PL9fwy3NUQKwYGN66V9CL-c7DFnG0_Swb2/AzDIpc5L6uk_postprocess.srt

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Assalamualaikum and welcome back to English

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poetry. Before I begin today talking about

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Shakespeare's Sonnet 18, let's have two of your

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classmates here talk about Palestinian features,

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poetry, poem, and then we'll have Noha talk about,

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recite one of her parodies. Come here, please. Go

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on. Since poetry is a language of expressing the

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feelings. So it is the perfect way for the writers

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or the Palestinian writers to write about their

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anger and desire of making their land free. So

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today I'm going to talk about one feature of the

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Palestinian poetry or literature. What I searched,

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I have many features, but what I want to talk

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about is the illusion. illusion of using people

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that represent the deep history of the city as a

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Palestinian and Arab and Muslim city. So the line

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is, or the lines.

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This is

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an allusion for the king. who was the king of a

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Maghloub country, which was containing of Egypt

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and Levant. So this king and this great leader of

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the Muslim armies,

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he was At the first of his life, he was just a

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poor little slave who was just bought and sold and

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bought and sold. And once he was bought to a

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prince. And this prince just rejected him because

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of a defect in his eye. There was like a blue or a

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white point in his eye. So he was rejected, and he

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sent him back to that trader.

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But Salih Ayyub put him and him then he was like

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He was admired and he liked this little boy. And

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then when he grew up, he made him free and made

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him a prince. And then he became the king. So this

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is an illusion. So that makes us to think about

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the deep and long history of Jerusalem as an Arab

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country. So we have history and deep, deep history

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to think about it. So that is my point. OK. Thank

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you very much. Invoking the past, alluding to

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people from the past Seems to be one feature of

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Palestinian poetry I really wish that more of you

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would be talking about more features But تأتى

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الرياح بما لا تشتهى الصفنة Let's see Nuha here

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talk about recite her parody Go on, please Okay,

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so we all know Sir Thomas White's poem or sonnet,

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let's say, Who Saw Less to Hunt. Today I'll try to

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modernize it a little bit. Okay, let's hear it.

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Who saw less to laugh? I know where is a mean. But

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for me, alas, I may know more. The vain laughter

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hath wear'd me so sore. I am of them that laugh

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their heart and scream. Yet may I by no means in

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my weird dream While trying to my vain heart to

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find a cure, I pause. Hands tied, friends, and

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laughter takes the floor, and in calamity I find

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myself no more. Who's so less to laugh, irritated

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they might seem? were left by someone who they

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abhor with two blue ticks screaming scene. Smelly

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cat can cure them for sure. Poor Yunagi taught me

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to be cautious though I might seem inspired yet I

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am humorous. Thank you. Okay, nice. Nice

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connection between friends on their 25th

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anniversary and an ancient poem. Okay ladies,

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we'll go here to Shakespeare and Sonnet 18.

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I know some of you don't feel comfortable with

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Shakespeare. I don't think this is normal, but

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it's your choice, it's your opinion. I don't want

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to force you to like Shakespeare or not like

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Shakespeare, but let's see his poetry, his

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writing. We'll study two of Shakespeare's sonnets,

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and at least if you will still Not like

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Shakespeare. Let's appreciate him a little bit.

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Let's see what he did and how he did what he did.

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Because what Shakespeare did is unprecedented.

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Shakespeare wrote 140 sonnets. In addition to the

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sonnets in the plays, in the 37 give or take plays

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he already wrote. Shakespeare is said to be one of

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the greatest figures of humanity, human

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civilization. He's said to be the greatest poet of

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all times. Some people might agree or disagree

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here, but undoubtedly many, many people. I

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assigned other classes to go ask their family

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members, their parents, if they ever heard of

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Shakespeare. And the answer was mostly yes. How?

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We don't know, nobody knows. Even some illiterate

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people I've heard of Shakespeare. And this in

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itself is fascinating, this man from a small town

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in the UK. Shakespeare's works have been adapted

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and adopted and appropriated and acted all over

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the world. His works, his sonnets and plays have

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been translated into almost every language on

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earth. And I usually quote one critic who wanted

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to show how great Shakespeare is by saying that at

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any time of the day, there is somebody out there

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talking about Hamlet, thinking about Hamlet,

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researching Hamlet, reading Hamlet, watching

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Hamlet, reciting Hamlet, salallahu alayhi wa

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sallam, acquiescing Hamlet, appropriating Hamlet,

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cursing Hamlet, researching Hamlet, rehearsing

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Hamlet, acting Hamlet, producing Hamlet. And

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that's only Hamlet, one play. According to Harold

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Bloom, the American critic, a fascinating man, he

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has a book called Shakespeare and the invention of

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humanity or human being. And this is this guy,

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like he loves Shakespeare to insanity and back.

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Not because of who he, like the man, but what he

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did. And he claims that we live in the shadow of

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Shakespeare. At least in Western civilization,

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people live in the shadow of Shakespeare and his

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characters and his poetry. And he says the most

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quoted man in Western civilization, Christian Dom,

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is Jesus Christ. And the second most quoted person

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is Hamlet, and Hamlet is? a fictional character,

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meaning probably Shakespeare is more quoted than

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Jesus Christ. Anyway, we'll talk about his poetry

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today, but before we do so, I want to ask you a

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question. Do you think great people, like people

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we consider great nowadays, like Arab poets, El

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Motenabbi and Antara, English poets and dramatists

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like Shakespeare, John Donne, Marlow, Samuel

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Johnson, Dryden, Ben Johnson, Milton, do you think

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those people realized how great they were? Do you

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feel that when great people did great things in

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all forms, walks of life, literature, art,

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science, did they feel that they were great, that

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they will be great one day? What do you think?

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Please.

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Okay. So when you read Shakespeare, you see the

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confidence that could tell that he at least knew

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something, that he's not an ordinary person. Yeah.

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Actually, he was appreciated, but compared to now,

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it was nothing. It doesn't mean they disliked him.

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He had bestsellers, like so many of his plays were

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performed again and again and again and again. And

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we're talking about London with small number of

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population compared to what we have today. But

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yeah, definitely. Some people hated Shakespeare.

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You know, rivalry, people doing the same thing at

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the same time, some critics. What's that? Yeah,

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there's that TV show, Startup Crow. That is

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fantastic. Sorry? The thing

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is that everybody, every successful person would

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have people to hate him, to hate his guts. But the

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point is this could be part of the fuel, part of

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how you become who you are. I think that most of

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the people, most of the great people do not really

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recognize how great they are at a length until

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after their death, after people come centuries

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later and realize what great deal their act did in

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future. Because like we said before that most of

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the Romantic poets were not really famous at their

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age and people considered them some kind of like

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the revolutionary act was not really something.

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The mainstream, yeah. Yeah, exactly. And another

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thing, talking about like the confidence and maybe

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Shakespeare's problem, I believe that this is the

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persona talking, not Shakespeare himself. Maybe

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like this is my own point of view. Okay, so tastes

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change, trends change, people change, and this is

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how life works. What people like today might not

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be liked in the future and vice versa. We'll see

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with John Donne, he for like 200 years, he was

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almost forgotten. For a reason or another we're

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going to understand this. But definitely I think

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we will find something, some traces, some evidence

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in Shakespeare where he is looking into the future

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and declaring that he will live forever and ever.

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In many of his sonnets actually because it's a

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main theme in his sonnets.

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Okay so this is sonnet number 18 and I already

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revealed the secret that this is a sonnet and

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which is not a secret because we can all count

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until 14.

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Now the sonnets most poems in the past did not

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have titles by the way even Arabic poetry most of

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the titles we see we use are used by later critics

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or sometimes they're given the sonnets are usually

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given numbers and sometimes we use the first line

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or part of it to name the sonnet so this is sonnet

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18 or shall I compare thee or shall I compare thee

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to a summer's day Now, we already spoke about one

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major category of the sonnet, which is the Italian

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sonnet by Petrarch.

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We spoke about the theme being love, basically

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Godly love. The form being octave.

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plus Sestet, eight lines, six lines. The rhyme

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scheme being A,

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B, B, A, A, B, B, A and C, D, C, D, C, D, C, D, E,

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C, D, E. A variety of Sestets. Let's see

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Shakespeare. Somebody please read. Yeah.

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Don't eat any of the syllables here. I know you're

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hungry maybe.

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Rough winds do shake a dawning course of May, and

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summer's leaves are old to short the days.

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Sometimes, too hot, the eyes of heaven shine, and

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often is this bold conviction dimmed, and every

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fair or fair sometimes blinds, by chance or

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natural changing course untrimmed. But the eternal

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summer's

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Thank you. One more, please.

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Could you speak up? Speak up. Shall I compare thee

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to a summer's day, Thou art more lovely and more

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true-faith? Thou.

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Thou art more lovely and more true-faith, From

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winds do shake the longing buds to faith, That

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summer's beasts have all to show today, Some time

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to hut the eyes with which it shines, and open is

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his goal from reaching them. And if we fail to

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take some time to rise by chance or nature's

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changing course and trend, but thy eternal summer

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shall not fade from Louis' position of that field

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thou ow'st. Thou shalt not drag thy wonders in his

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shade when in eternal life thy love grows. So long

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as men can feel what eyes can see, so long lives

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this Okay, thank you. One more, finally. Shall I

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compare thee to a summer's day? Up. Shall I just

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speak up? Okay. Shall I compare thee to a summer's

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day, thou art more lovely and more temperate?

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Rough winds do shake the darling once of May, and

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summer's lease has grown too short a date.

