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To shift from one mood to another, Because, you

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know, what upsets me, like, is like some students

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do not do their reports. This makes me mad. But I

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don't want to be mad. I want to be glad, you know,

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with a student who seems to have written something

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poetic. Okay, good.

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My daily report. When I remember the lecture last

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day, I become so optimistic by this way. The

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previous lecture was rhythm and rhyme. I prepared

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a lot to that lecture, which has a nice sight and

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style. As usual, the lecturer asked who wrote the

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daily report. I began to wait with some confusion

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and can't control. After a short time of waiting,

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my heart began to hurry up and I wished to fly.

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because of the shockness and frightness that I

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felt for the first time. In spite of this, our

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kind teacher motivated me by saying, you are good,

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do not be shy. I finished the poem with some

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repetition of the sound mind. He gave us a new

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hope to activate our mind. He encouraged us by

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saying, whatever you say will be right. Time is

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over, the teacher thanked us and the class is

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finished. He said, you should prepare for the next

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time or you will be punished. Okay, thank you. I

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didn't like threaten, but I want to motivate you.

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It's good. Thank you very much for like having

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this positive attitude. Let's see somebody who's

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willing there. Yes.

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Assalamualaikum. When I sit to write my report, I

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remember the last lecture and some student when

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read their reports, which write it in about it

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way. I tried to write my report in that way, but I

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think writing a poem is a gift. Not anyone can

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write it. But still you can experiment, you know.

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I know you might be gifted. Who knows? Maybe.

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Okay, not anyone can write poem or verses, maybe

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if I read more, teach more about poetry or maybe

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at the end of this course I can write couple of

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verse The last lecture was very interesting

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because we learn new things about rhyme and

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rhythm, it is very important because we should

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apply it in the whole poems Okay, thank you very

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much. I would be satisfied with like these two

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reports. I know like many of you wrote wonderful

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reports, but this is like the trick. It's like to

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get you to write and, you know, keep it because at

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the end I'll collect all of them and just look at

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the way you're writing. Good. Today, we're going

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to see Sir Philip Sidney and his poem, Litany. But

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I know you have read much about Sidney. You have

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read the poem. You have read Spencer. Because this

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week, we are doing Spencer as well. So I need

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somebody who thinks she has a wonderful response

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to Litany.

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And then I can come to you and see what kind of

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responses you have. Okay. Love is dead. That's

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what Sir Philip Sidney said. It truly reflects how

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he revealed sadness, anger, and regret. God, Lord,

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deliver us. It was hearty prayer rather than

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expression exasperated. Cursing love is what he

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meant. Pity and fear is what I sensed. Alas, fear

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the pain of love is what we shot. Then I read the

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sarcastic shift. He got rejected. It wasn't

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something he did, but because of his mistress'

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wit. So love isn't dead. In her mind, she's

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waiting for Mr. Right, for Mr. Right. And I hope

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she'll never find, because I'm sick of something

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called one love side. Okay, good. This is, you

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know, a wonderful parody. You know, it is as if

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she's giving us an example of a parody. But like

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her critique, you know, this is a critique of the

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poem. It seems like she is denouncing the poet.

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She's not happy with the poet, you know? But let's

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see, perhaps some of you have different point of

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view. Okay, just like I need you to talk, you

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know? Yeah, what do you think? No, just my eyes.

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You read the book? Again? Okay, but I know It's

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like they love to talk. OK. For my reading, I

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found the theme is about Cordial love. It is about

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one-sided love. And his beloved rejected him. And

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he decided to write a poem to describe it, to

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describe his death and stuff like that. So it is

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very traditional Cordial love poem, do you think?

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And is he like reading the same way other poets

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read? More than. More than. He's like very, like,

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he's crazy. Yeah. That's scandalizing. Yeah. He

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was very serious. You think that he's exaggerating

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things. Good. OK. Let's see someone else. What do

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you think? Yes? The thing that he used to express,

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he used too much figurative speech to strengthen

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the idea, strengthen the pain or the emotion that

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he wanted to transfer to the reader of the other

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people. He used too much figurative speech.

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So his home was full of figures of speech? And you

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like his style? Yeah. Do you remember any of these

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figures? Yeah, one of them is dead. Which is like

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what? Personalization. And it's very bizarre, very

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funny, very irrational. Come on, give me a break.

