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Good morning everybody. Okay, it's my pleasure to

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have you for the second poetry class. And as you

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see, today we're having here the class in this

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comfortable place, which I think is very suitable

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for a poetry class. As the norms of each class, I

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would like first to start by having your daily

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report. So I need one student to come here and to

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deliver her daily report. Today, I'm asking who is

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going to volunteer. Next time, I'm going to pick

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out randomly. Okay? Good. Please come here.

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You can come here.

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For the bells were rung, for the songs were sung,

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poetry class was announced to be open. Since the

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class was crowded and the apprehension was

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founded, everyone's compliment was raised as

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often. As some poetic terms have been implicated,

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formatting demands to be updated, the abstracted

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ears will be no more taken. From having

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definitions and the elements of aesthetics shared

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and the figures of speech were asked to be

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prepared to the video tape our class would be

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chosen. To those who are concerned about the

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matter of marks, you will have your test while

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having some snacks. You will have it done even you

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have no pen. OK. I think this is very amazing.

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It's nice to have such a report in poetic form.

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And this shows how some of you, right from the

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very beginning, are interested in poetry. And this

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personally thrills me. So good. I don't want to

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ask for another report. Later, as I told you, I

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might pick out randomly. As today, as you see, we

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have poetry criticism. This is class number two.

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You see, the title is, we'll continue this series

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until next week, Reading and Talking About Poetry.

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I would like to start by summarizing what I'm

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going to say in this class. So at the beginning,

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there will be a summary of the previous class.

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Then, we're going to talk about poetry, and then

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reading poetry. Okay, let's see. What was last

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class? I think last class we tried to elicit your

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response to the question I gave you earlier. What

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is poetry? And I was very happy when you came up

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with like different definitions, mainly the famous

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Wordsworthian definition. Poetry was spontaneous

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overflow of powerful feelings. And we tried to

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look into that definition and we realized how it

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was paradoxical. And the paradox which was there

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in that statement shows that how poets are

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craftsmen. They do a lot of craftsmanship when

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they write poetry. And then we talked about other

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definitions, and those definitions made us able to

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demarcate poetry as a different genre. We started

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to talk about rhyme, rhythm, assonance,

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alliteration, etc. So these are the features like

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which we might be interested while having this

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course. I know this course, as I told you from the

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very beginning, this course is a course in reading

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poetry. But it is a course in reading this poetry

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in the context of its culture, in the context of

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its history. But as you see, it is difficult, and

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this is what will take us to this point, is

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talking about poetry. It is difficult to talk

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about poetry in a very impulsive manner. I mean,

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we have to be aware what, you know, we are

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talking, what language we are talking. Right,

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talking about poetry. In fact, there are two ways

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we can talk about poetry. I don't know, like when

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I ask you to talk about a poem, You might say,

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okay, I like this poem. It's very interesting. It

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appeals to me. Another student say, okay, I like

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this metaphor. Now I want you to bring these two

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things. Like when you say this is a metaphor, if

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you identify that this is a metaphor, it means

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like you realize that there is a specialized

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language important. So, when you talk about

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poetry, you have to be aware of this special

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language. But when we talk about the meaning, you

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know, we are using a general language. So, if you

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talk about a certain metaphor, okay, it's good to

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realize that this is a metaphor. But it is not

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enough to identify the metaphor. You have to say

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how this metaphor serves the meaning, you know, in

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a special context. I know this is like very

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abstract, and you need some examples, okay? Now,

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if you look at this example, you know, Wordsworth,

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it says, the city now does like a garment wear the

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beauty of the morning. If we look closely at this

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line, We see that there is a kind of comparison.

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What is he comparing? Can anybody tell me what is

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he comparing? Is he comparing something to

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something else? The city now doth like a garment

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wear the beauty of the morning. Yes.

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So the city is wearing a garment. What is the

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garment? What is the garment exactly here? It is

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compared to the beauty of the morning. So this is

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what we call a simile. For example, my friend is

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like a lion.

