1 00:00:14,200 --> 00:00:21,240 Okay, good morning everybody. How are you? Good. 2 00:00:21,740 --> 00:00:25,480 How was the rain last night? Beautiful. 3 00:00:27,740 --> 00:00:28,380 Boring? 4 00:00:31,990 --> 00:00:36,010 Yeah, I know, like, so the drones were like very 5 00:00:36,010 --> 00:00:39,270 noisy. And we thought that they would stop last 6 00:00:39,270 --> 00:00:44,650 night, but they didn't stop. Anyway, forget about 7 00:00:44,650 --> 00:00:51,050 the drones. Let's live winter. And let's live 8 00:00:51,050 --> 00:00:56,290 poetry classes. Today, we're planning, I'm 9 00:00:56,290 --> 00:01:01,480 planning to reconsider the two poems because I 10 00:01:01,480 --> 00:01:06,900 thought we should have another go on the two poems 11 00:01:06,900 --> 00:01:12,580 from the aesthetic point of view and also the 12 00:01:12,580 --> 00:01:16,820 thematic point of view. But first, as usual, we 13 00:01:16,820 --> 00:01:21,680 need to listen to one or two students reporting 14 00:01:21,680 --> 00:01:27,780 about the previous class. Yes, please come. There, 15 00:01:27,860 --> 00:01:28,200 the lady. 16 00:01:35,340 --> 00:01:41,280 You just come here. Come here. Come here. Come, 17 00:01:41,380 --> 00:01:46,130 come. Okay. Last lecture, I was absent, which was 18 00:01:46,130 --> 00:01:49,510 against my will. I knew from one of the classmates 19 00:01:49,510 --> 00:01:52,810 that Dr. Habib asked a few girls to read their 20 00:01:52,810 --> 00:01:56,750 reports, their daily reports, but they didn't. I 21 00:01:56,750 --> 00:02:02,070 was in their place one time, but only because I 22 00:02:02,070 --> 00:02:05,610 didn't know how to write the daily report. Now I 23 00:02:05,610 --> 00:02:09,190 practice and I think I'm getting better by time. 24 00:02:09,790 --> 00:02:12,410 Now let's go for Shakespeare. I really like 25 00:02:12,410 --> 00:02:16,490 Shakespeare. Every time his name has been heard, I 26 00:02:16,490 --> 00:02:20,250 hear his name or I write it or even I read it. I 27 00:02:20,250 --> 00:02:23,010 feel that feeling inside me tells me that he is 28 00:02:23,010 --> 00:02:27,460 the greatest poet in the world. There was a news 29 00:02:27,460 --> 00:02:31,120 that there is a new movie says that Shakespeare is 30 00:02:31,120 --> 00:02:33,740 not the original writer of his works. I 31 00:02:33,740 --> 00:02:37,120 immediately denied that. I think he is a great 32 00:02:37,120 --> 00:02:41,100 writer and I will always think like that. I can't 33 00:02:41,100 --> 00:02:44,080 wait to start the new sonnet of Shakespeare. Okay, 34 00:02:44,180 --> 00:02:44,920 thank you very much. 35 00:02:48,730 --> 00:02:51,870 Yes, Jihan, you want to exonerate yourself. You 36 00:02:51,870 --> 00:02:54,430 know what it means, exonerate? Like to acquit 37 00:02:54,430 --> 00:02:59,550 yourself when you are in a court and you commit a 38 00:02:59,550 --> 00:03:01,890 mistake. Then you say, no, it's not me. I was 39 00:03:01,890 --> 00:03:05,190 like, so you excuse yourself. I don't blame 40 00:03:05,190 --> 00:03:08,910 myself. I blame time. You blame time. She's 41 00:03:08,910 --> 00:03:12,710 blaming time. But time not like here. It is very 42 00:03:12,710 --> 00:03:18,120 tough here. Okay. TikTok surrounds the clock, so 43 00:03:18,120 --> 00:03:20,960 rapid did time fly. I'm still in shock. Better in 44 00:03:20,960 --> 00:03:23,760 days when I am attending, though not as reckless as 45 00:03:23,760 --> 00:03:26,720 when I'm not. Work sickness all subject to decay. 46 00:03:27,380 --> 00:03:32,000 Even lectures in uni will in my memory rot. Though 47 00:03:32,000 --> 00:03:34,200 I am back to the battlefield, so nowhere is 48 00:03:34,200 --> 00:03:37,760 Shakespeare your poetry or not. Okay, thank you 49 00:03:37,760 --> 00:03:40,900 very much. I think, you know, by time management, 50 00:03:41,900 --> 00:03:45,580 we can overcome this problem. I know you're busy, 51 00:03:45,780 --> 00:03:49,600 Jihan, but if you manage your time very well, 52 00:03:49,960 --> 00:03:55,650 you'll be okay. Some people are Yeah, time is 53 00:03:55,650 --> 00:03:58,150 cruel. Time is passing quickly. However, if you 54 00:03:58,150 --> 00:04:01,630 manage your time, you know, I think you will 55 00:04:01,630 --> 00:04:04,170 conquer time. And this is like what Shakespeare 56 00:04:04,170 --> 00:04:07,610 never thought of. So he thought he would manage 57 00:04:07,610 --> 00:04:09,970 his time or he would manage time or he would 58 00:04:09,970 --> 00:04:13,150 conquer time by writing poetry. And I think to 59 00:04:13,150 --> 00:04:19,610 some extent he was right. Okay. Is anybody 60 00:04:19,610 --> 00:04:23,880 willing, like, Again, you want to exonerate 61 00:04:23,880 --> 00:04:25,700 yourself. Please come. Okay. 62 00:04:32,140 --> 00:04:36,640 So I have to be tough in order to be kind. Okay. 63 00:04:36,700 --> 00:04:40,770 Yes. I miss the law, but I won't miss the rest. I 64 00:04:40,770 --> 00:04:43,030 know that I was such a passive girl, but that will 65 00:04:43,030 --> 00:04:47,370 turn to be from the past. As we know that every 66 00:04:47,370 --> 00:04:50,630 culture has a start, a peak, and a catastrophe. 