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Hello everyone, welcome back. As you can see,

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today we speak about the sonnet, and in particular

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Shakespearean sonnet. The sonnet, probably you've

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heard about the sonnet before. It's one of the

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most famous, most important poetic forms of all

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time. Now the sonnet, generally, is a fourteen 14

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line poem each line having 10 syllables and the

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theme of the sonnet is generally love so what is

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the sonnet it's a love poem of 14 lines each line

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has 10 syllables the sonnet originated in Italy.

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Italy with an I, not Y. It sounds ugly with an I,

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with a Y, sorry. It started in Italy in the 13th

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century with a very famous poet, you should all

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know, named Dante. Dante. But it became more

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famous thanks to an Italian poet named Petrac.

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Notice how the name is? written Petrarch. Petrarch

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is an Italian poet who wrote so many sonnets.

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The sonnet started in Italy in the Renaissance

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Italian Renaissance in the 13th century. And

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again, it shows how more themes started to be

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included in poetry. It's no longer about religion

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and God and heroism. There are themes of

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relationships of women and love, et cetera. Now,

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in a way, the sonnet migrated to England through

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two famous people. The first one is named Sir

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Thomas Wyatt, and the second one is Henry Howard.

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We'll know the names later on. They're not that

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important for now to us. So we have Henry Howard

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and Sir Thomas Wyatt. They brought, they imported,

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kind of, the sonnet from Italy to England. What

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did they do to the sonnet? They translated it.

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They brought and they adapted it. They, in a way,

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made it look English. Because there are

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differences between Italian and English language.

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We have many English poets who wrote the sonnet.

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But the most famous of them is Shakespeare.

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How many sonnets did he write? One, five, four,

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more or less. Some people say, like, a couple of

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them are not Shakespearean, written by someone

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else. It's not a big deal. Again, to us, because

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some people, they spend like years and years

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examining which sonnet is Shakespearean and which

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one is not Shakespearean.

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Again, 14 lines. 14 lines. However, Shakespeare

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did two things to change about the sonnet. What

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did he change? Before we begin talking about

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Shakespeare, let's go back again to the Italian

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sonnet to Petrarch. 14 lines. You can't change the

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14 lines, because if it is 13 or 15, it's not a

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sonnet. It's not considered. So that's why it's

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usually important when you want to analyze a poem,

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understand the poem, count the lines. Are there

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14? It's a sonnet. Not 14? Not a sonnet. Because

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if it is a sonnet, we'll say what the sonnet is

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and how important the sonnet is. Now, the Italian

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sonnet was, again, 14 lines and about love, the

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theme. There's something important about this,

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which is the rhyme.

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scheme. The rhyme scheme or the structure, the

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rhyme structure, how the music at the end of the

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lines of the song. The Italian sonnet sounds like

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this A B B A A B B A sorry C D C D C D We'll

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explain this more, we'll show you examples in a

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bit. Again we have A B B A, A B B B A and then C D

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C D C D. How many? If you count them these are 14

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because a sonnet has only 14 lines. Now these are

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divided into two groups number one the first eight

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lines which look similar in a way A B B A A B B A

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these are eight lines in English eight lines are

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called an octave you know an octopus because the

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octopus has eight octave means eight eight lines

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and here we have the remaining lines are assisted

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It could be C, D, E, C, D, E or different

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variation but this is the most common. C, D, C, D,

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C, D. How many lines? Six lines, eight lines,

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fourteen. The eight lines are called the octave.

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Now what happens in the eight lines and this is

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significant. The problem is discussed. He's

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elaborated. The poet exposes us to some problem

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between him and his beloved, and why he can't have

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her, why he should have her, why she's the most

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beautiful woman on earth. In the six lines, we

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have some kind of resolution, the conclusion. What

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happens next? Life is complicated. There's this

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problem. And in six lines, we have some sort of a

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resolution. something to solve this problem to get

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the poet out of the trouble. So this is again

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generally the Italian sonnet 14 lines check Love

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theme, also check. The rhyme scheme is A B B A A B

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B A C D C D C D The first eight lines are called

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the octave and then the sixth. Sixth is from six,

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okay? Now, what did Shakespeare do to change, to

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experiment? Remember we said Shakespeare, in a

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way, he's considered the most important classical

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playwright and poet of English history. But

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Shakespeare also wanted to change in many ways, to

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change in the language, to change in the form, to

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change in the themes. What did he do to the

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sonnet?

