PL9fwy3NUQKwYGN66V9CL-c7DFnG0_Swb2/AzDIpc5L6uk.srt

1
00:00:05,130 --> 00:00:07,250
Assalamualaikum and welcome back to English

2
00:00:07,250 --> 00:00:11,110
poetry. Before I begin today talking about

3
00:00:11,110 --> 00:00:14,230
Shakespeare's Sonnet 18, let's have two of your

4
00:00:14,230 --> 00:00:18,470
classmates here talk about Palestinian features,

5
00:00:19,970 --> 00:00:22,590
poetry, poem, and then we'll have Noha talk about,

6
00:00:22,990 --> 00:00:26,690
recite one of her parodies. Come here, please. Go

7
00:00:26,690 --> 00:00:34,250
on. Since poetry is a language of expressing the

8
00:00:34,250 --> 00:00:36,590
feelings. So it is the perfect way for the writers

9
00:00:36,590 --> 00:00:39,030
or the Palestinian writers to write about their

10
00:00:39,030 --> 00:00:42,770
anger and desire of making their land free. So

11
00:00:42,770 --> 00:00:47,090
today I'm going to talk about one feature of the

12
00:00:47,090 --> 00:00:52,210
Palestinian poetry or literature. What I searched,

13
00:00:52,510 --> 00:00:54,990
I have many features, but what I want to talk

14
00:00:54,990 --> 00:00:59,540
about is the allusion. Illusion of using people

15
00:00:59,540 --> 00:01:02,460
that represent the deep history of the city as a

16
00:01:02,460 --> 00:01:09,060
Palestinian and Arab and Muslim city. So the line

17
00:01:09,060 --> 00:01:10,380
is, or the lines.

18
00:01:21,700 --> 00:01:28,440
This is

19
00:01:28,440 --> 00:01:33,860
an allusion to the king, who was the king of a

20
00:01:33,860 --> 00:01:36,740
Maghloub country, which was comprised of Egypt

21
00:01:36,740 --> 00:01:42,220
and the Levant. So this king and this great leader of

22
00:01:42,220 --> 00:01:46,460
the Muslim armies,

23
00:01:47,220 --> 00:01:50,680
At the beginning of his life, he was just a

24
00:01:50,680 --> 00:01:54,120
poor little slave who was bought and sold, and

25
00:01:54,120 --> 00:01:57,560
bought and sold. And once he was bought by a

26
00:01:57,560 --> 00:02:00,280
prince. And this prince rejected him because

27
00:02:00,280 --> 00:02:07,080
of a defect in his eye. There was like a blue or a

28
00:02:07,080 --> 00:02:11,120
white point in his eye. So he was rejected, and he

29
00:02:11,120 --> 00:02:12,960
sent him back to the trader.

30
00:02:15,620 --> 00:02:21,320
But Salih Ayyub kept him, and then he was like

31
00:02:22,950 --> 00:02:26,730
He was admired, and he liked this little boy. And

32
00:02:26,730 --> 00:02:29,370
then when he grew up, he freed him and made

33
00:02:29,370 --> 00:02:33,470
him a prince. And then he became the king. So this

34
00:02:33,470 --> 00:02:39,450
is an allusion. So that makes us think about

35
00:02:39,450 --> 00:02:42,650
the deep and long history of Jerusalem as an Arab

36
00:02:42,650 --> 00:02:45,330
city. So we have history, a deep history

37
00:02:45,330 --> 00:02:49,470
to think about. So that is my point. OK. Thank

38
00:02:49,470 --> 00:02:55,240
you very much. Invoking the past, alluding to

39
00:02:55,240 --> 00:03:00,400
people from the past seems to be one feature of

40
00:03:00,400 --> 00:03:04,400
Palestinian poetry. I really wish that more of you

41
00:03:04,400 --> 00:03:07,880
would be talking about more features. But تأتى

42
00:03:07,880 --> 00:03:10,560
الرياح بما لا تشتهى السفن. Let's see Nuha here

43
00:03:10,560 --> 00:03:16,240
talk about, recite her parody. Go on, please. Okay,

44
00:03:16,400 --> 00:03:21,360
so we all know Sir Thomas Wyatt's poem or sonnet,

45
00:03:21,480 --> 00:03:24,300
let's say, "Who So List to Hunt." Today I'll try to

46
00:03:24,300 --> 00:03:27,940
modernize it a little bit. Okay, let's hear it.