67 00:04:51,150 --> 00:04:54,470 Sometimes we are to be the same, to begin the 68 00:04:54,470 --> 00:04:57,850 semester as achievers and finish it with a sign of 69 00:04:57,850 --> 00:05:01,030 failure. If things can have another track. We just 70 00:05:01,030 --> 00:05:03,570 need the courage, the will, and the vision so we 71 00:05:03,570 --> 00:05:08,370 can be a way from what disappoints and aborts us. 72 00:05:09,110 --> 00:05:13,170 It's just a matter of moments, of being frank with 73 00:05:13,170 --> 00:05:18,130 yourself, so everyone can know what is to be done 74 00:05:18,130 --> 00:05:20,750 and what is not. It's just a matter of people 75 00:05:20,750 --> 00:05:25,230 around you who tend to abort or encourage you. So 76 00:05:25,230 --> 00:05:28,630 be positive, have the courage, speak up, face your 77 00:05:28,630 --> 00:05:32,190 problems, then have a great day. Okay, thank you 78 00:05:32,190 --> 00:05:36,130 very much. This reminds me of a poem, you know, 79 00:05:36,190 --> 00:05:38,770 you might have studied in Tawjihi, which says, be 80 00:05:38,770 --> 00:05:42,610 strong. We're not here to play, to dream, to 81 00:05:42,610 --> 00:05:46,450 drift. We have hard work to do and loads to lift. 82 00:05:46,970 --> 00:05:51,410 Yes, one should be realistic. One should manage 83 00:05:51,410 --> 00:05:56,630 his or her time and work hard because tomorrow 84 00:05:56,630 --> 00:06:02,020 will come the smile. You're fretting today. You 85 00:06:02,020 --> 00:06:06,360 might be sick coming to class. You might be tired. 86 00:06:06,980 --> 00:06:12,080 But I think everything is considered. Let's see. I 87 00:06:12,080 --> 00:06:16,020 don't want to waste time also talking about 88 00:06:16,020 --> 00:06:17,760 general issues. 89 00:06:20,740 --> 00:06:23,500 Shall I compare it to a summer's day? We looked at 90 00:06:23,500 --> 00:06:27,560 it, we listened to the song, and we looked at the 91 00:06:27,560 --> 00:06:29,940 aesthetics. But today I'm asking different 92 00:06:29,940 --> 00:06:33,260 questions. After reading the two poems, we 93 00:06:33,260 --> 00:06:37,570 discovered that Shakespeare was writing on the 94 00:06:37,570 --> 00:06:41,670 same theme, which was like the immortality of his 95 00:06:41,670 --> 00:06:46,190 poetry. So in the two poems, So Long As Lives This 96 00:06:46,190 --> 00:06:50,610 And Gives Life To Thee, and like in the other 97 00:06:50,610 --> 00:06:56,230 poem, he was like vowing that nothing will 98 00:06:56,230 --> 00:07:03,250 immortalize his friend, None unless this miracle 99 00:07:03,250 --> 00:07:08,230 have might that in black ink my love shine bright. 100 00:07:09,010 --> 00:07:12,610 So Shakespeare in the two poems is writing about 101 00:07:12,610 --> 00:07:16,850 his poetry, in fact. It's about his poetry. Yes, 102 00:07:16,850 --> 00:07:19,790 he's trying to immortalize the beauty of his 103 00:07:19,790 --> 00:07:22,880 friend. He's trying to immortalize the memory of 104 00:07:22,880 --> 00:07:27,560 his friend in the second. But if you look deeply 105 00:07:27,560 --> 00:07:31,060 and you look at Shakespeare's intent, he was, in 106 00:07:31,060 --> 00:07:35,620 fact, trying to show that his poetry will be 107 00:07:35,620 --> 00:07:38,680 immortal. And I think in the two poems, he was 108 00:07:38,680 --> 00:07:43,400 bragging that his poetry would live and would 109 00:07:43,400 --> 00:07:46,780 immortalize him. So far, Shakespeare is right 110 00:07:46,780 --> 00:07:49,280 because we're reading him. Shakespeare, you know, 111 00:07:49,300 --> 00:07:49,800 sometimes, 112 00:07:52,870 --> 00:07:57,090 can be thought of as England, and England thought 113 00:07:57,090 --> 00:07:59,430 of Shakespeare, so if you go England, Shakespeare. 114 00:07:59,750 --> 00:08:05,130 So they are connected with each other. Okay, let's 115 00:08:05,130 --> 00:08:08,150 look at the poems again. Shall I Compare Thee to 116 00:08:08,150 --> 00:08:14,270 Summer's Day? I think this is, as we said, it is a 117 00:08:14,270 --> 00:08:17,570 rhetorical question. Shall I compare thee to a 118 00:08:17,570 --> 00:08:21,440 summer's day? Now this rhetorical question, he 119 00:08:21,440 --> 00:08:26,140 started his poem by a rhetorical question. And 120 00:08:26,140 --> 00:08:29,380 Shakespeare was an orator. Shakespeare was a 121 00:08:29,380 --> 00:08:32,720 writer for the theater. He was an actor himself. 