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It's crazy. But I think later about this,

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assumption is very critical when we see the whole

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atmosphere. I don't know why you don't like the

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atmosphere. It's very cloudy and you feel like

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it's really dark. It feels like it's pouring into

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your heart something like really bad. Yeah, why?

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Like pinching your heart or something. But I think

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you know what aggravates the whole situation is

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like It's like a killer, isn't it? Killer, the

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anger, the violence coming here. So I think he's

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exaggerating about it. He's angry with all women.

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Do you think he has a point? Do you think

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he has a point?

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So he's judgmental and you don't like it I think

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you know at the end of the poem he changes by the

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direction Yeah, so he back up and some say I'm

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sorry I You know, I didn't mean that, you know.

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No, I'm not that crazy, you know. So did he say

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that? No, I don't think so. You don't think so?

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Okay. He considered that I should protect him from

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women and he considered that women are all

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resources for him. Yeah, but you're right, but I

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think later he backed up and he started to say,

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no, it is like I didn't mean this, you know, I was

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angry and this is what made me commit such a

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folly. You see what I mean? I mean, this is very

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confusing, isn't it? Good. And let's see. Yes.

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Somebody else. Like still mind where? Yes, please.

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As crazy as the poet. I'm not going. Okay, good.

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So I see that some of you are not happy with the

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poet. Some of you are not happy with the

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atmosphere of the whole poem. It is very sad, very

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morbid you know however it seems like some of you

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the other are like and do not share the same

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opinion some of you like think it's a good power

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Yes?

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Yes,

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so yeah I think he has a point because you know

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he's a man who seems to be very noble and you know

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he's rejected because you know what like all you

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know because the lady seems to be scoffing, the

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lady seems to be arrogant And I think he gave

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enough reasons why he was not happy with her.

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Yeah,

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I think yes, when Amal is going to talk today,

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she's going to tell us about, you know, you know,

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Sydney as a, you know, a courtier, as a noble, as

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a sir, as a warrior, you know, he was he was like

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a man who some of the spirit of the Elizabethan

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idea of man as a paragon, as a wonderful. So yeah,

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he was like many things in one thing. He was an

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exemplar of what an Elizabethan man should be. And

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again, we'd see how he was trying to fit himself

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with the cultural norms of the time, like

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courtiers should be educated, should be

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intellectuals, should be lovers, should be

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knights, should be, you know, that was a holistic

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idea of like, you know, a courtier or a courtier

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lover. Good. Yes? I think the poet succeeds to use

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a very confusing and choosing the best figurative

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language to express and achieve the theme of this

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poem. And he used black elements in the poem to So

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you were attracted by the aesthetics, you know?

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What is like the most memorable line you have in

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the poem? Love is there. God, Lord deliver us.

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God, Lord deliver us. Like it's a prayer. It is a

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supplication. Have you ever seen supplication?

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Somebody like making supplication like this. Very

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good. Yeah, hold on please. Yes? My initial

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response, I felt like he was really depressed. And

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I felt like he was just trying to pour himself

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out, to get people to feel what he's feeling.

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Because all the words that he used, like infected,

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disdained, rejected, ungrateful. So do you want to

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say, like, he was sentimental? Yeah. And he was

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trying, like, to exaggerate his, you know, ordeal

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in order, like, to get the sympathy of the people?

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Hey, come, come. It's a possibility, but however,

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sometimes when pain and agony are too much to put

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up with, you might use this method. So we don't

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know. He might be exaggerating, and he might be

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honest. This depends on the relationship.

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You were attracted by the title literally. What is

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a literary by the way, you know? It is a sad song.

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It is a sad song, yeah.

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Yeah, you think it was like a funeral, you know?

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Yeah, so you were attracted with the title? Good.

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Any other response from those who are at the back?

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Yes, please. I think that he's an anti-feminist

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poet that he asked young to protect the society

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and to protect women from the... So you're not

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happy, so you think he's anti-feminist. I think,

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00:13:56,050

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What do you want to say, Amal? I want to talk 

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about Philip Sidney. At first, Philip Sidney is a 

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poet, a soldier, and one of the most prominent

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characters in the Elizabethan Age. The reason why 

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I mention that he was a soldier is because it is 

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what gave him the title Sir or Sire. It was given 

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to soldiers at that time, at that court. He was 

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very much interested in politics and in arts. that 

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he worked for the Queen Elizabeth I and as he said 

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he was the favorite for her. He traveled through 

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Europe, Italy, France, Germany where he met a lot 

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of intellectuals and of course politicians. Philip