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okay number one thank you very much he changed the

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form or the structure

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What is the form, the structure of the poem? It's

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how the poem looks. When you look at the poem from

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afar, how does it look? It's short. It has these

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stanzas, et cetera. So Shakespeare, number one. It

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didn't start with Shakespeare, but Shakespeare

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made this structure famous. And his famous rhyme

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scheme, almost all his 154 sonnets have the same

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structure. Rhyme structure. A B A B C D C D E F E

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F G G G G. Do you know GG? You know GG? Yeah? I

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don't know. Anyway GG Without listen without

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reading the poem when we see this happening G G.

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It's the same sound two lines Yeah, it tells us

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it's a couplet. So what is Shakespeare doing

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number one? four lines and then four lines and

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then four lines and then a couplet It's easy to

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know the couplet What's the couplet again Yes

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Two lines of verse about one subject with the same

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rhyme scheme. Two lines with the same rhyme

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scheme. We'll give you a lot of examples in a bit.

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But the four lines here are called quatrains.

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So he has three quatrains and a couplet.

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Quatrain one, quatrain means four, four. A, B, A,

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B, they alternate, and then C, D, C, D, E, F, E,

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F, and finally we have G, G. That's number one.

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Shakespeare changes, expands the structure. What

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is interesting here, look at this. The poet here

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generally again has the problem in eight lines and

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the resolution in six. Now Shakespeare complicates

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the whole life and everything in 12 lines. In 12

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lines, he just shows you that life is complex.

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This is the end of the world. Life is destructive.

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Time kills us all. And then when you are about to

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give hope, he twists. In two lines, he gives us

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some kind of hope or resolution. No one can do

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this like Shakespeare. He's a master of this. No

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one can complicate everything. And then in only

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two lines, can change everything to the very

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opposite gives you a closure a resolution or at

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least some kind of hope for for the future like

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the example the examples we will be seeing in a

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bit now also Shakespeare changed the theme I

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wouldn't say change because he kind of expanded he

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added more themes so the sunnah for Shakespeare is

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also a love poem it's about beauty Not nature

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exactly, like in the romantic sense. It's about

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loss. It's about the passing of time. So he

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included more themes, more subjects. Many people

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still say, no, he didn't, because beauty, loss,

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and the passing of time are still themes that can

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go under the theme of love, in a way.

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If you notice, before I give you the examples

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here, when I say the sonnet has to have a certain

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number of lines and a certain rhyme scheme, it

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tells us that the sonnet is strict. If you write

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13 lines, see I wrote this sonnet, I say sorry

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this is not a sonnet. 15 lines, sorry this is not

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a sonnet. So the form of the sunnah is very

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strict, very fixed, very rigid. It doesn't change

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for team lines. For Shakespeare, it's almost

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always A, B, A, B, C, D, C, D, E, F, E, F, G, G.

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Now what's going on? According to critics, they

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say Shakespearean, like many people, many critics,

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many poets, they have realized that life is chaos,

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chaotic. Life doesn't follow a system, right? It's

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random sometimes. It's so sad that good people

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die, that beauty declines, that no good thing

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remains forever, right? So in a way life is

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haphazard, chaotic. There's no system. It's full

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of disorder. So critics believe that Shakespeare

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was trying to control life. by squeezing it into

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this tiny rigid form love poem of the sonnet where

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usually at the end there is hope that he will live

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forever, that she will live forever, his beloved

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or his addressee and that his poetry will live

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forever. So no matter what happens, no matter how

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harsh life is, The form of the sonnet is going to

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control it. The rigid form of the sonnet, the

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number of the lines, the number of the syllables

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and the fixed rhyme scheme is going to control

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life and give it a form and give it a shape where

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only Shakespeare can control this. In a sense,

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Shakespeare is telling us he is the master of his

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own world. He is creating his own world. And

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there's a question here. Like, do great people

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like Shakespeare realize they're doing great

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things? Yeah. Did he realize, did he know he was

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writing great things, that he will be famous all

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around the world? Did he? At the time he wrote it,

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he doesn't think that, because he just feels like

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this is what he is. Exactly. Later on, yeah? Yes.