122 00:08:33,320 --> 00:08:37,120 And we should read this poem as if we were on the 123 00:08:37,120 --> 00:08:41,090 stage. Okay? We shouldn't read this poem like, 124 00:08:41,390 --> 00:08:43,270 shall I compare thee to a summer's day? No, it 125 00:08:43,270 --> 00:08:46,590 should be, shall I compare thee to a summer's day? 126 00:08:46,650 --> 00:08:50,090 You have to use body language. You have to feel 127 00:08:50,090 --> 00:08:53,950 what you are reading. So if we read this, shall I 128 00:08:53,950 --> 00:08:59,110 compare thee to a summer's day? Like, what does 129 00:08:59,110 --> 00:09:03,770 this rhetorical question imply? Shall I compare 130 00:09:03,770 --> 00:09:08,700 thee to a summer's day? What does it imply? Yes? 131 00:09:10,100 --> 00:09:13,600 It is impossible to compare. It is impossible to 132 00:09:13,600 --> 00:09:17,120 compare, you know? But more, it is impossible to 133 00:09:17,120 --> 00:09:21,320 compare. You know, it is unlikely to compare. It 134 00:09:21,320 --> 00:09:25,120 is unlikely to compare. What else? Despair. 135 00:09:28,460 --> 00:09:31,600 You know, he's like confused, you want to say? 136 00:09:31,980 --> 00:09:35,040 Shall I compare thee to a summer's day? But look 137 00:09:35,040 --> 00:09:37,640 at the second line. What does he say in the second 138 00:09:37,640 --> 00:09:43,480 line? What does he say in the second line? Okay, 139 00:09:43,620 --> 00:09:46,880 what does he say in the second line? Thou are more 140 00:09:46,880 --> 00:09:51,080 lovely and more temperate. So I think asking this 141 00:09:51,080 --> 00:09:56,900 question implies that She is beyond comparison. Or 142 00:09:56,900 --> 00:10:00,980 he, his friend, is beyond comparison. So the 143 00:10:00,980 --> 00:10:05,560 rhetorical question, it is a kind of exaggeration. 144 00:10:05,620 --> 00:10:09,340 He's exaggerating the beauty of the friend. What 145 00:10:09,340 --> 00:10:13,840 is he trying to say? That your beauty is beyond 146 00:10:13,840 --> 00:10:17,420 any comparison. Shall I compare thee to a summer's 147 00:10:17,420 --> 00:10:20,980 day? And I think he should be wagging like this. 148 00:10:21,560 --> 00:10:27,030 No. You are beyond comparison. They are more 149 00:10:27,030 --> 00:10:31,810 lovely and more temperate. They are more lovely 150 00:10:31,810 --> 00:10:36,690 and temperate. It is an assertion. They are. You 151 00:10:36,690 --> 00:10:40,110 are. So when we are using you are not you maybe 152 00:10:40,110 --> 00:10:46,170 you are more lovely and more temperate. Of course 153 00:10:46,170 --> 00:10:49,270 here it is like contrasting. He is contrasting. 154 00:10:49,940 --> 00:10:52,780 And we said when somebody is contrasting, he's 155 00:10:52,780 --> 00:10:57,240 showing the differences. They are more lovely and 156 00:10:57,240 --> 00:11:00,480 more temperate. I think there is a metaphor here 157 00:11:00,480 --> 00:11:07,440 running. What is the metaphor? Yes. What is 158 00:11:07,440 --> 00:11:16,870 Shakespeare comparing him to? To what? What is he 159 00:11:16,870 --> 00:11:21,230 comparing, you know, the beauty of his friend to? 160 00:11:21,890 --> 00:11:25,090 Yes? To the summer's day. To the summer's day. 161 00:11:25,230 --> 00:11:28,930 Yes, you're right. But he refused to compare it. 162 00:11:29,430 --> 00:11:31,870 No, but he's contrasting, you know, but I mean, 163 00:11:31,990 --> 00:11:34,830 because of the sake of the analogy. So he's trying 164 00:11:34,830 --> 00:11:38,410 to compare, you know, the day with. But he's 165 00:11:38,410 --> 00:11:44,690 contrasting, in fact. Yes. Now, summer, or 166 00:11:44,690 --> 00:11:48,530 summer's day might be temperate or not temperate 167 00:11:48,530 --> 00:11:51,550 because in England. So if you are talking about 168 00:11:51,550 --> 00:11:56,230 he, the friend, is more temperate, this should be 169 00:11:56,230 --> 00:12:01,710 a metaphor. Yes? Now they are more temperate. So 170 00:12:01,710 --> 00:12:07,730 look here, his friend is being considered as 171 00:12:07,730 --> 00:12:12,570 summer in a metaphoric sense. I want you, like, to 172 00:12:12,570 --> 00:12:15,350 bear this in mind when you go at the end of the 173 00:12:15,350 --> 00:12:21,190 poem, when he's telling him, thy summer. So there 174 00:12:21,190 --> 00:12:25,070 is a development in the poem from summer, you 175 00:12:25,070 --> 00:12:27,370 know, as being metaphoric into a real summer. 176 00:12:28,390 --> 00:12:33,030 Okay. Rough winds do shake the darling buds of 177 00:12:33,030 --> 00:12:37,890 May. Very frightening. Why? Very frightening. Yes? 178 00:12:40,910 --> 00:12:44,230 Okay, yes, the image itself is very frightening. 179 00:12:44,830 --> 00:12:49,550 So if we look, you know, rough ones, like first of 180 00:12:49,550 --> 00:12:55,450 all, this is a multi-layer figure of speech. Rough 181 00:12:55,450 --> 00:13:00,050 ones, you know, rough ones are being seen like 182 00:13:00,050 --> 00:13:04,800 what? A tough person who is shaking, Of what? The 183 00:13:04,800 --> 00:13:09,240 trees causing the buds to fall down. So it's an 184 00:13:09,240 --> 00:13:14,240 image of, you know, sabotage. It is an image of 185 00:13:14,240 --> 00:13:16,860 destruction, you know, sabotage, destruction. 