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Sidney encouraged a lot writers and poets at that 

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time, especially Edmund Spencer, who dedicated a 

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song, a poem after that for him, which was called 

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The Shepherd's Calendar. They say that when Philip 

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Sidney started reading that poem, he was so much 

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fascinated that he ordered, after reading the

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first stanza, he ordered 200 pounds to be given to 

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Edmund Spencer, which was a great honor for him, 

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of course. After that, for some reason, Sir Philip 

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Sidney retired from court and working for the 

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Queen, and then he started writing his works. He 

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wrote Astrophel and Stella, which is the first and

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famous English sonnet sequence. It includes 108

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sonnets and 11 songs. As any other poet at that

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time, Sir Philip Sidney was too fascinated and 

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influenced by Petrarch and his conventions that he 

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actually, he followed the Petrarchan rhyme scheme

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in a lot of his sonnets. Wait a minute, like 

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Astrophel and Stella, like this is a collection of 

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sonnets, I think. We have 108 sonnets. And you

255
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know, Stella means star, I think. And Astrophel

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means the lover of a star. So are we talking about 

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like a collection of poetry which we can call love 

258
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poetry? They say that he dedicated a lot of his 

259
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songs to his love, to his lover, a girl. Yeah, I 

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think Penelope de Vorex. Yes. If you remember my 

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name, Penelope, Penelope, Penelope de Vorex. You 

262
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know, it seemed like there was saying about like

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he when she was 13 that he was the one who was 

264
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going to marry, but they never married. And you 

265
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know, she married to another anyone. But like you

266
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see, that love did not succeed or that marriage 

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did not succeed and you know like Sidney and this

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lady became you know like they remained and he

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dedicated the whole volume for her okay. After

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that he wrote The Countess of Primbrock's Arcadia

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or the Arcadia or other words they call it the old 

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Arcadia. It is a long prose work that is basically

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a romance that combines pastoral elements with 

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some Greek elements called I believe Hellenistic

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00:19:27,100 --> 00:19:30,520
or something like that. In it he highly idealized

276
00:19:30,520 --> 00:19:33,820
the life of a shepherd and he also talked about 

277
00:19:33,820 --> 00:19:38,680
some treachery, rapes, battles and kidnapping. So

278
00:19:38,680 --> 00:19:41,680
this is like a way this is what we call Pastoral

279
00:19:41,680 --> 00:19:44,900
poetry, which is away from the complication of the 

280
00:19:44,900 --> 00:19:48,660
city life, as if he, you know, Osama bin Laden was 

281
00:19:48,660 --> 00:19:52,540
criticizing the complexity, the corruption of the 

282
00:19:52,540 --> 00:19:55,880
city life. So we're talking about a new genre, and 

283
00:19:55,880 --> 00:19:59,100
I think, you know, Sir Philip Sidney was like, you

284
00:19:59,100 --> 00:20:03,100
know, wonderful in this genre. Okay, I think you

285
00:20:03,100 --> 00:20:06,020
have something about his defense of poetry. It is

286
00:20:06,020 --> 00:20:08,640
one of the most important contributions to the

287
00:20:08,640 --> 00:20:12,010
English literature as a whole. In it, he addressed 

288
00:20:12,010 --> 00:20:14,510
the objections of Plato. As we all know, he didn't 

289
00:20:14,510 --> 00:20:17,530
like poetry a lot. So he addressed these, he

290
00:20:17,530 --> 00:20:22,870
defended poetry in this. And also, he also talked 

291
00:20:22,870 --> 00:20:26,390
about how poetry is noble, the nobility of poetry, 

292
00:20:26,530 --> 00:20:29,710
that poetry, poetry is for teaching and delighting 

293
00:20:29,710 --> 00:20:32,550
and horrors. I think he was, you know, responding

294
00:20:32,550 --> 00:20:36,240
or he was trying like to respond to the accusation 

295
00:20:36,240 --> 00:20:41,400
of, you know, the Puritan critic Stephen Gossen, 

296
00:20:42,040 --> 00:20:45,140
who accused poetry as being the mother of lies, 

297
00:20:46,100 --> 00:20:50,280
being immoral, being, you know, just like this at

298
00:20:50,280 --> 00:20:53,780
some point. But I'm interested, like, how he

299
00:20:53,780 --> 00:20:59,680
refuted, like, you know, Gossen's allegation about 

300
00:20:59,680 --> 00:21:02,260
poetry being the mother of lies. What did he say?