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He shows what his works affects people. Is there

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evidence in his poetry where he says something

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about his poetry outliving all the harsh realities

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of life? There is a lot of evidence. Remember last

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time probably I posted a sonnet on the Facebook

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group where he ends with, so long as men can

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breathe or eyes can see, so long lives this, this,

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my poetry. My sonnet, my verse. And this gives

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life to thee. So yes, beauty declines, fairness

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declines. Life ends. Death dominates. But as long

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as you are in my poem, in my sonnet, you will live

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forever and ever, and people will remember you,

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and you will grow. Because simply? His poems are

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alive. His poetry. His sonnet will outlive all

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these difficulties. So long as men can breathe, or

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eyes can see, so long lives this, and this gives

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life to thee. And this is actually the couplet to

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probably Shakespeare's most famous sonnet, Sonnet

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18, you will see in a bit. So in brief, it's

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originally an Italian, European thing that was

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brought to England, adapted, and things happened

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to it. Shakespeare made it in a way what it looks

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like now. But again, not all sonnets are written

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like this or like this. But this is called the

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Shakespearean sonnet, the English sonnet. And this

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is called the Italian sonnet. There are so many

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forms, but these are the most famous forms of the

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sonnet. Before... Yeah, go on. Is there a reason

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behind choosing the number 14? I don't know. I'm

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not sure, but is 14 the magic number? Because it's

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seven and seven and seven. Many people love the

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number seven. It's my favorite number. Why 14? I

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think it's haphazard. It's not a big deal. But why

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14? Yeah, I don't know. if there is a reason

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probably we can look it up online somewhere before

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I go on give you examples look at these middle

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English words these are very important to know

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remember we have thou meaning you for subject thee

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you for object in the past they would add th

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instead of s for he she it so had It has doth,

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comes, and they would usually add st for thou. It

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is, we will see that. Thy and thine both mean

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your. Your, but the difference is like the

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difference between a and an. You say a book, an

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apple. When we have a vowel sound, you add the one

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with the N. Same here. Say, frailty, Hamlet says,

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frailty thy name is woman. Thy name. But when we

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have a vowel here, I vowel I thine eyes thine eyes

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your your eyes thou art you are it is it is why

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remember it's because of the number of syllables

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and the music thyself easy yourself ear means

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before what's the difference between ear and

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before

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Yeah, look at the words.

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Okay, so what does it mean? How many syllables are

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there in before? Two syllables. Syllable one,

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syllable two, before. But here, one syllable. So

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this is what we call sometimes poetic license you

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know driving license you have a license to drive

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now poets have a license poetic license if you

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want to change something just to make things fit

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near same here with never never two syllables but

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near one ear ever last time we had overthrown

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overthrown originally over overthrown Please don't

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forget that, thou, thee, hath, doth, just these

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major words. Thou means you, thee means also you

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for objects, doth and hath, does and has. Doesn't

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the change in language complicate poetry? It

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doesn't, of course. If before they had the word

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er, and nowadays we change it to before, it would

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change the Yeah, that's why it's good to know

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these words and study the sonnets, the poems in

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the language they were written in to really

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appreciate the beauty. When you modernize this,

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you're going to change a lot about the music and

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everything. So I'll probably post this on Facebook

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so you can get the slides to summarize the main

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ideas here. But don't forget again, the sonnet is

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a very important form where the form, remember the

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form, the shape, the number of lines and the rhyme

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scheme helps the idea, the meaning. Where again,

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the poet is struggling to control life, to give

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meaning to life, to make sense out of the chaotic

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nature of life. For Shakespeare, in a way he was

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trying to outsmart and outlive. life itself. In

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the sonnet, finally, the form, what is the form?

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The 14 lines, the number of these syllables here,

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the number of the stanzas here, and the rhyme

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scheme. What is the content? The theme. Is it

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about love? About loss? About passing of time? Et

282
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cetera. Let's see more applications.