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Sometimes too hot the eye of heaven shines, and

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often is his gold complexion dimmed, and every

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fear for fear sometimes declines, by chance or

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nature changing course and trim. But thy eternal

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summer shall not fade, nor lose position of that

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fear thou ow'st, nor shall death grab thou

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wondrous in his chain, when an eternal blind time

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thou grow'st. So long as men can breathe or eyes

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can see, so long lives this, Okay, thank you very

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much. Now, before I attempt to recite it, what do

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you notice about the text? Did you hear different

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readings? Yes. The syllables? Yes. And the, like,

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what did you notice, for example? Yes, and the

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unstressed lines. Can you compare, like, who read

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what? I read him and not read, like, the, I am

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purple.

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But you didn't notice differences like somebody

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read always, somebody said host, somebody said

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gross, somebody said gross, somebody said

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temperate, somebody said temperate, somebody said

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temperate. It all makes a difference here because

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when we talk about a sonnet It's not only 14

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lines, quatrain, quatrain, quatrain, couplet or

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octave, sextet, etc. We'll see how in the sonnet,

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Shakespearean sonnet particularly, the number of

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syllables are also counted because we'll find 10

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syllables each.

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154 sonnets, that's basically more than 2000 lines

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And almost all of them have 10 syllables Can you

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00:17:44,250 --> 00:17:46,170
count the syllables, somebody? Can you help me

249
00:17:46,170 --> 00:17:50,770
count the syllables, please? No, okay, so how do

250
00:17:50,770 --> 00:17:53,730
you count the syllables? How do you know how many

251
00:17:53,730 --> 00:17:54,670
syllables there are, please?

252
00:17:59,120 --> 00:18:01,460
Thank you very much. Every vowel sound, we're

253
00:18:01,460 --> 00:18:04,380
talking about sounds rather than letters. The same

254
00:18:04,380 --> 00:18:07,840
with the rhyme scheme, the rhyme. We care about

255
00:18:07,840 --> 00:18:15,200
the sound rather than the... Every vowel sound is

256
00:18:15,200 --> 00:18:20,200
a syllable. So... How

257
00:18:20,200 --> 00:18:24,040
many?

258
00:18:24,620 --> 00:18:38,260
Okay, number two, please. How many in temperate?

259
00:18:39,800 --> 00:18:43,940
You said temperate. You gave it two syllables. Two

260
00:18:43,940 --> 00:18:49,120
syllables means this is nine. This is nine. So,

261
00:18:49,320 --> 00:18:54,420
how many syllables in this word? Temperate.

262
00:18:55,280 --> 00:18:59,620
Temperate. With dashwa still temperate. Okay. So

263
00:18:59,620 --> 00:19:02,840
still ten. And with lovely, we don't say lovely.

264
00:19:03,540 --> 00:19:09,280
Lovely. Because the stress is on the root. Lovely.

265
00:19:10,100 --> 00:19:13,540
Two syllables. What about this E? We don't say it.

266
00:19:13,620 --> 00:19:16,120
We don't pronounce it. And then number three,

267
00:19:16,560 --> 00:19:26,530
please. When you say the darling word of So, if

268
00:19:26,530 --> 00:19:28,490
you count, we don't have all the time in the world

269
00:19:28,490 --> 00:19:33,150
to count, you'll realize that each line has 10

270
00:19:33,150 --> 00:19:34,270
syllables.

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00:19:37,890 --> 00:19:42,370
Meaning? Five feet.

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00:19:44,610 --> 00:19:48,990
In English, not all feet consist of two syllables,

273
00:19:49,170 --> 00:19:52,230
but most feet, especially the iambic pentameter,

274
00:19:53,010 --> 00:19:57,650
we have two syllables, one foot. Foot in Arabic

275
00:19:57,650 --> 00:20:02,650
means تفعيلة And the foot consists of two

276
00:20:02,650 --> 00:20:04,750
syllables, basically syllables, sometimes three

277
00:20:04,750 --> 00:20:08,550
syllables, but here it's two syllables And it's

278
00:20:08,550 --> 00:20:12,610
called iambic because the first one is unstressed,

279
00:20:13,210 --> 00:20:18,170
like this This is like the U in unstressed, and

280
00:20:18,170 --> 00:20:22,170
this is like a stressed syllable. And this goes

281
00:20:22,170 --> 00:20:23,950
like 90% of the time.

282
00:20:26,810 --> 00:20:31,150
Shall I compare thee to a summer's day? Thou art

283
00:20:31,150 --> 00:20:33,870
more lovely and more dear to them, to them, to

284
00:20:33,870 --> 00:20:37,610
them, to them. But it's not a perfect scansion

285
00:20:37,610 --> 00:20:41,570
sometimes. And why Shakespeare deviates is also a

286
00:20:41,570 --> 00:20:46,770
matter of question. Now, I want somebody to,

287
00:20:47,370 --> 00:20:50,090
again, tell me what other things you notice in the

288
00:20:50,090 --> 00:20:57,150
text. Please. Okay, let's do the rhyme scheme. I

289
00:20:57,150 --> 00:21:00,030
want somebody to come here to do the rhyme scheme.

290
00:21:02,410 --> 00:21:04,010
Somebody, the rhyme scheme. Do you know how to do

291
00:21:04,010 --> 00:21:06,740
the rhyme scheme? You should know how to do the

292
00:21:06,740 --> 00:21:08,780
rhyme scheme. You should always, when you comment

293
00:21:08,780 --> 00:21:11,340
on a poem, do the rhyme scheme. And this is tip

294
00:21:11,340 --> 00:21:14,220
number one. And then after that, I want you to

295
00:21:14,220 --> 00:21:16,380
connect the rhyme scheme with the structure

296
00:21:16,380 --> 00:21:18,280
itself. Could you come here please? You want to

297
00:21:18,280 --> 00:21:19,100
come here? Yes.

298
00:21:23,660 --> 00:21:31,240
So, the first sound is A, so we give it A. Right?

299
00:21:38,470 --> 00:21:42,090
This is how you do it. Okay.

300
00:21:46,310 --> 00:21:50,650
Okay. Wait, wait a minute. Tell us why. Why do we

301
00:21:50,650 --> 00:21:55,580
have the A? Is it because the line ends in A? Look

302
00:21:55,580 --> 00:21:58,460
at them and explain why, why did you go for A? Why

303
00:21:58,460 --> 00:22:02,600
not B, C, D? I like, I like Z. It's a beautiful

304
00:22:02,600 --> 00:22:05,740
sound. It looks like this. Why A?

305
00:22:11,680 --> 00:22:15,540
Okay, so the first line is always given A, but

306
00:22:15,540 --> 00:22:18,990
still why? Where did you get it from? What's your

307
00:22:18,990 --> 00:22:22,410
name? Okay, there's no A in Nisrine, so why didn't

308
00:22:22,410 --> 00:22:25,070
you go for N? It's a more beautiful letter than A.

309
00:22:26,150 --> 00:22:32,130
Why A? Where did you get it from? Okay, after A,

310
00:22:32,190 --> 00:22:35,250
where do you usually go? D, X, Y, Z?

311
00:22:38,290 --> 00:22:40,170
Y? Where did you get A, B from?

312
00:22:42,990 --> 00:22:48,060
That's it from the alphabet. So day, not because

313
00:22:48,060 --> 00:22:52,440
the sound is a, but always the first sound, the

314
00:22:52,440 --> 00:22:56,640
first rhyme in any poem is a, we take it from the

315
00:22:56,640 --> 00:23:02,100
alphabet. And then what happens next? So day and

316
00:23:02,100 --> 00:23:05,740
then temperate. Are they the same? Wait a minute.

317
00:23:06,100 --> 00:23:10,450
If they are the same, We give it again A and

318
00:23:10,450 --> 00:23:12,570
there's no problem in repeating the sound, but

319
00:23:12,570 --> 00:23:15,750
temperate, we usually focus on the vowel sound,

320
00:23:15,970 --> 00:23:18,910
the last sound or two sounds sometimes. So

321
00:23:18,910 --> 00:23:24,130
temperate is not like day, but May is like day. So

322
00:23:24,130 --> 00:23:30,290
we give it the same letter already. A B and then

323
00:23:30,290 --> 00:23:30,830
date.

324
00:23:33,370 --> 00:23:38,870
Are you sure? Are you, wait, are you sure? No, no,

325
00:23:38,930 --> 00:23:41,910
no. Are you sure that this is B?

326
00:23:46,310 --> 00:23:48,950
Don't look at me, look at the here and try to read

327
00:23:48,950 --> 00:23:49,210
it.

328
00:23:53,710 --> 00:23:56,530
Why did you write B? Why not C? Why not D? Why not

329
00:23:56,530 --> 00:23:57,450
E? Why not A?

330
00:24:01,510 --> 00:24:03,770
Okay, A, B, A, B. No, the alphabet is not A, B, A,

331
00:24:03,790 --> 00:24:07,800
B. A, B, C. So you're going for A and then because

332
00:24:07,800 --> 00:24:10,100
the sound is different, you go for B and then

333
00:24:10,100 --> 00:24:12,320
because this sound repeats this sound, you go for

334
00:24:12,320 --> 00:24:16,900
B. Exactly. Exactly. Okay. I know you're having

335
00:24:16,900 --> 00:24:21,680
the stage fright, but this is not okay. So A B A

336
00:24:21,680 --> 00:24:23,980
B. Thank you very much. Somebody else come here

337
00:24:23,980 --> 00:24:24,340
please.