301
00:21:04,050 --> 00:21:10,010
He said that poetry is the only genre or the only 

302
00:21:10,010 --> 00:21:12,030
branch of knowledge which never tells lies,

303
00:21:12,450 --> 00:21:16,070
because it never tells what things are, but how

304
00:21:16,070 --> 00:21:18,850
things should be. Because, you know, very good,

305
00:21:18,970 --> 00:21:21,640
you know. He says that poetry has the power to

306
00:21:21,640 --> 00:21:24,620
move people to be more virtuous and virtuous 

307
00:21:24,620 --> 00:21:27,140
actions. But I don't think he was the only critic 

308
00:21:27,140 --> 00:21:29,700
of the time. There was another critic called

309
00:21:29,700 --> 00:21:32,640
Pottenham. You know, he was also a critic and he

310
00:21:32,640 --> 00:21:35,840
wrote a book about the art of poetry and the art 

311
00:21:35,840 --> 00:21:38,860
of writing poetry. He was much more philosophical.

312
00:21:39,200 --> 00:21:44,160
But it's good here we have the rise, we could say, 

313
00:21:44,260 --> 00:21:47,420
of criticism. So look here, we are dealing with a

314
00:21:47,420 --> 00:21:50,980
very intellectual poet, a critic, a poet, a lover, 

315
00:21:51,460 --> 00:21:56,000
a courtier, as we said. And you mentioned Spencer, 

316
00:21:56,320 --> 00:21:59,200
like praising him, but I would mention also 

317
00:21:59,200 --> 00:22:03,320
Shelley, you know, the romantic poet who said, you 

318
00:22:03,320 --> 00:22:10,580
know, as he lived, you know, as he, you know,

319
00:22:10,620 --> 00:22:17,380
lived, loved and lived, as he you know, Phil, like 

320
00:22:17,380 --> 00:22:21,360
in a battle, he was a sublimely spirit without a 

321
00:22:21,360 --> 00:22:25,100
mind, you know, like he was praising him as he 

322
00:22:25,100 --> 00:22:29,640
lived and loved, as he, Phil and Phor, he was 

323
00:22:29,640 --> 00:22:33,500
sublimely spirit without a spot, you know, that 

324
00:22:33,500 --> 00:22:38,400
was like him, like Chile, he was praising his 

325
00:22:38,400 --> 00:22:42,870
nobility, you know, and he was like, very

326
00:22:42,870 --> 00:22:48,530
influential, very famous poet and intellectual of 

327
00:22:48,530 --> 00:22:54,050
his time. So now, I don't think we should take 

328
00:22:54,050 --> 00:23:00,530
this for something funny, when he writes a poem

329
00:23:00,530 --> 00:23:03,410
like this. Okay, do you want to add anything?

330
00:23:04,550 --> 00:23:09,550
Yeah, but you're taking us to the poem, and all of

331
00:23:09,550 --> 00:23:13,830
the students, wow, you're lucky. You like it? You

332
00:23:13,830 --> 00:23:17,350
like it? I don't know. Like, you should have 

333
00:23:17,350 --> 00:23:23,790
started reading it aloud. How? How should it? And 

334
00:23:23,790 --> 00:23:29,670
like, look here. Some poems, some lines are, yeah. 

335
00:23:31,370 --> 00:23:34,930
Didn't nobody read this poem aloud at home? Huh?

336
00:23:36,910 --> 00:23:40,790
Don't say, bring out your bells. Don't worry. Do

337
00:23:40,790 --> 00:23:43,270
you think it should be like this? How?

338
00:23:46,670 --> 00:23:54,850
Is it anger or let's say a song? Because there

339
00:23:54,850 --> 00:23:57,470
should be anger like, bring out your guns, like 

340
00:23:57,470 --> 00:24:03,070
this? Bring out your guns. Late morning shows be 

341
00:24:03,070 --> 00:24:07,650
spread and then Allah is there. That is silly.

342
00:24:08,580 --> 00:24:10,500
Very silly, you know, come on, give me a break. 

343
00:24:11,080 --> 00:24:14,920
What are you saying? You know, you're calling all

344
00:24:14,920 --> 00:24:18,820
these church bells to ring, you know, and then 

345
00:24:18,820 --> 00:24:22,800
you're telling me one is dead? Very silly. Very, 

346
00:24:23,000 --> 00:24:27,940
you know, irrational. But I think he, you know, by

347
00:24:27,940 --> 00:24:32,460
counting the reasons, by justifying that, you 

348
00:24:32,460 --> 00:24:37,660
know, he's becoming more, you know, like sensible.