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This is a kind of simile in which we compare one

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thing with another thing. Now here, as you see in

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this poem, Wordsworth compares the beauty of the

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morning to a garment which is dressed. Now, when

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we want to talk about poetry,

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have to say, in this life, it's very important to

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see how this simile expresses the extent of

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happiness the people in this city enjoy at this

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moment. Okay? So here, you're mixing between the

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specialized language with the general language. So

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this is what I expect. You later when we are

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doing, when we are reading some poems, we are

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going like to, you know, mix between the

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specialized language and, you know, the general

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language. Okay. Now we're going to move to another

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point. Sorry.

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This is another example. Also, it shows us how we

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can mix. Dylan Thomas is a famous English poet,

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and one of his poems entitled A Grief Ago, he was

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lamenting the death of his wife,

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and he used this like a grief ago. the poem by

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saying agrifago. Now, it's very interesting

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because do we say in ordinary language agrifago?

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So here, this is very poetic. It is very poetic by

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the norm of its deviation from the normal use of

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language. If we look at this a grief ago, usually

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we say one day ago, two days ago, three days ago,

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but we never say a grief ago. And like a grief is

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like a day. So there is here a kind of metaphor.

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It's a metaphor. You have here what we call

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syntactic deviation because in grammar, We often

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say a day ago, two days ago, three days ago, and

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we have semantic deviation. Why? Because grief is

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being compared, you know, to days. So here, like

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the metaphor shows how the poet is obsessed with

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this sense of sadness and agony. Okay? You see

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here, again, this is another example We can

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combine both, you know, specialized language and

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general language.

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Okay, reading poetry. This course, or in this

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course, we're going to read a lot of poems. And we

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are going, as we explained in the outline, we're

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going to respond to the poems.

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Be aware of what we are doing when we read poetry.

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I know through my experience as a student and even

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as a teacher, the first time you look at your

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poem, you become a little bit repulsive, aversive.

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You don't want to read. You know, it's, what is

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this? And I want you to dismiss this feeling. I

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want you to approach the poem with, you know, a

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sense of alacrity, psychological readiness. I want

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you to be open-minded, to look at the poem, and to

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read the poem aloud, as you see here. Reading the

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poem aloud is very important. You have to read the

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poem aloud many times, just not one time. And you

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should vary. Sometimes you read it slowly, you

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concentrate on words. And then you vary the speed.

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You speed up to make it sound like what it was

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meant by the poet himself. Some people can record

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the poem. I did this many times, and it was

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lovely. You can also get, nowadays, I think we are

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blessed because we have all these electronic

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resources so we can harness these resources by

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downloading, you know, some poems written by

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native speakers or even by the poets themselves.

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Now let's give an example about reading a poem.

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How to read a poem. Now this poem, as you see,

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Some of you might not say it's a poem, you know,

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because is it a poem? Yeah. Like, look at you, you

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are surprised. I think a good poem, you know, is

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the poem that induces in us a sense of surprise.

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Some might gloss over this poem by saying, 40 love

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middle-aged couples playing tennis. When they go

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home and, you know, when they go home, the net

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will still be between them. It is like reading,

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you know, a statement without just like variation,

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without stressing. But if we have to read this as

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if it were a poem, and I think it is a poem, So

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how would you like to read it? Should I give you

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one minute and then you try reading it? Okay.

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I need a daring student who

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would like to come and say yes. Okay, I need

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another student, hold on.

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Yes? Okay, go ahead. Yeah, maybe. For me, it's

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playing couple. Couple?

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Playing?

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Okay,

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now this is like initial reading, but if you were

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to read it again, I don't think, you know, you're

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going to stick to this, you know, pace, you might

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change the pace. How would you like to change the

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pace? Is anybody trying to change the pace? Yes or

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no? of middle-aged couple playing tennis when the

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game ends and as they go home, the network is

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still between them. I bet it's a little bit

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musical. Does anybody think of like reading this

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poem? Forty love middle

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meaning. I think this is a legitimate question,

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but we don't have to be impatient. We have to

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read, you know, to see how the words, you know,

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leave some impact on us. We have to look at the

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poem closely to see how it is patterned, how it is

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formed. You know, what is happening in the poem,

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how the words, look here, if you look closely,

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chasm here or this space. Do we have this? This is

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like Arabic. And if you look closer, we don't have

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like, look at the words here, tinness. It is, it

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is what? Fragmented. It is in two pieces. Look at

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the word. Have you noticed this? Yeah, between

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like even them. So we might say, what is this poem

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talking about? And who are involved? What is this

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poem talking about? Have you asked yourself what

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is it about? I know. What is it about? Yes? It

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might be... So we are talking about a couple, a

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man and a woman?