186 00:13:17,340 --> 00:13:22,240 Okay, violence. But if you think, and then, you 187 00:13:22,240 --> 00:13:24,780 know, the buds of May, you know, like small, 188 00:13:25,140 --> 00:13:29,640 they're joining, newly growing. However, we might 189 00:13:29,640 --> 00:13:35,380 also think of this as, you know, a 223 00:16:07,330 --> 00:16:12,130 do we have, the eye of heaven. It's a metaphor. So 224 00:16:12,130 --> 00:16:16,890 the eye of heaven, the sun shines, the eye of 225 00:16:16,890 --> 00:16:22,420 heaven. So But is it shining all the time? 226 00:16:23,520 --> 00:16:27,600 Sometimes. Sometimes, you know, it's an adverb of 227 00:16:27,600 --> 00:16:33,890 what? Frequency. And again, here, if you look, we 228 00:16:33,890 --> 00:16:36,930 have often and sometime, and often and sometime 229 00:16:36,930 --> 00:16:41,830 have to do with things changing, not remaining the 230 00:16:41,830 --> 00:16:44,410 same. And Shakespeare, because Shakespeare was 231 00:16:44,410 --> 00:16:48,650 concerned with the change itself, so look here, we 232 00:16:48,650 --> 00:16:52,450 can easily connect these things with the feeling 233 00:16:52,450 --> 00:16:57,230 of change. Yes, sometime too hot the eye of heaven 234 00:16:57,230 --> 00:17:01,150 shines. So it's a metaphor. But in the second 235 00:17:01,150 --> 00:17:05,130 line, it is developed. The same figure of speech 236 00:17:05,130 --> 00:17:10,110 is developed, and off is his old complexion 237 00:17:10,110 --> 00:17:13,870 dimmed. So the complexion, what is complexion? 238 00:17:14,250 --> 00:17:18,630 It's like the complexion of the face. So don't you 239 00:17:18,630 --> 00:17:23,370 think here, what figure of speech is this? It is 240 00:17:23,370 --> 00:17:26,950 personification, yes. It is personification. Thank 241 00:17:26,950 --> 00:17:31,100 you. Yes, he here, like the sun, is being 242 00:17:31,100 --> 00:17:34,940 portrayed as a person who has, you know, like 243 00:17:34,940 --> 00:17:37,940 complexion. Sometimes they are shining complexion 244 00:17:37,940 --> 00:17:40,360 and sometimes they are... Yeah, and Shakespeare 245 00:17:40,360 --> 00:17:44,080 was upset with that, you know, norm of 246 00:17:44,080 --> 00:17:49,380 inconsistency. It is a norm of change. It is a 247 00:17:49,380 --> 00:17:52,900 norm of fluctuation. So Shakespeare was upset with 248 00:17:52,900 --> 00:17:58,120 that, and it seems like he was trying to find a 249 00:17:58,120 --> 00:18:02,220 way out of that dilemma. It continues like this, 250 00:18:02,300 --> 00:18:07,560 yes? Yeah, the next line declines. Yeah, yeah. And 251 00:18:07,560 --> 00:18:13,430 every fair from fair sometime declines. Yeah, and 252 00:18:13,430 --> 00:18:16,990 every fair from fair. Look, I think this is like 253 00:18:16,990 --> 00:18:22,050 very disappointing reality for Shakespeare. And 254 00:18:22,050 --> 00:18:25,490 every fair from fair. Look at the alliteration 255 00:18:25,490 --> 00:18:30,210 shows how Shakespeare was concerned, was upset 256 00:18:30,210 --> 00:18:35,010 with this fact. And every fair from fair sometime 257 00:18:35,010 --> 00:18:39,910 declines. I think sometime here is different from 258 00:18:39,910 --> 00:18:43,540 the sometime in the previous line. How is it 259 00:18:43,540 --> 00:18:46,660 different? Is it an adverb of time here? Adverb of 260 00:18:46,660 --> 00:18:51,460 frequency? No. So what does it mean? Like, and 261 00:18:51,460 --> 00:18:55,380 every fair from fair sometime declines. What does 262 00:18:55,380 --> 00:19:00,140 it mean? And every fair, can you translate it into 263 00:19:00,140 --> 00:19:03,700 Arabic? And every fair from fair sometime. 264 00:19:07,060 --> 00:19:09,160 Yeah, but like I want sometime. You didn't 265 00:19:09,160 --> 00:19:13,840 translate sometime. Something else. Yeah, and I 266 00:19:13,840 --> 00:19:15,960 want you to translate it in Arabic, like. 267 00:19:18,920 --> 00:19:18,920 Yeah, 268 00:19:22,020 --> 00:19:25,820 you can translate this, but like sometime. And 269 00:19:25,820 --> 00:19:30,680 every fair from fair sometime. I think, you know, 270 00:19:30,700 --> 00:19:35,600 you can translate it. وكل جمال يوم ما إلى زوال Or 271 00:19:35,600 --> 00:19:37,900 في النهاية إلى زوال 272 00:19:40,760 --> 00:19:44,040 وكله نعيم لمحالة إلى زوال. You know, this is what 273 00:19:44,040 --> 00:19:48,320 Khalid is translating in his booth there. He's 274 00:19:48,320 --> 00:19:50,580 very, he's listening to us, but I'm very happy 275 00:19:50,580 --> 00:19:54,260 like he's doing that. Yes, here it means finally, 276 00:19:54,540 --> 00:19:59,440 eventually. Sometime here means eventually. So 277 00:19:59,440 --> 00:20:02,420 Shakespeare like is very, he's mastering the 278 00:20:02,420 --> 00:20:04,780 language, you know, and Shakespeare like 279 00:20:04,780 --> 00:20:08,020 introduced or coined many words that, you know, 280 00:20:08,020 --> 00:20:12,420 becoming Shakespeare words. Anyway, by chance or 281 00:20:12,420 --> 00:20:16,980 changing nature, like he's telling us how, how 282 00:20:16,980 --> 00:20:23,400 this decline is happening. By chance or nature's 283 00:20:23,400 --> 00:20:27,550 changing course untrimmed. Now Shakespeare here is 284 00:20:27,550 --> 00:20:32,730 referring to, you know, the forces of death in a 285 00:20:32,730 --> 00:20:38,010 more metaphoric sense. Like when he's saying 286 00:20:38,010 --> 00:20:44,710 chance, he was referring to fortune, to hap. And I 287 00:20:44,710 --> 00:20:47,290 think this is an allusion. You know what's an 288 00:20:47,290 --> 00:20:51,130 allusion? It is a reference to something outside 289 00:20:51,130 --> 00:20:53,950 the text. You know, when you say he's making 290 00:20:53,950 --> 00:21:03,130 allusion, He's alluding to something. Yeah, it is, 291 00:21:03,370 --> 00:21:07,430 but not the fortune teller. Fortune, she was a 292 00:21:07,430 --> 00:21:12,150 woman who was behind a wheel turning, this wheel, 293 00:21:12,470 --> 00:21:16,230 and then you don't know. So your situation remains 294 00:21:16,230 --> 00:21:18,750 all the time precarious. You know what's 295 00:21:18,750 --> 00:21:22,810 precarious? In danger, insecure. Yeah, so you 296 00:21:22,810 --> 00:21:26,830 don't feel any security at all. Your situation 297 00:21:26,830 --> 00:21:34,040 will be precarious. Good. or changing scores 298 00:21:34,040 --> 00:21:38,160 untrimmed. Like again here, this is a reference to 299 00:21:38,160 --> 00:21:42,380 like the natural disasters, the natural 300 00:21:42,380 --> 00:21:44,940 calamities. You know what I mean calamities? 301 00:21:45,280 --> 00:21:49,600 Disasters, catastrophes. These natural calamities 302 00:21:49,600 --> 00:21:54,800 are unpredictable, are untrimmed, untrimmed. Of 303 00:21:54,800 --> 00:21:58,160 course here, he's comparing natural, there is a 304 00:21:58,160 --> 00:22:05,020 metaphor here. He's comparing natural 305 00:22:05,020 --> 00:22:08,840 disasters to something which can be like grass, 306 00:22:09,220 --> 00:22:14,540 but it is untrimmed. Untrimmed means uneven. So 307 00:22:14,540 --> 00:22:19,270 when we trim something, we make it even. But when 308 00:22:19,270 --> 00:22:24,650 it is untrimmed, it means something is longer. 309 00:22:25,290 --> 00:22:30,830 Here, what he wants to say, natural disasters are 310 00:22:30,830 --> 00:22:34,170 unpredictable. They are not even. Some of them are 311 00:22:34,170 --> 00:22:37,290 tsunami-like, some of them destructive 312 00:22:37,290 --> 00:22:39,450 earthquakes. You don't know. They are 313 00:22:39,450 --> 00:22:43,130 unpredictable. What is unpredictable is more 314 00:22:43,130 --> 00:22:43,890 precarious. 315 00:22:47,040 --> 00:22:49,240 So if we look how Shakespeare was meditating, 316 00:22:49,440 --> 00:22:53,220 these were how Shakespeare meditating. He was 317 00:22:53,220 --> 00:22:57,060 thinking. He was meditating what would happen. And 318 00:22:57,060 --> 00:22:59,440 I think we share Shakespeare. You know, the most 319 00:22:59,440 --> 00:23:02,800 interesting thing that Shakespeare in the two 320 00:23:02,800 --> 00:23:06,680 poems is writing about particular, you know, 321 00:23:06,700 --> 00:23:10,080 experience. But this particular experience becomes 322 00:23:10,080 --> 00:23:13,560 common. We share Shakespeare's concern. And this 323 00:23:13,560 --> 00:23:14,940 is the greatness, again, of Shakespeare. 324 00:23:15,710 --> 00:23:19,010 Shakespeare is lyrical poetry. It is lyrical. It 325 00:23:19,010 --> 00:23:22,410 talks about personal experience. However, like his 326 00:23:22,410 --> 00:23:25,710 experience is shared by all the people. You see 327 00:23:25,710 --> 00:23:28,570 what I mean? But not all the English even, all the 328 00:23:28,570 --> 00:23:32,930 people around the world. It is. You can easily 329 00:23:32,930 --> 00:23:37,730 identify with. So great poetry, as we said, if you 330 00:23:37,730 --> 00:23:40,330 remember at the beginning of the course, great 331 00:23:40,330 --> 00:23:43,870 poetry is the poetry which allows you to identify, 332 00:23:44,490 --> 00:23:47,710 which allows you to be an insider of the poem 333 00:23:47,710 --> 00:23:55,110 itself. By chance or nature's changing course 334 00:23:55,110 --> 00:23:58,860 untrimmed. Look here, Shakespeare in the final 335 00:23:58,860 --> 00:24:03,780 couplet is trying to find a way out. And now here, 336 00:24:04,080 --> 00:24:09,880 he started to give us some hints what he's going 337 00:24:09,880 --> 00:24:15,320 to do. Thy eternal summer. Look here, thy summer. 338 00:24:15,980 --> 00:24:20,460 So summer which was being seen as like metaphoric 339 00:24:20,460 --> 00:24:22,840 is becoming real. Your summer, you are the summer 340 00:24:22,840 --> 00:24:25,580 yourself, but you are different summer. But thy 341 00:24:25,580 --> 00:24:28,180 summer, 342 00:24:29,220 --> 00:24:33,990 thy eternal summer shall not fade. Again, we have 343 00:24:33,990 --> 00:24:37,630 a metaphor. You know, the summer of the friend is 344 00:24:37,630 --> 00:24:42,850 like a plant which will never, you know, fade. It 345 00:24:42,850 --> 00:24:47,230 will remain lush green. I like this collocation, 346 00:24:47,770 --> 00:24:51,250 lush green. It will remain lush green forever. 