1 00:00:20,810 --> 00:00:24,850 Okay, Assalamualaikum and welcome back. Last class 2 00:00:24,850 --> 00:00:28,250 we started discussing romanticism, romantic 3 00:00:28,250 --> 00:00:33,410 literature and romantic poets. We spoke about the 4 00:00:33,410 --> 00:00:36,750 major features of Romanticism and how different it 5 00:00:36,750 --> 00:00:40,070 was from the poetry of the Augustan Age, or what 6 00:00:40,070 --> 00:00:44,270 is generally known as the Neoclassical Age or the 7 00:00:44,270 --> 00:00:49,030 Age of Reason. Before I begin, we finished talking 8 00:00:49,030 --> 00:00:51,930 about William Blake. We can't speak enough about 9 00:00:51,930 --> 00:00:56,250 William Blake. And generally, William Blake was a 10 00:00:56,250 --> 00:00:59,230 pre-romantic. He was writing poetry from London 11 00:00:59,230 --> 00:01:01,890 before, I think, the publication of the lyrical 12 00:01:01,890 --> 00:01:06,550 ballads by the two major romantic figures, Samuel 13 00:01:06,550 --> 00:01:10,490 Coleridge and William Wadsworth. Today, we'll see 14 00:01:10,490 --> 00:01:14,410 what William Wadsworth has for us. But before I 15 00:01:14,410 --> 00:01:17,590 begin doing this, I want to do some kind of 16 00:01:17,590 --> 00:01:20,420 revision for last time's class. So could you 17 00:01:20,420 --> 00:01:22,660 please remind me of the major features of 18 00:01:22,660 --> 00:01:25,740 Romanticism? Why is Romantic literature or mainly 19 00:01:25,740 --> 00:01:28,800 Romantic poetry different from the poetry of the 20 00:01:28,800 --> 00:01:32,520 previous age? Yes. What makes Romantic poetry 21 00:01:32,520 --> 00:01:39,020 romantic? Can you tell me, please? Okay, for the 22 00:01:39,020 --> 00:01:45,000 Romantics, the heart controls the head, not vice 23 00:01:45,000 --> 00:01:51,730 versa. Thank you. Please. So the romantics 24 00:01:51,730 --> 00:01:56,790 advocated simplicity, and mainly simplicity in 25 00:01:56,790 --> 00:02:00,770 diction, in language. You don't have to use elite, 26 00:02:00,930 --> 00:02:03,830 highly embellished, sophisticated, powerful 27 00:02:03,830 --> 00:02:08,490 language, language that mainly university educated 28 00:02:08,490 --> 00:02:13,370 people would understand. Simple language. And, 29 00:02:13,510 --> 00:02:13,910 please. 30 00:02:17,500 --> 00:02:19,860 Thank you very much. So the subject matter, again, 31 00:02:19,980 --> 00:02:22,640 is no longer about courtly love, the life in the 32 00:02:22,640 --> 00:02:25,100 court and in the palace about God and kings and 33 00:02:25,100 --> 00:02:28,720 queens and the noble families. It's taken 34 00:02:28,720 --> 00:02:32,120 situations from the common life. And that's why 35 00:02:32,120 --> 00:02:35,300 we'll find many poems about ordinary people, poor 36 00:02:35,300 --> 00:02:38,140 people, about kids, about poor women, about 37 00:02:38,140 --> 00:02:42,580 unnamed people sometimes. Yes, please. So it's 38 00:02:42,580 --> 00:02:45,100 usually right to express themselves. Okay, so 39 00:02:45,100 --> 00:02:49,280 poetry is now self-expression. It's no longer 40 00:02:49,280 --> 00:02:54,060 didactic. In the sense that before this, following 41 00:02:54,060 --> 00:02:56,660 the rules of decorum literature in general, poetry 42 00:02:56,660 --> 00:03:01,880 had to teach and please, to teach and delight. So 43 00:03:01,880 --> 00:03:05,740 the significant point is, what influence is your 44 00:03:05,740 --> 00:03:08,120 poetry going to have on the others, on the 45 00:03:08,120 --> 00:03:11,760 readers, on your audiences? But now poetry is self 46 00:03:11,760 --> 00:03:16,120 -expression. A poet has extra comprehensive 47 00:03:16,120 --> 00:03:19,240 sensibility to use his feelings and his 48 00:03:19,240 --> 00:03:24,760 imagination in order to convey particular emotions 49 00:03:24,760 --> 00:03:28,760 and experiences of his own. That's why generally 50 00:03:28,760 --> 00:03:33,740 the speaker in, for example, William Wadsworth's 51 00:03:33,740 --> 00:03:36,460 poetry, the speaker is William Wadsworth himself. 52 00:03:37,770 --> 00:03:41,990 Because the I is the poet. Self-expressive. The 53 00:03:41,990 --> 00:03:45,450 first person narrator. Yes? Nature was a source of 54 00:03:45,450 --> 00:03:48,110 expression unlike the city, which is a source of 55 00:03:48,110 --> 00:03:51,190 corruption. Thank you. Generally, romantic poetry 56 00:03:51,190 --> 00:03:55,550 is poetry that is described as anti-city. Because 57 00:03:55,550 --> 00:03:58,870 we've seen how the city has become the politics, 58 00:03:58,990 --> 00:04:00,930 the political division, the corruption, the 59 00:04:00,930 --> 00:04:02,550 factories, the industrial revolution, and 60 00:04:02,550 --> 00:04:06,450 everything. So in a way, the romantic said, OK, 61 00:04:07,590 --> 00:04:10,210 This is enough. But instead of fixing the problem, 62 00:04:10,350 --> 00:04:15,120 working on the problems, They make escape. They 63 00:04:15,120 --> 00:04:17,040 kind of escape. And that's why some people 64 00:04:17,040 --> 00:04:19,940 criticize them as escapists. Escapism. Escapism. 65 00:04:20,020 --> 00:04:22,740 Escapism is when you don't have to face the 66 00:04:22,740 --> 00:04:24,780 problem, to come with the problem face to face. 67 00:04:24,800 --> 00:04:28,500 You just leave it somewhere and you go to live 68 00:04:28,500 --> 00:04:32,100 your life somewhere else. So nature was a source 69 00:04:32,100 --> 00:04:34,540 of inspiration. And we've seen nature in 70 00:04:34,540 --> 00:04:36,640 Shakespeare and other poets. But remember 71 00:04:36,640 --> 00:04:40,420 Shakespeare would like Use, utilize, and exploit 72 00:04:40,420 --> 00:04:42,260 nature. Shall I compare thee to a summer's day? 73 00:04:42,560 --> 00:04:45,600 And then he goes on to speak how his beloved, or 74 00:04:45,600 --> 00:04:50,660 the dark lady, is more beautiful than nature, than 75 00:04:50,660 --> 00:04:54,820 a summer's day. But here, nature is the theme. 76 00:04:55,180 --> 00:04:57,700 Nature is the poem itself. And we'll see William 77 00:04:57,700 --> 00:05:03,640 Wordsworth in a bit. More. Please. Say again? 78 00:05:04,100 --> 00:05:04,880 Childhood. OK. 79 00:05:08,810 --> 00:05:12,410 Inspiration. So we have simplicity, purity, 80 00:05:12,830 --> 00:05:15,890 innocence. Inspiration can be taken from 81 00:05:15,890 --> 00:05:19,570 childhood. And childhood, even childhood in the 82 00:05:19,570 --> 00:05:23,190 city was corrupted because kids were also sent to 83 00:05:23,190 --> 00:05:26,430 work in factories here and there and places where 84 00:05:26,430 --> 00:05:34,510 their future, everything was destroyed, ruined. So 85 00:05:34,510 --> 00:05:38,470 those poets believe that the child is the father 86 00:05:38,470 --> 00:05:41,590 of man. And this is actually a line by William 87 00:05:41,590 --> 00:05:45,490 Wadsworth himself, because an adult can learn a 88 00:05:45,490 --> 00:05:50,270 lot from childhood from children. And childhood 89 00:05:50,270 --> 00:05:53,370 doesn't have to be a particular age. It could be a 90 00:05:53,370 --> 00:05:56,770 state of mind, like innocence and experience. It's 91 00:05:56,770 --> 00:05:59,930 a state of mind. You could be innocent. You could 92 00:05:59,930 --> 00:06:04,940 be experienced, depending on the situation, but 93 00:06:04,940 --> 00:06:07,260 generally they were advocating a state of 94 00:06:07,260 --> 00:06:11,120 innocence, which you can find in the countryside. 