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So they are playing a game. This is what the poem

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tells us. When we read the poem, and when we look

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at the poem more closely, we start to ask, is it a

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friendly game? Or is it a game which involves some

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sense of rivalry, like somebody's competing? Is it

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a poem which holds in itself some feeling of

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acrimony? Because here, as you see, it is Not

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very, is it friendly? Like, how do you know it's

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not friendly? How do you know it's not friendly?

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Yes? For 40 love. Yeah, what do you mean 40 love?

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Like if there's a friendly relationship between

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them. Yeah, like 40 love is a friendly

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relationship, okay? But you know, in tennis, love

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means zero. So, I don't know, look, whether you

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have, yeah, 40 laps. So, it might, yes?

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So,

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yes, there is a barrier. You know, the Pope says

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the net will be still there. And I, again, if we

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look at how the words are patterned, like how the

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words are fragmented, we see that this is like a

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very you know, unhealthy relationship, you know,

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because there is a separation. So I don't want to

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go deeper in like to this poem. I'll be giving you

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another example how we should read the poem and

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how we should look at the words, the certain

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patterns of the word, and then how to form these

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questions. These questions will help us

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Or I would say possible thematic meanings, because

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I don't want like to be, you know, just like

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saying this is about this. So as we said, you

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know, poetry has multiple meanings. It is not

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referential, but rather representation. Okay? So

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let's move to the second example. And I bet you're

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going to find it as funny as, even more funny than

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the first one. Good. You need somebody to read

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00:22:24,440 --> 00:22:31,180
this. Okay? More polemic? Yeah, you started

277
00:22:31,180 --> 00:22:36,440
laughing. I don't know, it might be chemistry. So

278
00:22:36,440 --> 00:22:41,320
look here, you laughed. Isn't nobody afraid? Are

279
00:22:41,320 --> 00:22:41,720
you afraid?

280
00:22:46,920 --> 00:22:49,660
Okay, very good. Like, do you want to read it? Go

281
00:22:49,660 --> 00:23:01,760
ahead. N-N-T-T N-N-T-T-N T-N-N T-N-N T-N T-N T-N T

282
00:23:01,760 --> 00:23:09,160
-N T-N T-N T-N T-N T-N T-N T-N T-N T-N T-N T-N T-N

283
00:23:09,160 --> 00:23:15,440
T-N T-N T-N T-N T-N T-N T-N

284
00:23:31,300 --> 00:23:32,840
Ah, good.

285
00:23:36,120 --> 00:23:40,380
Thank you very much. Okay. It's fun, isn't it?

286
00:23:40,620 --> 00:23:46,290
Yeah. But like when you read the poem, You didn't

287
00:23:46,290 --> 00:23:53,010
feel it. You didn't imbue it, charge it with any

288
00:23:53,010 --> 00:23:56,070
sentiment. So you were reading as if you were

289
00:23:56,070 --> 00:23:59,750
reading a piece of news. So reading poetry

290
00:23:59,750 --> 00:24:04,290
requires that we put some sentiments, we put some

291
00:24:04,290 --> 00:24:09,330
feelings. Okay? So is anybody going to add

292
00:24:09,330 --> 00:24:12,250
feelings, sentiments? Yeah, come on.

293
00:24:18,220 --> 00:24:18,840
Go ahead.

294
00:24:24,280 --> 00:24:30,520
Yes? I know it's funny. So let me just like read

295
00:24:30,520 --> 00:24:35,740
it. An-an, chi-chi. An-an, chi-chi, chi-chi-chi,

296
00:24:36,340 --> 00:24:42,500
an-an. Chi-chi, an-an, chi-an. Chi-an, chi-an, chi

297
00:24:42,500 --> 00:24:47,740
-an, chi-an, an-chi. An-chi, an-chi, an-chi, an.