338
00:24:27,400 --> 00:24:27,840
Okay.

339
00:24:34,200 --> 00:24:35,520
Do the second part.

340
00:24:39,740 --> 00:24:43,140
Wait, wait a minute because it ends with the S

341
00:24:43,140 --> 00:24:43,520
letter.

342
00:24:49,020 --> 00:24:52,020
But I think I want to add A, it's more beautiful

343
00:24:52,020 --> 00:24:58,260
than C. Different from what? Thank you very much.

344
00:24:58,600 --> 00:25:04,470
So we have already two different rhymes may day

345
00:25:04,470 --> 00:25:10,170
and may a a temperate and date b b and then we

346
00:25:10,170 --> 00:25:12,450
have shines totally different we go to the

347
00:25:12,450 --> 00:25:17,650
alphabet a b c listen whatever poem you scan like

348
00:25:17,650 --> 00:25:21,570
you read for uh the rhyme scheme make sure at the

349
00:25:21,570 --> 00:25:26,070
end that the the letters read in the order they

350
00:25:26,070 --> 00:25:29,270
are in the alphabet if you jump a letter you're

351
00:25:29,270 --> 00:25:32,000
doing it wrong If you skip a letter, you're doing

352
00:25:32,000 --> 00:25:33,500
it wrong. If you miss a letter, you're doing it

353
00:25:33,500 --> 00:25:35,100
wrong. So at the end of the day, it's like if you

354
00:25:35,100 --> 00:25:38,100
have A, B, if you have a new sound, you don't go

355
00:25:38,100 --> 00:25:42,280
for E, go for C because it comes after B. Okay, so

356
00:25:42,280 --> 00:25:42,700
C.

357
00:25:45,580 --> 00:25:50,860
What's that? What's the word? Dim. Dimmed. D. The

358
00:25:50,860 --> 00:25:54,080
word declines, same as shines. Very good. So we

359
00:25:54,080 --> 00:25:58,180
give it C. Untrimmed. Untrimmed.

360
00:26:01,160 --> 00:26:03,280
Very good, thank you. Someone else? One more?

361
00:26:04,680 --> 00:26:10,300
Please, come here. Now, some might insist that

362
00:26:10,300 --> 00:26:14,640
dimmed, untrimmed, fade, there is a lot of

363
00:26:14,640 --> 00:26:18,340
similarity here, true. But we understand that this

364
00:26:18,340 --> 00:26:20,660
is Shakespeare. So some, some people might want to

365
00:26:20,660 --> 00:26:24,620
repeat that DD here with fade shade, not because

366
00:26:24,620 --> 00:26:27,600
it ends with a D sound, but because there's a

367
00:26:27,600 --> 00:26:30,940
similarity. But actually with the vowel sound aid,

368
00:26:32,100 --> 00:26:34,540
a little bit different, like 50% at least

369
00:26:34,540 --> 00:26:38,740
different from dimmed and untrimmed. So we go for,

370
00:26:39,100 --> 00:26:43,160
okay.

371
00:26:44,660 --> 00:26:45,240
A E.

372
00:26:54,580 --> 00:26:58,060
Okay, so E, F, E, F, thank you. Finally, somebody?

373
00:26:59,240 --> 00:27:03,720
What would you do? Finally, what letter are we at?

374
00:27:04,580 --> 00:27:07,140
Okay, with Shakespeare, you should always get to

375
00:27:07,140 --> 00:27:10,680
GG. I don't know who she is. But you should go

376
00:27:10,680 --> 00:27:14,900
there, GG. If you're doing a rhyme scheme in

377
00:27:14,900 --> 00:27:19,120
Shakespeare and you don't get to GG, you're most

378
00:27:19,120 --> 00:27:26,120
definitely doing a wrong job. So it's AB, AB, CD,

379
00:27:26,660 --> 00:27:33,690
CD, EF, EF, GG. We notice two things here. Number

380
00:27:33,690 --> 00:27:36,890
one, this is different from Petrarch. Not just

381
00:27:36,890 --> 00:27:39,770
different, almost totally different from Petrarch.

382
00:27:41,510 --> 00:27:43,910
And this is what we call alternating rhyme.

383
00:27:44,930 --> 00:27:47,870
Shakespeare doesn't repeat it more than, the same

384
00:27:47,870 --> 00:27:51,530
sound doesn't repeat it more than twice. And this

385
00:27:51,530 --> 00:27:54,590
is more difficult than this. This is more rigid

386
00:27:54,590 --> 00:27:59,110
than Petrarch because Petrarch goes for A, B, B, A

387
00:27:59,110 --> 00:28:03,490
and mirrors it yet again, A, B, B, A. Shakespeare,

388
00:28:04,170 --> 00:28:09,750
A, B, A, B, thank you, next. C, D, C, D, thank

389
00:28:09,750 --> 00:28:14,470
you. Next E, F, E, F and finally the beautiful

390
00:28:14,470 --> 00:28:18,470
couplet at the end. The rhyming couplet at the

391
00:28:18,470 --> 00:28:24,530
end. Now when it comes to reading this or dividing

392
00:28:24,530 --> 00:28:29,750
it into parts, we realize that we have four lines,

393
00:28:30,670 --> 00:28:36,550
four lines and then four lines and then two lines.

394
00:28:37,280 --> 00:28:41,340
Meaning this is different from from Petrarch. So

395
00:28:41,340 --> 00:28:50,060
number one the rhyme scheme is A B A B C D C D E F

396
00:28:50,060 --> 00:28:59,840
E F G G not G G G G Okay, and then number two it

397
00:28:59,840 --> 00:29:06,470
consists of three quatrains And a quatrain, it's

398
00:29:06,470 --> 00:29:12,110
like from quarter, quarter, quarter past nine or

399
00:29:12,110 --> 00:29:19,430
something. It's one of four parts of something. So

400
00:29:19,430 --> 00:29:22,250
we know now a couplet means two lines, a triplet

401
00:29:22,250 --> 00:29:25,810
three lines, a quatrain four lines, a sextet six

402
00:29:25,810 --> 00:29:31,070
lines, an octave eight lines plus one couplet.

403
00:29:32,830 --> 00:29:33,630
Interesting.

404
00:29:35,920 --> 00:29:38,500
We've seen the couplet before, but let's see who

405
00:29:38,500 --> 00:29:41,980
does it better. Now when we read the poem,

406
00:29:47,380 --> 00:29:50,620
To examine other things, the sounds, let's see if

407
00:29:50,620 --> 00:29:53,860
the theme matches. Different rhyme scheme,

408
00:29:54,060 --> 00:29:56,060
different structure. I think this is deliberate.

409
00:29:56,300 --> 00:30:00,120
This is somebody deliberately planning, wanting to

410
00:30:00,120 --> 00:30:02,980
be different from others, to be unique, to be

411
00:30:02,980 --> 00:30:07,220
himself, to be Shakespeare. So, shall I compare

412
00:30:07,220 --> 00:30:09,880
thee to a summer's day, thou art more lovely and

413
00:30:09,880 --> 00:30:12,960
more temperate. Listen. The dictionary here,

414
00:30:13,000 --> 00:30:17,240
Oxford dictionary says temperate. Okay. Not

415
00:30:17,240 --> 00:30:19,500
temperate. Some of you said temperate to make it

416
00:30:19,500 --> 00:30:23,640
perfectly rhyme with date.

417
00:30:25,540 --> 00:30:28,300
And in these cases, some people might insist that

418
00:30:28,300 --> 00:30:31,020
perhaps during the time of Shakespeare could have

419
00:30:31,020 --> 00:30:34,800
been pronounced temperate as well. Some people

420
00:30:34,800 --> 00:30:37,240
might say, let's give it a poetic license and make

421
00:30:37,240 --> 00:30:41,080
it more musical. And others might say, no, keep it

422
00:30:41,080 --> 00:30:44,320
as it is. Because perhaps there's something here.

423
00:30:44,440 --> 00:30:47,000
Because if you go for temperate, the rhyme scheme

424
00:30:47,000 --> 00:30:51,920
here could be imperfect. Temperate and date. See,

425
00:30:52,160 --> 00:30:54,620
different scenarios. Whatever scenario you like,

426
00:30:55,060 --> 00:30:58,380
it's correct. But I want you to think about it.

427
00:30:59,940 --> 00:31:04,800
Sorry? Oh, possible. This, yeah, thank you very

428
00:31:04,800 --> 00:31:07,560
much. Should be the first one is usually the fixed

429
00:31:07,560 --> 00:31:12,690
thing. But I did it this way because the problem

430
00:31:12,690 --> 00:31:15,010
is with temperate, whether it is temperate or

431
00:31:15,010 --> 00:31:20,590
temperate.So thou art more lovely and more

432
00:31:20,590 --> 00:31:23,930
temperate Rough winds do shake the darling buds of

433
00:31:23,930 --> 00:31:26,970
May And summer's lease hath all too short a date

434
00:31:26,970 --> 00:31:30,070
Sometime too hot the eye of heaven shines And

435
00:31:30,070 --> 00:31:34,070
often is his gold complexion dimmed And every fair

436
00:31:34,070 --> 00:31:38,150
from fair sometime declines By chance on nature's

437
00:31:38,150 --> 00:31:41,630
changing course untrimmed But thy eternal summer

438
00:31:41,630 --> 00:31:45,190
shall not fade, nor lose possession of that fear

439
00:31:45,190 --> 00:31:48,630
thou ow'st, nor shall death brag thou wander'st in

440
00:31:48,630 --> 00:31:52,070
his shade, when in eternal lines to time thou

441
00:31:52,070 --> 00:31:56,450
grow'st. So long as men can breathe or eyes can

442
00:31:56,450 --> 00:32:00,570
see, so long lives this and this gives life to

443
00:32:00,570 --> 00:32:04,170
thee. If you try to listen to this on YouTube,

444
00:32:04,450 --> 00:32:08,450
you'll find that some people say Owest. By the

445
00:32:08,450 --> 00:32:15,370
way, this is O. Meaning on. And this is grow. And

446
00:32:15,370 --> 00:32:19,450
this is wonder. But in the past, remember we said

447
00:32:19,450 --> 00:32:27,110
with he, she and it, they used to add TH instead

448
00:32:27,110 --> 00:32:30,310
of the S we do today for the third person pronoun.