95 00:06:12,780 --> 00:06:18,520 More, please. For the romantics, the intellect and 96 00:06:18,520 --> 00:06:23,220 reason were dangerous, and like the Augustans, the 97 00:06:23,220 --> 00:06:26,760 imaginations and emotions were dangerous. So for 98 00:06:26,760 --> 00:06:30,740 the romantics, imagination is one of the most 99 00:06:30,740 --> 00:06:33,260 powerful faculties a person could have. And they 100 00:06:33,260 --> 00:06:38,440 were encouraging us to look more inside our hearts 101 00:06:38,440 --> 00:06:41,460 and to use our imagination. And this is connected 102 00:06:41,460 --> 00:06:45,380 with feelings and connected with memory. We've 103 00:06:45,380 --> 00:06:48,830 seen, I think, The Sick Rose last class. What is 104 00:06:48,830 --> 00:06:52,490 it about? We came up with like what, ten themes? 105 00:06:52,930 --> 00:06:55,950 Some of the themes could have been meant by the 106 00:06:55,950 --> 00:06:59,610 poet himself. But even now, today, we can give 107 00:06:59,610 --> 00:07:02,770 extra meanings to the text. And that's why the 108 00:07:02,770 --> 00:07:05,750 reader as an individual is significant to the 109 00:07:05,750 --> 00:07:10,070 romantic poet. We are encouraged to use our 110 00:07:10,070 --> 00:07:13,330 imagination to give our own interpretations to to 111 00:07:13,330 --> 00:07:15,810 the poems we read, to the texts we read. In the 112 00:07:15,810 --> 00:07:18,010 Augustan Age, generally, you read a poem and it 113 00:07:18,010 --> 00:07:20,910 has one meaning, generally, one interpretation. 114 00:07:21,070 --> 00:07:23,470 Because when there's satire, someone is 115 00:07:23,470 --> 00:07:25,770 criticizing someone else, and that's it. But here, 116 00:07:25,910 --> 00:07:28,210 you read a poem. Is it about nature? Is it about a 117 00:07:28,210 --> 00:07:30,730 woman? Is it about a child? Is it about childhood? 118 00:07:30,930 --> 00:07:33,900 Is it about the city, the village, because 119 00:07:33,900 --> 00:07:37,280 symbolism here gives it layers and layers of 120 00:07:37,280 --> 00:07:40,680 meanings. And that's why, in a way or another, The 121 00:07:40,680 --> 00:07:44,460 Sick Rose is a poem about the power of 122 00:07:44,460 --> 00:07:48,000 imagination. Because when you depend on your 123 00:07:48,000 --> 00:07:52,280 imagination, when you release your imagination, 124 00:07:52,440 --> 00:07:58,410 you can see things differently. break the rules 125 00:07:58,410 --> 00:08:00,790 imposed upon us. In the past, it was like 126 00:08:00,790 --> 00:08:02,730 mathematical. You had to follow the rules, 127 00:08:02,790 --> 00:08:05,230 remember, but a regular rhyme scheme, particular 128 00:08:05,230 --> 00:08:07,350 language, particular subject matters, particular 129 00:08:07,350 --> 00:08:10,970 number of syllables even. So everything was 130 00:08:10,970 --> 00:08:15,170 restricted, was chained, but not for the 131 00:08:15,170 --> 00:08:18,880 romantics. One more. Teacher, please. 132 00:08:20,520 --> 00:08:22,640 Individualism was also important. And this is 133 00:08:22,640 --> 00:08:24,260 connected with the fact that poetry is self 134 00:08:24,260 --> 00:08:26,760 -expression. You have to express your opinion and 135 00:08:26,760 --> 00:08:30,300 feelings and emotions as an individual, as a 136 00:08:30,300 --> 00:08:34,860 person. And the individual, no matter how poor or 137 00:08:34,860 --> 00:08:39,540 how rich he or she is, is significant. Because in 138 00:08:39,540 --> 00:08:45,020 the city, the individuals were destroyed. People 139 00:08:45,020 --> 00:08:47,640 were like machines, or like slaves. You have to 140 00:08:47,640 --> 00:08:51,260 work from early hours until late at night for just 141 00:08:51,260 --> 00:08:54,860 little money, money enough to keep you alive, but 142 00:08:54,860 --> 00:08:58,280 also to keep you working hard for the factories. 143 00:08:58,700 --> 00:09:00,960 There's one significant thing I always focus on 144 00:09:00,960 --> 00:09:06,980 here, which is In Augustan age, maybe you can 145 00:09:06,980 --> 00:09:10,300 write a poem, but you may not change the whole 146 00:09:10,300 --> 00:09:14,180 society, but in Romantic, you can write a poem and 147 00:09:14,180 --> 00:09:18,060 you can change the race of itself. Okay, this is 148 00:09:18,060 --> 00:09:23,660 interesting. Can literature change lives? Yes. Can 149 00:09:23,660 --> 00:09:27,500 poetry change lives? Sometimes we watch movies and 150 00:09:27,500 --> 00:09:31,290 we become in a way better people. We read 151 00:09:31,290 --> 00:09:33,590 literature. We read fiction. And sometimes we 152 00:09:33,590 --> 00:09:37,490 learn new experiences. We are influenced. And this 153 00:09:37,490 --> 00:09:40,790 is an issue that needs a lot of discussion. For 154 00:09:40,790 --> 00:09:44,250 the Augustans, poetry aims at teaching and 155 00:09:44,250 --> 00:09:47,430 delighting. So there is this emphasis on changing 156 00:09:47,430 --> 00:09:51,290 people's lives. But in a way, poetry was living 157 00:09:51,290 --> 00:09:54,170 somewhere in ivory towers most of the time, in the 158 00:09:54,170 --> 00:09:56,670 court, in the palace. But here, those people 159 00:09:56,670 --> 00:09:59,610 brought it down, believing that the real change 160 00:09:59,610 --> 00:10:01,310 can happen at the grassroots. You know the 161 00:10:01,310 --> 00:10:03,730 grassroots? The masses, the ordinary people. 162 00:10:04,110 --> 00:10:07,570 Improve people's lives, imaginations, their way, 163 00:10:07,890 --> 00:10:10,150 their style, the way of living, and you will 164 00:10:10,150 --> 00:10:13,290 definitely have a better society. But again, 165 00:10:13,390 --> 00:10:15,270 remember, many people believe the romantics were 166 00:10:15,270 --> 00:10:18,680 escapists. They were not interested in fixing the 167 00:10:18,680 --> 00:10:21,540 problem. And others say, and I believe in this, 168 00:10:21,640 --> 00:10:24,740 that writing poetry itself is an act of change. 169 00:10:25,300 --> 00:10:27,480 You don't have to carry weapons or to use 170 00:10:27,480 --> 00:10:30,780 violence. You could change by nonviolent means. 