347 00:24:51,490 --> 00:24:54,490 Why? Because this is how Shakespeare thought of 348 00:24:54,490 --> 00:24:57,470 his poetry. And I think here, he was bragging. He 349 00:24:57,470 --> 00:25:02,080 was cherishing his poetry.but thy eternal summer 350 00:25:02,080 --> 00:25:06,280 shall not fade nor lose possession of that fairs 351 00:25:06,280 --> 00:25:10,820 thou owest it will never your you know because you 352 00:25:10,820 --> 00:25:16,420 know your your summer will be in my eternal lines 353 00:25:16,420 --> 00:25:22,080 so it will never lose its beauty will remain 354 00:25:22,080 --> 00:25:26,500 intact you know what's mean intact you know intact 355 00:25:26,500 --> 00:25:28,660 unblemished as it is intact 356 00:25:32,000 --> 00:25:33,640 It will remain as it is. 357 00:25:36,620 --> 00:25:39,480 But, like, if you hear, like, go to the, you know, 358 00:25:39,560 --> 00:25:43,760 nor lose position of that, first thou owest, nor 359 00:25:43,760 --> 00:25:46,920 shall death. Nor. Look at nor. Nor. So Shakespeare 360 00:25:46,920 --> 00:25:51,660 here is contesting, is challenging. Death will 361 00:25:51,660 --> 00:25:56,780 not. Nor. Nor. So the not and the nor, you know, 362 00:25:57,100 --> 00:26:02,690 the use of these has to, you know, to do with 363 00:26:02,690 --> 00:26:06,890 Shakespeare's attitude of contesting with death, 364 00:26:07,770 --> 00:26:11,390 you know, challenging death. Nor, nor, nor. Nor 365 00:26:11,390 --> 00:26:15,650 shall death brag that wondrous in his shade. Death 366 00:26:15,650 --> 00:26:19,270 will never brag. Again, here, we have a personal 367 00:26:19,270 --> 00:26:22,970 occasion. Death is being portrayed like a person 368 00:26:22,970 --> 00:26:27,450 who's arrogant, conceited. Look at them. I 369 00:26:27,450 --> 00:26:31,250 inflicted all of them dead. And again, this is a 370 00:26:31,250 --> 00:26:33,370 biblical image. This is an image from the Bible 371 00:26:33,370 --> 00:26:37,010 when death, when like a lot of people who were 372 00:26:37,010 --> 00:26:41,250 killed by death will be like in his shade. So 373 00:26:41,250 --> 00:26:44,010 Shakespeare is using a biblical image here, and 374 00:26:44,010 --> 00:26:45,710 this is another example of allusion. 375 00:26:48,490 --> 00:26:52,450 Now, nothing will happen to you when, and he's 376 00:26:52,450 --> 00:26:56,870 trying to explain for us, when in eternal lines to 377 00:26:56,870 --> 00:27:02,400 time thou growest. You know, thou grossed. Again 378 00:27:02,400 --> 00:27:07,260 here, we have a metaphor. And this metaphor, as we 379 00:27:07,260 --> 00:27:13,140 said, is what? Yeah, I know it's a metaphor. What 380 00:27:13,140 --> 00:27:19,040 is the metaphor here? Like, let's explain it. Like 381 00:27:19,040 --> 00:27:25,580 the summer of his friend will grow. Where will it 382 00:27:25,580 --> 00:27:31,290 grow? In Gaza? No, where? In his poetry. Have you 383 00:27:31,290 --> 00:27:34,270 ever seen like something growing in poetry? Okay, 384 00:27:34,350 --> 00:27:37,770 let's plant a tree in poetry Shakespeare, in the, 385 00:27:37,830 --> 00:27:41,430 you know, the poetry of Shakespeare. Yes. So here, 386 00:27:42,070 --> 00:27:47,290 I think the image is taken from botany from, you 387 00:27:47,290 --> 00:27:51,070 know, you know, in botany, in agriculture, there 388 00:27:51,070 --> 00:27:54,860 is something called grafting. What is grafting? It 389 00:27:54,860 --> 00:27:58,520 means you are joining two things. So here, the 390 00:27:58,520 --> 00:28:02,160 image is like this. Shakespeare's poetry is being 391 00:28:02,160 --> 00:28:07,000 portrayed like what? Like a tree. And the summer 392 00:28:07,000 --> 00:28:12,020 of his friend is like graft, a piece which is 393 00:28:12,020 --> 00:28:17,860 joined. And then after a while, it sprouts. You 394 00:28:17,860 --> 00:28:22,540 know what's with sprouts? It sprouts, grows. It 395 00:28:22,540 --> 00:28:26,240 grows, you know, it grows and then it continues 396 00:28:26,240 --> 00:28:31,560 growing. So this is a grafting metaphor, like you 397 00:28:31,560 --> 00:28:35,800 graft, you join two parts, you know, they might 398 00:28:35,800 --> 00:28:39,060 not be, you know, homogeneous, they might be 399 00:28:39,060 --> 00:28:41,900 heterogeneous, but once they are grafted, they 400 00:28:41,900 --> 00:28:46,670 become homogeneous and they grow together. So look 401 00:28:46,670 --> 00:28:51,910 how Shakespeare was analyzing his sentiment. Look 402 00:28:51,910 --> 00:28:54,970 how Shakespeare was recording. And all of this in 403 00:28:54,970 --> 00:28:58,230 a musical, in a sonnet form. So there are many 404 00:28:58,230 --> 00:29:02,410 things to consider here. 405 00:29:05,610 --> 00:29:10,840 When in eternal lines to time thou growest, So 406 00:29:10,840 --> 00:29:13,780 long as men, and Shakespeare after all of this, 407 00:29:14,240 --> 00:29:18,800 you know, has concluded the argument. So the 408 00:29:18,800 --> 00:29:22,960 argument started by Shakespeare's concern about, 409 00:29:23,620 --> 00:29:26,220 you know, then he went through all the 410 00:29:26,220 --> 00:29:30,260 difficulties, which would make him like decline to 411 00:29:30,260 --> 00:29:33,580 compare. And finally, he's giving the conclusion 412 445 00:31:58,810 --> 00:32:02,950 how tough or how fierce the destruction will be. 446 00:32:03,810 --> 00:32:06,650 How with this rage shall beauty hold a plea? So 447 00:32:06,650 --> 00:32:10,410 Shakespeare, as we said, this poem is full of 448 00:32:10,410 --> 00:32:13,170 rhetorical questions. How many questions do we 449 00:32:13,170 --> 00:32:17,850 have? Five rhetorical questions. How with this 450 00:32:17,850 --> 00:32:20,770 rage shall beauty hold a plea? So Shakespeare is 451 00:32:20,770 --> 00:32:25,730 wondering, you know, is wondering about, like, the 452 00:32:25,730 --> 00:32:32,690 vulnerability, the invalidness of, let's say, the 453 00:32:32,690 --> 00:32:35,170 beauty or love of his friend. What will it do, you 454 00:32:35,170 --> 00:32:39,950 know? It will be helpless, exactly like a helpless 455 00:32:39,950 --> 00:32:46,100 defendant in a court, who is unable to defend 456 00:32:46,100 --> 00:32:52,940 himself in front of a very despotic executor. 457 00:32:55,180 --> 00:32:58,040 How would this Rachel beauty hold a plea, whose 458 00:32:58,040 --> 00:33:00,880 action is no stronger than a flower? Look here. 459 00:33:01,880 --> 00:33:06,260 Yeah, a flower is very delicate. So this shows how 460 00:33:06,260 --> 00:33:10,000 the beauty of his friend is very delicate. He's 461 00:33:10,000 --> 00:33:14,510 comparing it to a flower. And if we think about 462 00:33:14,510 --> 00:33:18,470 the disparity, the difference between the delicacy 463 00:33:18,470 --> 00:33:21,590 of the beauty friend and the toughness and the 464 00:33:21,590 --> 00:33:24,130 roughness and the, you know, of time, we started 465 00:33:24,130 --> 00:33:28,250 like to say, oh my God, this is too much. whose 466 00:33:28,250 --> 00:33:31,070 action is no stronger than a flower? Or how shall 467 00:33:31,070 --> 00:33:34,590 summer's honey breath hold out?" Again, it is 468 00:33:34,590 --> 00:33:36,830 summer's honey breath, which is very delicate, 469 00:33:37,250 --> 00:33:40,210 which is very, you know, the beauty, very soft. 470 00:33:40,770 --> 00:33:47,430 This is, again, it is a metaphor. Yes. Against the 471 00:33:47,430 --> 00:33:50,910 reckful siege of battering days, you know? And we 472 00:33:50,910 --> 00:33:54,490 saw the image of the battering days. And we, 473 00:33:54,610 --> 00:33:57,610 because we live You know, in a siege, we 474 00:33:57,610 --> 00:33:59,730 understand what is a siege, how tough is the 475 00:33:59,730 --> 00:34:02,730 siege, you know? And this siege is, you know, very 476 00:34:02,730 --> 00:34:06,890 frightening. We saw how the battering days will be 477 00:34:06,890 --> 00:34:11,670 like soldiers holding big hammers trying, like, to 478 00:34:11,670 --> 00:34:15,910 deter or stop, you know, this lovely, this 479 00:34:15,910 --> 00:34:20,150 delicate, fragile, you know, beauty, like, to go 480 00:34:20,150 --> 00:34:23,890 out, to leave. when rocks impregnable are not so 481 00:34:23,890 --> 00:34:27,510 stout what I like here in this line you know if we 482 00:34:27,510 --> 00:34:32,530 look here when rocks you know against the reckful 483 00:34:32,530 --> 00:34:36,610 siege of battering days when rocks impregnable now 484 00:34:36,610 --> 00:34:42,240 impregnable we have three Three stresses. And 485 00:34:42,240 --> 00:34:45,440 this, you know, because the whole poem is written 486 00:34:45,440 --> 00:34:49,480 in iambic pentameter. When, you know, it's written 487 00:34:49,480 --> 00:34:52,480 in iambic pentameter. And here, so Shakespeare 488 00:34:52,480 --> 00:34:57,470 tried to vary it. He's tried to vary it in order, 489 00:34:57,590 --> 00:35:00,710 like, to equate, you know, the sound and the 490 00:35:00,710 --> 00:35:04,990 meaning. So here, the battering days, boom, boom, 491 00:35:05,450 --> 00:35:08,570 boom. So he's equating this triple hammer blow 492 00:35:08,570 --> 00:35:14,670 with, you know, the three stressed syllables. So 493 00:35:14,670 --> 00:35:18,310 this is, like, common. And here, a not-so-stout. 