449
00:32:31,170 --> 00:32:34,330
So Samar has.

450
00:32:37,860 --> 00:32:41,300
and again some people say I give it two syllables

451
00:32:41,300 --> 00:32:45,700
honestly I don't know why I want could someone

452
00:32:45,700 --> 00:32:48,560
please investigate why some people insist on

453
00:32:48,560 --> 00:32:51,240
saying always giving it an extra syllable and by

454
00:32:51,240 --> 00:32:52,920
the way with the extra syllable you break the

455
00:32:52,920 --> 00:32:56,180
music here you get this ends up with with 11

456
00:32:56,180 --> 00:32:59,600
syllables I couldn't find an answer so if you

457
00:32:59,600 --> 00:33:03,770
could investigate this that would be great So I

458
00:33:03,770 --> 00:33:08,090
would insist on ost, ost and grossed sticking to

459
00:33:08,090 --> 00:33:12,610
the ten syllables. So again, what's the ST here?

460
00:33:13,430 --> 00:33:17,690
This is for you or thou in the past. They would

461
00:33:17,690 --> 00:33:21,650
add T or ST sometimes. This is not for the

462
00:33:21,650 --> 00:33:24,730
superlative form of the verb. of the adjective,

463
00:33:24,970 --> 00:33:26,430
sorry, because the verbs cannot be in the

464
00:33:26,430 --> 00:33:31,390
superlative form. Thankfully, this infliction was

465
00:33:31,390 --> 00:33:34,950
dropped. We don't have this any longer these days.

466
00:33:35,330 --> 00:33:35,970
Thank God.

467
00:33:39,250 --> 00:33:43,290
Now, look at the beginning of the poem. Smooth,

468
00:33:44,030 --> 00:33:49,610
beautiful, and sweet. Because of so many things.

469
00:33:49,710 --> 00:33:56,170
Number one, the sound itself. Shall I? It's sweet.

470
00:33:56,750 --> 00:34:00,330
It's poetic. Shall I? That's sadly not many people

471
00:34:00,330 --> 00:34:03,970
use shall I these days. In spoken English, shall I

472
00:34:03,970 --> 00:34:07,710
is basically like you use shall I to offer

473
00:34:07,710 --> 00:34:12,780
somebody. Shall I help you? Shall I? People these

474
00:34:12,780 --> 00:34:17,000
days are more into can I, may I is very polite,

475
00:34:17,160 --> 00:34:20,420
but can I, can I help you? Can I help you? And I

476
00:34:20,420 --> 00:34:24,080
think the sound shall I is more poetic, sweeter

477
00:34:24,080 --> 00:34:27,960
than could I, can I. And also the question form

478
00:34:27,960 --> 00:34:30,480
here, this is a kind of a rhetorical question, a

479
00:34:30,480 --> 00:34:33,500
self-answering question. He doesn't say, and this

480
00:34:33,500 --> 00:34:35,160
is beautiful from Shakespeare, he didn't say, I

481
00:34:35,160 --> 00:34:38,760
will compare thee to a summer's day. If he does

482
00:34:38,760 --> 00:34:43,320
this, it gives him more authority. makes him look

483
00:34:43,320 --> 00:34:45,560
like an authoritarian figure somebody who's giving

484
00:34:45,560 --> 00:34:50,360
commands and orders to somebody he wants and

485
00:34:50,360 --> 00:34:52,880
because he doesn't want this somebody and again

486
00:34:52,880 --> 00:34:55,360
there's a huge discussion on who this somebody is

487
00:34:55,360 --> 00:34:58,260
the recipient of the sonnets some people say some

488
00:34:58,260 --> 00:35:01,360
of them were sent to his patron the man who

489
00:35:01,360 --> 00:35:04,440
supported him socially and politically the Earl of

490
00:35:04,440 --> 00:35:08,210
Southampton I guess And some people try to add

491
00:35:08,210 --> 00:35:12,010
this discussion whether this was a man-man love

492
00:35:12,010 --> 00:35:14,670
relationship. And some of the poems were written

493
00:35:14,670 --> 00:35:16,610
for a woman nobody knows because Shakespeare

494
00:35:16,610 --> 00:35:20,170
married an older woman and probably he was in

495
00:35:20,170 --> 00:35:24,230
love, he was in London, the family was back home.

496
00:35:25,930 --> 00:35:27,950
And some people say probably all these sonnets

497
00:35:27,950 --> 00:35:30,950
were written to a fictional lady or a real lady

498
00:35:30,950 --> 00:35:34,250
they describe as the mysterious dark lady. We

499
00:35:34,250 --> 00:35:36,950
don't care. We care about the text, but I take it

500
00:35:36,950 --> 00:35:39,610
for granted as like I take it personally as a text

501
00:35:39,610 --> 00:35:43,870
written for a woman. So at the beginning he wants

502
00:35:43,870 --> 00:35:48,610
to, you know, And this is different from who

503
00:35:48,610 --> 00:35:50,670
solicits to hunt. Somebody giving up. This is a

504
00:35:50,670 --> 00:35:54,250
man doing his best to make the woman love him,

505
00:35:54,370 --> 00:35:57,610
think highly of him. Shall I compare thee to a

506
00:35:57,610 --> 00:35:59,670
summer's day? And he does it again by the question

507
00:35:59,670 --> 00:36:01,950
form, the rhetorical question. He's not giving

508
00:36:01,950 --> 00:36:04,870
orders. He's kind of asking, taking permission.

509
00:36:05,530 --> 00:36:07,970
And then the sound of shall I is beautiful and

510
00:36:07,970 --> 00:36:11,190
sweet. Shall I compare thee to a summer's day. And

511
00:36:11,190 --> 00:36:13,870
look at the differences in cultures. As Arabs, if

512
00:36:13,870 --> 00:36:16,590
this is somebody in Saudi Arabia or Kuwait sending

513
00:36:16,590 --> 00:36:19,030
this poem to his beloved, telling her shall I

514
00:36:19,030 --> 00:36:20,930
compare thee to a summer's day, he hates her.

515
00:36:22,750 --> 00:36:25,770
Summer is different. And again, this is one of the

516
00:36:25,770 --> 00:36:30,540
dilemmas that encounters translators. If you're

517
00:36:30,540 --> 00:36:32,560
translating this, what would you say in Arabic?

518
00:36:32,960 --> 00:36:36,600
Can you give it a try? Probably if you have time,

519
00:36:36,680 --> 00:36:39,420
try to translate it into Arabic and see how would

520
00:36:39,420 --> 00:36:42,420
you stick to everything? Would you try to manage

521
00:36:42,420 --> 00:36:48,230
some of the ideas there? The answer is, of course,

522
00:36:48,810 --> 00:36:51,750
there's nobody giving permission. If you imagine

523
00:36:51,750 --> 00:36:54,330
the woman being there and nodding or saying yes,

524
00:36:54,390 --> 00:36:56,610
but he's kicking her out and erasing her from the

525
00:36:56,610 --> 00:36:59,750
text, okay, but you could say that he's just

526
00:36:59,750 --> 00:37:02,030
asking and answering because this is a man taking

527
00:37:02,030 --> 00:37:06,090
for granted everything, especially women. Thou

528
00:37:06,090 --> 00:37:11,130
art. Thou art here. Again, you are. So this is not

529
00:37:11,130 --> 00:37:15,730
art and literature. This is art meaning are. Why

530
00:37:15,730 --> 00:37:21,750
the T? Because of that. Get used to this. Thou art

531
00:37:21,750 --> 00:37:27,070
more lovely and more temperate. You're more

532
00:37:27,070 --> 00:37:29,910
beautiful than a summer's day, than a beautiful

533
00:37:29,910 --> 00:37:35,250
day of the summer. And this is really sweet. And

534
00:37:35,250 --> 00:37:40,390
suddenly, from this kind of sweetness, Something

535
00:37:40,390 --> 00:37:43,990
changes. Look at the way he begins line three.

536
00:37:46,880 --> 00:37:50,660
Shall I compare thee to a summer's day? The what

537
00:37:50,660 --> 00:37:54,440
more lovely and more timid. Rough winds do shake

538
00:37:54,440 --> 00:37:57,240
the darling buds of May. Everything changes here

539
00:37:57,240 --> 00:38:00,740
because he wants to say that life is tough.

540
00:38:01,440 --> 00:38:03,640
Sometimes summer is not good. It's not as

541
00:38:03,640 --> 00:38:07,460
beautiful as some might think. So it changes the

542
00:38:07,460 --> 00:38:13,310
sounds here. Shall These are sweet sounds. Changes

543
00:38:13,310 --> 00:38:17,970
to da, da, ba, ba, shake, do. Sounds like making

544
00:38:17,970 --> 00:38:24,710
trouble, echoing the sound probably of the winds.