171 00:10:31,720 --> 00:10:36,500 And the most powerful tool of resistance is 172 00:10:36,500 --> 00:10:40,040 writing and poetry and language, yeah? A final 173 00:10:40,040 --> 00:10:46,400 point, yeah? We just said feelings and emotions. 174 00:10:46,920 --> 00:10:51,360 Something else, something I always focus on. We 175 00:10:51,360 --> 00:10:53,120 said that already. More. 176 00:10:57,400 --> 00:11:04,460 The poetic forms, new poetic forms. Like the 177 00:11:04,460 --> 00:11:07,140 romantics, many people will disagree with me, but 178 00:11:07,140 --> 00:11:10,900 the romantics share common features with the 179 00:11:10,900 --> 00:11:13,860 metaphysicals. But the sensibility is different. 180 00:11:14,780 --> 00:11:18,420 But since John Donne was more into argument, more 181 00:11:18,420 --> 00:11:21,700 into intellectuality, here more into simplicity 182 00:11:21,700 --> 00:11:25,340 and more into feelings and emotions and 183 00:11:25,340 --> 00:11:28,360 imagination. But they share the most significant 184 00:11:28,360 --> 00:11:31,960 issue here, which is new poetic forms. You don't 185 00:11:31,960 --> 00:11:34,160 have to follow the rules of decorum. You try to 186 00:11:34,160 --> 00:11:37,160 follow them. If they don't help, you just break 187 00:11:37,160 --> 00:11:39,920 the rules. And that's why we'll see so many new 188 00:11:39,920 --> 00:11:44,500 poetic forms. We already saw some examples, and 189 00:11:44,500 --> 00:11:47,440 we'll see more as we go on with the romantic. So 190 00:11:47,440 --> 00:11:51,520 William Wadsworth. is probably the most 191 00:11:51,520 --> 00:11:54,760 significant romantic poet. Along with his friend 192 00:11:54,760 --> 00:11:58,900 Samuel Coleridge, they published a book called The 193 00:11:58,900 --> 00:12:01,280 Lyrical Ballads. We mentioned last time, The 194 00:12:01,280 --> 00:12:04,340 Lyrical Ballads. And everyone was like amazed, 195 00:12:04,520 --> 00:12:06,900 fascinated, because people were tired and fed up 196 00:12:06,900 --> 00:12:09,100 with the Augustan poetry. And they were like, oh, 197 00:12:09,540 --> 00:12:12,080 We want to know more. What are you doing here? 198 00:12:12,380 --> 00:12:15,080 What is this kind of new poetry? So in the second 199 00:12:15,080 --> 00:12:17,980 edition to the book, they included a preface, a 200 00:12:17,980 --> 00:12:21,000 kind of introduction where they define poetry, and 201 00:12:21,000 --> 00:12:24,940 they explain their romantic theory of what writing 202 00:12:24,940 --> 00:12:27,600 poetry is. So let's see the definition I mentioned 203 00:12:27,600 --> 00:12:30,900 last time in brief, and go on for examples from 204 00:12:30,900 --> 00:12:32,960 William Wildsworth. So what is poetry? 205 00:12:36,420 --> 00:12:42,200 is the flow of feelings or emotions. Feelings, 206 00:12:43,240 --> 00:12:46,300 generally feelings, emotions. But this is not only 207 00:12:46,300 --> 00:12:49,620 feelings or emotions, it's powerful. And it's not 208 00:12:49,620 --> 00:12:53,820 flow of emotions, it's overflow of powerful 209 00:12:53,820 --> 00:12:58,760 emotions. And this overflow is Spontaneous. So you 210 00:12:58,760 --> 00:13:01,160 don't have to sit and like, OK, what kind of 211 00:13:01,160 --> 00:13:02,920 poetry should I write about? I think I should 212 00:13:02,920 --> 00:13:05,300 write something here. And you keep squeezing your 213 00:13:05,300 --> 00:13:08,720 mind and counting the syllables and checking the 214 00:13:08,720 --> 00:13:11,860 rhyme scheme and using difficult language and 215 00:13:11,860 --> 00:13:14,840 using particular imagery or something. It's 216 00:13:14,840 --> 00:13:19,010 spontaneous. You know spontaneous? Like you don't 217 00:13:19,010 --> 00:13:22,990 push yourself. You don't pressure yourself to 218 00:13:22,990 --> 00:13:26,710 write poetry. Poetry just comes out. It overflows. 219 00:13:27,550 --> 00:13:30,410 The spontaneous overflow of powerful feelings. 220 00:13:30,770 --> 00:13:33,830 Many people only use this definition for the 221 00:13:33,830 --> 00:13:36,770 romantics. It's okay, but it's not accurate. 222 00:13:37,370 --> 00:13:40,690 Because the second part is also as significant. 223 00:13:41,460 --> 00:13:45,080 Recollected here means remembered or recalled. You 224 00:13:45,080 --> 00:13:48,580 know to recall something? To remember something in 225 00:13:48,580 --> 00:13:51,380 tranquility. And this emphasizes memory, 226 00:13:51,520 --> 00:13:54,460 especially for William Woodworth. Memory as a 227 00:13:54,460 --> 00:13:59,300 theme. Memory as a tool of recollecting something 228 00:13:59,300 --> 00:14:02,500 when you are in tranquility. And this tranquility, 229 00:14:02,620 --> 00:14:07,040 you know tranquility? Tranquility, tranquil. Like 230 00:14:07,040 --> 00:14:11,430 peace of mind. Like peace of mind, you're living 231 00:14:11,430 --> 00:14:16,490 among the trees in nature, mother nature. You feel 232 00:14:16,490 --> 00:14:22,310 at peace. You're peaceful. There are no troubles, 233 00:14:22,750 --> 00:14:26,630 no problems, no corruption, no city life issues. 234 00:14:26,830 --> 00:14:31,810 You're just in tranquility. That's basically what 235 00:14:31,810 --> 00:14:36,450 tranquility is more or less here. To be alone, in 236 00:14:36,450 --> 00:14:40,870 solitude, all alone, by yourself, somewhere in 237 00:14:40,870 --> 00:14:44,910 nature, among natural elements. So you recollect 238 00:14:44,910 --> 00:14:46,770 this. When you go to the city, you will not be 239 00:14:46,770 --> 00:14:49,110 able to write this kind of poetry according to 240 00:14:49,110 --> 00:14:54,210 William Wordsworth. alone somewhere in nature. So 241 00:14:54,210 --> 00:14:58,150 when you feel this peace, peace of mind, when you 242 00:14:58,150 --> 00:15:01,090 don't have trouble or problems from life and work 243 00:15:01,090 --> 00:15:05,230 and factories and the industry, you can recollect 244 00:15:05,230 --> 00:15:10,410 all the amazing or at least they can spontaneously 245 00:15:10,410 --> 00:15:14,310 flow these powerful emotions or experiences. So 246 00:15:14,310 --> 00:15:17,310 what is poetry according to William Wordsworth? A 247 00:15:17,310 --> 00:15:19,510 spontaneous of a flow of powerful emotions 248 00:15:19,510 --> 00:15:23,260 recollected in tranquility. Difficult? Big words? 