349
00:24:38,450 --> 00:24:41,930
and then say, Allah was dead, infected with plague 

350
00:24:41,930 --> 00:24:47,310
of deep disdain, worth as note worth rejected, and 

351
00:24:47,310 --> 00:24:52,230
faith first scored off gain from so ungrateful 

352
00:24:52,230 --> 00:24:57,010
fancy, from such a female frenzy, from them that 

353
00:24:57,010 --> 00:25:01,450
use men thus, good Lord, deliver us. Wow. Do you 

354
00:25:01,450 --> 00:25:04,410
think this is like the voice of the poet? Is it 

355
00:25:04,410 --> 00:25:05,810
the same voice or a different voice?

356
00:25:11,370 --> 00:25:14,730
You know, you are the chorus, and you know, can we

357
00:25:14,730 --> 00:25:17,610
do it? But let's see, listen, because this is how

358
00:25:17,610 --> 00:25:20,630
it should be. I'm going to, you know, like, to

359
00:25:20,630 --> 00:25:24,290
start. Ring out your bells. The morning shall be 

360
00:25:24,290 --> 00:25:27,990
spread, for love is dead. Oh, love is dead.

361
00:25:29,150 --> 00:25:34,250
Infected with plague of deep despair. Worth as not

362
00:25:34,250 --> 00:25:39,210
worth rejected. And faith first called of gain.

363
00:25:52,520 --> 00:25:55,940
Weep? Weep, neighbors, weep. Don't you hear it

364
00:25:55,940 --> 00:26:00,580
said, Allah is there? His death, the tax folly, 

365
00:26:01,180 --> 00:26:05,060
pickaxe folly, his whining, To cheer his shame, 

366
00:26:05,880 --> 00:26:10,260
his will fall seemingly hollow, Holy his soul 

367
00:26:10,260 --> 00:26:11,700
executor blame.

368
00:26:18,000 --> 00:26:23,580
Let dirt 

369
00:26:23,580 --> 00:26:27,400
be sung and trantles rightly read, For love is 

370
00:26:27,400 --> 00:26:31,980
dead. So wrong his tomb's ordained, My mistress'

371
00:26:32,340 --> 00:26:36,850
marble heart, which Epitaph contains, her eyes

372
00:26:36,850 --> 00:26:42,970
were once his dart. From such a dream

373
00:26:42,970 --> 00:26:47,250
and a fantasy, from name that fused him thus, to a

374
00:26:47,250 --> 00:26:51,690
dart in her grasp. Alas, I lie. Rage has this

375
00:26:51,690 --> 00:26:55,150
error bred. Love is not dead. Love is not dead,

376
00:26:55,250 --> 00:26:59,730
but sleeps in her unmatched mind, where she his 

377
00:26:59,730 --> 00:27:02,950
counsel keeps till due dessert she find.

378
00:27:14,670 --> 00:27:17,730
You're crazy. You believe me? Thank you very much. 

379
00:27:18,470 --> 00:27:21,490
Good. So I think it sounds like a prayer, a 

380
00:27:21,490 --> 00:27:24,750
church, somebody like, yeah, it's like a what?

381
00:27:25,110 --> 00:27:27,490
It's like a ceremony. It's like a ceremony, isn't

382
00:27:27,490 --> 00:27:29,250
it? Yes, Jihani, you wanted to say something?

383
00:27:29,270 --> 00:27:32,970
Yeah, I just noticed because we read it aloud that

384
00:27:32,970 --> 00:27:37,210
because the first two are the same chorus but then

385
00:27:37,210 --> 00:27:40,790
the last stands and he differs, he changes. So it

386
00:27:40,790 --> 00:27:43,890
parallels his change of mind because we just said 

387
00:27:43,890 --> 00:27:46,990
that at the beginning he thought a certain way and

388
00:27:46,990 --> 00:27:49,310
then at the end he sort of changed his mind. So do

389
00:27:49,310 --> 00:27:56,330
you think that this change of mind I think you 

390
00:27:56,330 --> 00:27:59,570
know it's a deviation from the star because it 

391
00:27:59,570 --> 00:28:02,330
seems like here we have a kind of you know 

392
00:28:02,330 --> 00:28:05,810
conflict because emotionally he's angry but

393
00:28:05,810 --> 00:28:09,510
whatever like he said oh I'm sorry alas I you know 