545
00:38:24,830 --> 00:38:27,010
And they're not ordinary winds. By the way, he

546
00:38:27,010 --> 00:38:31,570
could have said the winds. The winds. That's it.

547
00:38:31,770 --> 00:38:36,430
The winds. But this is rough winds. Again, do,

548
00:38:36,710 --> 00:38:41,930
shake. Why do? Why would you say I did see him?

549
00:38:44,710 --> 00:38:45,810
Thank you very much.

550
00:38:48,410 --> 00:38:54,950
Okay. Okay. So without do, we will miss one

551
00:38:54,950 --> 00:38:58,880
syllable. So Shakespeare is again killing, so to

552
00:38:58,880 --> 00:39:02,220
speak, two birds with one stone. So do adds, but

553
00:39:02,220 --> 00:39:06,580
this is Shakespeare, he can find a way. And again,

554
00:39:06,680 --> 00:39:12,300
he emphasizes this, do shake, rough wins do shake,

555
00:39:12,600 --> 00:39:15,920
even though the way you read it is tough. He adds

556
00:39:15,920 --> 00:39:21,820
toughness, the fah sound, rough. Winds do shake

557
00:39:21,820 --> 00:39:25,260
the darling buds of May, the beautiful small

558
00:39:25,260 --> 00:39:30,020
budding flowers of May, and summer's lease hath

559
00:39:30,020 --> 00:39:33,860
all too short a date. Summer is too short

560
00:39:33,860 --> 00:39:37,140
sometimes. When it is beautiful and there's no

561
00:39:37,140 --> 00:39:42,480
wind or storms, it's short. Lease here means

562
00:39:42,480 --> 00:39:46,220
period. It doesn't last forever. This is the first

563
00:39:46,220 --> 00:39:50,560
idea. Look at how I don't know, there's some kind

564
00:39:50,560 --> 00:39:53,700
of like Shakespeare's indicating that everybody,

565
00:39:54,040 --> 00:39:58,540
everything is not, doesn't last forever. We're all

566
00:39:58,540 --> 00:40:01,460
going to die. Every beautiful thing ends.

567
00:40:03,980 --> 00:40:07,660
Some are beautiful sometimes, but we have rough

568
00:40:07,660 --> 00:40:12,700
winds. And sometimes it's not short, too short.

569
00:40:15,220 --> 00:40:18,240
And in the second stanza, he does the same thing

570
00:40:18,240 --> 00:40:22,500
in other words. Sometimes too heaven, too hot, the

571
00:40:22,500 --> 00:40:26,880
eye of heaven. The eye of heaven is the sun. The

572
00:40:26,880 --> 00:40:29,600
eye of heaven, by the way, he could have said,

573
00:40:30,260 --> 00:40:32,040
please again, get used to Shakespeare because

574
00:40:32,040 --> 00:40:36,180
sometimes he goes like he takes the long shot,

575
00:40:36,260 --> 00:40:39,960
short cut like Rosanne did just now. Instead of

576
00:40:39,960 --> 00:40:43,680
saying the sun, he would say the eye of heaven.

577
00:40:44,200 --> 00:40:48,900
Some people don't like Shakespeare for this. But

578
00:40:48,900 --> 00:40:50,400
we should love Shakespeare for this.

579
00:40:53,340 --> 00:40:56,700
Yeah. So like, look at how different it's going to

580
00:40:56,700 --> 00:41:00,120
be. Again and again, this is poetry. In poetry,

581
00:41:00,300 --> 00:41:02,160
the basic element of poetry is the metaphor,

582
00:41:02,480 --> 00:41:06,000
saying things in other words, not going literally.

583
00:41:06,740 --> 00:41:10,220
So the eye of heaven shines. Sometimes the sun is

584
00:41:10,220 --> 00:41:14,660
too hot and often is his. So his here is a

585
00:41:14,660 --> 00:41:16,620
reference to the sun, by the way. The sun in

586
00:41:16,620 --> 00:41:21,880
English is male. In Arabic, it's female. His gold

587
00:41:21,880 --> 00:41:25,340
complexion, you know, dimmed. Sometimes it's

588
00:41:25,340 --> 00:41:31,520
covered by the clouds. So it gets dark. And I

589
00:41:31,520 --> 00:41:33,120
think this is one of the most beautiful lines

590
00:41:33,120 --> 00:41:37,140
ever. And every fair from fair sometimes declines.

591
00:41:37,180 --> 00:41:42,660
Look at the repetition of the F. And also you can

592
00:41:42,660 --> 00:41:47,310
add to them the V. It still reminds us of the

593
00:41:47,310 --> 00:41:51,010
rough winds. But this is somebody who is really

594
00:41:51,010 --> 00:41:53,450
frustrated, somebody who's annoyed, somebody who's

595
00:41:53,450 --> 00:41:55,810
not happy with what's going on, with how time

596
00:41:55,810 --> 00:42:00,850
changes, how beauty never lasts. This is called an

597
00:42:00,850 --> 00:42:03,170
alliteration, the repetition of the same sound.

598
00:42:04,210 --> 00:42:08,230
Yes, it adds music, makes it musical, but please

599
00:42:08,230 --> 00:42:10,630
always go for the purpose and link this with the

600
00:42:10,630 --> 00:42:15,760
tone, the atmosphere. In my opinion, the F sound

601
00:42:15,760 --> 00:42:23,640
indicates somebody who is sad, desperate for hope,

602
00:42:23,760 --> 00:42:25,960
for change, for something better, for something

603
00:42:25,960 --> 00:42:32,720
everlasting. Annoyed, frustrated, angry. You know,

604
00:42:32,820 --> 00:42:38,520
like why always me? Why do good things? die out,

605
00:42:39,360 --> 00:42:42,960
fade, decline and every fair from fair sometime

606
00:42:42,960 --> 00:42:45,760
declines and please this is not sometimes, this is

607
00:42:45,760 --> 00:42:48,810
not sometimes. Both of them are sometimes

608
00:42:48,810 --> 00:42:51,090
different, a little bit different from sometimes.

609
00:42:51,190 --> 00:42:56,010
At a particular time, they will decline. Why?

610
00:42:56,210 --> 00:43:01,290
Because of chance or nature. By chance, fate or

611
00:43:01,290 --> 00:43:05,130
nature's course. Course means like track of

612
00:43:05,130 --> 00:43:07,590
course, okay? It doesn't mean a course like this

613
00:43:07,590 --> 00:43:13,080
course. And nature's course, nature's life moving

614
00:43:13,080 --> 00:43:17,440
on, forward, untrimmed. Basically this is a

615
00:43:17,440 --> 00:43:19,360
repetition of the first one in other words, in

616
00:43:19,360 --> 00:43:24,020
more creative ways. And the message here is that

617
00:43:24,020 --> 00:43:28,140
everybody dies, everything declines, every beauty

618
00:43:28,140 --> 00:43:32,780
just fades away. And when we are this close to

619
00:43:32,780 --> 00:43:34,740
giving up, he's saying we're doomed, we're all

620
00:43:34,740 --> 00:43:40,650
going to die, nothing lasts forever. He twists the

621
00:43:40,650 --> 00:43:44,710
argument a little bit, giving us a rope, a ray of

622
00:43:44,710 --> 00:43:48,050
hope to cling to. And I love the use of but here.

623
00:43:48,410 --> 00:43:54,330
Yeah, there's but. So if we're like, oh, yeah, I

624
00:43:54,330 --> 00:43:57,610
see what you mean, Shakespeare. We are all doomed.

625
00:43:57,750 --> 00:44:02,080
We're all going to die. But comes like a wake up

626
00:44:02,080 --> 00:44:05,920
call here. But thy, and this is again thy meaning,

627
00:44:06,700 --> 00:44:12,180
your, thy eternal summer shall not fade. The

628
00:44:12,180 --> 00:44:16,320
summer I'm talking about is more beautiful, more

629
00:44:16,320 --> 00:44:19,100
lovely, more temperate than the ordinary summer

630
00:44:19,100 --> 00:44:25,180
here because your summer is eternal. Your eternal

631
00:44:25,180 --> 00:44:27,800
summer shall not end. Your summer will remain

632
00:44:27,800 --> 00:44:31,600
forever. Nor lose, you will not lose position of

633
00:44:31,600 --> 00:44:33,580
that year. You will not lose your beauty, your

634
00:44:33,580 --> 00:44:40,800
fairness that you own. Nor shall death brag. Can

635
00:44:40,800 --> 00:44:47,300
or does death brag? What's brag? Boast or show

636
00:44:47,300 --> 00:44:52,400
off, you know, express pride. Who usually brags

637
00:44:52,400 --> 00:44:55,520
about things? A human being, a person, a man, a

638
00:44:55,520 --> 00:45:00,120
woman. So he's talking about death. By the way, in

639
00:45:00,120 --> 00:45:03,160
some poems online, you'll find it death with a

640
00:45:03,160 --> 00:45:05,460
capital D. Sometimes it makes a little bit of a

641
00:45:05,460 --> 00:45:09,980
difference. Or small d. I like to go for a small

642
00:45:09,980 --> 00:45:13,380
letter here. Because he's treating death, the

643
00:45:13,380 --> 00:45:19,030
grand leveler, the mighty, Think as a human being,

644
00:45:19,130 --> 00:45:21,230
and this is Shakespeare putting death in its

645
00:45:21,230 --> 00:45:25,170
place. Probably declaring that he is bigger than

646
00:45:25,170 --> 00:45:30,450
death itself. He's personifying death as somebody