249 00:15:25,780 --> 00:15:29,500 Okay, overflow of powerful emotions recollected in 250 00:15:29,500 --> 00:15:34,120 tranquility, recollected in peace. Now the 251 00:15:34,120 --> 00:15:39,010 diction, the language itself is the real language 252 00:15:39,010 --> 00:15:42,790 of men. Men and women, of course. Don't feel 253 00:15:42,790 --> 00:15:47,150 offended. But this is why English generally was 254 00:15:47,150 --> 00:15:50,970 considered the sexist language because many people 255 00:15:50,970 --> 00:15:54,230 were considering women to be second class and 256 00:15:54,230 --> 00:15:56,450 intellectual. And many people would defend this, 257 00:15:56,750 --> 00:16:01,650 saying that men also includes women. So this is 258 00:16:01,650 --> 00:16:04,490 the language of ordinary people, the masses. My 259 00:16:04,490 --> 00:16:07,650 language, your language, everyday language, the 260 00:16:07,650 --> 00:16:12,130 masses. And the subject matter includes situations 261 00:16:12,130 --> 00:16:16,770 from common life. Not from the palace, not from 262 00:16:16,770 --> 00:16:19,510 the court, not from the church, not from heaven 263 00:16:19,510 --> 00:16:23,370 even. We've seen Milton go up to heaven, to God 264 00:16:23,370 --> 00:16:25,870 and Adam and Eve and Satan, to the original sin. 265 00:16:26,410 --> 00:16:29,130 So spontaneous overflow of powerful emotions 266 00:16:29,130 --> 00:16:34,330 recollected in tranquility. And the language of 267 00:16:34,330 --> 00:16:42,050 everyday men, situations from common mind. Let's 268 00:16:42,050 --> 00:16:48,070 see this poem and try to examine the definitions. 269 00:16:49,310 --> 00:16:54,300 The features and William Wordsworth. Theory of 270 00:16:54,300 --> 00:16:56,860 Romanticism. This is a poem, it's called The 271 00:16:56,860 --> 00:16:57,400 Daffodils. 272 00:17:02,000 --> 00:17:05,700 It has four, I'll post this online, so just please 273 00:17:05,700 --> 00:17:08,340 pay attention. It has four stanzas, let me read 274 00:17:08,340 --> 00:17:11,620 them and do some commentary later on. The 275 00:17:11,620 --> 00:17:15,860 Daffodils, you know daffodils? The yellow roses, 276 00:17:15,980 --> 00:17:22,800 flowers. I wandered, I wandered lonely as a cloud 277 00:17:24,320 --> 00:17:29,500 that floats on high o'er vales and hills, when all 278 00:17:29,500 --> 00:17:33,240 at once I saw a crowd, a host of golden daffodils 279 00:17:33,240 --> 00:17:38,120 beside the lake beneath the trees, fluttering and 280 00:17:38,120 --> 00:17:42,990 dancing in the breeze. Continuous as the stars 281 00:17:42,990 --> 00:17:46,570 that shine and twinkle on the Milky Way, they 282 00:17:46,570 --> 00:17:49,850 stretched in never-ending line along the margin of 283 00:17:49,850 --> 00:17:53,990 a bay. Ten thousand saw I at a glance tossing 284 00:17:53,990 --> 00:17:59,910 their heads in sprightly dance. The waves beside 285 00:17:59,910 --> 00:18:03,990 them danced, but they outdid the sparkling waves 286 00:18:03,990 --> 00:18:07,470 in glee. A poet could not but be gay in such a 287 00:18:07,470 --> 00:18:12,610 jocund company. I gazed. and gazed but little 288 00:18:12,610 --> 00:18:18,370 thought what wealth the show to me had brought for 289 00:18:18,370 --> 00:18:23,790 oft when on my couch I lie in vacant or in pensive 290 00:18:23,790 --> 00:18:29,450 mood they flash upon that inward eye which is the 291 00:18:29,450 --> 00:18:34,590 bliss of solitude and then my heart with pleasure 292 00:18:34,590 --> 00:18:40,450 fills and dances with the daffodils And that's a 293 00:18:40,450 --> 00:18:44,950 poem. And that, by the way, this is the most 294 00:18:44,950 --> 00:18:47,390 canonical romantic poem, the most famous romantic 295 00:18:47,390 --> 00:18:50,510 poem. You will study it many times in the future. 296 00:18:50,730 --> 00:18:54,150 Today we're just going to see the major features 297 00:18:54,150 --> 00:18:58,550 of romanticism according to William Wordsworth. So 298 00:18:58,550 --> 00:19:02,270 if you look at the first stanza we have here, 299 00:19:04,930 --> 00:19:07,270 Again, we can see several of the features we're 300 00:19:07,270 --> 00:19:09,490 talking about here. There's nature here, right? 301 00:19:10,810 --> 00:19:13,910 Individualism, I, personal experience, right? 302 00:19:14,450 --> 00:19:18,710 Nature everywhere, floats. Are these difficult 303 00:19:18,710 --> 00:19:23,390 words? Most of them. Even if you don't know what 304 00:19:23,390 --> 00:19:27,150 it means, you can easily guess from the context. 305 00:19:27,510 --> 00:19:29,510 Or at least you can know that this is a natural 306 00:19:29,510 --> 00:19:33,150 element. So what is he saying? He's saying, I 307 00:19:33,150 --> 00:19:38,850 wandered lonely as a cloud. And remember in the 308 00:19:38,850 --> 00:19:43,120 past, We said there's something called a metaphor 309 00:19:43,120 --> 00:19:46,720 and a simile. A simile is where you say something 310 00:19:46,720 --> 00:19:49,480 is like or as something. When you use the word is 311 00:19:49,480 --> 00:19:52,820 or like, this is a simile. And this is how you 312 00:19:52,820 --> 00:19:56,960 write a simile. Where you pronounce the E by the 313 00:19:56,960 --> 00:20:00,900 way. And generally, a simile is easier than a 314 00:20:00,900 --> 00:20:03,580 metaphor. I know people who do research on the 315 00:20:03,580 --> 00:20:06,160 simile and the metaphor. A metaphor is generally 316 00:20:06,160 --> 00:20:09,200 not clear. The meaning is implied. You don't know 317 00:20:09,200 --> 00:20:11,900 when you say, the teacher roared. I'm just being 318 00:20:11,900 --> 00:20:14,720 very simplistic here. The teacher roared. You 319 00:20:14,720 --> 00:20:17,020 know, roar is a word you use to describe a lion. 320 00:20:17,620 --> 00:20:21,560 So what does that indicate? He spoke loudly. He 321 00:20:21,560 --> 00:20:24,740 was angry. He was hungry. You just can't make up 322 00:20:24,740 --> 00:20:29,990 your mind. But when you say the teacher ate like a 323 00:20:29,990 --> 00:20:33,570 lion or spoke like a lion, so the word like makes 324 00:20:33,570 --> 00:20:36,870 it easy for you to know where you're going. So he 325 00:20:36,870 --> 00:20:40,190 chooses here a cloud, which is a natural element. 326 00:20:40,550 --> 00:20:49,030 And cloud, he could have said a tree, right? But a 327 00:20:49,030 --> 00:20:52,350 tree doesn't wander, right? It doesn't move just a 328 00:20:52,350 --> 00:20:55,290 little bit. It's fixed. So he doesn't pick this. 329 00:20:55,650 --> 00:20:58,710 Or he could have said, I wandered lonely as a cow, 330 00:20:59,510 --> 00:21:05,510 or as a sheep, or as a bird. But he chooses a 331 00:21:05,510 --> 00:21:07,570 cloud. A cloud. 332 00:21:10,960 --> 00:21:13,800 Thank you. It's up above. That's one. What else 333 00:21:13,800 --> 00:21:16,700 about cloud that makes it really interesting for 334 00:21:16,700 --> 00:21:21,440 William Wadsworth? It takes water and gives water. 335 00:21:21,520 --> 00:21:22,240 Thank you. What else? 336 00:21:25,000 --> 00:21:28,760 It can easily be reached probably also through... 