47
00:03:28,500 --> 00:03:31,960
Who saw less to laugh? I know where is a mean. But

48
00:03:31,960 --> 00:03:35,940
for me, alas, I may know more. The vain laughter

49
00:03:35,940 --> 00:03:39,860
hath wear'd me so sore. I am of them that laugh

50
00:03:39,860 --> 00:03:44,160
their heart out and scream. Yet may I by no means in

51
00:03:44,160 --> 00:03:48,160
my weird dream, while trying to make my vain heart

52
00:03:48,160 --> 00:03:53,420
find a cure, I pause. Hands tied, friends, and

53
00:03:53,420 --> 00:03:56,980
laughter takes the floor, and in calamity I find

54
00:03:56,980 --> 00:04:01,880
myself no more. Who's so less to laugh, irritated

55
00:04:01,880 --> 00:04:06,180
they might seem? were left by someone who they

56
00:04:06,180 --> 00:04:12,060
abhor, with two blue ticks screaming scene. Smelly

57
00:04:12,060 --> 00:04:16,700
cat can cure them for sure. Poor Yunagi taught me

58
00:04:16,700 --> 00:04:20,680
to be cautious, though I might seem inspired, yet I

59
00:04:20,680 --> 00:04:25,280
am humorous. Thank you. Okay, nice. Nice

60
00:04:25,280 --> 00:04:28,300
connection between friends on their 25th

61
00:04:28,300 --> 00:04:33,500
anniversary and an ancient poem. Okay, ladies,

62
00:04:33,660 --> 00:04:39,760
we'll go here to Shakespeare and Sonnet 18.

63
00:04:44,560 --> 00:04:46,960
I know some of you don't feel comfortable with

64
00:04:46,960 --> 00:04:49,600
Shakespeare. I don't think this is normal, but

65
00:04:49,600 --> 00:04:54,780
it's your choice, it's your opinion. I don't want

66
00:04:54,780 --> 00:04:58,540
to force you to like Shakespeare or not like

67
00:04:58,540 --> 00:05:01,340
Shakespeare, but let's see his poetry, his

68
00:05:01,340 --> 00:05:06,000
writing. We'll study two of Shakespeare's sonnets,

69
00:05:06,600 --> 00:05:12,190
and at least if you will still not like

70
00:05:12,190 --> 00:05:15,630
Shakespeare, let's appreciate him a little bit.

71
00:05:17,050 --> 00:05:19,930
Let's see what he did and how he did what he did.

72
00:05:20,190 --> 00:05:22,990
Because what Shakespeare did is unprecedented.

73
00:05:23,810 --> 00:05:29,330
Shakespeare wrote 140 sonnets, in addition to the

74
00:05:29,330 --> 00:05:33,670
sonnets in the plays, in the 37, give or take, plays

75
00:05:33,670 --> 00:05:38,620
he wrote. Shakespeare is said to be one of

76
00:05:38,620 --> 00:05:41,620
the greatest figures in human

77
00:05:41,620 --> 00:05:45,240
civilization. He's said to be the greatest poet of

78
00:05:45,240 --> 00:05:48,580
all time. Some people might agree or disagree

79
00:05:48,580 --> 00:05:52,260
with that, but undoubtedly many, many people. I

80
00:05:52,260 --> 00:05:55,000
assigned other classes to ask their family

81
00:05:55,000 --> 00:05:57,260
members, their parents, if they ever heard of

82
00:05:57,260 --> 00:06:01,240
Shakespeare. And the answer was mostly yes. How?