647
00:45:30,450 --> 00:45:34,230
who cannot brag because of Shakespeare, because of

648
00:45:34,230 --> 00:45:38,010
what Shakespeare does. Nor shall death brag thou

649
00:45:38,010 --> 00:45:41,870
wanderst in his shade. There is another his by the

650
00:45:41,870 --> 00:45:46,400
way here. So, so many men, so few women. His

651
00:45:46,400 --> 00:45:50,940
refers to death, personifying death. This his

652
00:45:50,940 --> 00:45:54,160
refers to the sun, the eye of heaven. Again,

653
00:45:54,220 --> 00:45:58,060
Shakespeare means here, you will not die. This

654
00:45:58,060 --> 00:46:02,340
means you will not die. But you and you and me, we

655
00:46:02,340 --> 00:46:05,640
say you will not die. But Shakespeare doesn't say

656
00:46:05,640 --> 00:46:11,660
it this way most often. Death shall not brag the

657
00:46:11,660 --> 00:46:13,820
wondrous in his shade. What? Say again

658
00:46:13,820 --> 00:46:17,220
Shakespeare, what do you mean? I mean, death shall

659
00:46:17,220 --> 00:46:19,860
not brag, but I don't know, death is not a human

660
00:46:19,860 --> 00:46:21,580
being. And then, oh yeah, you're going for the

661
00:46:21,580 --> 00:46:25,720
metaphor. And if you want to understand

662
00:46:25,720 --> 00:46:28,920
Shakespeare, try to always go beyond what the

663
00:46:28,920 --> 00:46:32,680
words say to the metaphor. And look at this, how

664
00:46:32,680 --> 00:46:33,740
beautiful this is.

665
00:46:36,680 --> 00:46:39,680
Because we still, why the shift? We don't

666
00:46:39,680 --> 00:46:42,880
understand. You just said that we are all going to

667
00:46:42,880 --> 00:46:44,700
die and then you're saying you're not going to

668
00:46:44,700 --> 00:46:50,260
die. And then he goes for if. But he doesn't say

669
00:46:50,260 --> 00:46:52,140
if because it makes a difference. If is still

670
00:46:52,140 --> 00:46:55,300
conditional, uncertain. But this is Shakespeare,

671
00:46:55,420 --> 00:46:58,460
he's proud, he's certain. He knows he's going to

672
00:46:58,460 --> 00:47:01,820
win this woman. So he says win for more certainty.

673
00:47:02,400 --> 00:47:05,720
Win in eternal lines. The eternal lines, the line,

674
00:47:06,440 --> 00:47:09,540
not lines, people queuing here, the line of verse,

675
00:47:10,380 --> 00:47:14,520
my poetry. Win in eternal lines to time thou

676
00:47:14,520 --> 00:47:18,240
grows. And again I like the word grow. It's not

677
00:47:18,240 --> 00:47:23,480
live. If we wrote a poem here, we could, and live

678
00:47:23,480 --> 00:47:27,770
is also a perfect word. Shakespeare can easily

679
00:47:27,770 --> 00:47:32,790
find a word that would rhyme with live. But live

680
00:47:32,790 --> 00:47:36,950
again is live. Growing is living and getting

681
00:47:36,950 --> 00:47:40,530
bigger and more famous and everywhere. It's a

682
00:47:40,530 --> 00:47:41,370
perfect choice.

683
00:47:43,930 --> 00:47:49,070
When in eternal line, lines to time thou growest.

684
00:47:49,110 --> 00:47:51,830
When you live in my lines, when you come to me,

685
00:47:52,370 --> 00:47:56,900
when you like me back. When you agree to be my

686
00:47:56,900 --> 00:47:57,280
whatever.

687
00:48:00,540 --> 00:48:05,900
And then he goes for the perfect, perfect couplet.

688
00:48:06,100 --> 00:48:07,800
You will not find a more beautiful couplet than

689
00:48:07,800 --> 00:48:12,060
this. So long as men can breathe or eyes can see.

690
00:48:12,880 --> 00:48:16,300
So long lives this. This is the sonnet. His

691
00:48:16,300 --> 00:48:21,940
poetry. And this gives life to thee. Ending it

692
00:48:21,940 --> 00:48:26,160
with a hopeful tone. How there's destruction here,

693
00:48:26,300 --> 00:48:30,080
yeah? Destructiveness. Beauty is transient. Time

694
00:48:30,080 --> 00:48:36,660
kills all. Nature, rough winds, too hot, too

695
00:48:36,660 --> 00:48:42,480
short, too windy. Don't worry. When in eternal

696
00:48:42,480 --> 00:48:48,160
lines to time thou growth, So long lives this and

697
00:48:48,160 --> 00:48:50,380
this gives life to thee. And I love how

698
00:48:50,380 --> 00:48:55,220
Shakespeare is delaying

699
00:48:55,220 --> 00:48:59,880
the condition until the last line of the third

700
00:48:59,880 --> 00:49:06,340
quadrant that has the twist here. Like there was

701
00:49:06,340 --> 00:49:10,630
this talk about last week the differences between

702
00:49:10,630 --> 00:49:13,630
sometimes parents and like parents like mothers

703
00:49:13,630 --> 00:49:17,950
and fathers and usually we came to the conclusion

704
00:49:17,950 --> 00:49:24,530
that usually mothers give the result first like

705
00:49:24,530 --> 00:49:27,690
you will be good you will do this you will succeed

706
00:49:27,690 --> 00:49:32,090
I will give you I'll buy you I'll cook you I'll

707
00:49:32,090 --> 00:49:37,710
you know if But the fathers usually go for the

708
00:49:37,710 --> 00:49:42,010
condition first. So if you do this, when you do

709
00:49:42,010 --> 00:49:46,710
this, I'll give you. This will happen. Here

710
00:49:46,710 --> 00:49:49,830
Shakespeare is again being more tactful, more

711
00:49:49,830 --> 00:49:53,750
poetic. He's giving, he's tempting here. You'll

712
00:49:53,750 --> 00:49:56,010
have this and this and this. You will live

713
00:49:56,010 --> 00:50:00,950
forever. You will grow. when you live in my lines

714
00:50:00,950 --> 00:50:04,690
if I make you live in my lines and again the the

715
00:50:04,690 --> 00:50:07,330
win here is for certainty and then Shakespeare

716
00:50:07,330 --> 00:50:11,850
again ends with this beautiful beautiful couplet

717
00:50:11,850 --> 00:50:15,690
so long as men can breathe or eyes can see so long

718
00:50:15,690 --> 00:50:17,830
lives this and this gives life to thee possibly

719
00:50:17,830 --> 00:50:22,090
the most famous couplet of all times what is the

720
00:50:22,090 --> 00:50:27,290
theme in this sonnet in this poem love only love

721
00:50:30,960 --> 00:50:36,260
Mortality? Mortality or immortality? Okay, there

722
00:50:36,260 --> 00:50:39,100
is mortality, but then there is immortality, there

723
00:50:39,100 --> 00:50:43,260
is eternity. Time changing everything, please.

724
00:50:46,480 --> 00:50:47,140
Time?

725
00:50:49,720 --> 00:50:53,900
Time is a destructive power. Beauty, what about

726
00:50:53,900 --> 00:50:59,110
beauty? It gets destroyed by, but it can be

727
00:50:59,110 --> 00:51:01,550
preserved by something. What is this something?

728
00:51:04,890 --> 00:51:07,530
Poetry. Not any art by the way. This is

729
00:51:07,530 --> 00:51:12,230
Shakespeare's poetry. He knows, yes. He knows that

730
00:51:12,230 --> 00:51:14,770
he is going to live forever and ever and ever.

731
00:51:15,050 --> 00:51:19,350
Because this here, this sonnet, this poetry is

732
00:51:19,350 --> 00:51:25,360
going to live forever. Please. Death. Is he just

733
00:51:25,360 --> 00:51:27,620
basically talking about death or is he using death

734
00:51:27,620 --> 00:51:30,160
to personifying death to make a point?

735
00:51:34,060 --> 00:51:37,040
Now many people try to understand how Shakespeare

736
00:51:37,040 --> 00:51:41,840
came to terms with death. I read this article that

737
00:51:41,840 --> 00:51:44,580
says that Shakespeare was frustrated because he

738
00:51:44,580 --> 00:51:48,060
knew, he felt that he was a genius, unprecedented

739
00:51:48,060 --> 00:51:50,700
literary figure and intellectual and everything.

740
00:51:52,580 --> 00:51:56,580
And he always was like, why should I die? I

741
00:51:56,580 --> 00:51:59,840
shouldn't die. Not always, like you'll find this.

742
00:52:00,920 --> 00:52:03,400
There is this fear, despair. And sometimes they

743
00:52:03,400 --> 00:52:06,720
connect Hamlet with Shakespeare himself. The fact

744
00:52:06,720 --> 00:52:10,100
that Hamlet didn't want to take revenge was the

745
00:52:10,100 --> 00:52:12,580
tiny bit of possibility that he might get killed

746
00:52:12,580 --> 00:52:16,620
and he did not want to get killed at some point.