337 00:21:28,760 --> 00:21:33,540 White? It's also wild. White. White probably 338 00:21:33,540 --> 00:21:36,600 signifies, but not always white, but could be gray 339 00:21:36,600 --> 00:21:40,260 sometimes or dark or black. And sometimes, 340 00:21:40,740 --> 00:21:44,380 generally, it's free. The issue of being free here 341 00:21:44,380 --> 00:21:48,940 is highlighted. It moves freely. No human being 342 00:21:48,940 --> 00:21:53,020 can control it in a way. It's up above from the, 343 00:21:53,540 --> 00:21:58,540 what is going on down, that floats on high ore 344 00:21:58,540 --> 00:22:03,940 veils and hills. The high places, the low places. 345 00:22:04,680 --> 00:22:07,720 Or the low places, high places. When all at once, 346 00:22:08,200 --> 00:22:12,980 I, I saw, I also saw, notice the tense here is 347 00:22:12,980 --> 00:22:17,390 past simple, right? I saw a crowd, and a crowd 348 00:22:17,390 --> 00:22:19,690 generally a crowd of people, a crowd of something. 349 00:22:20,430 --> 00:22:23,530 Crowd could be negative, right? If it's crowded, 350 00:22:23,890 --> 00:22:27,290 not always, but if it's crowded, it's bad. There 351 00:22:27,290 --> 00:22:29,370 is a good crowd, like a lot of people are coming. 352 00:22:29,970 --> 00:22:32,110 And then he repeats the same word in other words, 353 00:22:32,170 --> 00:22:36,650 in a more positive word, a host. Someone who hosts 354 00:22:36,650 --> 00:22:39,310 you, someone who takes care of you, hospitability 355 00:22:39,310 --> 00:22:44,230 here. A host of golden daffodils. So the daffodils 356 00:22:44,230 --> 00:22:47,650 are described as golden and they are personified 357 00:22:47,650 --> 00:22:53,010 as welcoming, hosting you. They attract you. They 358 00:22:53,010 --> 00:22:56,370 make you feel at home, at peace, tranquility and 359 00:22:56,370 --> 00:23:00,330 solitude. Where? Where did he see them? Beside the 360 00:23:00,330 --> 00:23:03,050 lake beneath the trees. Although he was up above, 361 00:23:03,410 --> 00:23:06,430 he saw them like the clouds because the power of 362 00:23:06,430 --> 00:23:09,150 imagination, the onward eye, fluttering and 363 00:23:09,150 --> 00:23:13,470 dancing in the breeze. Dancing is also a 364 00:23:13,470 --> 00:23:16,450 personification. Generally, people dance, not 365 00:23:16,450 --> 00:23:20,150 flowers. So what is happening here is the man, the 366 00:23:20,150 --> 00:23:27,170 poet, is depersonified. He is likened to... A 367 00:23:27,170 --> 00:23:30,950 cloud. But nature is personified. And that's an 368 00:23:30,950 --> 00:23:35,710 interesting mixture of exchanging of places. If 369 00:23:35,710 --> 00:23:42,470 you go for the rhyme scheme, it should be A, B, A, 370 00:23:42,710 --> 00:23:49,370 B, C, C. So A, B, A, B, and then we have a couplet 371 00:23:49,370 --> 00:23:53,230 here. Yeah, trees and breeze. So what happens 372 00:23:53,230 --> 00:24:00,760 next? Continuous. So the scene of daffodils were 373 00:24:00,760 --> 00:24:03,900 continuous as, again, another simile, as the stars 374 00:24:03,900 --> 00:24:08,540 that shine and twinkle in the milky way, they, 375 00:24:08,880 --> 00:24:11,960 again referring to the daffodils, stretched past 376 00:24:11,960 --> 00:24:17,740 simple never-ending line along the margin of a bay 377 00:24:17,740 --> 00:24:23,590 near the water, 10,000 so high at once. At a 378 00:24:23,590 --> 00:24:26,650 glance? Yeah. Saw I at a glance. Just one glance 379 00:24:26,650 --> 00:24:29,670 and 10,000 daffodils. That's how overwhelmingly 380 00:24:29,670 --> 00:24:36,150 beautiful nature is. 10,000, it should be I saw 10 381 00:24:36,150 --> 00:24:39,650 ,000 at a glance. But the emphasis on the nature 382 00:24:39,650 --> 00:24:42,230 rather than on the man himself seeing this. 383 00:24:42,330 --> 00:24:44,970 Because nature will make you in a way react to 384 00:24:44,970 --> 00:24:48,710 this. Saw I at once at a glance tossing their 385 00:24:48,710 --> 00:24:52,270 heads, emphasizing what? The personification here, 386 00:24:52,450 --> 00:24:56,010 tossing their heads in a sprightly dance again. 387 00:24:56,170 --> 00:24:59,870 And that's how beautiful and pure nature is. The 388 00:24:59,870 --> 00:25:03,510 waves, so because of this scene, the waves were 389 00:25:03,510 --> 00:25:08,390 dancing. The waves beside them danced, also past 390 00:25:08,390 --> 00:25:12,510 simple, but they, referring to the daffodils, 391 00:25:13,550 --> 00:25:17,150 outdid the, also past simple, the sparkling waves 392 00:25:17,150 --> 00:25:22,890 in glee, A poet could not but be gay in such a 393 00:25:22,890 --> 00:25:29,150 jocund company. I gazed and gazed, but little 394 00:25:29,150 --> 00:25:31,530 thought. You remember? The feelings, the senses, 395 00:25:31,750 --> 00:25:35,180 the emotions, the heart just You're looking at the 396 00:25:35,180 --> 00:25:38,700 amazing magical magisterial scene. He didn't 397 00:25:38,700 --> 00:25:42,320 think. If it is an ordinary poet, like an Augustan 398 00:25:42,320 --> 00:25:46,520 poet, they would think more than gazing, like, ah, 399 00:25:46,780 --> 00:25:50,980 what an interesting rose or daffodil or flower. 400 00:25:51,520 --> 00:25:53,900 Maybe this looks like something. He doesn't care 401 00:25:53,900 --> 00:25:56,260 about what it looks like. He cares much about the 402 00:25:56,260 --> 00:25:59,700 inspiration, the imagination, the feelings, the 403 00:25:59,700 --> 00:26:04,080 beauty. I gazed and gazed. But little thought what 404 00:26:04,080 --> 00:26:07,820 wealth the show to me had brought. I didn't care 405 00:26:07,820 --> 00:26:10,340 about what it brought to me. All I cared about was 406 00:26:10,340 --> 00:26:14,300 the scene and gazing and absorbing the beauty of 407 00:26:14,300 --> 00:26:17,300 nature. Look also at the past simple and past 408 00:26:17,300 --> 00:26:20,140 simple. Now, if you go to the rhyme scheme, the 409 00:26:20,140 --> 00:26:23,540 rhyme scheme was A, B, A, B, C, C. Second 410 00:26:23,540 --> 00:26:26,300 syllable, second sounds are the same. And here we 411 00:26:26,300 --> 00:26:33,780 have they, B, B, K, Company. Company. Company. 412 00:26:35,220 --> 00:26:36,120 Company. Company. Company. Company. Company. 413 00:26:36,120 --> 00:26:36,400 Company. Company. Company. Company. Company. 414 00:26:36,400 --> 00:26:36,480 Company. Company. Company. Company. Company. 415 00:26:36,480 --> 00:26:39,320 Company. Company. Company. Company. Company. 416 00:26:40,060 --> 00:26:42,120 Company. Company. Company. Company. Company. 417 00:26:42,120 --> 00:26:42,140 Company. Company. Company. Company. Company. 418 00:26:42,140 --> 00:26:42,180 Company. Company. Company. Company. Company. 419 00:26:42,180 --> 00:26:42,260 Company. Company. Company. Company. Company. 420 00:26:42,440 --> 00:26:42,500 Company. Company. Company. Company. Company. 421 00:26:42,500 --> 00:26:42,520 Company. Company. Company. Company. Company. 422 00:26:42,520 --> 00:26:42,580 Company. Company. Company. Company. Company. 423 00:26:42,580 --> 00:26:42,600 Company. Company. Company. Company. Company. 