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Okay, good morning everyone and welcome back.

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Today we move on to speak about our first poem, our

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first English poem in the course. Last time we

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examined a Palestinian poem by a young Palestinian

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poet, Tamim el Barghouti, about Jerusalem. We

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discussed issues related to the themes and the

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forms, and we kind of, in passing, mentioned some

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features of Palestinian poetry highlighted in the

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poem itself, and I gave you this as an assignment,

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so I'm hoping that you're working on this, again,

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on excavating the Palestinian poetry features from the

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poem, *Vitamin Al Barwati*.

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Today we move on to Renaissance poetry and this is

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Sir Thomas Wyatt, from the 16th century. from the

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16th century. Sir Thomas Wyatt was born around

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1502 and died around 1542, something like that. It

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means he was born, wrote poetry, did what he did

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and lived in the first half of the 16th century.

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The poem we will talk about today is this one.

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It's called "Whoso List to Hunt." Many poems in the

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past didn't have titles, so many people tend to

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give them either titles revolving around the theme

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itself or sometimes people take the first line or

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the first part of the first line as the title of

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the poem. If you look at the poem, it's short.

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This is the first thing we notice. It's a short

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poem.

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If you look at the form or the shape, it's kind of

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regular, more or less. The lines are not exactly

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the same, but they are close. Sometimes the length

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of the line is significant, but what is more

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significant is the number of syllables.

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My advice is usually, when you look at a poem, a

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short poem like this, is to count the lines.

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Because if this is a 14-line poem, it means it's a

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sonnet. Thank you very much. It means it's a

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sonnet. Why is a sonnet special? Can you tell me?

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Why is it special to highlight the fact that a

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particular poem is a sonnet or is not a sonnet?

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Please. It has a certain high status and it usually

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speaks about... How did you know it's a Petrarchan

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sonnet? Okay. Thank you. It has two parts.

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What's the most significant thing about the

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sonnet?

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More. More important. More important. What's the

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most significant thing about the sonnet? More.

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Yeah? The number of lines, the 14 lines, that's

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number one, that's a given. Yeah, but let's go

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back and work on things in a regular manner. 14

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lines, 13 lines, no, sorry, not a sonnet. 15 lines,

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still not a sonnet. So when I say what is special

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about the sonnet, the first thing is that 14

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lines, sacred, it's a given. And then we talk

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about, because even when you talk about the rhyme

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scheme, there are varieties. The structures, there

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are varieties. The subject matter is basically

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what some of you mentioned; it could be basically a

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love poem. But we'll see later on how this could

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also shift and change. When we talk about the

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sonnet, we talk about Italy. It originated in? In

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Italy.

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So Italy has given us not only good food, but also

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good poetry and good football. Hopefully, you like

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football. Now, the sonnet became very

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famous, became trendy, a very fashionable form of

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writing poetry sometime in the 14th century, I

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believe. And it was made very popular by two giants,

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two significant poets. Number one is Dante and

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number two, probably more important, is called

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Petrarch. Look at the spelling. And then the name

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sounds strange because almost all Italian words

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end in vowels. I don't know why this is different.

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So Petrarch, Petrarch, Petrarch. That's why we

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usually hear about the Petrarchan sonnet. It means

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the Italian sonnet. Now, in Petrarch, we have

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particular features for the sonnet. If you want to

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describe a sonnet as Petrarchan, it has to have

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certain things. We can organize these into three

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categories. Number one, the theme;

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what it is about. Number two, the form;

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the parts, like you said. And number three,

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the rhyme scheme. We defined rhyme before as the

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ending sound or sounds of a line of verse.

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So what's the theme in a Petrarchan sonnet? Can

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you tell?

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So it's about, like, what is he saying? Like, women

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are good, women are bad, women are... what exactly

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is going on?

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In the Petrarchan sonnet, it is love. It's a love

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poem; that's why many people insist on defining the

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sonnet as a 14-line love poem. Because it was

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basically kind of invented to express this love

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relationship, to chase women, to come after them,

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to hunt them down, we see this. So it's a love

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poem. But even this poem, this kind of love theme

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is also special. There's something different. We

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find it in other poems, but here Petrarch usually

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represents the woman as unattainable, cruel, and

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heartless. She's cruel and heartless, sometimes

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cannot be reached, cannot be attained. And usually

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the lover is presented as an abject man, a man

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usually doing his best, but failing, not because

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he's a loser, but because of the woman, the

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heartless woman.

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And some people might find this very interesting

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in the sense that when you usually express love,

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and strong emotions like love, they usually

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overflow. Remember we spoke about overflowing? And

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putting this in this very tight shape, restricting

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us to 14 lines, that could be limiting sometimes.

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If 14 lines can limit us, wait until you see what

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other rules there are, what other features

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there should be. Now, the Italian sonnet or the

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Petrarchan sonnet has a particular form. It's

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divided into? Thank you very much. An octave and a

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sestet. Easy. Octave means eight, like octopus,

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you know, octopus. Eight. Eight lines.

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Sestet? Six. Okay, thank you. Six lines.

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Now, in the first part, what happens in the first

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part, in the opening eight lines? Please. Okay, so

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there is the introduction of the problem, the

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issue, the crisis, the complications, the issue;

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he's discussing his... what exactly is going on.

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Because many people, like Shakespeare, Shakespeare

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wrote, we'll see this next class, 154 sonnets,

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give or take. Same with Petrarch, I'm not sure how

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many, but he wrote over 200 sonnets. So if this is

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a love poem, and you're saying something about

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your relationship with a woman, why are you saying

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it in 200 different ways? Yeah? It's never enough,

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I don't know. But in the first eight lines, the

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poet exposes us to what's going on, how he feels,

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what's going on. Usually something is wrong. He's

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down. He's not feeling good. He's not optimistic

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about winning the woman. The woman is doing

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something that doesn't help him win her heart. And

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naturally, in the sestet, we have the solution,

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the kind of answer, the resolution, the closure,

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hopefully sometimes, or the justification. Why

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what happened in the first stanza, the first part

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happened.

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Okay, so look at this. We said 14 lines, and some

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might say, wow, that's very limiting, very strict

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and rigid. And then we say, also, wait a minute.

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The first eight lines, the octave, form one

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part, one particular part. It discusses this

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particular issue. And then the poet kind of

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twists, moves, shifts to the resolution, usually

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some kind of a closure or a justification

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sometimes in six lines. Now, even more limiting is

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the rhyme scheme, the ending sounds. We'll see

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this in a bit in the poem. How it ends. And we

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discussed this before; we mentioned it very

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quickly in Ali Abunayem's poem because the five

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lines ended in an “I” sound, we said it

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ended with “I.” In English, the rhyme in English

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follows, the sounds follow the alphabet, A, B, C,

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D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T,

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etc. Because Arabic is a very

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flexible language. You could read a poem of 2000

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lines ending in the same sound. Hundreds of lines

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could end. The Arabic language is said to have 12

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million words. That's a lot. And the second place,

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in the second place comes English with close to

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half a million. Notice the gap? More than 11

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million words. That's why Arabic is a very

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flexible language. English comes second, very

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flexible, but doesn't sometimes come close. So

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usually the first sound, let's work on this before

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we talk about the rhyme scheme. The first sound,

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whatever it is, whatever it is, whether the poem

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ends in “zero,” “pizza,” “salad,” “morning,” “class,”

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“teacher,” whatever, the sound or the sounds,

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because sometimes it's not the last sound, the

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last two sounds. We give it A.