83
00:06:01,420 --> 00:06:04,740
We don't know, nobody knows. Even some illiterate

84
00:06:04,740 --> 00:06:09,830
people have heard of Shakespeare. And this in

85
00:06:09,830 --> 00:06:14,430
itself is fascinating; this man from a small town

86
00:06:14,430 --> 00:06:19,830
in the UK. Shakespeare's works have been adapted

87
00:06:19,830 --> 00:06:24,650
and adopted and appropriated and acted all over

88
00:06:24,650 --> 00:06:28,230
the world. His works, his sonnets and plays have

89
00:06:28,230 --> 00:06:31,470
been translated into almost every language on

90
00:06:31,470 --> 00:06:35,650
earth. And I usually quote one critic who wanted

91
00:06:35,650 --> 00:06:38,530
to show how great Shakespeare is by saying that at

92
00:06:38,530 --> 00:06:42,330
any time of the day, there is somebody out there

93
00:06:42,330 --> 00:06:46,190
talking about Hamlet, thinking about Hamlet,

94
00:06:46,350 --> 00:06:48,610
researching Hamlet, reading Hamlet, watching

95
00:06:48,610 --> 00:06:51,130
Hamlet, reciting Hamlet, sallallahu alayhi wa

96
00:06:51,130 --> 00:06:53,630
sallam,  acquiescing in Hamlet, appropriating Hamlet,

97
00:06:53,850 --> 00:06:57,030
cursing Hamlet, researching Hamlet, rehearsing

98
00:06:57,030 --> 00:07:00,670
Hamlet, acting Hamlet, producing Hamlet. And

99
00:07:00,670 --> 00:07:05,730
that's only Hamlet, one play. According to Harold

100
00:07:05,730 --> 00:07:09,750
Bloom, the American critic, a fascinating man, he

101
00:07:09,750 --> 00:07:12,010
has a book called *Shakespeare and the Invention of*

102
00:07:12,010 --> 00:07:16,450
Humanity or *Human Being*. And this is this guy,

103
00:07:17,110 --> 00:07:22,850
like, he loves Shakespeare to insanity and back.

104
00:07:24,100 --> 00:07:26,880
Not because of who he was, the man, but what he

105
00:07:26,880 --> 00:07:31,320
did. And he claims that we live in the shadow of

106
00:07:31,320 --> 00:07:33,180
Shakespeare. At least in Western civilization,

107
00:07:33,500 --> 00:07:36,640
people live in the shadow of Shakespeare and his

108
00:07:36,640 --> 00:07:41,460
characters and his poetry. And he says the most

109
00:07:41,460 --> 00:07:45,720
quoted person in Western civilization, after,  Christian Dom,

110
00:07:46,220 --> 00:07:50,220
is Jesus Christ. And the second most quoted person

111
00:07:50,220 --> 00:07:54,790
is Hamlet, and Hamlet is a fictional character,

112
00:07:55,190 --> 00:07:58,250
meaning probably Shakespeare is more quoted than

113
00:07:58,250 --> 00:08:04,870
Jesus Christ. Anyway, we'll talk about his poetry

114
00:08:04,870 --> 00:08:09,160
today, but before we do so, I want to ask you a

115
00:08:09,160 --> 00:08:11,640
question. Do you think great people, like people

116
00:08:11,640 --> 00:08:14,940
we consider great nowadays, like Arab poets, al-

117
00:08:14,940 --> 00:08:18,840
Mutanabbi and Antarah, English poets and dramatists

118
00:08:18,840 --> 00:08:22,740
like Shakespeare, John Donne, Marlowe, Samuel

119
00:08:22,740 --> 00:08:27,600
Johnson, Dryden, Ben Jonson, Milton, do you think

120
00:08:27,600 --> 00:08:32,060
those people realized how great they were? Do you

121
00:08:32,060 --> 00:08:35,700
feel that when great people did great things in

122
00:08:35,700 --> 00:08:39,480
all walks of life, literature, art,

123
00:08:39,680 --> 00:08:44,360
science, did they feel that they were great, that

124
00:08:44,360 --> 00:08:46,920
they would be great one day? What do you think?

125
00:08:47,440 --> 00:08:47,440
Please.

126
00:08:57,110 --> 00:09:00,350
Okay. So when you read Shakespeare, you see the

127
00:09:00,350 --> 00:09:05,150
confidence, you could tell that he at least knew

128
00:09:05,150 --> 00:09:08,550
something, that he's not an ordinary person. Yeah.

129
00:09:23,340 --> 00:09:26,100
Actually, he was appreciated, but compared to now,

130
00:09:26,180 --> 00:09:28,980
it was nothing. It doesn't mean they disliked him.