424 00:26:42,600 --> 00:26:43,620 company. company. company. 425 00:26:47,660 --> 00:26:53,820 company. company. company. company. company. 426 00:26:57,760 --> 00:26:58,080 company. 427 00:27:02,060 --> 00:27:03,780 Because the poet is indicating that there is 428 00:27:03,780 --> 00:27:06,540 something wrong with this symmetry. It looks 429 00:27:06,540 --> 00:27:09,780 symmetrical and perfect, but in reality it has 430 00:27:09,780 --> 00:27:13,580 trouble. It has problems. The second stanza had 431 00:27:13,580 --> 00:27:15,720 also a perfect rhyme, and the last stanza had a 432 00:27:15,720 --> 00:27:18,400 perfect rhyme. So this is the only stanza that has 433 00:27:19,170 --> 00:27:22,030 Imperfect rhyme, there could be a reason. But more 434 00:27:22,030 --> 00:27:25,030 interesting to me is the fact that the poet shifts 435 00:27:25,030 --> 00:27:31,830 from I, I, I, I wandered lonely, so I, and then he 436 00:27:31,830 --> 00:27:36,110 moves to say a poet could not but be gay to 437 00:27:36,110 --> 00:27:44,850 generally he or she. Why did he shift from he, 438 00:27:45,290 --> 00:27:47,690 from I to he or to she? 439 00:27:54,620 --> 00:27:57,300 The word gay means happy. So it's not about he's 440 00:27:57,300 --> 00:28:01,020 ashamed that people will say he's gay. Gay is 441 00:28:01,020 --> 00:28:04,720 happy. In the past, it meant happy. So a poet 442 00:28:04,720 --> 00:28:07,060 could not, could not, but there's emphasis here. 443 00:28:07,420 --> 00:28:10,180 In Arabic, we call this hasr wa qasr, right, for 444 00:28:10,180 --> 00:28:15,940 emphasis. So I couldn't but be happy means I am 445 00:28:15,940 --> 00:28:19,380 happy, very happy actually. There's no way I can't 446 00:28:19,380 --> 00:28:23,240 be happy. So there is negative here for emphasis. 447 00:28:24,060 --> 00:28:28,440 There's an imperfect rhyme here. in this area, and 448 00:28:28,440 --> 00:28:31,560 there is a shift from the first-person narrator to 449 00:28:31,560 --> 00:28:34,120 the third-person narrator. To show that this 450 00:28:34,120 --> 00:28:38,860 perfect scene could make any person's emotions 451 00:28:38,860 --> 00:28:41,560 especially good because... They have more 452 00:28:41,560 --> 00:28:44,200 sensitivity. Yes, make him happy. Thank you. 453 00:28:44,380 --> 00:28:50,820 Interesting. Yes? The bias came from B or A? A, B, 454 00:28:51,440 --> 00:28:52,060 A, B. 455 00:28:54,960 --> 00:28:57,860 They and gay is different. This is the sound. 456 00:29:00,860 --> 00:29:03,340 You will learn how to do the phonemic 457 00:29:03,340 --> 00:29:09,590 transcription hopefully next year. Yes? So we have 458 00:29:09,590 --> 00:29:12,950 a suggestion here, because this is all poets. All 459 00:29:12,950 --> 00:29:15,570 poets, because poets especially have the 460 00:29:15,570 --> 00:29:18,310 sensibility, the emotions, the extra emotions to 461 00:29:18,310 --> 00:29:21,870 do, to react to this beautiful scene in nature. So 462 00:29:21,870 --> 00:29:25,070 all people, especially poets, will be happy. That 463 00:29:25,070 --> 00:29:27,950 is true, but I think there is more to this. Let me 464 00:29:27,950 --> 00:29:31,070 go back to this after I finish the last sentence, 465 00:29:31,170 --> 00:29:34,770 OK? So we'll go back to a poet could not but be 466 00:29:34,770 --> 00:29:38,640 gay, because he could have easily said, I was gay. 467 00:29:38,780 --> 00:29:43,680 I was happy. The last stanza, this is how it ends. 468 00:29:44,080 --> 00:29:47,020 Notice there is a change in what? The first thing. 469 00:29:49,200 --> 00:29:53,420 He shifts 470 00:29:53,420 --> 00:29:58,800 to the present and also we have something back. We 471 00:29:58,800 --> 00:30:01,780 have the I back. 472 00:30:06,350 --> 00:30:10,430 Why is, again, the poem is part past simple and 473 00:30:10,430 --> 00:30:14,730 part present simple? So what's going on now? 474 00:30:18,070 --> 00:30:18,590 How? 475 00:30:21,410 --> 00:30:23,950 So how did the story happen? Where is the poet 476 00:30:23,950 --> 00:30:27,310 now? Very now? He's in the present. What is he 477 00:30:27,310 --> 00:30:31,710 doing? Oh, recollecting tranquility. And that's an 478 00:30:31,710 --> 00:30:34,190 interesting romantic issue here. You need to pay 479 00:30:34,190 --> 00:30:36,630 attention to the tenses to know what's going on. 480 00:30:36,770 --> 00:30:39,910 So what is the poet doing? He says, for oft, when 481 00:30:39,910 --> 00:30:45,290 on my couch I lie. When I lie, I lie down. 482 00:30:45,470 --> 00:30:48,990 Remember, tranquility, peace of mind, carefree, 483 00:30:49,210 --> 00:30:51,930 carefree, nothing to bother him, nothing to 484 00:30:51,930 --> 00:30:55,410 trouble him. What happens? Whether he is in vacant 485 00:30:55,410 --> 00:31:00,930 or in pensive mood, They, referring to? The 486 00:31:00,930 --> 00:31:05,310 daffodils. They flash, not something he sees first 487 00:31:05,310 --> 00:31:08,810 experience. They flash upon the inward eye, in his 488 00:31:08,810 --> 00:31:13,750 imagination, inside him. His mind's eye, his 489 00:31:13,750 --> 00:31:17,470 heart's eye, I would say. They flash upon the 490 00:31:17,470 --> 00:31:21,630 inward eye, which is the bliss of solitude. 491 00:31:21,750 --> 00:31:24,910 Solitude from solo. From being alone. Being alone. 492 00:31:25,210 --> 00:31:29,830 Not emotionally, just no one around you. Bliss. 493 00:31:29,930 --> 00:31:34,830 This is a bliss of solitude. This is, as a result, 494 00:31:34,950 --> 00:31:38,690 this is a good advantage of being alone in nature, 495 00:31:38,930 --> 00:31:43,570 individuality. What happens then? How does the 496 00:31:43,570 --> 00:31:47,500 poet, the I, react? His heart with pleasure fills 497 00:31:47,500 --> 00:31:52,780 and then my heart with pleasure fills and dances 498 00:31:52,780 --> 00:31:56,480 with the daffodils. When we speak normally, 499 00:31:56,640 --> 00:31:59,540 naturally, the determiners, the articles, the 500 00:31:59,540 --> 00:32:02,040 prepositions, the auxiliaries are not generally 501 00:32:02,040 --> 00:32:07,120 stressed. When I say, I went with him. I went with 502 00:32:07,120 --> 00:32:10,000 her. She came with me. You don't say, she came 503 00:32:10,000 --> 00:32:12,720 with me. But here, when you count the stressed and 504 00:32:12,720 --> 00:32:15,020 unstressed syllables, something you'll study later 505 00:32:15,020 --> 00:32:19,120 on, this with is emphasized, is stressed. It 506 00:32:19,120 --> 00:32:22,500 becomes and dances with the daffodils, because the 507 00:32:22,500 --> 00:32:25,600 theme is withness with nature, togetherness with 508 00:32:25,600 --> 00:32:29,160 nature, unity, melting down, becoming nature, and 509 00:32:29,160 --> 00:32:31,320 nature overwhelmingly 510 00:32:33,430 --> 00:32:35,930 claiming you, controlling you. So this is the 511 00:32:35,930 --> 00:32:39,150 reaction of the poet. His heart with pleasure 512 00:32:39,150 --> 00:32:44,230 fills. It overflows with pleasure. And he, it's 513 00:32:44,230 --> 00:32:48,290 not clear here whether he says like he himself 514 00:32:48,290 --> 00:32:51,570 dances with the daffodils or his heart, both. But 515 00:32:51,570 --> 00:32:55,630 here it's probably more his heart doing this and 516 00:32:55,630 --> 00:32:59,070 dances with the daffodils. So this is a reaction. 