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Where did the A come from? The alphabet, the first

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letter from the alphabet. You should know this

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because you need to do it in your exams. Now, we

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look at the second line, the ending of the second

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line. If it repeats the same sound or sounds as

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the first line, another A. No, we go back to the

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alphabet. The next one is B.

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That's "more," "saw." That's another B. "Behind." A. And

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then we have "mind," "wind." Okay, we'll see this in a

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bit. Another A, a four, therefore, B. Look at

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this. If you look at this word and compare it with

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this or this.

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Or this, they look similar. The last three

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letters, I-N-D, I-N-D, I-N-D, they are the same.

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But it's not the letters we care about. It's the

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sounds.

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silent letter. That's why we care about the

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sounds. And then about is yet another, another C.

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There's one line missing. Okay. So the last line

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here, C, D, D, C. Am, you know, am, we say am. For

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Caesars, I am.

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Did we get the last line?

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Yup. So the last line, the last two lines, am is?

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and then and then that's tame, tame. I think it's

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another imperfect rhyme scheme, so let's go back

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again. Because we have a smaller screen now, we have

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A, B, B, A, A, B, B, imperfect, C, D, D, C, E,

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E. One imperfect rhyme, two imperfect rhymes.

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Because this is M, this is the sounds, the

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phonemic transcription, but team is

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Same with this one, this is Ind, for example Hind,

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but mind is, wind is just wind.

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This is how you get the rhyme scheme from a poem,

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from a stanza. Usually, if we move to a new stanza

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in the poem, we begin again, we go back to the A,

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but the sonnet is written in one block, so we just

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continue counting.

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Okay, so the Petrarchan sonnet has a special rhyme

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scheme. Do you know it? What is it? What is it?

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Please. Okay, so the rhyme scheme is... What should I

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write it? So the rhyme scheme for the Petrarchan

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sonnet is A B B A A

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B B A. Say

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again. Okay,

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A B B A. Yet again, A B B A. Yes or no?

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I'm talking about the Petrarchan sonnet.

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Petrarchan sonnet rhymes A B B A A B B A. What

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about the second part?

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Okay, so we could go for C D E C D E C D E, C, D, C, D,

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C, D. This is Petrarch.

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Listen, the Italian sonnet itself has 11 syllables

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in every line. Look at how strict and rigid this

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is. It's highly calculated. It's tightly

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structured. The sounds, the rhymes, the lines,

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even the syllables. And this is what makes the

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sonnet different. It's not only the theme. It's

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not only sometimes the number of lines. And that's

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why many people describe it as a rigid form of

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poetry. And these rules, by the way, make the

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sonnet a difficult kind of poem to write.

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because you are surrounded by rules from all.

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It's not just, okay, I want to write a 14-line

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poem. Wait a minute. The number of syllables, the

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structure, the rhyme scheme, the

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form, et cetera.

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Now, in the Renaissance, whether in Italy or in

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England, it became a fashion. The sonnet became a

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fashionable trend. And that's why almost all major

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poets wrote sonnets. It's like now when one of

276
00:21:56,480 --> 00:21:59,320
your friends doesn't have an account on Twitter or

277
00:21:59,320 --> 00:22:03,300
Instagram. It's like, what? And it was a show off.

278
00:22:04,280 --> 00:22:06,940
I know people who start all their conversations by

279
00:22:06,940 --> 00:22:12,460
saying, "I have 10K on Twitter. I have 15K on

280
00:22:12,460 --> 00:22:14,820
Instagram." I think in the past it was like, "I

281
00:22:14,820 --> 00:22:19,760
wrote sonnets. You know, I wrote a sonnet last..., in

282
00:22:19,760 --> 00:22:22,560
my sonnet last time, I did this and that. In my

283
00:22:22,560 --> 00:22:26,040
sonnet to Laura, this Petrarch, he was writing to

284
00:22:26,040 --> 00:22:29,100
Laura, sometimes pronounced as Laura, in an Italian

285
00:22:29,100 --> 00:22:36,340
musical way. So this sonnet kind of migrated to

286
00:22:36,340 --> 00:22:40,140
England, or was brought to England, depending on

287
00:22:40,140 --> 00:22:43,280
how you like to look at things. If you think that

288
00:22:43,280 --> 00:22:48,880
the sonnet is like an organism, a human being... Did

289
00:22:48,880 --> 00:22:52,640
it migrate or was it brought, imported? Is it a

290
00:22:52,640 --> 00:22:55,940
product? I like to use the word migrate,

291
00:22:56,240 --> 00:22:58,800
migrating. How it migrated from one place to

292
00:22:58,800 --> 00:23:01,600
another. Now Sir Thomas Wyatt, the guy who wrote

293
00:23:01,600 --> 00:23:04,980
this poem, and Henry Howard, they brought it to

294
00:23:04,980 --> 00:23:08,580
England. And England always had this problem with

295
00:23:08,580 --> 00:23:13,310
Europe. Because all the good things originated in

296
00:23:13,310 --> 00:23:16,630
Europe, in the continent, not in England itself.

297
00:23:17,170 --> 00:23:19,570
Even football, which the English claim to have

298
00:23:19,570 --> 00:23:23,490
invented, they have won the World Cup only once

299
00:23:23,490 --> 00:23:27,710
and they are always beaten. So this inferiority

300
00:23:27,710 --> 00:23:31,870
complex, let me say, is... and again, probably some

301
00:23:31,870 --> 00:23:34,390
people connect this to Brexit nowadays.

302
00:23:35,300 --> 00:23:37,020
It's like the English want to be different. They

303
00:23:37,020 --> 00:23:39,200
wanted to write things their own way, but

304
00:23:39,200 --> 00:23:42,800
eventually they end up borrowing the sonnet,

305
00:23:43,340 --> 00:23:46,720
borrowing even the novel, even classical drama.

306
00:23:46,980 --> 00:23:50,020
Everything is not originally British. Not many

307
00:23:50,020 --> 00:23:52,440
things are originally British, maybe except

308
00:23:52,440 --> 00:23:57,300
imperialism and colonialism and evil and bad food.

309
00:23:57,580 --> 00:24:01,600
So what I'm saying here is that when Sir Thomas

310
00:24:01,600 --> 00:24:08,000
Wyatt brought this small, beautiful, baby poem to

311
00:24:08,000 --> 00:24:13,440
England, he adopted it. I'm sorry for the extended

312
00:24:13,440 --> 00:24:18,800
metaphors. It sounds stupid now. Okay? And he

313
00:24:18,800 --> 00:24:21,440
tried to make it a little bit English. You know,

314
00:24:21,520 --> 00:24:23,300
when somebody copies your homework, you say, just

315
00:24:23,300 --> 00:24:25,880
copy it so it doesn't sound like you're plagiarizing.

316
00:24:26,340 --> 00:24:28,620
So he changed a little bit about it. He introduced

317
00:24:28,620 --> 00:24:35,980
something at the end: the couplet, the two rhyming

318
00:24:35,980 --> 00:24:42,380
lines. So today we know we have the octave, eight

319
00:24:42,380 --> 00:24:49,240
lines, the sestet, six lines, and also the couplet.

320
00:24:51,610 --> 00:24:53,750
Two rhyming lines. This is necessary. It's

321
00:24:53,750 --> 00:24:57,630
necessary to say "two rhyming lines," not all

322
00:24:57,630 --> 00:25:02,010
pairs of lines are couplets. They should rhyme.

323
00:25:02,110 --> 00:25:04,030
And some people insist that they should be about

324
00:25:04,030 --> 00:25:06,890
one idea, sometimes one image.