298
00:24:48,360 --> 00:24:54,720
Ti-an. An-ti. An-ti. An-ti-an. An-ti-an-ti-an-ti

299
00:24:54,720 --> 00:25:01,200
-an. Ti-ti. An-an. Ti-ti. An-an. Ti-ti. Ti-ti. An

300
00:25:01,200 --> 00:25:06,760
-an. Ti-ti. Ti-an. An-an. An-an-an-an-an-an-an? An

301
00:25:06,760 --> 00:25:11,740
-an-an-an-an-an. Ti-ti-ti. Ti-ti-ti. Ti-ti-ti. Ti

302
00:25:11,740 --> 00:25:20,580
-ti-ti. Very funny. You like it? Oh, look here.

303
00:25:20,880 --> 00:25:24,280
Thank you. You started to like poetry. And is

304
00:25:24,280 --> 00:25:29,440
anybody worried? Thank you. Nobody's worried? You

305
00:25:29,440 --> 00:25:31,500
want me to bring this in the exam and to ask you,

306
00:25:31,960 --> 00:25:32,940
what is this poem about?

307
00:25:36,340 --> 00:25:40,640
But look at me, like I interacted with the poem.

308
00:25:41,520 --> 00:25:46,110
And as you felt at the end of the poem, You know,

309
00:25:46,270 --> 00:25:51,830
it was a little bit sad. Why? Because, as you see,

310
00:25:52,110 --> 00:25:57,250
an-an-an, you know, it's taking side, and the chi

311
00:25:57,250 --> 00:26:03,670
-chi-chi is taking side. So, we might say, hey,

312
00:26:03,750 --> 00:26:08,070
what is this poem about? Okay? Let's guess, you

313
00:26:08,070 --> 00:26:11,370
know, for fun, what this poem might be about.

314
00:26:11,550 --> 00:26:14,150
Because, you know, in this course, poetry course,

315
00:26:15,040 --> 00:26:20,000
I don't want you to end the poem by saying this

316
00:26:20,000 --> 00:26:23,260
poem is about. It might be about. It might be

317
00:26:23,260 --> 00:26:26,480
about this. It might be about that. And sometimes

318
00:26:26,480 --> 00:26:31,200
when we reach the intended meaning of the poem, we

319
00:26:31,200 --> 00:26:36,140
might lose the poem. We might lose the beauty of

320
00:26:36,140 --> 00:26:39,420
the poem. So I think poets would be very happy

321
00:26:39,420 --> 00:26:44,310
when they see that their poems spoon, generate

322
00:26:44,310 --> 00:26:48,790
multiple meanings. I met some poets, and when I

323
00:26:48,790 --> 00:26:53,170
started, like, to interpret certain words, they

324
00:26:53,170 --> 00:26:55,710
started, like, to be amazed. I didn't think of

325
00:26:55,710 --> 00:26:59,030
that. They were very happy. So, I think even for

326
00:26:59,030 --> 00:27:03,210
us, like, when we learn, yes, we have to figure

327
00:27:03,210 --> 00:27:05,510
out different meanings. What do you think? What is

328
00:27:05,510 --> 00:27:08,530
it about? Yes?

329
00:27:11,070 --> 00:27:14,650
Yeah, it could be two Chinese, you know, they are

330
00:27:14,650 --> 00:27:17,030
fighting with each other. Very good. Thank you.

331
00:27:17,090 --> 00:27:19,530
Could be. Yes.

332
00:27:22,510 --> 00:27:24,670
Yeah, it could be a conflict between two friends,

333
00:27:25,130 --> 00:27:28,390
you know, Khalid and his friend and they are doing

334
00:27:28,390 --> 00:27:35,230
this. It could be. Yes. Could be. Yeah, thank you.

335
00:27:35,610 --> 00:27:37,830
It could be between two countries, like, you know,

336
00:27:38,130 --> 00:27:40,850
they're fighting, they are always in conflictual

337
00:27:40,850 --> 00:27:43,110
relation, like what happened between Iran and

338
00:27:43,110 --> 00:27:44,430
Iraq. Thank you very much.