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This is Sonnet 17. We'll do it very quickly, but

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we'll talk more about Sonnet 18. How many lines?

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00:21:16,070 --> 00:21:19,910
40. Look at the shape. The last two lines are

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sometimes indenting, like they're pushed this way.

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But look at the rhyme here. We have time and

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rhyme. That's GDR. Shakespeare. Someone read?

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00:21:34,860 --> 00:21:43,640
Okay, speak up yeah Okay,

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probably next time you sit here yeah go on who

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will believe my verse in time to come if if it

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were filled with your most high desert Desert

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though yeah heaven knows it knows it it is but a

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thumb a tongue tomb which hides your life and

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00:22:04,190 --> 00:22:07,570
shows not half your parts. If I could write the

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beauty of your eyes and in fresh numbers number

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all your graces, the age to come would say this

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poet lies. Such heavenly touches near touch

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00:22:21,170 --> 00:22:25,510
earthly faces. Should my papers, yellowed with

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their age, be scorned like old men of less truth

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00:22:30,350 --> 00:22:34,830
than tongue? And your true rights be termed a

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poet's rage and stretched meter for antique song.

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Antique song. Antique song. But for some child of

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00:22:47,150 --> 00:22:53,450
yours alive that time, you should live twice in it

305
00:22:53,450 --> 00:23:00,210
and in my rhyme. Okay, one more please. Who will

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00:23:00,210 --> 00:23:04,030
believe my verse in time to come, if it were

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filled with your most high desires. I'll just,

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00:23:09,510 --> 00:23:11,570
while you're reading, I'll try to do the rhyme

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00:23:11,570 --> 00:23:13,850
scheme. Remember, the rhyme scheme follows the A,

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B, C, D, the first sound is A. Why A? The first

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00:23:20,830 --> 00:23:23,750
letter of the alphabet. If the second repeats the

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00:23:23,750 --> 00:23:28,150
same sound, we give it A. If it's a new sound, B.

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So, come, desert, Look at, listen, tomb, the B is

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silent, so it's not there, the sound, we care

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00:23:38,100 --> 00:23:42,860
about the sound. But it's not, it's not, it's not,

316
00:23:42,900 --> 00:23:49,020
oh, sorry. It's not as perfectly pronounced, like

317
00:23:49,020 --> 00:23:52,440
perfectly pronounced as come. This is come, and

318
00:23:52,440 --> 00:23:58,100
this is tomb, tomb, grave. This is still A, but

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00:23:58,100 --> 00:24:01,890
it's called imperfect rhyme. it rhymes but

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00:24:01,890 --> 00:24:07,950
imperfectly like love and prove okay and then

321
00:24:07,950 --> 00:24:14,490
parts goes with deserts a

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b a b go on if i got the Write the beauty of your

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eyes and in fresh numbers number all your guesses

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that is to come what you would say this God lies.

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So we have eyes? C. Graces? D. Lies? C. And then

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D. Go on.

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Okay,

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with their age.

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And tongue. Different? E, F, Rage, E, and Song.

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00:25:06,770 --> 00:25:08,770
And finally read the couplet.

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00:25:17,950 --> 00:25:21,110
Okay, but where some child of yours alive that

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time, that's G, you should live twice in it and in

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00:25:27,970 --> 00:25:34,110
my rhyme. My rhyme, my poetry. My verse and again

334
00:25:34,110 --> 00:25:42,200
the G. A, B, A, B. That's come and come, desserts

335
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and pots, and then eyes and lies, C, C, and graces

336
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and faces, D, D, age, rage, E, tongue, and song,

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00:25:54,140 --> 00:25:59,040
F, time, rhyme. If I ask you a question in the

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00:25:59,040 --> 00:26:01,440
exam, I bring you one of the sonnets, and it

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00:26:01,440 --> 00:26:05,370
rhymes like this. And if you know this is a

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00:26:05,370 --> 00:26:07,670
Shakespearean sonnet, Shakespearean couplet, if

341
00:26:07,670 --> 00:26:11,570
you know it by heart, you give it GG Rimsky. But

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00:26:11,570 --> 00:26:14,350
if you don't and you give me AA, it's okay because

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00:26:14,350 --> 00:26:19,450
it's still a sonnet. The next sonnet, a very

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famous sonnet by Shakespeare. Sonnet 18. Sonnet

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18. Sonnet 18. I'll read it first and see two or

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00:26:28,910 --> 00:26:30,610
three of you reading it.

