses a combination of dissimilar images and 560 00:37:38,010 --> 00:37:41,790 heterogeneous ideas linked with violence. 561 00:37:44,310 --> 00:37:47,270 Yeah, there is some dissimilarity when you read 562 00:37:47,270 --> 00:37:50,270 some imagery by John Donne, some poetry, but later 563 00:37:50,270 --> 00:37:53,010 on, upon second reading and a third reading and 564 00:37:53,010 --> 00:37:55,790 more analysis and more interpretation, you can see 565 00:37:55,790 --> 00:37:58,450 the connection. But if you don't want to see the 566 00:37:58,450 --> 00:37:59,650 connection, you're not going to see the 567 00:37:59,650 --> 00:38:03,670 connection. But again, I'll go back to framing. 568 00:38:04,650 --> 00:38:06,790 When you study John Donne, and the first thing you 569 00:38:06,790 --> 00:38:09,590 read about John Donne is what Johnson says here, 570 00:38:09,670 --> 00:38:11,790 that he uses dissimilar ideas. And oh, yeah, he 571 00:38:11,790 --> 00:38:14,830 uses dissimilar ideas. Bye bye, Donne. That's why 572 00:38:14,830 --> 00:38:18,010 it's dangerous to read poets through what critics 573 00:38:18,010 --> 00:38:21,410 say about him. Read the poet. Read the writer face 574 00:38:21,410 --> 00:38:23,690 to face. Come face to face with his poetry. And 575 00:38:23,690 --> 00:38:29,510 finally, many people said, OK, even Dryden. And 576 00:38:29,510 --> 00:38:33,630 Johnson said, John Donne is not a poet, but they 577 00:38:33,630 --> 00:38:38,910 said he is an intelligent person. He is a wit. He 578 00:38:38,910 --> 00:38:44,110 has a strong sharp wit. He's smart. He's genius. 579 00:38:45,070 --> 00:38:50,670 Even this Alexander Pope says no. John Donne 580 00:38:50,670 --> 00:38:54,610 doesn't have imagination. This is how much they 581 00:38:54,610 --> 00:39:00,580 disliked him. But believe me, it was much for his 582 00:39:00,580 --> 00:39:04,080 breaking the rules, for him criticizing their way 583 00:39:04,080 --> 00:39:08,480 of writing, the way poetry was written, than 584 00:39:08,480 --> 00:39:10,420 anything else. It wasn't because his poetry was 585 00:39:10,420 --> 00:39:13,480 bad. The evidence is that people like T.S. Eliot 586 00:39:13,480 --> 00:39:17,260 nowadays, in the 20th century, 21st century, 587 00:39:17,900 --> 00:39:21,880 studied him, loved him, and quoted him, and used 588 00:39:21,880 --> 00:39:28,410 his poetry as praised him in a way or another. So 589 00:39:28,410 --> 00:39:30,550 Ben Jonson was a contemporary of Shakespeare, but 590 00:39:30,550 --> 00:39:34,310 Dryden and Johnson and Alexander Pope came later 591 00:39:34,310 --> 00:39:37,230 after Shakespeare. But they played a very 592 00:39:37,230 --> 00:39:40,450 important role in negatively framing John Donne 593 00:39:40,450 --> 00:39:43,770 and kicking him out. But because John Donne is a 594 00:39:43,770 --> 00:39:47,390 beautiful poet, strong genius, he came back to 595 00:39:47,390 --> 00:39:51,790 life 200 years later. I'll stop here. And if you 596 00:39:51,790 --> 00:39:54,310 have a question, please do ask. 597 00:40:02,390 --> 00:40:05,030 No, no, no, you don't. But just that those people 598 00:40:05,030 --> 00:40:09,370 criticized John Donne, it's probably too much for 599 00:40:09,370 --> 00:40:11,510 you. Just I want you to know that at least Ben 600 00:40:11,510 --> 00:40:14,090 Jensen said he deserved hanging. If you know this, 601 00:40:14,450 --> 00:40:17,910 maybe one other thing that perplexes the minds of 602 00:40:17,910 --> 00:40:19,490 the first six, that's enough. You don't have to 603 00:40:19,490 --> 00:40:21,830 memorize everything. And you don't have to 604 00:40:21,830 --> 00:40:27,290 memorize word for word. Thank you very much. I'll 605 00:40:27,290 --> 00:40:27,750 stop here.