747
00:52:20,000 --> 00:52:25,680
So Shakespeare's obsession with death made

748
00:52:25,680 --> 00:52:28,060
him write so many things and indicate this in his

749
00:52:28,060 --> 00:52:32,940
poetry. How to outlive death. The result was

750
00:52:32,940 --> 00:52:36,880
through his poetry. Through his poetry, by

751
00:52:36,880 --> 00:52:42,540
writing. And in drama classes, when you study more

752
00:52:42,540 --> 00:52:44,300
about Shakespeare, this is a poetry class, you

753
00:52:44,300 --> 00:52:46,840
will, I think, come across the fact that

754
00:52:46,840 --> 00:52:52,660
Shakespeare himself gave up writing when he could

755
00:52:52,660 --> 00:52:54,880
have written more. And I think this is also one

756
00:52:54,880 --> 00:52:59,920
way of Shakespeare trying to conquer death. He

757
00:52:59,920 --> 00:53:02,220
wasn't just writing and involved in life and

758
00:53:02,220 --> 00:53:03,760
getting busy with the drama and the stage, and

759
00:53:03,760 --> 00:53:06,620
then all of a sudden he got ill and died quickly

760
00:53:06,620 --> 00:53:10,880
or slowly. He quit, he resigned, and he went back

761
00:53:10,880 --> 00:53:14,720
home just to, as if declaring, okay, I'm ready.

762
00:53:14,920 --> 00:53:18,460
Anytime, death, you're welcome. I don't care, I've

763
00:53:18,460 --> 00:53:22,400
done everything. I've conquered every corner of

764
00:53:22,400 --> 00:53:26,900
the globe. So thank you very much. You could say

765
00:53:26,900 --> 00:53:31,380
the theme is love, art, but not this art, okay?

766
00:53:32,520 --> 00:53:39,250
Poetry, destructiveness of time, Transience of

767
00:53:39,250 --> 00:53:39,630
beauty.

768
00:53:42,630 --> 00:53:46,130
Some people might claim that Shakespeare also

769
00:53:46,130 --> 00:53:48,690
changed the theme, but I don't think so because

770
00:53:48,690 --> 00:53:51,490
this is still a love poem, beautiful love poem. So

771
00:53:51,490 --> 00:53:54,350
we could compromise by saying Shakespeare expanded

772
00:53:54,350 --> 00:53:59,210
the theme, changed the form, and changed the rhyme

773
00:53:59,210 --> 00:54:05,880
scheme. Experimented on everything in the poem. He

774
00:54:05,880 --> 00:54:09,200
experimented on everything in the poem. expanded

775
00:54:09,200 --> 00:54:13,100
the theme, totally changed the rhyme scheme to a

776
00:54:13,100 --> 00:54:15,920
more, by the way, to a more difficult, more rigid

777
00:54:15,920 --> 00:54:20,480
form, which is the three quadrants and the

778
00:54:20,480 --> 00:54:23,200
couplet. Usually in Shakespeare, you'll find that

779
00:54:23,200 --> 00:54:27,640
the first 12 lines, they have the same problem,

780
00:54:27,740 --> 00:54:30,280
and again, the dilemma, and the complication, and

781
00:54:30,280 --> 00:54:32,300
the crisis, and then the resolution comes in two

782
00:54:32,300 --> 00:54:35,620
lines. But in this one, we kind of have a twist

783
00:54:35,620 --> 00:54:38,880
here early, a little bit early. The third,

784
00:54:39,300 --> 00:54:45,040
quatrain. Basically, yeah, foreshadowing what's to

785
00:54:45,040 --> 00:54:49,020
come. But the couplet itself in Shakespeare is

786
00:54:49,020 --> 00:54:53,420
genius. We almost want to give up in 12 lines.

787
00:54:53,520 --> 00:54:57,920
There's no way out. For the Petrarchan Sonnet, it

788
00:54:57,920 --> 00:55:02,180
takes six lines to get to the resolution, to give

789
00:55:02,180 --> 00:55:04,660
us some kind of a closure. But for Shakespeare,

790
00:55:05,440 --> 00:55:10,650
just two lines. Other people used the couplet in

791
00:55:10,650 --> 00:55:14,850
their sonnets, but not like what Shakespeare did

792
00:55:14,850 --> 00:55:20,410
here. A final point I want to highlight today is

793
00:55:20,410 --> 00:55:24,130
related to the meter of the poem. You know the

794
00:55:24,130 --> 00:55:31,450
meter? Al bahar, al wazn, music, the rhythm. So we

795
00:55:31,450 --> 00:55:33,690
say this is an iambic pentameter.

796
00:55:36,810 --> 00:55:40,530
Meaning like two syllables, one for unstressed and

797
00:55:40,530 --> 00:55:43,010
then stressed, okay?

798
00:55:44,830 --> 00:55:49,350
And then the pinta, pinta means five, so

799
00:55:49,350 --> 00:55:53,150
pentameter because there are five feet meaning ten

800
00:55:53,150 --> 00:55:59,110
syllables. I found this online, people trying to

801
00:55:59,110 --> 00:56:03,050
force the iambic pentameter on Shakespeare's

802
00:56:06,630 --> 00:56:09,690
Sonnet, and I don't think this is right, I think

803
00:56:09,690 --> 00:56:14,310
this is wrong. Giving it perfect rhyme, perfect

804
00:56:14,310 --> 00:56:19,430
theory, I am's. Unstressed, can you see that some

805
00:56:19,430 --> 00:56:23,950
of this is written in bold? Okay, so shall I

806
00:56:23,950 --> 00:56:27,490
compare thee to a summer's day, but okay, you

807
00:56:27,490 --> 00:56:30,250
don't read it this way. They say this is the

808
00:56:30,250 --> 00:56:32,430
natural English. By the way, almost 80 percent,

809
00:56:32,710 --> 00:56:36,050
this is something, a number I made up, of English

810
00:56:36,050 --> 00:56:39,450
poetry is iambic. Iambic tetrameter, iambic

811
00:56:39,450 --> 00:56:43,970
pentameter. So, shall I compare thee to a summer's

812
00:56:43,970 --> 00:56:47,450
daily going down and up, down and up. Thou art

813
00:56:47,450 --> 00:56:50,090
more lovely and more temperate. This is perfect.

814
00:56:50,630 --> 00:56:54,650
Raf wins. I don't like this because Raf is still a

815
00:56:54,650 --> 00:57:01,480
big word. So, let's see how to do this. So usually

816
00:57:01,480 --> 00:57:06,740
we go for, listen, the nouns, the verbs are almost

817
00:57:06,740 --> 00:57:08,880
always stressed. The functional words, the

818
00:57:08,880 --> 00:57:11,460
prepositions, the articles, the determiners are

819
00:57:11,460 --> 00:57:14,420
almost always, not always unstressed, unless the

820
00:57:14,420 --> 00:57:17,060
poet wants to highlight something or emphasize

821
00:57:17,060 --> 00:57:23,260
something. shall I this is I not an ordinary I

822
00:57:23,260 --> 00:57:26,080
basically generally it's not stress but this is

823
00:57:26,080 --> 00:57:29,840
shall I some people might say no this is

824
00:57:29,840 --> 00:57:32,260
unstressed and they want to go shall I compare

825
00:57:32,260 --> 00:57:36,980
shall I shall I shall I or shall I shall I compare

826
00:57:36,980 --> 00:57:43,870
the unstressed Two also unstressed, but some

827
00:57:43,870 --> 00:57:46,910
people would go for stress. Shall I compare the

828
00:57:46,910 --> 00:57:51,810
two of summer's day? So unstressed, okay,

829
00:57:52,210 --> 00:57:55,850
stressed, unstressed. Look at the nouns and the

830
00:57:55,850 --> 00:57:59,130
verbs. If they are long, more than one syllable.

831
00:58:00,130 --> 00:58:02,250
Then one is stressed and one is unstressed.

832
00:58:02,350 --> 00:58:05,710
Usually the er, you know, the ly, whatever you add

833
00:58:05,710 --> 00:58:09,650
to the word unstressed. De-stressed. So again,

834
00:58:10,310 --> 00:58:13,630
some people like to go for a perfect iambic here.

835
00:58:16,270 --> 00:58:22,690
Shall I compare thee to a samasdeh? It can be

836
00:58:22,690 --> 00:58:25,070
significant if you want to talk about how he...

837
00:58:25,070 --> 00:58:27,650
We'll see. Yeah, we'll see this in a bit. So going

838
00:58:27,650 --> 00:58:32,610
for I being stressed, they being unstressed. Who's

839
00:58:32,610 --> 00:58:36,410
more important here? The speaker, Shakespeare, the

840
00:58:36,410 --> 00:58:40,190
poet, the persona. And they, you still almost

841
00:58:40,190 --> 00:58:42,990
nothing, you are unstressed, unheard of.