131
00:09:29,400 --> 00:09:34,320
He had bestsellers; many of his plays were

132
00:09:34,320 --> 00:09:37,060
performed again and again and again. And

133
00:09:37,060 --> 00:09:39,580
we're talking about London with a small population

134
00:09:39,580 --> 00:09:42,060
compared to what we have today. But

135
00:09:42,060 --> 00:09:45,220
yes, definitely. Some people hated Shakespeare.

136
00:09:46,560 --> 00:09:49,040
You know, rivalry, people doing the same thing at

137
00:09:49,040 --> 00:09:55,300
the same time, some critics. What's that? Yeah,

138
00:09:55,620 --> 00:09:59,960
there's that TV show, *Shark Tank*. That is

139
00:09:59,960 --> 00:10:08,240
fantastic. Sorry? The thing

140
00:10:08,240 --> 00:10:11,280
is that every successful person would

141
00:10:11,280 --> 00:10:15,380
have people who hate him, hate his guts. But the

142
00:10:15,380 --> 00:10:18,880
point is this could be part of the fuel, part of

143
00:10:18,880 --> 00:10:22,710
how you become who you are. I think that most

144
00:10:22,710 --> 00:10:25,430
of the people, most of the great people, do not

145
00:10:25,430 --> 00:10:28,530
really recognize how great they are until

146
00:10:28,530 --> 00:10:32,010
after their death, after people come centuries

147
00:10:32,010 --> 00:10:36,890
later and realize what a great deal their acts did

148
00:10:36,890 --> 00:10:39,770
in the future. Because, like we said before, most of

149
00:10:39,770 --> 00:10:41,870
the Romantic poets were not really famous in their

150
00:10:41,870 --> 00:10:44,350
time and people considered them some kind of like

151
00:10:44,350 --> 00:10:47,050
a revolutionary act that was not really something

152
00:10:47,050 --> 00:10:49,480
mainstream, yeah. Yeah, exactly. And another

153
00:10:49,480 --> 00:10:52,060
thing, talking about the confidence and maybe

154
00:10:52,060 --> 00:10:54,420
Shakespeare's persona, I believe that this is the

155
00:10:54,420 --> 00:10:56,700
persona talking, not Shakespeare himself. Maybe

156
00:10:56,700 --> 00:11:00,740
this is my own point of view. Okay, so tastes

157
00:11:00,740 --> 00:11:04,860
change, trends change, people change, and this is

158
00:11:04,860 --> 00:11:08,180
how life works. What people like today might not

159
00:11:08,180 --> 00:11:10,920
be liked in the future and vice versa. We'll see

160
00:11:10,920 --> 00:11:13,780
with John Donne; for about 200 years he was

161
00:11:13,780 --> 00:11:17,840
almost forgotten. For one reason or another, we're

162
00:11:17,840 --> 00:11:20,740
going to understand this. But definitely, I think

163
00:11:20,740 --> 00:11:23,440
we will find something, some traces, some evidence

164
00:11:23,440 --> 00:11:27,780
in Shakespeare where he is looking into the future

165
00:11:27,780 --> 00:11:32,040
and declaring that he will live forever.

166
00:11:33,860 --> 00:11:36,640
In many of his sonnets, actually, because it's a

167
00:11:36,640 --> 00:11:37,940
main theme in his sonnets.

168
00:11:42,570 --> 00:11:47,550
Okay, so this is Sonnet 18, and I already

169
00:11:47,550 --> 00:11:49,570
revealed the secret that this is a sonnet,

170
00:11:49,570 --> 00:11:52,350
which is not a secret because we can all count

171
00:11:52,350 --> 00:11:55,830
to 14.

172
00:11:56,610 --> 00:12:01,930
Now, sonnets, most poems in the past did not

173
00:12:01,930 --> 00:12:07,170
have titles; even Arabic poetry, most of

174
00:12:07,170 --> 00:12:10,910
the titles we see are used by later critics

175
00:12:10,910 --> 00:12:13,330
or sometimes they are given. Sonnets are usually

176
00:12:13,330 --> 00:12:17,290
given numbers, and sometimes we use the first line

177
00:12:17,290 --> 00:12:20,970
or part of it to name the sonnet. So this is Sonnet

178
00:12:20,970 --> 00:12:24,910
18, or "Shall I compare thee," or "Shall I compare thee

179
00:12:24,910 --> 00:12:30,510
to a summer's day." Now, we already spoke about one

180
00:12:30,510 --> 00:12:33,670
major category of the sonnet, which is the Italian

181
00:12:33,670 --> 00:12:38,270
sonnet by Petrarch.