339
00:27:47,890 --> 00:27:53,510
It's a church. A child, like it could be a nursery

340
00:27:53,510 --> 00:27:59,790
rhyme, like, good, thank you. Yes.

341
00:28:03,380 --> 00:28:06,600
A couple, a wife and husband fighting each other.

342
00:28:07,620 --> 00:28:10,940
You know, they keep like their life is full of

343
00:28:10,940 --> 00:28:13,480
wrangling dispute. You know, it could be like they

344
00:28:13,480 --> 00:28:16,840
are not on good terms. Good. Yes.

345
00:28:20,120 --> 00:28:23,940
Suffered from? Flu. Yeah, very good. I haven't

346
00:28:23,940 --> 00:28:27,620
thought of that. It could be good. And then, you

347
00:28:27,620 --> 00:28:32,640
know, keep doing this. And there is no doctor like

348
00:28:32,640 --> 00:28:34,820
to prescribe medicine for him. Good. Thank you.

349
00:28:35,540 --> 00:28:42,040
But like, it's very interesting to hear maybe. I

350
00:28:42,040 --> 00:28:45,980
want to ask what made you reach this? But when you

351
00:28:45,980 --> 00:28:49,680
say maybe it's about this, is it the sound? Is it

352
00:28:49,680 --> 00:28:52,940
the word on the page? Is it the arrangement? So

353
00:28:52,940 --> 00:28:56,540
what makes you come to this interpretation?

354
00:28:58,820 --> 00:29:05,170
Yeah? The sound itself. Thank you. The sound. The

355
00:29:05,170 --> 00:29:09,390
words like am and chi, how they sometimes, the

356
00:29:09,390 --> 00:29:13,190
words are reciprocal and sometimes they are not.

357
00:29:13,730 --> 00:29:17,830
When I say reciprocal, like you see am, am, chi,

358
00:29:17,890 --> 00:29:21,170
chi, they reciprocate. They reciprocate, they

359
00:29:21,170 --> 00:29:24,350
change, you know, the communication is reciprocal.

360
00:29:24,610 --> 00:29:27,550
I say good morning, you say good morning. But if I

361
00:29:27,550 --> 00:29:29,790
say good morning and you stop, there is no

362
00:29:29,790 --> 00:29:33,530
reciprocation or reciprocity, sorry. So it's not

363
00:29:33,530 --> 00:29:41,450
reciprocal. Good. Yes? The number of the words,

364
00:29:41,770 --> 00:29:47,870
yes. Yeah, the repetition is, you know, like the

365
00:29:47,870 --> 00:29:51,210
number of the lines. Okay. What does the

366
00:29:51,210 --> 00:29:57,770
repetition tell you, like, that this is what? What

367
00:29:57,770 --> 00:30:00,310
interpretation did you come up with?

368
00:30:05,980 --> 00:30:08,900
two countries because you know we have like an and

369
00:30:08,900 --> 00:30:12,100
chi and all the time they are repeated yeah that's

370
00:30:12,100 --> 00:30:16,040
why so this duality of like because we have two

371
00:30:16,040 --> 00:30:19,280
words this duality thought you that this might be

372
00:30:19,280 --> 00:30:21,920
a conflict between two countries or you know a

373
00:30:21,920 --> 00:30:26,100
conflict uh you know between a man and a woman you

374
00:30:26,100 --> 00:30:31,800
know or a friend and another friend mother and

375
00:30:31,800 --> 00:30:35,520
daughter I don't think a mother and daughter would

376
00:30:35,520 --> 00:30:40,280
suffer such a relationship. The mother-daughter is

377
00:30:40,280 --> 00:30:46,080
very intimate, matriarchal relationship. The

378
00:30:46,080 --> 00:30:49,500
happiest creature in the world would be the mother

379
00:30:49,500 --> 00:30:53,260
when she sees her daughter. So we're not talking

380
00:30:53,260 --> 00:30:59,200
about this. Good. Have you thought of another like

381
00:30:59,200 --> 00:31:04,980
meaning? rather than this. Somebody told me

382
00:31:04,980 --> 00:31:08,220
yesterday, I see the word chain, which is

383
00:31:08,220 --> 00:31:16,480
negative. See? And like this led me to think, yes,