394
00:28:09,510 --> 00:28:12,710
what made me commit such a mistake yeah so it is 

395
00:28:12,710 --> 00:28:17,370
like rage what is rage anger you know so I'm sorry 

396
00:28:17,370 --> 00:28:23,210
like it is rage and like I think we admire a man

397
00:28:23,210 --> 00:28:27,130
who commits, who admits he committed a folly under 

398
00:28:27,130 --> 00:28:33,950
the pressure of some other passion. And then we

399
00:28:33,950 --> 00:28:37,190
admire because he says, I'm sorry. So we admire 

400
00:28:37,190 --> 00:28:40,830
people who are not intransigent. You know what I 

401
00:28:40,830 --> 00:28:43,370
mean? Not stubborn. Because some people, when they 

402
00:28:43,370 --> 00:28:45,390
commit a mistake, they don't want to admit it. But

403
00:28:45,390 --> 00:28:52,100
this man admits, yes. Everyone when he like have 

404
00:28:52,100 --> 00:28:57,120
an experience for the first time or he like under 

405
00:28:57,120 --> 00:29:01,640
depression for the first time, he will like be too

406
00:29:01,640 --> 00:29:08,470
negative for the other side. Like what we call in

407
00:29:08,470 --> 00:29:14,970
Arabic, time will 

408
00:29:14,970 --> 00:29:20,450
like change and make things a little painful for

409
00:29:20

445
00:31:47,580 --> 00:31:51,660
This poem is very provocative. Ring out your

446
00:31:51,660 --> 00:31:55,200
bells, let morning shows be spread. So the poet

447
00:31:55,200 --> 00:31:59,040
seems to be angry and sad. And this is a

448
00:31:59,040 --> 00:32:04,720
declaration. But whom is he, but when he say, ring

449
00:32:04,720 --> 00:32:08,220
out your bells, let morning shows be spread, for

450
00:32:08,220 --> 00:32:12,970
love is dead. So he is like, ordering, he is

451
00:32:12,970 --> 00:32:18,150
appealing, you could say, to whom? Yeah, like,

452
00:32:18,290 --> 00:32:20,490
ring out your bells, let morning shows be spread

453
00:32:20,490 --> 00:32:24,770
to the church. So, like, the bells is a metonymy

454
00:32:24,770 --> 00:32:26,970
of the church, if you want to say, you know, ring

455
00:32:26,970 --> 00:32:30,390
out your bells, let morning shows be spread for

456
00:32:30,390 --> 00:32:33,230
love. It's there. As we said, this is, you know,

457
00:32:34,030 --> 00:32:38,230
an abrupt personification. It is unexpected. It

458
00:32:38,230 --> 00:32:45,000
is, it sounds silly. But this silliness is

459
00:32:45,000 --> 00:32:50,560
undercut by those lovely images where he say love

460
00:32:50,560 --> 00:32:57,600
is dead, infected with all, with plague of deep

461
00:32:57,600 --> 00:33:02,680
disdain. Worth as not worth rejected and faith

462
00:33:02,680 --> 00:33:05,640
first called off game. Like what does he say

463
00:33:05,640 --> 00:33:13,650
exactly? Are we missing any line? All love is

464
00:33:13,650 --> 00:33:17,990
dead. The assumption is not his personal love, but

465
00:33:17,990 --> 00:33:21,890
all love. Why is he generalizing the thing?

466
00:33:25,290 --> 00:33:30,250
Like to make people sympathize. Very good. To get

467
00:33:30,250 --> 00:33:34,130
the compassion of people. But you know, I think,

468
00:33:34,250 --> 00:33:36,510
you know, the word infected here, what is it

469
00:33:36,510 --> 00:33:41,830
infected? Yeah, infected. with a plague you know

470
00:33:41,830 --> 00:33:46,330
love was infected had good infection of what of

471
00:33:46,330 --> 00:33:51,910
plague of deep disdain so I think here disdain is

472
00:33:51,910 --> 00:33:56,730
very dangerous disdain is like what like you know

473
00:33:56,730 --> 00:34:02,210
what's with this day it's gone you know yeah like

474
00:34:02,210 --> 00:34:07,270
to despise to disparage somebody despise disparage

475
00:34:07,270 --> 00:34:08,950
disdain all these

476
00:34:14,110 --> 00:34:20,230
All love is dead, infected with a plague of this