842
00:58:45,830 --> 00:58:49,230
But I can notice how we could still differ and

843
00:58:49,230 --> 00:58:52,010
still be friends. So if you insist that too,

844
00:58:52,210 --> 00:58:54,490
because it's a preposition, it's unstressed, okay,

845
00:58:54,630 --> 00:59:01,280
no worries. no hard feelings thou unstressed art

846
00:59:01,280 --> 00:59:06,400
possibly unstressed it could be also stressed more

847
00:59:06,400 --> 00:59:10,900
unstressed love stressed ly unstressed and

848
00:59:10,900 --> 00:59:17,640
unstressed more stressed unstressed here okay this

849
00:59:17,640 --> 00:59:22,120
is unstressed and could be stressed if you go for

850
00:59:22,120 --> 00:59:27,640
answers it's okay unstressed stressed unstressed

851
00:59:27,640 --> 00:59:35,300
stressed unstressed

852
00:59:35,300 --> 00:59:44,620
linked the you this thing with the unstressed okay

853
00:59:44,620 --> 00:59:51,180
I

854
00:59:51,180 --> 00:59:55,640
like this I disagree with the guy who did

855
00:59:55,640 --> 00:59:58,080
unstressed stressed unstressed stressed here

856
00:59:58,080 --> 01:00:00,540
remember he moved from the sweetness of the first

857
01:00:00,540 --> 01:00:03,520
scene to the toughness and roughness so I think

858
01:00:03,520 --> 01:00:07,720
this is stressed stressed stressed stressed so the

859
01:00:07,720 --> 01:00:11,600
way we read this should change rough winds like

860
01:00:11,600 --> 01:00:15,860
even rough winds do shake because he's saying life

861
01:00:15,860 --> 01:00:19,640
is tough life is difficult when he said this look

862
01:00:19,640 --> 01:00:22,990
at what he did number one he used Even the words

863
01:00:22,990 --> 01:00:25,570
in their meaning, the word rough is a tough word,

864
01:00:25,690 --> 01:00:31,750
right? How it sounds, rough, the ra sound, the fa

865
01:00:31,750 --> 01:00:35,650
like the winds. And also the meter itself is

866
01:00:35,650 --> 01:00:37,970
connected. And I think this is deliberate. This is

867
01:00:37,970 --> 01:00:41,810
Shakespeare. So rough winds do shake the darling

868
01:00:41,810 --> 01:00:46,700
buds of May. And you could go on and on. I like

869
01:00:46,700 --> 01:00:50,400
this. I don't want you to be confused here. I'll

870
01:00:50,400 --> 01:00:53,960
do it slowly. Like we're not going to focus on the

871
01:00:53,960 --> 01:00:56,600
whole poem, just the things to make points. So the

872
01:00:56,600 --> 01:00:59,880
point here is that the I is almost definitely

873
01:00:59,880 --> 01:01:03,480
stressed. Shall I compare thee to a summer's day?

874
01:01:04,520 --> 01:01:07,760
Where thee is unstressed. He's more important than

875
01:01:07,760 --> 01:01:08,000
her.

876
01:01:11,040 --> 01:01:14,760
And look at this, rough winds stressed stress to

877
01:01:14,760 --> 01:01:16,740
indicate the toughness of life, the

878
01:01:16,740 --> 01:01:20,320
destructiveness of life. How nature is destructive

879
01:01:20,320 --> 01:01:26,240
to beauty. Do shake. For the sake of time, I'll

880
01:01:26,240 --> 01:01:35,340
jump to the last bit of the poem to

881
01:01:35,340 --> 01:01:37,920
do the same. The first line in the couplet is

882
01:01:37,920 --> 01:01:44,530
almost perfect. So long as men can breathe, all

883
01:01:44,530 --> 01:01:49,410
eyes can see. It's perfect. Very musical.

884
01:01:53,230 --> 01:01:57,670
Many people sing this. Go to YouTube and see how

885
01:01:57,670 --> 01:02:02,130
beautiful it can be rendered into a song. So long

886
01:02:02,130 --> 01:02:07,170
as men can breathe, all eyes can see. Very

887
01:02:07,170 --> 01:02:10,220
musical. Long.

888
01:02:13,300 --> 01:02:16,320
I think this is, levz is a verb, stressed. Some

889
01:02:16,320 --> 01:02:18,640
people might want to insist that, no, stressed,

890
01:02:18,940 --> 01:02:20,780
unstressed, stressed, unstressed, stressed. A

891
01:02:20,780 --> 01:02:24,780
verb, it's a main verb. Should be stressed. And

892
01:02:24,780 --> 01:02:27,920
this could be unstressed, but this, he's saying

893
01:02:27,920 --> 01:02:34,040
this. So also there's an emphasis here on this, my

894
01:02:34,040 --> 01:02:39,330
poetry. Leave this unstressed stressed because of

895
01:02:39,330 --> 01:02:43,630
this again also stressed stressed because there's

896
01:02:43,630 --> 01:02:49,800
emphasis here unstressed and finally to thee you

897
01:02:49,800 --> 01:02:54,420
could read it with a falling down intonation here

898
01:02:54,420 --> 01:02:58,920
so long lives this and this gives life to thee or

899
01:02:58,920 --> 01:03:02,820
so long lives this and this gives life to thee and

900
01:03:02,820 --> 01:03:05,180
I think this should be the more appropriate

901
01:03:05,180 --> 01:03:09,020
reading shifting from the woman being unstressed

902
01:03:09,020 --> 01:03:13,880
possibly unknown small

903
01:03:15,170 --> 01:03:19,630
almost nothing and turned into this stressed woman

904
01:03:19,630 --> 01:03:21,870
everybody around the world is talking about,

905
01:03:22,070 --> 01:03:26,730
growing and growing, eternal in His lines. with a

906
01:03:26,730 --> 01:03:29,170
stressed line. So I could ask you a question. Why

907
01:03:29,170 --> 01:03:32,310
did Shakespeare start with a stressed D, an

908
01:03:32,310 --> 01:03:36,310
unstressed D and ended with a stressed D? Linking

909
01:03:36,310 --> 01:03:38,810
the meter, this is something new to most of you,

910
01:03:39,130 --> 01:03:42,150
but we'll see how this can be developed. I'll give

911
01:03:42,150 --> 01:03:45,170
you maximum two minutes because again, we don't

912
01:03:45,170 --> 01:03:48,510
have much time. So if you please be brief, Nadia.

913
01:03:49,250 --> 01:03:51,930
Because in the last line, it is him doing it. It's

914
01:03:51,930 --> 01:03:54,730
him making her motion. So it's part of make by

915
01:03:54,730 --> 01:03:58,210
saying D in a A rising intonation. The rising

916
01:03:58,210 --> 01:04:01,230
intonation is like being proud of himself for what

917
01:04:01,230 --> 01:04:05,130
he did. I made you what you are. Look at it, if

918
01:04:05,130 --> 01:04:08,490
you don't do the meter thing, you couldn't feel

919
01:04:08,490 --> 01:04:12,970
this hidden beauty, the hidden treasures in

920
01:04:12,970 --> 01:04:16,010
Shakespeare and other poetry. More, brief.

921
01:04:23,950 --> 01:04:29,270
Possibly, yes. Possibly yes. Yeah, yeah, yeah,

922
01:04:29,270 --> 01:04:31,710
sure. Listen, listen, this is the beauty of the

923
01:04:31,710 --> 01:04:34,250
meter. I know some of you like are intimidated by

924
01:04:34,250 --> 01:04:36,650
the meter and something, but there are so many

925
01:04:36,650 --> 01:04:39,250
varieties. It depends on how you read things. But

926
01:04:39,250 --> 01:04:44,030
logically, lives should be stressed and this

927
01:04:44,030 --> 01:04:47,030
shouldn't be stressed. But here he is. This is not

928
01:04:47,030 --> 01:04:50,330
an ordinary this. This is not this mobile or this

929
01:04:50,330 --> 01:04:54,830
thing I wrote. This is Shakespeare's writing. So

930
01:04:54,830 --> 01:04:57,650
if you go for stressed unstressed, I would take

931
01:04:57,650 --> 01:05:00,690
it. If you go for unstressed stressed, I would

932
01:05:00,690 --> 01:05:03,450
take it. If you go for stressed, I like to go for

933
01:05:03,450 --> 01:05:06,130
stressed stressed. I wouldn't say no to you.

934
01:05:09,610 --> 01:05:13,830
Oh, it's not written in stone. Like some some

935
01:05:13,830 --> 01:05:17,790
people might argue like if this is live from life

936
01:05:17,790 --> 01:05:22,610
and he's saying this is emphasized while lives is

937
01:05:22,610 --> 01:05:26,170
not. making the point that Shakespeare's poetry

938
01:05:26,170 --> 01:05:31,310
outlives life, beats life, that's a perfect point.

939
01:05:32,790 --> 01:05:35,110
It's more important than life because it's going

940
01:05:35,110 --> 01:05:38,130
to outlive the transience of beauty and the

941
01:05:38,130 --> 01:05:41,850
destructiveness of time. One last point, please.

942
01:05:42,150 --> 01:05:43,610
Somebody? Kobo?

943
01:06:00,060 --> 01:06:04,520
Unless he or she is certain. That's a good point

944
01:06:04,520 --> 01:06:05,200
you're making there.

945
01:06:19,010 --> 01:06:22,130
But he knows that people will read. I think he

946
01:06:22,130 --> 01:06:25,630
kind of knows that. But that's a good point. Yeah,

947
01:06:25,690 --> 01:06:29,630
we make him great. Listen, this was probably a

948
01:06:29,630 --> 01:06:32,170
sonnet written in a small town somewhere in the UK

949
01:06:32,170 --> 01:06:36,290
and now it's being read around the globe. We make

950
01:06:37,230 --> 01:06:38,890
Like, you're making the point that we make

951
01:06:38,890 --> 01:06:41,510
Shakespeare. I think there is an argument for

952
01:06:41,510 --> 01:06:43,930
that. Who is Shakespeare? Shakespeare is the

953
01:06:43,930 --> 01:06:45,370
person I want to see. Some of you don't like

954
01:06:45,370 --> 01:06:47,350
Shakespeare, some of you like him. But I hope that

955
01:06:47,350 --> 01:06:50,710
this negativity is changing a little bit here.

956
01:06:50,870 --> 01:06:53,250
It's like, wow, look at what this man is doing.

957
01:06:54,430 --> 01:06:56,990
I'll stop here. Next class, we have yet another

958
01:06:56,990 --> 01:06:59,670
sonnet by Shakespeare. Thank you very much.