384
00:31:16,620 --> 00:31:21,640
is the poem positive or negative? Okay? Is it

385
00:31:21,640 --> 00:31:25,660
positive or negative? So again, as you see, these

386
00:31:25,660 --> 00:31:28,820
questions are very important. We ask question, who

387
00:31:28,820 --> 00:31:32,920
is speaking to whom? What is this about? And why

388
00:31:32,920 --> 00:31:36,400
are the words arranged in this way? Why, you know,

389
00:31:36,780 --> 00:31:39,340
for example, the beginning is different from the

390
00:31:39,340 --> 00:31:42,360
end. Look at the beginning, you know, the

391
00:31:42,360 --> 00:31:45,640
arrangement is different. At the beginning, like,

392
00:31:46,260 --> 00:31:50,160
you know, the M and the G are interchangeable. But

393
00:31:50,160 --> 00:31:54,860
here, You see? You see everybody is taking side.

394
00:31:56,000 --> 00:32:02,740
So this might make us come to the conclusion that

395
00:32:02,740 --> 00:32:07,660
this is a negative. It is a conflictual

396
00:32:07,660 --> 00:32:12,720
relationship which ended by this crisis. There is

397
00:32:12,720 --> 00:32:16,380
a sense of crisis here. Okay? So it could be like

398
00:32:16,380 --> 00:32:20,240
a crisis in, you know, a family relation between a

399
00:32:20,240 --> 00:32:21,940
husband and a woman, between a country and another

400
00:32:21,940 --> 00:32:25,640
country, you know? I don't know. It might have

401
00:32:25,640 --> 00:32:28,360
different meanings. But some student told me,

402
00:32:29,000 --> 00:32:31,300
don't you think this is about a jolting, a car

403
00:32:31,300 --> 00:32:34,300
jolting in the morning? You know, uh-uh, gee-gee,

404
00:32:34,520 --> 00:32:39,780
you know? So I was amazed by the number of

405
00:32:39,780 --> 00:32:42,680
interpretations the students gave to this poem,

406
00:32:43,380 --> 00:32:45,980
and they started to talk. Look here, you know, I

40

445
00:35:32,220 --> 00:35:35,440
started to have what we call in politics some

446
00:35:35,440 --> 00:35:41,320
rapprochement attempts, to rapproche, to become

447
00:35:41,320 --> 00:35:44,340
close together. So they started talking, they

448
00:35:44,340 --> 00:35:48,760
started visiting each other, exchanging visits,

449
00:35:48,980 --> 00:35:52,650
having banquets. But what happened, gradually,

450
00:35:52,950 --> 00:35:57,690
this relation started to be strained, to be

451
00:35:57,690 --> 00:36:03,650
weakened, and it ended with this crisis. So the

452
00:36:03,650 --> 00:36:10,710
poet, like the English poet, wanted to record that

453
00:36:10,710 --> 00:36:14,270
experience. And as we said in the previous

454
00:36:14,270 --> 00:36:19,850
lecture, poets respond in their own ways to daily

455
00:36:19,850 --> 00:36:23,230
experiences. Like this is a daily experience. Like

456
00:36:23,230 --> 00:36:29,010
he responded by writing this poem. But what did he

457
00:36:29,010 --> 00:36:32,370
do in order? How did he, like here the question is

458
00:36:32,370 --> 00:36:36,230
how we encode our experience. I think he encoded

459
00:36:36,230 --> 00:36:42,860
his experience by just having these two words. He

460
00:36:42,860 --> 00:36:48,500
looked at the zoo of London, there was a panda

461
00:36:48,500 --> 00:36:53,860
animal called Qi, and the zoo of Moscow, there was

462
00:36:53,860 --> 00:37:00,520
another panda called An. So he thought it might be

463
00:37:01,290 --> 00:37:06,030
Wonderful, a good idea to represent this situation

464
00:37:06,030 --> 00:37:10,470
or this crisis situation in politics by having

465
00:37:10,470 --> 00:37:18,010
this funny and interesting patterning. I know some

466
00:37:18,010 --> 00:37:21,970
of you are not happy now. Why? Because we narrowed

467
00:37:21,970 --> 00:37:26,630
the poem to the intended meaning of the poet. And

468
00:37:26,630 --> 00:37:29,250
I think the poet would not be very happy as well.