477
00:34:20,230 --> 00:34:24,010
day. What is a plague by the way? It's a very

478
00:34:24,010 --> 00:34:29,050
dangerous, very contagious epidemic. It was there

479
00:34:29,050 --> 00:34:34,730
in 16th century and 17th century. But a plague is

480
00:34:34,730 --> 00:34:38,920
very fatal, very dangerous. And, you know, here,

481
00:34:39,160 --> 00:34:41,800
but what is the plague, in fact? What is the

482
00:34:41,800 --> 00:34:44,340
plague? Because there seems to be a metaphor here,

483
00:34:45,260 --> 00:34:50,800
you know? No, it's not love. What is like, what is

484
00:34:50,800 --> 00:34:56,120
the thing which has the effect of a plague? No,

485
00:34:56,380 --> 00:35:01,180
but here, like, say, all love is infected with the

486
00:35:01,180 --> 00:35:04,980
plague of deed this day. So what is like a plague?

487
00:35:05,560 --> 00:35:14,500
Love is disdain. Love is disdain. What is

488
00:35:14,500 --> 00:35:19,760
disdain? To think that you are superior to the

489
00:35:19,760 --> 00:35:22,960
others. To think that the others are inferior to

490
00:35:22,960 --> 00:35:28,300
you. This is disdain. So I think disdain in itself

491
00:35:28,300 --> 00:35:33,380
is enough reason to justify his claim that love is

492
00:35:33,380 --> 00:35:38,760
dead. And even like to justify his claim that all

493
00:35:38,760 --> 00:35:41,200
love is dead. Because if we are talking, you know,

494
00:35:41,240 --> 00:35:44,200
a reason which is a plague-like, you know, because

495
00:35:44,200 --> 00:35:47,960
here we're dealing like, you know, it is infected.

496
00:35:48,740 --> 00:35:52,000
And as you see here, infected, it has to do with

497
00:35:52,000 --> 00:35:55,960
the idea of all, you know, all love is dead. So if

498
00:35:55,960 --> 00:35:58,680
we're talking about plague, you know, it means

499
00:35:58,680 --> 00:36:07,010
like good. Yes? And maybe he said all of this

500
00:36:07,010 --> 00:36:14,970
because he had a sad experience. He imagined all

501
00:36:14,970 --> 00:36:20,010
of this. Yeah, because he's

502
00:36:20,010 --> 00:36:23,070
paying too much, so he started to generalize. And

503
00:36:23,070 --> 00:36:26,390
this happens when we are under pressure, when we

504
00:36:26,390 --> 00:36:32,350
have experience like this. But words as known were

505
00:36:32,350 --> 00:36:36,260
rejected. I think he started like to end this, to

506
00:36:36,260 --> 00:36:42,120
give us why he's trying to justify it. Okay, it

507
00:36:42,120 --> 00:36:45,960
was scorn which killed it. And then he says, worth

508
00:36:45,960 --> 00:36:49,460
has not worth rejected. We have a simile here.

509
00:36:50,120 --> 00:36:56,240
What is the simile? What is worth? Worth is

510
00:36:56,240 --> 00:37:01,920
nobility. Nobility, worth is nobility. So worth,

511
00:37:02,500 --> 00:37:07,300
you know, as not worth. Note means a zero, you

512
00:37:07,300 --> 00:37:10,760
know. Note like it has zero. You are noble to

513
00:37:10,760 --> 00:37:14,020
people, but they never consider this nobility.

514
00:37:14,120 --> 00:37:17,040
They never, you know, they just give cold

515
00:37:17,040 --> 00:37:19,440
shoulders. They don't care, you know. So you feel,

516
00:37:19,660 --> 00:37:23,580
I think, you know, you know, if you're worth, if

517
00:37:23,580 --> 00:37:25,560
you're noble to people and this noble is not

518
00:37:25,560 --> 00:37:29,440
appreciated, you feel, you know, mad, you feel

519
00:37:29,440 --> 00:37:34,930
that the other is ungrateful. worth as not worth

520
00:37:34,930 --> 00:37:41,750
rejected and faith fair score doth gain. I like

521
00:37:41,750 --> 00:37:46,150
this line very complicated very complicated you

522
00:37:46,150 --> 00:37:50,310
know I know like some of you perhaps were

523
00:37:50,310 --> 00:37:55,290
attracted by the alliteration here yeah and faith

524
00:37:55,290 --> 00:38:01,210
fair score doth gain but fair score you know is

525
00:38:01,210 --> 00:38:06,480
little bit problematic is there a score which is

526
00:38:06,480 --> 00:38:11,040
fair? You know, is it is there a score which is

527
00:38:11,040 --> 00:38:16,920
fair Yeah, it seems like contradictingly fair how

528
00:38:16,920 --> 00:38:22,840
come You know, it's like this is contradictory

529
00:38:22,840 --> 00:38:28,580
it's like delicious torment Huh, it is oxymoron.