325
00:25:09,870 --> 00:25:13,770
The question is, is this poem by Sir Thomas Wyatt

326
00:25:13,770 --> 00:25:17,880
a Petrarchan sonnet? Or not? Has he changed

327
00:25:17,880 --> 00:25:21,180
anything? What did he change and where? Somebody

328
00:25:21,180 --> 00:25:27,100
please read. Read the poem, please. Who saw less

329
00:25:27,100 --> 00:25:30,280
to hunt? I know where is the hind. But as far

330
00:25:30,280 --> 00:25:34,260
from me, alas, I may know more. The vain travail

331
00:25:34,260 --> 00:25:37,940
hath wearied me so sore. I am of them that

332
00:25:37,940 --> 00:25:42,900
farthest come behind. Yet may I by no means my

333
00:25:42,900 --> 00:25:47,300
weary mind... I draw from the deer, but as she fleeth

334
00:25:47,300 --> 00:25:52,160
afore, fainting, I follow. I leave off, therefore,

335
00:25:52,780 --> 00:25:56,960
since in a net I seek to hold the wind. Who list

336
00:25:56,960 --> 00:26:01,840
to hunt her, I put him out of doubt. As well as I may

337
00:26:01,840 --> 00:26:07,000
spend his time in vain. Engraven with diamonds in

338
00:26:07,000 --> 00:26:10,560
letters plain, there is written her frantic

339
00:26:10,560 --> 00:26:11,460
roundabout.

340
00:26:17,390 --> 00:26:18,070
Okay,

341
00:26:21,530 --> 00:26:27,210
good reading. One more, please. Can you speak up?

342
00:26:31,670 --> 00:26:35,090
Where is the hind?

343
00:26:37,690 --> 00:26:40,990
But as for me, alas, I may no more. The vain

344
00:26:40,990 --> 00:26:45,130
travail hath wearied me so sore. I am of them that

345
00:26:45,130 --> 00:26:49,570
far this cometh behind. Again, yet may I be no

346
00:26:49,570 --> 00:26:53,290
means my wearied mind... Draw from the deer, but as

347
00:26:53,290 --> 00:26:56,830
she flees at once, fainting, I follow. I leave off

348
00:26:56,830 --> 00:27:00,030
therefore, since in a net I seek to hold to it.

349
00:27:15,590 --> 00:27:16,330
Okay,

350
00:27:19,770 --> 00:27:24,780
one more please, finally. And I know where it can

351
00:27:24,780 --> 00:27:29,080
hide. But as for me, alas, I may know more. The

352
00:27:29,080 --> 00:27:32,140
vain travail hath wearied me so sore. I am of them

353
00:27:32,140 --> 00:27:35,960
that farthest cometh behind. Yet may I by no means

354
00:27:35,960 --> 00:27:40,380
my weary mind draw from the deer. But as she

355
00:27:40,380 --> 00:27:43,920
fleeth afore, fainting, I follow. I leave off,

356
00:27:44,060 --> 00:27:46,780
therefore, since in a net I seek to hold the wind.

357
00:27:47,640 --> 00:27:50,740
Who list to hunt her, I put him out of doubt, as well

358
00:27:50,740 --> 00:27:54,160
as I may spend most of his time in vain. Engraven

359
00:27:54,160 --> 00:27:57,180
with diamonds and letters plain, there is written,

360
00:27:57,380 --> 00:28:01,620
"Noli me tangere," for

361
00:28:01,620 --> 00:28:07,610
Caesar's I am, and wild boar to hold. Okay, nice

362
00:28:07,610 --> 00:28:08,710
readings, thank you very much.

363
00:28:12,210 --> 00:28:16,950
Now, before we comment on the poem, there are many

364
00:28:16,950 --> 00:28:20,590
things to notice. This is, by the way, a

365
00:28:20,590 --> 00:28:23,150
modernized version of the original text. I tried

366
00:28:23,150 --> 00:28:26,870
to use words that correspond with today's English,

367
00:28:27,350 --> 00:28:32,590
but still there are words like "cometh," but it's

368
00:28:32,590 --> 00:28:35,250
two syllables actually, like Rahaf said, "cometh."

369
00:28:36,100 --> 00:28:45,320
even "fleeth," "fleeth," this is... and "hath," "hath," this is

370
00:28:45,320 --> 00:28:50,740
"hath," this is "comes," this is "flees"... Middle English

371
00:28:50,740 --> 00:28:56,760
they use "th" for "he," "she," "it," that was replaced long

372
00:28:56,760 --> 00:29:02,500
time ago by "s." Today we say "she has," "she goes," "she

373
00:29:02,500 --> 00:29:08,800
flees," "she runs." In the past it was "fleeth," "cometh,"

374
00:29:09,540 --> 00:29:19,240
"hath," the "th." The other thing to notice is the

375
00:29:19,240 --> 00:29:23,560
Latin here in the last two lines: "Noli me,"

376
00:29:23,880 --> 00:29:26,020
actually there are many readings for this, but

377
00:29:26,020 --> 00:29:28,700
many dictionaries online say "Noli me tangere."

378
00:29:29,490 --> 00:29:32,630
Making it one, two, three, four, five, six

379
00:29:32,630 --> 00:29:36,130
syllables. "Noli me tangere." Although I love the "noli

380
00:29:36,130 --> 00:29:39,390
me tangere," the Italian way of saying it.

381
00:29:41,010 --> 00:29:42,370
Anything else to notice?

382
00:29:46,370 --> 00:29:50,450
Language-wise. So that's it. This is all the

383
00:29:50,450 --> 00:29:56,010
Middle English "hath," "comes," and "please." Now what is

384
00:29:56,010 --> 00:29:59,200
this about? What is the poet saying? Can you

385
00:29:59,200 --> 00:30:03,060
guess? Look at the pronouns, the people, the

386
00:30:03,060 --> 00:30:08,320
characters in the poem. And probably you could

387
00:30:08,320 --> 00:30:15,460
have noticed this. We don't say "an hind"

388
00:30:15,460 --> 00:30:19,480
nowadays, yeah? "An hind." But today we say "hind."

389
00:30:20,460 --> 00:30:27,150
"Hind," it means a deer, yeah? Gazelle. So basically

390
00:30:27,150 --> 00:30:29,610
probably in the past, the H could have been

391
00:30:29,610 --> 00:30:34,830
silent, like it's silent in "honor," in "hour," you

392
00:30:34,830 --> 00:30:40,170
know, and "honest," etc. On YouTube, many people say

393
00:30:40,170 --> 00:30:43,990
"Anhein," it reads well, but I guess it should be

394
00:30:43,990 --> 00:30:47,370
"a hind." It's heavy to pronounce. But you can make it

395
00:30:47,370 --> 00:30:51,390
not heavy, "a hind," but I would go for "a hind." If I

396
00:30:51,390 --> 00:30:53,830
will pronounce it as "hind," why should I use

397
00:30:53,830 --> 00:30:54,170
"an hind"?

398
00:30:57,290 --> 00:31:00,530
That's why, that's why, okay? So this is basically

399
00:31:00,530 --> 00:31:04,150
why we have the N for the vowel that follows. The

400
00:31:04,150 --> 00:31:09,490
H is not a vowel sound. And there's a big story

401
00:31:09,490 --> 00:31:12,070
about the H and how, why is it, why is the H

402
00:31:12,070 --> 00:31:18,130
silent in "hour" and "honest" and "honor"? Why? And why

403
00:31:18,130 --> 00:31:22,930
it's not silent somewhere else? And by the way,

404
00:31:25,370 --> 00:31:29,130
it's sometimes you will read something like "an."