182
00:12:40,650 --> 00:12:47,830
We spoke about the theme being love, basically

183
00:12:47,830 --> 00:12:55,130
courtly love. The form being octave

184
00:12:57,460 --> 00:13:02,980
plus sestet; eight lines, six lines. The rhyme

185
00:13:02,980 --> 00:13:07,200
scheme being A,

186
00:13:07,280 --> 00:13:17,320
B, B, A, A, B, B, A and C, D, C, D, C, D, C, D, E,

187
00:13:17,360 --> 00:13:21,680
C, D, E. A variety of sestets. Let's see

188
00:13:21,680 --> 00:13:25,920
Shakespeare. Somebody please read. Yeah.

189
00:13:30,690 --> 00:13:35,070
Don't eat any of the syllables here. I know you're

190
00:13:35,070 --> 00:13:35,590
hungry, maybe.

191
00:13:39,610 --> 00:13:43,270
Rough winds do shake the darling buds of May, and

192
00:13:43,270 --> 00:13:45,770
summer's lease hath all too short a date.

193
00:13:46,530 --> 00:13:50,170
Sometimes too hot the eye of heaven shines, and

194
00:13:50,170 --> 00:13:54,590
often is his gold complexion dimmed, and every

195
00

223
00:16:08,600 --> 00:16:11,860
Summer shall not fade, nor lose possession of that

224
00:16:11,860 --> 00:16:14,920
fear thou ow'st, nor shall death brag thou

225
00:16:14,920 --> 00:16:18,260
wander'st in his shade, when in eternal lines to time

226
00:16:18,260 --> 00:16:22,440
thou grow'st. So long as men can breathe or eyes

227
00:16:22,440 --> 00:16:27,090
can see, so long lives this. Okay, thank you very

228
00:16:27,090 --> 00:16:31,030
much. Now, before I attempt to recite it, what do

229
00:16:31,030 --> 00:16:33,730
you notice about the text? Did you hear different

230
00:16:33,730 --> 00:16:37,890
readings? Yes. The syllables? Yes. And the, like,

231
00:16:37,950 --> 00:16:39,150
what did you notice, for example? Yes, and the

232
00:16:39,150 --> 00:16:42,250
unstressed lines. Can you compare, like, who read

233
00:16:42,250 --> 00:16:46,970
what? I read him and not read, like, the, I am

234
00:16:46,970 --> 00:16:47,190
purple.

235
00:16:50,120 --> 00:16:52,480
But you didn't notice differences like somebody

236
00:16:52,480 --> 00:16:55,080
read "always," somebody said "host," somebody said

237
00:16:55,080 --> 00:16:57,420
"gross," somebody said "gross," somebody said

238
00:16:57,420 --> 00:17:00,000
"temperate," somebody said "temperate," somebody said

239
00:17:00,000 --> 00:17:04,640
"temperate." It all makes a difference here because

240
00:17:04,640 --> 00:17:08,620
when we talk about a sonnet, it's not only 14

241
00:17:08,620 --> 00:17:14,020
lines, quatrain, quatrain, quatrain, couplet, or

242
00:17:14,020 --> 00:17:20,460
octave, sextet, etc. We'll see how in the sonnet,

243
00:17:20,660 --> 00:17:24,260
Shakespearean sonnet particularly, the number of

244
00:17:24,260 --> 00:17:29,040
syllables are also counted because we'll find 10

245
00:17:29,040 --> 00:17:30,080
syllables each.

246
00:17:32,930 --> 00:17:37,170
154 sonnets, that's basically more than 2000 lines.

247
00:17:37,170 --> 00:17:44,250
And almost all of them have 10 syllables. Can you

248
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 "love-ly."

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.

271
00:19:37,890 --> 00:19:42,370
Meaning? Five feet.