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00:26:33,680 --> 00:26:38,100
Again, shall I compare thee to a summer's day,

348
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thou art more lovely and more temperate? Rough

349
00:26:42,810 --> 00:26:46,670
winds do shake the darling buds of May And

350
00:26:46,670 --> 00:26:50,890
summer's lease has all too short a date Sometime

351
00:26:50,890 --> 00:26:55,350
too hot the eye of heaven shines And often is his

352
00:26:55,350 --> 00:26:59,350
gold complexion dimmed And every fair from fair

353
00:26:59,350 --> 00:27:03,530
sometime declines By chance or nature's changing

354
00:27:03,530 --> 00:27:08,560
course untrimmed But thy eternal summer shall not

355
00:27:08,560 --> 00:27:12,760
fade, nor lose position of that fear thou ow'st,

356
00:27:13,580 --> 00:27:16,960
nor shall death brag thou wander'st in his shade,

357
00:27:18,100 --> 00:27:23,160
when in eternal lines to time thou grow'st. So

358
00:27:23,160 --> 00:27:28,880
long as men can breathe or eyes can see, so long

359
00:27:28,880 --> 00:27:35,400
lives this, and this gives life to thee. Yes?

360
00:27:38,630 --> 00:27:41,130
Can you speak up? Speak up.

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00:27:46,010 --> 00:27:47,950
Thou art.

362
00:27:51,370 --> 00:27:54,630
Rough winds.

363
00:27:58,270 --> 00:27:59,430
Darling buds of May.

364
00:28:21,070 --> 00:28:25,110
By thy eternal summer.

365
00:28:31,070 --> 00:28:36,170
Eternal summer shall not fade, nor lose position

366
00:28:36,170 --> 00:28:41,770
of that firm thou art, nor shall deep death pray

367
00:28:41,770 --> 00:28:50,330
thou one last in his shed, when in eternal lines

368
00:28:50,330 --> 00:28:56,970
thy blood so long as men can breathe or eyes can

369
00:28:56,970 --> 00:29:02,880
see, so long life lives this, Very good. A better

370
00:29:02,880 --> 00:29:08,280
reading please. Yes. Shall I compare thee to a

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00:29:08,280 --> 00:29:11,760
summer's days though are more lovely and more

372
00:29:11,760 --> 00:29:15,480
temporary? Shall I? Say again. Shall I compare?

373
00:29:16,200 --> 00:29:20,100
Shall I compare thee to a summer's days? No, not

374
00:29:20,100 --> 00:29:24,700
days. Day. Day. Go on. Say again. Shall I compare

375
00:29:24,700 --> 00:29:28,620
thee to a summer's day though are more lovely and

376
00:29:28,620 --> 00:29:33,140
more temporary? Rob went to shade the darling buds

377
00:29:33,140 --> 00:29:38,080
of May, and Summer's leaves have all too short a

378
00:29:38,080 --> 00:29:46,000
date, sometimes too hot the eye of Haven shines,

379
00:29:46,700 --> 00:29:52,120
and often is his dull complexion dimmed.

380
00:29:55,230 --> 00:29:59,350
And every fair confessed sometimes declines by

381
00:29:59,350 --> 00:30:03,510
chance or nature's changing course untrammed.

382
00:30:03,930 --> 00:30:09,610
Untrammed. Untrammed, yes. Like damned, untrammed.

383
00:30:10,950 --> 00:30:14,470
But thy eternal summer shall not fade, nor lose

384
00:30:14,470 --> 00:30:21,680
possession of that fair thou ow'st. Gnosis did

385
00:30:21,680 --> 00:30:26,200
brag thou wondrous in his shade, when in eternal

386
00:30:26,200 --> 00:30:30,540
lines to time thou rose, so long as men can

387
00:30:30,540 --> 00:30:35,720
breathe or eyes can see, so long life lives this,

388
00:30:35,800 --> 00:30:38,760
and this gives life to thee. Better. Can you?