405
00:31:33,670 --> 00:31:35,630
And this is strange because we say "history,"

406
00:31:35,770 --> 00:31:41,310
"historic," and "historical." Both are correct. You

407
00:31:41,310 --> 00:31:44,730
could say "an" or "a." And I know some people who

408
00:31:44,730 --> 00:31:47,030
just want to show off that they know they have the

409
00:31:47,030 --> 00:31

445
00:34:32,960 --> 00:34:36,160
We have the lover who is doing his best, but the woman

446
00:34:36,160 --> 00:34:39,180
is cruel, and he just can't get her. So the woman

447
00:34:39,180 --> 00:34:42,200
is the deer, and he tried to hunt her over and over

448
00:34:42,200 --> 00:34:44,940
but she just keeps escaping, and he keeps falling

449
00:34:45,550 --> 00:34:48,450
By the way, this is a poem from the perspective of

450
00:34:48,450 --> 00:34:50,970
a man. He's saying she keeps running away. He's

451
00:34:50,970 --> 00:34:54,730
not saying, "I'm a loser." Although sometimes he

452
00:34:54,730 --> 00:35:01,150
indicates that he doesn't follow, he leaves off,

453
00:35:01,190 --> 00:35:03,430
he gives up. But he doesn't say it's because I'm a

454
00:35:03,430 --> 00:35:08,050
loser or I'm a good guy. It's because she's wild.

455
00:35:09,490 --> 00:35:12,390
She's wild. So can you describe this as a love

456
00:35:12,390 --> 00:35:17,190
poem? It talks about unattainable love, and I do

457
00:35:17,190 --> 00:35:21,830
believe this, and he describes the woman as, okay,

458
00:35:21,930 --> 00:35:25,270
a deer, and he describes her as wild, though tame,

459
00:35:25,410 --> 00:35:27,750
so this means that there is some kind of, yes, I

460
00:35:27,750 --> 00:35:30,610
want to maybe come to you or something, but still,

461
00:35:30,670 --> 00:35:33,870
she's restricted by something that the poet

462
00:35:33,870 --> 00:35:36,030
himself does not know. I just want to say

463
00:35:36,030 --> 00:35:38,370
something: that maybe this metaphor could be

464
00:35:38,370 --> 00:35:42,030
extended even more to say that this woman or this

465
00:35:42,030 --> 00:35:47,760
deer can be actually the poem itself. How's that?

466
00:35:49,160 --> 00:35:51,900
Let's go back to this probably at the end of the

467
00:35:51,900 --> 00:35:54,380
class. But the point is here, can you describe

468
00:35:54,380 --> 00:35:56,940
this as a love poem? We don't have much

469
00:35:56,940 --> 00:35:59,120
information, let's say. We only know that this is

470
00:35:59,120 --> 00:36:01,440
a sonnet written by Sir Thomas Wyatt, an

471
00:36:01,440 --> 00:36:05,000
Englishman in the first half of the 16th century,

472
00:36:05,320 --> 00:36:07,780
the Renaissance period before Shakespeare.

473
00:36:10,300 --> 00:36:13,540
You said here this is unattainable love, love that

474
00:36:13,540 --> 00:36:19,860
can't be. Please. I think it is just giving

475
00:36:19,860 --> 00:36:26,240
justifications because we don't listen to the two

476
00:36:26,240 --> 00:36:32,000
points of view. You just listen to him, and he's

477
00:36:32,000 --> 00:36:34,860
giving justifications for giving up his love.

478
00:36:35,320 --> 00:36:39,920
Okay. He shows his love to her somewhere in the

479
00:36:39,920 --> 00:36:43,160
poem. Does he show it somewhere? He describes her as

480
00:36:43,890 --> 00:36:48,270
beautiful, you know, the fair neck. She's a deer.

481
00:36:48,710 --> 00:36:53,650
She's not a crow, a raven, or I don't know, a wild

482
00:36:53,650 --> 00:36:57,030
cat. She's a deer.  Yeah.

483
00:37:02,530 --> 00:37:06,710
So he's searching for the right suitor, the right

484
00:37:06,710 --> 00:37:12,990
partner possibly. Okay. And may I, by no means, is my

485
00:37:12,990 --> 00:37:15,510
weird mind that it can't stop thinking about me.

486
00:37:16,670 --> 00:37:19,950
But his mind is weird. He's tired. He's giving up.

487
00:37:20,910 --> 00:37:24,010
And also he is saying, "Who's soulless to hunt? I

488
00:37:24,010 --> 00:37:27,830
know where is a lion. Whoever wants to hunt, I can

489
00:37:27,830 --> 00:37:32,470
tell you where you can find a deer. So you can

490
00:37:32,470 --> 00:37:36,550
hunt her. That's giving up. That's horrible, by

491
00:37:36,550 --> 00:37:41,400
the way. In the age of #MeToo, this is... this is mad

492
00:37:41,400 --> 00:37:45,840
and sad, yeah? Because clearly we'll talk about

493
00:37:45,840 --> 00:37:49,600
this in a bit. The woman seems to be saying no,

494
00:37:50,300 --> 00:37:54,060
rejecting him, turning him down. But this is a man

495
00:37:54,060 --> 00:37:58,400
who is not only insisting on having her, pushing

496
00:37:58,400 --> 00:38:02,840
further after having his advances rejected. This

497
00:38:02,840 --> 00:38:07,000
is a man who is telling other men to hunt this

498
00:38:07,000 --> 00:38:12,380
woman, to go after her. Horrible, horrible. You

499
00:38:12,380 --> 00:38:14,080
know, no is no, right? Please?

500
00:38:19,600 --> 00:38:27,160
Don't we

501
00:38:27,160 --> 00:38:29,520
do this all the time? Don't we compare people we

502
00:38:29,520 --> 00:38:33,000
love to certain animals? Does it mean they are

503
00:38:33,000 --> 00:38:34,580
animals, or we hate them?

504
00:38:40,790 --> 00:38:43,690
Because when you put it this way, he compares her

505
00:38:43,690 --> 00:38:47,790
to an animal. Wow, don't do this, but a deer is kind

506
00:38:47,790 --> 00:38:53,690
of an unacceptable image. Even

507
00:38:53,690 --> 00:38:57,410
dogs sometimes, in certain situations, can be can be

508
00:38:57,410 --> 00:39:01,570
positive. Yeah. More

509
00:39:01,570 --> 00:39:03,590
More

510
00:39:05,450 --> 00:39:07,510
Can we take this, simply speaking, can we take

511
00:39:07,510 --> 00:39:09,630
this under, does it go under the umbrella of a

512
00:39:09,630 --> 00:39:12,990
love poem? If you want to categorize it. I think

513
00:39:12,990 --> 00:39:15,870
yeah. Maybe it's not reciprocated, you know?

514
00:39:16,370 --> 00:39:19,710
There's no loving back. So the theme here is,

515
00:39:20,150 --> 00:39:20,430
sorry?

516
00:39:23,990 --> 00:39:25,810
Okay, so we have here the theme,

517
00:39:28,750 --> 00:39:31,510
probably courtly love.

518
00:39:35,310 --> 00:39:39,670
What about the form? Before the form, maybe you

519
00:39:39,670 --> 00:39:41,010
can talk about the rhyme scheme.

520
00:39:43,870 --> 00:39:50,890
Quickly. The rhyme scheme is here. So it is A, B,

521
00:39:51,110 --> 00:40:00,680
B, A, A, B, B, A. That's Petrarchan. And then C, D,

522
00:40:01,120 --> 00:40:08,680
D, C, E, E. Okay, if you want to insist on the

523
00:40:08,680 --> 00:40:16,760
imperfect rhyme, it could go like this. So is the

524
00:40:16,760 --> 00:40:18,440
rhyme scheme a Petrarchan rhyme scheme?