469
00:37:30,040 --> 00:37:35,600
So I think in this course I'm going to give you

470
00:37:35,600 --> 00:37:41,460
space, freedom to express yourself, like to figure

471
00:37:41,460 --> 00:37:44,860
out different interpretations to any poem, even

472
00:37:44,860 --> 00:37:49,160
like they will establish themes of certain poems

473
00:37:49,160 --> 00:37:53,980
we are going to study. This course is to make you

474
00:37:53,980 --> 00:37:58,700
widen your critical perception. We are not going

475
00:37:58,700 --> 00:38:01,420
to rule out certain interpretations and say,

476
00:38:01,620 --> 00:38:07,760
that's it. No. So, I mean, when we read poems, you

477
00:38:07,760 --> 00:38:12,810
might, for example, disagree with us, but the most

478
00:38:12,810 --> 00:38:16,050
important thing is to bring together the

479
00:38:16,050 --> 00:38:23,530
specialized language and the

480
00:38:23,530 --> 00:38:28,490
general language. Any questions so far?

481
00:38:33,370 --> 00:38:43,200
Good. So next time, we're going to read, to start

482
00:38:43,200 --> 00:38:48,760
the course by reading Sir Thomas Wyatt and his

483
00:38:48,760 --> 00:38:52,680
poem, Who's a Lost Hunt. But in order to prepare,

484
00:38:53,800 --> 00:38:59,560
I told you, you should read something about the

485
00:38:59,560 --> 00:39:02,360
historical background. I left for you in the

486
00:39:02,360 --> 00:39:06,000
reader, in the pamphlet, a biography about the

487
00:39:06,000 --> 00:39:09,000
poet, something about courtly love, because it's

488
00:39:09,000 --> 00:39:13,960
very important to know what is courtly love, and

489
00:39:13,960 --> 00:39:19,160
then to read the poem. And before pinning your

490
00:39:19,160 --> 00:39:22,560
response, it is very important to read the poem

491
00:39:22,560 --> 00:39:26,560
several times. I don't know how would you read it,

492
00:39:26,900 --> 00:39:29,540
but I don't want you to read it as if you were

493
00:39:29,540 --> 00:39:33,400
reading a newspaper. You might read it in

494
00:39:33,400 --> 00:39:36,940
different ways until the poem makes sense. And

495
00:39:36,940 --> 00:39:40,560
after that, you have to start writing your

496
00:39:40,560 --> 00:39:45,640
response. I know that your initial response might

497
00:39:45,640 --> 00:39:51,040
not be deep, but it is a response which I would

498
00:39:51,040 --> 00:39:57,920
evaluate and perhaps develop in the class. Okay?

499
00:39:58,620 --> 00:40:01,980
So somebody might say, what should we write? You

500
00:40:01,980 --> 00:40:05,840
can say, okay. Like, after having enough

501
00:40:05,840 --> 00:40:08,920
background about the life of the poet, and, you

502
00:40:08,920 --> 00:40:11,260
know, after understanding that he was a famous

503
00:40:11,260 --> 00:40:16,580
courtier, I became more interested in, you know,

504
00:40:16,660 --> 00:40:20,580
reading his poetry. And when I read this poem, you

505
00:40:20,580 --> 00:40:24,280
know, Hossein Ostouhan, I started, like, to see,

506
00:40:24,340 --> 00:40:27,420
like, something different. I started to see how

507
00:40:27,420 --> 00:40:31,600
the poet was frustrated, disappointed because of

508
00:40:31,600 --> 00:40:35,220
this and that. You see what I mean? And I would

509
00:40:35,220 --> 00:40:40,740
see this, you can bring it like a hard copy and at

510
00:40:40,740 --> 00:40:43,680
the same time prepare a soft copy because we might

511
00:40:43,680 --> 00:40:47,840
put this on the page. So until then, I wish you

512
00:40:47,840 --> 00:40:50,280
good luck and thank you very much for listening to

513
00:40:50,280 --> 00:40:50,940
me, okay?