389
00:30:40,060 --> 00:30:46,840
Shall I compare thee to a summer's day? Thou art

390
00:30:46,840 --> 00:30:53,250
more lovely and more tempting. Rough. Rough. Rough

391
00:30:53,250 --> 00:30:57,970
winds do shake the downland, particularly the

392
00:30:57,970 --> 00:31:02,350
main, and summer days have all too short a day,

393
00:31:02,750 --> 00:31:06,730
sometimes to have the eye of heaven shines, and

394
00:31:06,730 --> 00:31:12,240
often it's years goes from day to day. And every

395
00:31:12,240 --> 00:31:17,400
pear from pear sometimes declines by chance or

396
00:31:17,400 --> 00:31:23,000
nature's changing course and trend. But the

397
00:31:23,000 --> 00:31:28,940
eternal summer shall not fade, nor loss position

398
00:31:28,940 --> 00:31:31,220
of that pear that asked.

399
00:31:46,220 --> 00:31:48,720
This gives life to people. Can someone do the

400
00:31:48,720 --> 00:31:52,000
rhyme scheme here? Come here.

401
00:31:56,640 --> 00:31:59,700
And explain while you're doing the rhyme scheme,

402
00:31:59,800 --> 00:32:00,360
the structure.

403
00:32:04,270 --> 00:32:09,690
You don't have to read it. First line is always A.

404
00:32:10,530 --> 00:32:13,210
Temperate and day are not the same, so we can say

405
00:32:13,210 --> 00:32:21,110
B. May, of May, day, so we add A. Short and date.

406
00:32:21,250 --> 00:32:27,430
Date and temperate is also A, is also B. Shines

407
00:32:27,430 --> 00:32:29,390
has nothing to rhyme, so we add B.

408
00:32:32,500 --> 00:32:36,700
And that's the same, so we can add D. Declines and

409
00:32:36,700 --> 00:32:41,260
shines rhymes, so we can add C. Untrimmed and

410
00:32:41,260 --> 00:32:47,700
dimed is the same rhyme, so we can add D. Fade is

411
00:32:47,700 --> 00:32:50,120
a new rhyme, so we can say E.

412
00:32:53,090 --> 00:32:59,410
like oh because but remember he has has not a due

413
00:32:59,410 --> 00:33:03,050
but with you in the past they used to add st to

414
00:33:03,050 --> 00:33:05,790
the verb thank god they dropped this long time ago

415
00:33:05,790 --> 00:33:08,110
what would be what would be a nightmare for us so

416
00:33:08,110 --> 00:33:13,250
host is if shade and fade rhymes we can add e

417
00:33:13,250 --> 00:33:15,590
roast

418
00:33:19,430 --> 00:33:27,590
And then we come to our friend GG. This is a

419
00:33:27,590 --> 00:33:31,110
better explanation than mine. Thank you. Very good

420
00:33:31,110 --> 00:33:33,290
job. Now what is Shakespeare doing here? What is

421
00:33:33,290 --> 00:33:37,090
he saying? This is a sonnet, a love poem, but in

422
00:33:37,090 --> 00:33:41,180
this sonnet, he's again there's some kind of

423
00:33:41,180 --> 00:33:45,020
complaint there's a problem here he's by the way

424
00:33:45,020 --> 00:33:47,960
critics do not agree whether these poems were

425
00:33:47,960 --> 00:33:51,080
written to a man or a woman it could be an issue

426
00:33:51,080 --> 00:33:53,900
but not a big deal for us let's study the text

427
00:33:53,900 --> 00:33:56,740
itself shall I compare these two summers in

428
00:33:56,740 --> 00:34:01,260
England summer is the best season because it's not

429
00:34:01,260 --> 00:34:04,040
very cold because winter is really horribly cold

430
00:34:05,330 --> 00:34:07,670
So he says, shall I compare thee to summer's day?

431
00:34:07,730 --> 00:34:11,830
This is a rhetorical question. And then he says, I

432
00:34:11,830 --> 00:34:17,610
think I shouldn't because of many things. Because

433
00:34:17,610 --> 00:34:21,610
you're more beautiful than summer. You're more

434
00:34:21,610 --> 00:34:26,210
temperate. Summer is short. Summer doesn't last.