525
00:40:23,060 --> 00:40:27,770
Usually in Petrarchan sonnets, we don't, I think, very few

526
00:40:27,770 --> 00:40:30,030
Petrarchan sonnets have the rhyming couplet at the

527
00:40:30,030 --> 00:40:33,690
end. So it's not something characteristic of

528
00:40:33,690 --> 00:40:38,690
Petrarchan sonnets. The rhyming couplet at the end is an

529
00:40:38,690 --> 00:40:43,090
English innovation. Some English poets introduced it,

530
00:40:43,250 --> 00:40:46,390
but it was made so popular by Shakespeare. We'll

531
00:40:46,390 --> 00:40:52,010
see next class. Okay? So while the octave might

532
00:40:52,010 --> 00:40:53,570
sound Petrarchan,

533
00:40:55,970 --> 00:41:03,590
the sestet is not at least 100% Petrarchan. So

534
00:41:03,590 --> 00:41:09,470
how is this divided? It depends. I could go for

535
00:41:09,470 --> 00:41:14,050
octave, quatrain, couplet. Like you could count it

536
00:41:14,050 --> 00:41:17,310
this way, like we have four, eight lines, four

537
00:41:17,310 --> 00:41:22,140
lines, two lines. This is the octave. This is the

538
00:41:22,140 --> 00:41:24,860
quatrain. This is a new word maybe to some of you.

539
00:41:25,140 --> 00:41:27,680
Quatrain, from "quarter," means four, four lines. So

540
00:41:27,680 --> 00:41:32,520
we have couplet, quatrain, sextet and octave, and

541
00:41:32,520 --> 00:41:37,580
then the couplet. Which makes it different from

542
00:41:37,580 --> 00:41:41,080
Petrarchan sonnets. Or you just could go simply for eight

543
00:41:41,080 --> 00:41:43,420
lines, six lines ending in a couplet.

544
00:41:46,590 --> 00:41:48,810
But the rhyme scheme is a little bit different

545
00:41:48,810 --> 00:41:54,630
from Petrarchan sonnets, especially that we have, we have a

546
00:41:54,630 --> 00:41:58,850
couplet here. So he's, the theme, almost the same,

547
00:41:59,550 --> 00:42:02,650
the rhyme scheme, almost the same. The theme is

548
00:42:02,650 --> 00:42:05,470
probably typically Petrarchan because this is a

549
00:42:05,470 --> 00:42:10,600
lover who's giving up. We pity him. Yeah, haram,

550
00:42:10,680 --> 00:42:13,240
she's cruel, she's heartless. But he is, you know,

551
00:42:13,920 --> 00:42:16,080
he's doing his best. Look at him, he's writing

552
00:42:16,080 --> 00:42:20,120
sonnets. But because of her cruelty, he's giving

553
00:42:20,120 --> 00:42:25,240
up. So probably this is a pure Petrarchan theme. The

554
00:42:25,240 --> 00:42:28,940
rhyme scheme is not 100% Petrarchan, which means

555
00:42:28,940 --> 00:42:31,680
the form or the structure of the sonnet is also

556
00:42:31,680 --> 00:42:35,000
not 100% Petrarchan. But again, it depends on how

557
00:42:35,000 --> 00:42:38,540
you want to divide it. I leave this to you. If you

558
00:42:38,540 --> 00:42:41,380
want to divide it into eight, four, two, I'll

559
00:42:41,380 --> 00:42:44,620
accept that. If you want to divide it into eight,

560
00:42:44,900 --> 00:42:47,720
six, I'll also take that. But don't forget that we

561
00:42:47,720 --> 00:42:52,340
have here a rhyming couplet, which is an English

562
00:42:52,340 --> 00:42:56,460
thing. So if you want to answer the question

563
00:42:56,460 --> 00:42:58,820
whether this is a Petrarchan sonnet or not, many

564
00:42:58,820 --> 00:43:02,700
people would easily say yes. And many people will

565
00:43:02,700 --> 00:43:06,260
say yes with just a little kind of caveat. But

566
00:43:06,260 --> 00:43:11,260
it's not 100% Petrarchan. And this is the tiny

567
00:43:11,260 --> 00:43:13,840
little thing the English poets wanted to introduce

568
00:43:13,840 --> 00:43:16,280
to the sonnet. We'll see how Shakespeare does it to

569
00:43:16,280 --> 00:43:19,970
the sonnet later on. Okay, something before we

570
00:43:19,970 --> 00:43:26,650
move on? Yes. Please. I would say that we can push a

571
00:43:26,650 --> 00:43:31,070
theme in love because I think even any words like

572
00:43:31,070 --> 00:43:35,330
"fun" or "dear" still this is a love story. And I

573
00:43:35,330 --> 00:43:37,290
think this is what usually happens in love

574
00:43:37,290 --> 00:43:39,290
stories. There is that kind of

575
00:43:43,290 --> 00:43:46,090
Uh-huh.

576
00:43:58,900 --> 00:44:01,780
That's a very interesting question. Is the woman

577
00:44:01,780 --> 00:44:04,540
pretending to say no because, and this is horrible

578
00:44:04,540 --> 00:44:07,920
by the way, but also is the man saying, "I'm giving

579
00:44:07,920 --> 00:44:11,680
up," just to make her pity him and have him back?

580
00:44:12,000 --> 00:44:13,580
It's like, "Oh, no, no, no, I'm just kidding," or

581
00:44:13,580 --> 00:44:17,380
something. This is, I leave this for you, but

582
00:44:17,380 --> 00:44:19,320
let's not again accuse every woman of just

583
00:44:19,320 --> 00:44:22,040
pretending, deep in her heart, that she wants to say

584
00:44:22,040 --> 00:44:23,840
yes, but she's saying no because... this is a

585
00:44:23,840 --> 00:44:29,040
horrible idea, please. Interesting. Yes, we can

586
00:44:29,040 --> 00:44:33,080
classify it under the love category, but at the

587
00:44:33,080 --> 00:44:36,100
same time I don't think he's really in love

588
00:44:36,100 --> 00:44:40,800
because usually the term, in English there's a

589
00:44:40,800 --> 00:44:44,100
term called "husband hunting." I never heard about

590
00:44:44,100 --> 00:44:46,920
"wife hunting." It's, it's, you know, usually there's

591
00:44:46,920 --> 00:44:51,220
always "wife hunting." It's like, no, but usually the

592
00:44:51,220 --> 00:44:56,970
term they use is also "wife hunting." What's wrong for

593
00:44:56,970 --> 00:45:00,030
women who just want to get any husband, especially

594
00:45:00,030 --> 00:45:02,810
if he was a rich husband like back then in their

595
00:45:02,810 --> 00:45:08,890
age. Okay, so he's using... so the word "hunting" in this

596
00:45:08,890 --> 00:45:12,850
context usually has a negative meaning, and when we

597
00:45:12,850 --> 00:45:15,910
hunt something down, we usually hunt it because we

598
00:45:15,910 --> 00:45:19,570
either want it, needed it to survive, or in their case

599
00:45:19,570 --> 00:45:23,230
they used hunting for pleasure, to show off because

600
00:45:23,230 --> 00:45:28,910
they are rich people; a trophy, you know, she's a

601
00:45:28,910 --> 00:45:33,610
trophy. Okay, interesting, although in like

602
00:45:33,610 --> 00:45:36,970
traditional societies like ours in the Middle East

603
00:45:36,970 --> 00:45:43,030
here, there's always "wife hunting." Okay, so if you

604
00:45:43,030 --> 00:45:46,370
look at the text, there's a huge difference between

605
00:45:46,370 --> 00:45:48,830
the woman and the man.