517 00:32:59,330 --> 00:33:02,770 What is the difference between this reaction and 518 00:33:02,770 --> 00:33:06,650 this reaction. This is a romantic poet, in my 519 00:33:06,650 --> 00:33:12,810 opinion. You just don't react. You just fill your 520 00:33:12,810 --> 00:33:17,190 heart with pleasure, with beauty and innocence of 521 00:33:17,190 --> 00:33:20,030 nature. And as a result, you become a totally 522 00:33:20,030 --> 00:33:23,730 different person. You remember. You recollect. Not 523 00:33:23,730 --> 00:33:26,930 once. Not an instant reaction. You just don't look 524 00:33:26,930 --> 00:33:30,150 at the daffodils and then You react in this 525 00:33:30,150 --> 00:33:32,430 particular way. A romantic poet generally 526 00:33:32,430 --> 00:33:37,170 encounters something, sees something. They don't 527 00:33:37,170 --> 00:33:39,670 react instantly, because this is going to be 528 00:33:39,670 --> 00:33:42,270 artificial. If you see a beautiful scene, nature, 529 00:33:42,870 --> 00:33:45,330 element, something, and you write poetry 530 00:33:45,330 --> 00:33:47,850 instantly, according to the romantics generally, 531 00:33:47,970 --> 00:33:50,050 this is not good poetry. So you just absorb 532 00:33:50,050 --> 00:33:52,550 everything. You store this. You know store? You 533 00:33:52,550 --> 00:33:56,860 bear it. He used the word bear, actually. There 534 00:33:56,860 --> 00:34:00,160 was bear in this or that was another poem. So he 535 00:34:00,160 --> 00:34:05,280 keeps it somewhere. When he is in solitude, alone, 536 00:34:05,620 --> 00:34:08,320 in vacant or impulsive mood, when he's lying on 537 00:34:08,320 --> 00:34:13,140 his couch all alone, he recollects. He remembers. 538 00:34:14,280 --> 00:34:17,680 He recalls this experience and then starts to live 539 00:34:17,680 --> 00:34:21,680 it again. And this is more powerful for the 540 00:34:21,680 --> 00:34:25,720 romantics than reacting to a scene you just see. 541 00:34:26,060 --> 00:34:30,280 So what's going on here? In my opinion, this is a 542 00:34:30,280 --> 00:34:33,240 direct criticism from William Wordsworth to 543 00:34:33,240 --> 00:34:38,140 classical Augustan poets. He's saying any ordinary 544 00:34:38,140 --> 00:34:42,870 poet would just only feel happy. but not William 545 00:34:42,870 --> 00:34:47,370 Wordsworth, the romantic poet. So a poet, this is 546 00:34:47,370 --> 00:34:49,650 the shift. This is the negative here. And this is 547 00:34:49,650 --> 00:34:52,230 the imperfect trying. This is an imperfect 548 00:34:52,230 --> 00:34:55,470 reaction on nature. If you just react to nature by 549 00:34:55,470 --> 00:35:00,110 being happy, that's not what it, you know, it 550 00:35:00,110 --> 00:35:03,710 takes more to be a romantic poet, to be like us, 551 00:35:04,010 --> 00:35:06,510 the romantics. And that's why in the end, the poem 552 00:35:06,510 --> 00:35:10,570 ends with, and then, my heart with pleasure fills. 553 00:35:11,420 --> 00:35:13,460 and dances with the daffodils. There is an 554 00:35:13,460 --> 00:35:17,160 interesting fact here. William Wordsworth, when he 555 00:35:17,160 --> 00:35:20,500 saw the daffodils, he saw them for real. He had 556 00:35:20,500 --> 00:35:25,590 his sister Dorothy with him. And in her diaries, 557 00:35:25,830 --> 00:35:29,350 you know, diaries, there is an entry where she 558 00:35:29,350 --> 00:35:32,230 tells us something about, I was working with Will, 559 00:35:32,590 --> 00:35:35,490 Willie, or Bill, I don't know what she called him, 560 00:35:35,650 --> 00:35:39,230 but William Wadsworth, and we saw this beautiful, 561 00:35:39,630 --> 00:35:42,350 magical, it was magisterial, the daffodils, 562 00:35:42,450 --> 00:35:45,230 everything. She describes this in prose, very 563 00:35:45,230 --> 00:35:50,910 beautiful. But here, where is she in the poem? Is 564 00:35:50,910 --> 00:35:56,410 she in the poem? He kicks her out because two is a 565 00:35:56,410 --> 00:36:00,520 company. Two is a company, and this is more about 566 00:36:00,520 --> 00:36:04,140 a personal, self-expressive experience about 567 00:36:04,140 --> 00:36:07,200 individuality. Some people would hate him for 568 00:36:07,200 --> 00:36:10,240 doing this. He's silencing her. Hey, Dorothy, get 569 00:36:10,240 --> 00:36:13,020 out of this, which is an anti-feminist thing. 570 00:36:13,740 --> 00:36:15,540 Maybe you can take it this way, but generally, 571 00:36:16,100 --> 00:36:18,040 because this is what the romanticist is saying, 572 00:36:18,440 --> 00:36:21,660 his own experience, and the sister can say her own 573 00:36:21,660 --> 00:36:28,010 experience in a way or another. A final point, we 574 00:36:28,010 --> 00:36:29,810 don't have time to go for Lucy Gray, another 575 00:36:29,810 --> 00:36:32,230 beautiful poem, but next class we can do Lucy Gray 576 00:36:32,230 --> 00:36:35,430 and we go back to Blake's London. We'll have time 577 00:36:35,430 --> 00:36:39,130 to do that. One final thing I want to say about 578 00:36:39,130 --> 00:36:41,290 the romantics is the fact that there's something 579 00:36:41,290 --> 00:36:46,030 called, not baby actually, childlike experience. 580 00:36:51,610 --> 00:36:55,470 Childlike experience. What is this? The romantics 581 00:36:55,470 --> 00:36:58,890 say the most beautiful, important, significant 582 00:36:58,890 --> 00:37:01,830 thing about city, about the romantics themselves, 583 00:37:02,490 --> 00:37:07,810 is they have this romantic childlike reaction to 584 00:37:07,810 --> 00:37:13,180 life. They believe because of corruption and 585 00:37:13,180 --> 00:37:15,240 pollution in the city and the factories and the 586 00:37:15,240 --> 00:37:18,080 industrial revolution, people go out early in the 587 00:37:18,080 --> 00:37:21,160 morning, they keep working until late hours, and 588 00:37:21,160 --> 00:37:23,600 they don't have time to appreciate life themselves 589 00:37:23,600 --> 00:37:26,840 or nature or the environment, right? They're 590 00:37:26,840 --> 00:37:31,340 always busy. They believe that the city has a 591 00:37:31,340 --> 00:37:35,560 veil. You know what veil is? Veil. Veil, like 592 00:37:35,560 --> 00:37:40,680 hijab. A veil of familiarity. You know familiar? 