530
00:38:28,680 --> 00:38:30,540
Thank you very much. This is what we call

531
00:38:30,540 --> 00:38:31,420
oxymoron. I

532
00:38:34,590 --> 00:38:38,790
So yeah, he wants to say it is fair score. So he

533
00:38:38,790 --> 00:38:42,550
could be ironic. He could be sarcastic. He could

534
00:38:42,550 --> 00:38:47,130
appreciate the score because without the score, he

535
00:38:47,130 --> 00:38:51,830
would have never discovered how false and untrue

536
00:38:51,830 --> 00:38:56,630
she was. But what I like in this poem is the

537
00:38:56,630 --> 00:39:01,670
complexity of the syntax in the line. So if we are

538
00:39:01,670 --> 00:39:06,200
talking about faith, and fair score, like who's

539
00:39:06,200 --> 00:39:12,120
gaining the other? How would you paraphrase this

540
00:39:12,120 --> 00:39:15,580
line? Can you paraphrase this line? How would you

541
00:39:15,580 --> 00:39:16,220
paraphrase it?

542
00:39:20,340 --> 00:39:27,080
How would you paraphrase it? Fair and faith, fair

543
00:39:27,080 --> 00:39:28,980
score does gain.

544
00:39:33,570 --> 00:39:36,430
Yes, yes, please.

545
00:39:39,810 --> 00:39:43,130
Excellent, yes, you gain faith, but you gain

546
00:39:43,130 --> 00:39:46,730
score. So which is better? Which is stronger?

547
00:39:48,130 --> 00:39:54,350
Which is stronger? A scorn is stronger. It's like

548
00:39:54,350 --> 00:39:58,310
a battle in which you have fair scorn, which I

549
00:39:58,310 --> 00:40:02,850
think it is personification here, and faith are

550
00:40:02,850 --> 00:40:07,050
battling with each other, and then it is scorn the

551
00:40:07,050 --> 00:40:12,290
winner. This line is ambiguous. Another

552
00:40:12,290 --> 00:40:16,650
possibility is faith

553
00:40:18,690 --> 00:40:21,910
You are, as you said, you are faithful, and when

554
00:40:21,910 --> 00:40:26,170
you are faithful, this faith gains, you know, in

555
00:40:26,170 --> 00:40:30,170
return, a score, you see? In either cases, score

556
00:40:30,170 --> 00:40:31,390
is dominant.

557
00:40:34,210 --> 00:40:37,350
And then this refrain, I don't know why the

558
00:40:37,350 --> 00:40:39,510
refrain, this is what we call refrain.

559
00:40:43,910 --> 00:40:48,720
Refrain, it's like, it's a chorus, Somebody should

560
00:40:48,720 --> 00:40:53,340
be repeating this, you know. And then we go like,

561
00:40:53,440 --> 00:40:56,640
we neighbors, we. It's not like a person that he

562
00:40:56,640 --> 00:40:58,740
started like to call neighbors. Like this is what

563
00:40:58,740 --> 00:41:02,080
happens in funeral when the ordeal or the problem

564
00:41:02,080 --> 00:41:05,660
is too much, you see. So it seems like this is

565
00:41:05,660 --> 00:41:08,820
very interesting poem and we have to reread it,

566
00:41:09,100 --> 00:41:13,760
you know, again. with all the ideas, the

567
00:41:13,760 --> 00:41:16,900
wonderful, the background we have about this. And

568
00:41:16,900 --> 00:41:21,680
I think next time we should go deeper, analyzing

569
00:41:21,680 --> 00:41:24,320
it, analyzing the figures of speech, the

570
00:41:24,320 --> 00:41:27,220
aesthetics. It is very complicated, but it is very

571
00:41:27,220 --> 00:41:30,920
interesting. Thank you for being attentive, and

572
00:41:30,920 --> 00:41:32,880
see you next time, okay? Good.