606
00:45:51,690 --> 00:45:53,570
There's a huge difference in the representation.

607
00:45:53,870 --> 00:45:56,550
It's probably not clear, but we can comment on

608
00:45:56,550 --> 00:46:01,510
this. How many people are there in the text?

609
00:46:03,090 --> 00:46:05,030
Please. Who are they?

610
00:46:08,190 --> 00:46:13,430
Let's say the poet; be more specific. The hind, who's

611
00:46:13,430 --> 00:46:19,110
the hind, the deer? The woman? Very good. Caesar,

612
00:46:19,250 --> 00:46:20,750
where would you put Caesar, here or here?

613
00:46:24,860 --> 00:46:30,840
Caesar is here. Also, who else is there? Thank you

614
00:46:30,840 --> 00:46:35,180
very much. The other hunters, the other men.

615
00:46:36,100 --> 00:46:39,180
There's also the speaker. It's not always mixed

616
00:46:39,180 --> 00:46:41,920
between the speaker and the poet. The poet is the

617
00:46:41,920 --> 00:46:44,540
man whose name appears next to the poem, but the

618
00:46:44,540 --> 00:46:47,600
speaker is the persona there. It could be

619
00:46:47,600 --> 00:46:49,500
fictional sometimes. Sometimes they are the same.

620
00:46:50,440 --> 00:46:53,360
Sometimes they are not. The speaker is in the text.

621
00:46:54,730 --> 00:46:59,090
So this is a poem dominated by men.

622
00:47:01,910 --> 00:47:04,290
And the woman, somebody said here, is talked

623
00:47:04,290 --> 00:47:10,830
about. And she is objectified; she's an object of

624
00:47:10,830 --> 00:47:15,930
desire. People want her, not because of something

625
00:47:15,930 --> 00:47:19,950
in her mind or heart, just because she's

626
00:47:19,950 --> 00:47:23,670
beautiful, fair, she's fair, she's beautiful.

627
00:47:28,450 --> 00:47:34,650
Meaning the woman's voice is weak or not there.

628
00:47:37,410 --> 00:47:41,210
Let me ask this in other words. Is the

629
00:47:41,210 --> 00:47:43,490
representation of the woman positive or negative?

630
00:47:44,050 --> 00:47:45,910
Do you like the way the woman is introduced to us

631
00:47:45

667
00:50:02,980 --> 00:50:09,260
The king himself can't own them. Why? No? You're

668
00:50:09,260 --> 00:50:11,720
contradicting yourself here because the very

669
00:50:11,720 --> 00:50:17,540
couplet says, "For Caesar's I am," meaning I belong

670
00:50:17,540 --> 00:50:21,080
to Caesar. The apostrophe s here is significant.

671
00:50:25,130 --> 00:50:29,670
Though, so she's saying, "I seem tame like all

672
00:50:29,670 --> 00:50:34,530
women might be, might do, but I am wild,

673
00:50:34,850 --> 00:50:38,630
uncontrollable. I can't be controlled by men."

674
00:50:38,890 --> 00:50:42,570
That's also a declaration of resistance from the

675
00:50:42,570 --> 00:50:46,850
woman's part. Wild, withhold, it's like she's hard

676
00:50:46,850 --> 00:50:48,530
to get. To catch.

677
00:50:53,220 --> 00:50:58,560
Okay, that's nice. Other positive things? Yes, I

678
00:50:58,560 --> 00:51:01,740
like the way that the decision in this

679
00:51:01,740 --> 00:51:05,660
relationship, maybe, or in this love story, is

680
00:51:05,660 --> 00:51:10,920
related to the woman. That if she wants to be in

681
00:51:10,920 --> 00:51:14,440
this, she will say yes. She is the center of this

682
00:51:14,440 --> 00:51:15,820
relationship. Yes, she is the center and the

683
00:51:15,820 --> 00:51:19,320
decision is with her. I like this. Okay, nice. Who

684
00:51:19,320 --> 00:51:24,380
thinks this is negative? What don't you like in this

685
00:51:24,380 --> 00:51:27,380
poem's representation of the woman, how she is

686
00:51:27,380 --> 00:51:30,940
depicted? Please. I feel like the voice of the woman

687
00:51:30,940 --> 00:51:34,240
is not there; like she didn't have her own idea; she

688
00:51:34,240 --> 00:51:36,760
didn't explain what she thinks about this

689
00:51:36,760 --> 00:51:41,190
relationship; she is just escaping. Okay, but here

690
00:51:41,190 --> 00:51:44,590
Amina is suggesting that the very act of running

691
00:51:44,590 --> 00:51:46,710
away and rejecting and saying no is an act of

692
00:51:46,710 --> 00:51:48,530
resistance at that time, but you're saying that

693
00:51:48,530 --> 00:51:52,190
she should at least confront this man as the

694
00:51:52,190 --> 00:51:57,110
lover, the hunter, pretending; like saying "go away"

695
00:51:57,110 --> 00:51:59,150
directly. But isn't running,

696
00:52:01,710 --> 00:52:07,850
like in a way, like running away is also an act of

697
00:52:07,850 --> 00:52:09,390
resistance here, please.

698
00:52:14,140 --> 00:52:16,180
Okay, you're saying as an object. Where in the

699
00:52:16,180 --> 00:52:18,240
poem does it show that she's an object?

700
00:52:21,500 --> 00:52:23,200
Where is that? Very good. Where is that?

701
00:52:26,640 --> 00:52:28,160
Where is her appearance mentioned in the first line?

702
00:52:31,300 --> 00:52:34,580
Okay, when he used "hind" to say this woman is

703
00:52:34,580 --> 00:52:37,700
like a hind, like a beautiful deer. But also she's

704
00:52:37,700 --> 00:52:40,100
fair. "Fair" means beautiful. And look at how he

705
00:52:40,100 --> 00:52:42,740
spoke about himself: "Mine." The man is

706
00:52:42,740 --> 00:52:47,070
intellectual. But the woman is beautiful, the

707
00:52:47,070 --> 00:52:51,810
appearance, and wild also. She is what? She is

708
00:52:51,810 --> 00:52:58,310
unattainable, cruel, heartless. Okay? Now, I'm not

709
00:52:58,310 --> 00:53:04,130
sure if some of you noticed here, the couplet is

710
00:53:04,130 --> 00:53:09,530
not what the woman says. I know some people take

711
00:53:09,530 --> 00:53:13,110
the couplet as evidence that the woman is strong,

712
00:53:13,250 --> 00:53:17,050
independent, but no, it doesn't say the woman

713
00:53:17,050 --> 00:53:19,930
says, the woman replies. So I agree the woman is

714
00:53:19,930 --> 00:53:26,070
silent or silenced. Huge difference. It is written in

715
00:53:26,070 --> 00:53:28,910
passive voice, indicating how inactive, how passive

716
00:53:28,910 --> 00:53:31,250
she is. She doesn't even talk. She's not allowed

717
00:53:31,250 --> 00:53:33,890
to talk to people. There is something written

718
00:53:33,890 --> 00:53:39,100
around her neck, possibly written by Caesar or the

719
00:53:39,100 --> 00:53:41,840
King. You know, you'll read about King Henry VIII

720
00:53:41,840 --> 00:53:44,740
and Anne Boleyn, what's her name, and the history

721
00:53:44,740 --> 00:53:48,570
about this, which might be interesting, to

722
00:53:48,570 --> 00:53:51,170
understanding the text, but this is enough. So "For

723
00:53:51,170 --> 00:53:54,090
Caesar's I am," and even this, "I belong to Caesar."