593 00:37:41,680 --> 00:37:44,880 Familiarity? What is familiarity in Arabic? Ulfa. 594 00:37:45,640 --> 00:37:49,640 Thank you. Yeah, yeah. So the city life adds a 595 00:37:49,640 --> 00:37:52,960 veil of familiarity. Like here, you for example, 596 00:37:53,140 --> 00:37:56,620 us. We're always rushing and busy and competing 597 00:37:56,620 --> 00:37:58,720 and running. We have classes. We have exams. We 598 00:37:58,720 --> 00:38:00,940 have quizzes. We have to read, right? We have to 599 00:38:00,940 --> 00:38:03,420 do assignments. We have to take a taxi. We care 600 00:38:03,420 --> 00:38:06,300 about our parents and the salaries and the work. 601 00:38:06,340 --> 00:38:08,540 And what should I do when I finish this? There is 602 00:38:08,540 --> 00:38:11,440 a lot. of care here, a lot of trouble, a lot of 603 00:38:11,440 --> 00:38:14,180 problems, that we don't sometimes stop to 604 00:38:14,180 --> 00:38:16,840 appreciate the moon or appreciate the flowers or 605 00:38:16,840 --> 00:38:19,120 the roses or even the cats here at campus, right? 606 00:38:19,280 --> 00:38:21,880 Maybe you play with the cats once in a while, but 607 00:38:21,880 --> 00:38:24,760 how many times did you stop to appreciate a rose 608 00:38:24,760 --> 00:38:27,590 or a flower? And even these roses and flowers, 609 00:38:27,750 --> 00:38:30,290 they are artificial. They are man-made in a way 610 00:38:30,290 --> 00:38:33,590 that man controls them and keeps trimming them. If 611 00:38:33,590 --> 00:38:36,470 your friend tells you, hey, look at the moon. 612 00:38:36,590 --> 00:38:39,090 There's a super moon. It's beautiful. Maybe you 613 00:38:39,090 --> 00:38:41,680 don't even see the moon through your window. And 614 00:38:41,680 --> 00:38:43,520 maybe you don't have the time because you are on 615 00:38:43,520 --> 00:38:45,980 social media spending time and chatting. Maybe 616 00:38:45,980 --> 00:38:48,320 because you only have four hours of electricity 617 00:38:48,320 --> 00:38:52,020 here in Gaza that you just want to do your stuff 618 00:38:52,020 --> 00:38:53,640 that requires electricity, that you don't care 619 00:38:53,640 --> 00:38:57,040 about nature. So the romantics say life, 620 00:38:57,280 --> 00:39:01,560 especially in the city, has added some sort of 621 00:39:01,560 --> 00:39:08,650 avail of familiarity. where we don't see things as 622 00:39:08,650 --> 00:39:12,650 they should be seen, beautiful and majestic. So 623 00:39:12,650 --> 00:39:16,390 they invite us to have this childlike experience. 624 00:39:16,550 --> 00:39:20,410 Children, they always react to the same thing. 625 00:39:20,490 --> 00:39:22,910 They see the same thing for a hundred times and 626 00:39:22,910 --> 00:39:26,690 they're like, Wow, this is a childlike reaction. 627 00:39:27,130 --> 00:39:29,630 When kids start learning words, for example, and 628 00:39:29,630 --> 00:39:32,130 they see the lights, they keep referring to it 629 00:39:32,130 --> 00:39:36,970 like a hundred times every day. Right? When they 630 00:39:36,970 --> 00:39:39,410 go out, when you are in a taxi or something, they 631 00:39:39,410 --> 00:39:44,670 see a donkey and they were like, more right like I 632 00:39:44,670 --> 00:39:48,970 know but this is how children generally react to 633 00:39:48,970 --> 00:39:52,250 things they see again and again but for us adults 634 00:39:52,250 --> 00:39:57,970 experience deprives us of this beautiful child not 635 00:39:57,970 --> 00:40:02,230 childish childlike reaction where every time you 636 00:40:02,230 --> 00:40:07,350 see something you just So he shifts from the past 637 00:40:07,350 --> 00:40:09,710 to the present because he's recollecting and 638 00:40:09,710 --> 00:40:13,150 because he's telling us, I relive this beautiful 639 00:40:13,150 --> 00:40:19,410 moment every time I want to relive this. So 640 00:40:19,410 --> 00:40:22,810 beautiful encounter, kind of flashbacking on 641 00:40:22,810 --> 00:40:26,810 something. Please, put this in mind. When I teach 642 00:40:26,810 --> 00:40:29,810 literature, I always invite my students to 643 00:40:29,810 --> 00:40:33,310 reconsider their lives. This is not about exams. 644 00:40:33,870 --> 00:40:36,050 Yeah, I know you want to get high marks. You 645 00:40:36,050 --> 00:40:39,490 should. And you study. But also think of how 646 00:40:39,490 --> 00:40:43,330 literature can change you, can change your lives, 647 00:40:43,530 --> 00:40:45,590 can make you better human beings, can make you 648 00:40:45,590 --> 00:40:50,530 think, can make you grow. Exactly like movies. And 649 00:40:50,530 --> 00:40:53,210 poetry here invites us to be different, to care 650 00:40:53,210 --> 00:40:57,530 about others, to like, to love. 651 00:41:00,240 --> 00:41:01,980 And this is part of the question you need to 652 00:41:01,980 --> 00:41:05,220 answer. How literature influences life. Literature 653 00:41:05,220 --> 00:41:10,040 is a criticism of life and a tool of empowerment. 654 00:41:10,180 --> 00:41:13,670 It makes us better people, more powerful people, 655 00:41:13,990 --> 00:41:16,750 especially for people like us here oppressed and 656 00:41:16,750 --> 00:41:19,110 occupied by the Israeli occupation, especially if 657 00:41:19,110 --> 00:41:22,070 we are women and we need to raise our voices and 658 00:41:22,070 --> 00:41:24,910 reach out to people and break the barriers, break 659 00:41:24,910 --> 00:41:30,790 the glass ceiling, break the unfavorable rules 660 00:41:30,790 --> 00:41:35,410 around us here or there. So this is one poem by 661 00:41:35,410 --> 00:41:37,910 William Wordsworth that has almost all the 662 00:41:37,910 --> 00:41:40,670 features of romanticism. Nature, tick. 663 00:41:41,410 --> 00:41:44,690 Individuality, tick. Imagination, tick. Man and 664 00:41:44,690 --> 00:41:47,390 nature, simplicity, tick. I think you'll find two, 665 00:41:47,530 --> 00:41:50,530 three words. Imagine yourself a native speaker in 666 00:41:50,530 --> 00:41:53,310 grade seven in England or America. You will get 667 00:41:53,310 --> 00:41:57,670 most of the words, if not all of them. Subject 668 00:41:57,670 --> 00:42:01,750 matter, common life, flowers from nature, also 669 00:42:01,750 --> 00:42:10,470 tick. What else? Recalling memory, tick. How you 670 00:42:10,470 --> 00:42:13,090 break the rules in order to, you know, sometimes 671 00:42:13,090 --> 00:42:16,490 to get to convey a message with the imperfect 672 00:42:16,490 --> 00:42:23,030 rhyme, also tick. I'll stop here. And if you have 673 00:42:23,030 --> 00:42:26,330 any question, you can definitely ask. Next class, 674 00:42:26,410 --> 00:42:29,570 we'll continue doing Lucy Gray by William 675 00:42:29,570 --> 00:42:32,770 Wordsworth, and we will have time to do London by 676 00:42:32,770 --> 00:42:36,670 William Blake. Thank you very much. And hopefully 677 00:42:36,670 --> 00:42:38,610 this will change something in you.