494 00:35:18,590 --> 00:35:23,770 You know, again here. You know? Nor case of steel 495 00:35:23,770 --> 00:35:28,630 so strong. You know? Again. But time decays. Or 496 00:35:28,630 --> 00:35:32,450 for, you see, or for meditation where I lack shall 497 00:35:32,450 --> 00:35:36,230 times best jewel from times chest lie head. You 498 00:35:36,230 --> 00:35:41,230 know? Here, again, again, you know? Or what 499 00:35:41,230 --> 00:35:46,990 strong, what? Strong hand. Swift-foot bag. So 500 00:35:46,990 --> 00:35:50,430 Shakespeare's, you know, like, started to variate 501 00:35:50,430 --> 00:35:56,150 in this. Why? To make, you know, the sound like a 502 00:35:56,150 --> 00:35:58,630 little bit equivalent or parallel with the meaning 503 00:35:58,630 --> 00:36:01,550 itself. Because here, as you see, it is very 504 00:36:01,550 --> 00:36:06,330 tough. It is very, you know, noisy. So when rocks 505 00:36:06,330 --> 00:36:10,910 impregnable are not so stout, nor gates of steel 506 00:36:10,910 --> 00:36:17,110 so strong, but time decays. Very frightening. When 507 00:36:17,110 --> 00:36:20,570 you think the beauty of the friend or, you know, 508 00:36:20,630 --> 00:36:23,230 the memory of the friend, like, will be faced with 509 00:36:23,230 --> 00:36:26,110 all these powers of destruction, you become very 510 00:36:26,110 --> 00:36:30,710 intimidated. You become very afraid. And 511 00:36:30,710 --> 00:36:32,850 Shakespeare, even Shakespeare also said, Oh, 512 00:36:32,910 --> 00:36:35,630 fearful meditation, because this is very 513 00:36:35,630 --> 00:36:41,220 intimidating, isn't it? Where are you?" He started 514 00:36:41,220 --> 00:36:44,880 to ask, what will, you know, time's best jewel? 515 00:36:45,180 --> 00:36:47,400 You know, time here is life, and the best jewel of 516 00:36:47,400 --> 00:36:49,700 life is the beauty itself. Well, you know what 517 00:36:49,700 --> 00:36:52,700 will happen? What is the fate? So he was, you 518 00:36:52,700 --> 00:36:55,640 know, pondering. He was thinking about, you know, 519 00:36:55,700 --> 00:36:59,560 the beauty of, you know, the fate, you know, of 520 00:36:59,560 --> 00:37:01,940 this beauty. What will happen to it? Shall time's 521 00:37:01,940 --> 00:37:05,920 best jewel from time's chest lie head? Or what? 522 00:37:06,910 --> 00:37:10,770 Strongly. Look here, he is looking for, he's 523 00:37:10,770 --> 00:37:17,110 seeking what? A hand. A hand which will deter, 524 00:37:17,710 --> 00:37:21,390 hold. You know what's mean deter? Repulse. The 525 00:37:21,390 --> 00:37:26,450 swift thought of time. Yeah, like to hold it back, 526 00:37:26,970 --> 00:37:30,090 to stop it, to deter. So he was looking for 527 00:37:30,090 --> 00:37:34,710 something. Now, when you are in trouble, in a 528 00:37:34,710 --> 00:37:37,770 crisis situation, in a dilemma, you start to look 529 00:37:37,770 --> 00:37:40,750 for something from the outside. You start to seek 530 00:37:40,750 --> 00:37:44,410 an aid. And Shakespeare here was wondering, what 531 00:37:44,410 --> 00:37:48,550 can I do? Or what strong hand can hold his swift 532 00:37:48,550 --> 00:37:53,100 foot back? Or who? who's spoiled of beauty. Now I 533 00:37:53,100 --> 00:37:56,080 need somebody, I need somebody who can stop this, 534 00:37:56,580 --> 00:38:02,010 you know, the beauty. you know, can forbid. Of 535 00:38:02,010 --> 00:38:04,870 course, we as Muslims, we can answer these 536 00:38:04,870 --> 00:38:08,070 questions easily, you know, by saying, Allah 537 00:38:08,070 --> 00:38:11,530 Subhanahu Wa Ta'ala can, you know, can stop all of 538 00:38:11,530 --> 00:38:15,390 this. Shakespeare was trying to think of a power, 539 00:38:15,810 --> 00:38:19,690 you know, but he suddenly say, or who his bowl of 540 00:38:19,690 --> 00:38:24,950 beauty can forbid? Oh, none, none of these, except 541 00:38:26,440 --> 00:38:32,300 Unless this miracle, what is this? This poem, his 542 00:38:32,300 --> 00:38:39,700 poetry. This have might, might, power. Unless my 543 00:38:39,700 --> 00:38:45,120 poetry has this power. To do what? That, he's 544 00:38:45,120 --> 00:38:50,380 explaining it. That in a black ink, my love may 545 00:38:50,380 --> 00:38:56,270 still shine bright. Wow. So very affirmative. 546 00:38:57,130 --> 00:39:00,890 Very, he, I think he's bragging. He's bragging. 547 00:39:01,030 --> 00:39:04,730 He's, you know, sure that his poetry will, you 548 00:39:04,730 --> 00:39:06,710 know, immortalize him. 549 00:39:09,570 --> 00:39:15,630 You see, this is Shakespeare. Again, now we might, 550 00:39:16,110 --> 00:39:21,550 and this is like part of your job. is to see whom 551 00:39:21,550 --> 00:39:25,510 he was addressing in the sonnet. In the two 552 00:39:25,510 --> 00:39:28,630 sonnets, whom he was addressing. Was he 553 00:39:28,630 --> 00:39:31,030 addressing, you know, the dark lady? Was he 554 00:39:31,030 --> 00:39:33,770 addressing a friend? Who's this friend? You know? 555 00:39:35,250 --> 00:39:38,470 This is very important to consider because I want 556 00:39:38,470 --> 00:39:42,430 you like to have more knowledge, awareness about 557 00:39:42,430 --> 00:39:47,250 Shakespeare's sonnets. So these are one, these two 558 00:39:47,250 --> 00:39:50,230 sonnets, they are popular sonnets. However, you 559 00:39:50,230 --> 00:39:54,510 can, for comparison, look at sonnets and learn 560 00:39:54,510 --> 00:39:58,690 more about Shakespeare by yourself, okay? Any 561 00:39:58,690 --> 00:40:01,170 question, please? Do you have any question? 562 00:40:04,820 --> 00:40:07,560 Okay. Thank you very much.