724
00:53:54,190 --> 00:53:57,970
I am the property. Yes, she's treated as property,

725
00:53:58,350 --> 00:54:01,290
as an object of admiration. Even when the man is,

726
00:54:01,310 --> 00:54:04,410
you know, fed up, he says, "Hey, anyone? Anyone?

727
00:54:04,790 --> 00:54:06,830
Want a woman? Want a woman? I know where you can

728
00:54:06,830 --> 00:54:09,770
find one." And he's insisting on this. "Who lists

729
00:54:09,770 --> 00:54:14,930
her hunt? I put him out of doubt as well as I may

730
00:54:14,930 --> 00:54:16,970
spend his time in vain." But it's going to be in

731
00:54:16,970 --> 00:54:19,590
vain because she's wild. She's cruel. She's

732
00:54:19,590 --> 00:54:22,590
heartless. She probably, she's senseless also. She

733
00:54:22,590 --> 00:54:24,550
doesn't love; she doesn't have a heart. She

734
00:54:24,550 --> 00:54:29,650
doesn't love back. She doesn't care. And this is

735
00:54:29,650 --> 00:54:32,450
negative. So women generally are represented as

736
00:54:32,450 --> 00:54:34,750
sentimental and emotional, but when it comes to

737
00:54:34,750 --> 00:54:37,840
love, they don't love back. And this is, again,

738
00:54:37,920 --> 00:54:41,500
very interesting because, again, this is the frame

739
00:54:41,500 --> 00:54:46,500
that a man is putting on a woman. The man wants

740
00:54:46,500 --> 00:54:49,940
the woman to behave in this particular way, wants

741
00:54:49,940 --> 00:54:53,700
to control the woman, wants her to behave in the

742
00:54:53,700 --> 00:54:56,620
way he likes, whenever he wants, wherever he

743
00:54:56,620 --> 00:55:04,700
wants. But again, I think some of you might like

744
00:55:04,700 --> 00:55:07,800
to say that the representation of the woman is a

745
00:55:07,800 --> 00:55:11,520
lot better than many representations of women in

746
00:55:11,520 --> 00:55:14,460
other poems at that time. This is a little bit,

747
00:55:14,980 --> 00:55:18,000
this is a step forward. This is a step forward.

748
00:55:18,080 --> 00:55:21,840
This is not a woman submitting to the wills and

749
00:55:21,840 --> 00:55:27,140
wishes and advances of man. Okay, brief.

750
00:55:47,840 --> 00:55:52,780
But sadly we don't hear her say this. We don't

751
00:55:52,780 --> 00:55:57,710
hear her say this. She doesn't talk; she doesn't

752
00:55:57,710 --> 00:55:59,230
speak; she's silent.

753
00:56:03,450 --> 00:56:08,610
Probably a

754
00:56:08,610 --> 00:56:12,970
sign of rejecting. She doesn't say, "I love Caesar,"

755
00:56:14,430 --> 00:56:19,290
"I am in love with Caesar," "I am owned by Caesar," to

756
00:56:19,290 --> 00:56:20,070
be more specific.

757
00:56:28,220 --> 00:56:33,040
I like this. Thank you very much. She's controlled

758
00:56:33,040 --> 00:56:36,000
from the neck. She's a slave. She's enslaved here.

759
00:56:37,020 --> 00:56:42,440
Now, can we trace the features of that age in the

760
00:56:42,440 --> 00:56:47,640
poem? Basically, we do. And this is what we will

761
00:56:47,640 --> 00:56:49,820
be doing. We'll try to understand the age from the

762
00:56:49,820 --> 00:56:53,350
poem, not vice versa. So please don't read the

763
00:56:53,350 --> 00:56:55,250
history of the poem and the poet and his mom and

764
00:56:55,250 --> 00:56:57,690
his mother-in-law, what he liked, what he didn't

765
00:56:57,690 --> 00:57:00,610
like. Let's see what the poem tells us. So it

766
00:57:00,610 --> 00:57:02,530
tells us that the sonnet here was a fashionable

767
00:57:02,530 --> 00:57:07,190
trend. And it tells us that women were presented

768
00:57:07,190 --> 00:57:08,190
in a particular way.

769
00:57:11,570 --> 00:57:14,530
Mainly negative, as objects of desire, to be

770
00:57:14,530 --> 00:57:20,110
hunted. Voiceless, heartless, senseless, even

771
00:57:20,110 --> 00:57:24,780
mindless. And the man is more superior to the

772
00:57:24,780 --> 00:57:28,800
woman. More intellectual. He writes; he is

773
00:57:28,800 --> 00:57:32,540
dominant. Men dominate. They hunt; they chase;

774
00:57:33,780 --> 00:57:39,680
they write. Sorry? They control. Women are the

775
00:57:39,680 --> 00:57:44,380
object. They are the *do's* here. There's something

776
00:57:44,380 --> 00:57:46,880
I love, something else I love about the poem.

777
00:57:48,260 --> 00:57:52,980
Basically this line. You want to talk about this

778
00:57:52,980 --> 00:57:55,820
line? Look at what's going on. "Draw from the deer,

779
00:57:56,020 --> 00:58:00,700
but as she fleeth afore, fainting, I follow. I

780
00:58:00,700 --> 00:58:02,180
leave off therefore." Please.

781
00:58:05,400 --> 00:58:07,460
Thank you very much. Look at this: "Fainting."

782
00:58:07,620 --> 00:58:11,420
Again, look at this man panting, running for a

783
00:58:11,420 --> 00:58:14,400
while and then he's giving up and he's like, "Who's

784
00:58:14,400 --> 00:58:16,380
who? Let's go hunt. I know where's the knife." This

785
00:58:16,380 --> 00:58:20,720
panting is mirrored in the repetition of the fa

786
00:58:20,720 --> 00:58:25,740
fa fa sound and other fricative sounds; this is

787
00:58:25,740 --> 00:58:30,380
called alliteration and it doesn't only create

788
00:58:30,380 --> 00:58:37,060
music; it also creates a mirror of what's going on; what

789
00:58:37,060 --> 00:58:42,280
else; what's

790
00:58:42,280 --> 00:58:42,560
this

791
00:58:46,500 --> 00:58:49,120
A caesura; there is a break. So the full stop,

792
00:58:49,200 --> 00:58:53,920
what does it say? Taking a

793
00:58:53,920 --> 00:58:59,860
break, stopping. In old English, there was a space

794
00:58:59,860 --> 00:59:02,480
in the middle of the line, like classical Arabic

795
00:59:02,480 --> 00:59:04,400
poetry. It's called a caesura, the break, the gap.