435
00:34:26,350 --> 00:34:28,610
Sometimes there is rough wind.

436
00:34:31,440 --> 00:34:35,380
that shakes the darling buds of May. So summer is

437
00:34:35,380 --> 00:34:37,560
not as beautiful as you are. You're more beautiful

438
00:34:37,560 --> 00:34:42,880
than that. And sometimes too hot the eye of heaven

439
00:34:42,880 --> 00:34:46,840
shines. And often is his gold complexion dimmed.

440
00:34:46,900 --> 00:34:50,000
The clouds sometimes cover everything and it's no

441
00:34:50,000 --> 00:34:52,740
longer beautiful. And this is probably one of the

442
00:34:52,740 --> 00:34:56,680
finest lines of Shakespeare. And every fair from

443
00:34:56,680 --> 00:35:03,080
fair sometime declines. Fair meaning beauty. Like

444
00:35:03,080 --> 00:35:07,320
a fair person, a fair woman is like the most

445
00:35:07,320 --> 00:35:12,210
beautiful there is. So these Things, these

446
00:35:12,210 --> 00:35:16,390
features do not last, the beauty, the beauties of

447
00:35:16,390 --> 00:35:19,910
the summer compared to you. Generally, every fear

448
00:35:19,910 --> 00:35:23,970
from fear sometimes declines. Beauty doesn't last

449
00:35:23,970 --> 00:35:28,970
forever. We are all going to grow old and ugly,

450
00:35:29,070 --> 00:35:31,310
and then we're going to die. Beauty will fade.

451
00:35:31,870 --> 00:35:35,290
Beauty will fade. Furnace will... Notice the

452
00:35:35,290 --> 00:35:38,150
repetition of the fa, fa, fa, fa, fa sound. It's

453
00:35:38,150 --> 00:35:45,860
like you're like... complaining, sad, angry, by

454
00:35:45,860 --> 00:35:48,320
chance, et cetera, et cetera. And then he says,

455
00:35:48,680 --> 00:35:53,600
but thy eternal summer, thy affairs shall not

456
00:35:53,600 --> 00:35:57,060
fade. You're more beautiful than summer itself.

457
00:35:58,100 --> 00:36:01,100
Nor lose possession of that fair thou ost, nor

458
00:36:01,100 --> 00:36:05,300
shall death brag thou wanderst in his ship. And

459
00:36:05,300 --> 00:36:07,640
this is, again, beautiful because Shakespeare is

460
00:36:07,640 --> 00:36:11,230
personifying death. Death is not a person. Death

461
00:36:11,230 --> 00:36:14,550
doesn't brag, doesn't show off. People brag.

462
00:36:15,830 --> 00:36:19,530
People show off. And this is personification. You

463
00:36:19,530 --> 00:36:23,090
said personification is when you give things, the

464
00:36:23,090 --> 00:36:25,870
features, the characteristics, the traits of human

465
00:36:25,870 --> 00:36:30,190
beings. It's personification. Death, even death

466
00:36:30,190 --> 00:36:33,530
will not brag about killing you because you're

467
00:36:33,530 --> 00:36:38,290
going to outlive everything. When in eternal

468
00:36:38,290 --> 00:36:42,550
lines, eternal lines, these lines that will live

469
00:36:42,550 --> 00:36:44,970
forever. This in part answers the question whether

470
00:36:44,970 --> 00:36:47,990
Shakespeare knew he was writing really, really

471
00:36:47,990 --> 00:36:50,850
good poetry, amazing poetry that will be famous

472
00:36:50,850 --> 00:36:53,250
all over the world. Maybe he knew he's going to be

473
00:36:53,250 --> 00:36:56,110
famous all across London and the UK, maybe in

474
00:36:56,110 --> 00:36:59,620
Europe. But did he know he's going to be here,

475
00:36:59,820 --> 00:37:04,880
studied in Gaza? No. Or in China, or in Africa? We

476
00:37:04,880 --> 00:37:07,600
don't know. Nobody knows. But certainly, those

477
00:37:07,600 --> 00:37:11,760
great minds, the giants, the canonical writers,