272
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 text 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
A. Exactly. Exactly. Okay. I know you're having

335
00:24:16,900 --> 00:24:21,680
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 D, D 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
G, G. I don't know who she is. But you should go

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

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

378
00:27:19,120 --> 00:27:26,120
definitely doing a wrong job. So it's A, B, A, B, C, D, C, D, E, F, E, F, G, G. We notice two things here. Number

379
00:27:33,690 --> 00:27:36,890
one, this is different from Petrarch. Not just

380
00:27:36,890 --> 00:27:39,770
different, almost totally different from Petrarch.

381
00:27:41,510 --> 00:27:43,910
And this is what we call alternating rhyme.

382
00:27:44,930 --> 00:27:47,870
Shakespeare doesn't repeat it more than, the same

383
00:27:47,870 --> 00:27:51,530
sound doesn't repeat it more than twice. And this

384
00:27:51,530 --> 00:27:54,590
is more difficult than this. This is more rigid

385
00:27:54,590 --> 00:27:59,110
than Petrarch because Petrarch goes for A, B, B, A

386
00:27:59,110 --> 00:28:03,490
and mirrors it yet again, A, B, B, A. Shakespeare,

387
00:28:04,170 --> 00:28:09,750
A, B, A, B, thank you, next. C, D, C, D, thank

388
00:28:09,750 --> 00:28:14,470
you. Next E, F, E, F and finally the beautiful

389
00:28:14,470 --> 00:28:18,470
couplet at the end. The rhyming couplet at the

390
00:28:18,470 --> 00:28:24,530
end. Now when it comes to reading this or dividing

391
00:28:24,530 --> 00:28:29,750
it into parts, we realize that we have four lines,

392
00:28:30,670 --> 00:28:36,550
four lines, and then four lines, and then two lines.

393
00:28:37,280 --> 00:28:41,340
Meaning this is different from from Petrarch. So

394
00:28:41,340 --> 00:28:50,060
number one, the rhyme scheme is A, B, A, B, C, D, C, D, E, F,

395
00:28:50,060 --> 00:28:59,840
E, F, G, G, not G, G, G, G. Okay, and then number two, it

396
00:28:59,840 --> 00:29:06,470
consists of three quatrains. And a quatrain, it's

397
00:29:06,470 --> 00:29:12,110
like from quarter, quarter, quarter past nine or

398
00:29:12,110 --> 00:29:19,430
something. It's one of four parts of something. So

399
00:29:19,430 --> 00:29:22,250
we know now a couplet means two lines, a triplet

400
00:29:22,250 --> 00:29:25,810
three lines, a quatrain four lines, a sextet six

401
00:29:25,810 --> 00:29:31,070
lines, an octave eight lines plus one couplet.

402
00:29:32,830 --> 00:29:33,630
Interesting.

403
00:29:35,920 --> 00:29:38,500
We've seen the couplet before, but let's see who

404
00:29:38,500 --> 00:29:41,980
does it better. Now when we read the poem,

405
00:29:47,380 --> 00:29:50,620
to examine other things, the sounds, let's see if

406
00:29:50,620 --> 00:29:53,860
the theme matches. Different rhyme scheme,

407
00:29:54,060 --> 00:29:

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 use 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 would like someone

452
00:32:45,700 --> 00:32:48,560
please to 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
meter here; you get this ends up 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 on, on, and  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 verbs cannot be in the

464
00:33:26,430 --> 00:33:31,390
superlative form. Thankfully, this inflection 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
to 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
to 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 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 winds 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

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
growest. 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 could easily

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

680
00:47:32,790 --> 00:47:36,950
again is like 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 growest, 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
quatrain, 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 time. 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
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, an 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, a 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. He 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 quatrains 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, 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 unstressed and then

797
00:55:40,530 --> 00:55:43,010
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, iambs. 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
day" 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
"Rough winds," I don't like this because "rough" 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 stressed, 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, is 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 summer's day?" 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, "thee" 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 "thee," you're 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 "to,"

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, "lovely" stressed, "-ly" unstressed, and

848
00:59:10,900 --> 00:59:17,640
"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

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 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 a maximum of 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 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 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 people

935
01:05:13,830 --> 01:05:17,790
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.