796
00:59:05,150 --> 00:59:09,070
But later on, this changed into punctuation marks,

797
00:59:09,350 --> 00:59:11,490
the full stop, the comma. Here, there is a

798
00:59:11,490 --> 00:59:13,550
physical break that says you are in the very middle of

799
00:59:13,550 --> 00:59:16,150
the line. By the way, if you count the syllables,

800
00:59:16,370 --> 00:59:18,710
you'll find most lines, many lines, I think half

801
00:59:18,710 --> 00:59:22,610
of them have 11 syllables, closer to Petrarchan than

802
00:59:22,610 --> 00:59:25,230
English. We'll see in Shakespeare, they are almost

803
00:59:25,230 --> 00:59:29,370
all 10 syllables. So, "fainting I follow." There's a

804
00:59:29,370 --> 00:59:32,270
contradiction here. The man is lying. He hasn't

805
00:59:32,270 --> 00:59:35,760
done his best. He says, "fainting, I follow," and he

806
00:59:35,760 --> 00:59:39,920
stops. He doesn't follow. He stops following. He's

807
00:59:39,920 --> 00:59:46,990
a quitter. "I leave off therefore," and then "I leave

808
00:59:46,990 --> 00:59:50,790
off therefore," since look at this beautiful image

809
00:59:50,790 --> 00:59:54,090
here. Since in the original text there's some other

810
00:59:54,090 --> 00:59:59,970
ugly word: "since in a net I seek to hold the wind."

811
00:59:59,970 --> 01:00:03,510
Sounds like a cliché today, but perhaps in the past

812
01:00:03,510 --> 01:00:03,810
yeah

813
01:00:09,210 --> 01:00:13,510
Okay, hunting this woman is as impossible as

814
01:00:13,510 --> 01:00:19,170
hunting wind, holding wind in the palm of your

815
01:00:19,170 --> 01:00:19,590
hand.

816
01:00:29,830 --> 01:00:34,690
It's useless; it's futile. "The vain prevail, in

817
01:00:34,690 --> 01:00:37,810
vain." Also the word "vain" means something else:

818
01:00:37,890 --> 01:00:43,370
proud. One of them is arrogant; is proud. Okay,

819
01:00:43,470 --> 01:00:47,510
we'll discuss other things related to the poem in

820
01:00:47,510 --> 01:00:52,310
this list of questions. Look at this list, please.

821
01:00:53,910 --> 01:00:57,050
We kind of answered and addressed some of them.

822
01:00:58,840 --> 01:01:02,560
How does the poem reflect its age? What can you

823
01:01:02,560 --> 01:01:06,580
say about the age from reading the poem? How does

824
01:01:06,580 --> 01:01:10,180
the poem create a particular image of women? Is it

825
01:01:10,180 --> 01:01:15,880
positive? Where? Where is it positive; where is it

826
01:01:15,880 --> 01:01:19,640
negative? What type of sonnet is this? What is the

827
01:01:19,640 --> 01:01:22,840
rhyme scheme of the poem? The sonnet, again, like

828
01:01:22,840 --> 01:01:26,400
we said, it's more or less Petrarchan, not 100%; he

829
01:01:26,400 --> 01:01:27,840
introduced some changes.

830
01:01:31,990 --> 01:01:35,030
Number five, significant point: whose voice is

831
01:01:35,030 --> 01:01:39,810
dominant? Whose voice is dominant? Who do we

832
01:01:39,810 --> 01:01:46,370
hear? Who is speaking to us? Is the woman

833
01:01:46,370 --> 01:01:50,890
speaking? Does she have a voice? She's silent.

834
01:01:51,090 --> 01:01:55,850
Even when she talks, it's through some kind of

835
01:01:55,850 --> 01:01:59,830
mediation. Now number six: how does the form of

836
01:01:59,830 --> 01:02:04,770
the sonnet and the content of the sonnet relate to

837
01:02:04,770 --> 01:02:08,510
the content of the sonnet? Why did the poet choose

838
01:02:08,510 --> 01:02:11,690
the sonnet form? Why doesn't he choose some other

839
01:02:11,690 --> 01:02:17,230
form? Please. I think he used it more likely to be

840
01:02:17,230 --> 01:02:21,050
like Petrarch's sonnet. So Petrarch in his sonnets used

841
01:02:21,050 --> 01:02:23,930
to talk about love and about a cruel woman. So he

842
01:02:23,930 --> 01:02:28,430
used this form to describe the content of it. So

843
01:02:28,430 --> 01:02:34,100
when you look at it, Okay, more? Okay, well I'm

844
01:02:34,100 --> 01:02:37,640
going to comment on his use of the sonnet itself

845
01:02:37,640 --> 01:02:41,620
mainly because a sonnet has some rules and he's

846
01:02:41,620 --> 01:02:46,300
trying to control something, so this is what I

847
01:02:46,300 --> 01:02:49,360
meant by saying like talking about the poem, not a

848
01:02:49,360 --> 01:02:52,060
lover specifically. He's trying to control this

849
01:02:52,060 --> 01:02:54,220
poem by following some rules. And here I believe

850
01:02:54,220 --> 01:02:56,620
that it's very significant that he used two

851
01:02:56,620 --> 01:02:59,320
imperfect rhymes. The first is when he said that,

852
01:02:59,520 --> 01:03:03,320
"since in a net I seek to hold the wind." So we can

853
01:03:03,320 --> 01:03:07,880
see that as he's trying to hunt this deer or his

854
01:03:07,880 --> 01:03:10,8

889
01:05:13,260 --> 01:05:16,640
Thomas Wyatt. Be the deer, be the woman, the

890
01:05:16,640 --> 01:05:20,740
hunted. And the question for this poem that I want

891
01:05:20,740 --> 01:05:25,200
you to reflect on, this is the assignment: You

892
01:05:25,200 --> 01:05:29,300
need to do seven out of 25 poems. I want you to

893
01:05:29,300 --> 01:05:34,300
compare the use of the deer image in this poem and

894
01:05:34,300 --> 01:05:40,560
in another Arabic poem. See how different poets,

895
01:05:40,760 --> 01:05:44,520
different cultures use the deer to talk about

896
01:05:44,520 --> 01:05:47,540
women. Are they similar? Are they dissimilar?

897
01:05:47,680 --> 01:05:52,020
Where do they meet? Where don't they meet? I think

898
01:05:52,020 --> 01:05:54,360
this is a very interesting thing to do. This

899
01:05:54,360 --> 01:05:57,760
question will be group work. So question number

900
01:05:57,760 --> 01:06:00,340
one, if you did Tamim's poem reflection, it's

901
01:06:00,340 --> 01:06:02,820
individual. It will close in two days, by the way.

902
01:06:03,180 --> 01:06:05,280
This one will be done, I'll give you details

903
01:06:05,280 --> 01:06:09,920
online, probably groups of twos, threes, or even

904
01:06:09,920 --> 01:06:13,060
fours. I'll stop here, but somebody wanted to say

905
01:06:13,060 --> 01:06:16,160
something. Very short. I wanted to comment on the

906
01:06:16,160 --> 01:06:19,460
imperfect triangle in the last couplet. Quickly, I

907
01:06:19,460 --> 01:06:21,900
wanted to say that it might relate to the paradox

908
01:06:21,900 --> 01:06:25,500
in this part. Because he's saying that yes and no,

909
01:06:25,600 --> 01:06:27,800
like I cannot be, she cannot be changed, but at

910
01:06:27,800 --> 01:06:29,960
the same time she is actually changed by having

911
01:06:29,960 --> 01:06:35,620
this around her neck. Okay, finally. Maybe he's

912
01:06:35,620 --> 01:06:37,700
rotating this board because he started reminding

913
01:06:37,700 --> 01:06:42,490
her, and this board, it's an attempt to win her

914
01:06:42,490 --> 01:06:46,430
back. The very sonnet itself is again an

915
01:06:46,430 --> 01:06:49,150
expression of admiration and love. That's a good

916
01:06:49,150 --> 01:06:52,030
point. We'll stop here, ladies. Thank you very

917
01:06:52,030 --> 01:06:56,110
much. Next class we prepare Shakespeare's Sonnet

918
01:06:56,110 --> 01:06:58,790
18. Thank you and see you later.