478
00:37:12,760 --> 00:37:14,120
they know. At least they know they're doing

479
00:37:14,120 --> 00:37:19,500
something great. And then finally, the couplet

480
00:37:19,500 --> 00:37:22,880
here gives us hope. What he does here is that, oh,

481
00:37:23,080 --> 00:37:27,860
we are all going to die. But then comes the hope,

482
00:37:28,100 --> 00:37:33,220
comes the closure. So long as men can breathe or

483
00:37:33,220 --> 00:37:38,280
eyes can see, so long lives this. This, my sonnet,

484
00:37:38,420 --> 00:37:42,600
my poetry, my verse, my rhyme. And this gives life

485
00:37:42,600 --> 00:37:46,260
to thee. And it's true. It's ironic we don't know

486
00:37:46,260 --> 00:37:50,220
who he wrote the poem for. But we know that

487
00:37:50,220 --> 00:37:53,860
whoever that person is, is still alive. People are

488
00:37:53,860 --> 00:38:00,720
talking about him or her. let's end with something

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00:38:00,720 --> 00:38:07,600
from I downloaded this video from YouTube this is

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00:38:07,600 --> 00:38:10,500
a recitation of shall I compare thee to summer

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00:38:10,500 --> 00:38:15,420
days now

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00:38:15,420 --> 00:38:18,780
I want you to listen to this and then there's a

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00:38:18,780 --> 00:38:21,220
little girl who's going to also recite this I want

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00:38:21,220 --> 00:38:22,840
you to see which one you like most

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00:38:45,370 --> 00:38:48,830
Hot the eye of heaven shines, And often is his

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00:38:48,830 --> 00:38:53,690
gold complexion dimmed, And every fair from fair

497
00:38:53,690 --> 00:38:58,170
sometime declines By chance, or nature's changing

498
00:38:58,170 --> 00:39:03,930
course untrimmed. But thy eternal summer shall not

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00:39:03,930 --> 00:39:08,070
fade, Nor lose possession of that fair thou ow'st,

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00:39:09,020 --> 00:39:12,500
Nor shall death brag thou wanderest in his shade,

501
00:39:13,220 --> 00:39:19,260
When in eternal lines to time thou grow'st. So

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00:39:19,260 --> 00:39:25,160
long as men can breathe, for eyes can see, So long

503
00:39:25,160 --> 00:39:33,260
lives this, and this gives life to thee. Let's see

504
00:39:33,260 --> 00:39:36,320
the little kid and then stop there. Is it this

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00:39:36,320 --> 00:39:36,540
one?

506
00:39:45,680 --> 00:39:50,060
Shall I compare thee to a summer's day?

507
00:39:53,100 --> 00:39:58,020
Thou art more lovely and more temperate. The winds

508
00:39:58,020 --> 00:40:01,140
do shake the darling buds of May, and summer's

509
00:40:01,140 --> 00:40:06,380
leaves have all too short a date. Sometimes too

510
00:40:06,380 --> 00:40:10,680
hot the eye of Heather shines, and often it is

511
00:40:10,680 --> 00:40:16,550
cold complexion dims. And every fair thing there

512
00:40:16,550 --> 00:40:21,550
sometimes declines By chance or nature's changing

513
00:40:21,550 --> 00:40:26,830
course of trend. But thy eternal summer shall not

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00:40:26,830 --> 00:40:31,790
fade, Nor this possession that there thou ow'st,

515
00:40:32,510 --> 00:40:36,590
Nor shall death brag thou wander'st in his shade,

516
00:40:36,710 --> 00:40:40,590
When in eternal lines the times thou grow'st.

517
00:40:51,210 --> 00:40:52,650
Oh cute.

518
00:40:56,230 --> 00:41:00,190
Isn't she cute? It's beautiful how she renders

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00:41:00,190 --> 00:41:05,250
Shakespeare to this little tiny recitation of the

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00:41:05,250 --> 00:41:10,150
sonnet. We'll stop here and we'll see what if you

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00:41:10,150 --> 00:41:12,650
have any question about Shakespeare about the

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00:41:12,650 --> 00:41:13,010
sonnet