PL9fwy3NUQKwZ52Wxrug71SHLnFjqhlVJc/-YfFRWPnfOo_raw.srt

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Good morning, everybody. How are you? Had a nice

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time over the long week end, yes? Good. Today,

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we're going to see Raleigh's poem, but from a

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different perspective. We're going to see it as a

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parody.

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Like in this poem,

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I mean, Raleigh parodies Marlow.

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I mean, when I say parody, have you ever thought

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what is a parody?

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So in this lecture, we'll talk about what is

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parody, and then we're going to see how Raleigh

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parodies or parodies like Marlowe in this reply.

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But let me ask you, what is a parody? Yes, please.

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Yes.

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So yes, the main purpose of the parody is like to

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make fun, is to ridicule or to mock. So one is

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writing, let's say, a novel or

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a story in response to another novel or a story or

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a poem. And the main purpose of this is to

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satirize, to parody, to parody, you know, the

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original one. Now, is this what is happening in

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like Marlow's or Raleigh's reply? Is he mocking

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him? Is he, you know, making fun of him? This is

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what we are going to see. But the question is,

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like, how he is making fun of him, you know? How?

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Like, he should be making fun of him on a

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thematic, you know, level, on a linguistic level,

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on a form level. So this is what we are going to

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see today. Like if we remember Marlow's

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poem is about what? Marlow's poem is about the

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simplicity of the pastoral life. It is about the

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immortality of the pastoral life. It is a

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suggestion. It is an invitation, like, for the

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lady, you know, for Marlon's lady to go and live

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with him in that beautiful life. Now, we want to

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see, like, how he is parodizing, you know, the

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whole poem. And, like, I want, before I start, I

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want you to be aware You know, when we say parody

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of the word, of certain verbs, like verbs like, I

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might write for them, like, because they will help

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you in your,

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in speaking about the parody.

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Do you know what this mean, mock? To mock? Okay.

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What is this?

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Could you like bring like the page size, the size

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of the page? Okay. Can anybody like come and fix

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this? So we might need to use words like, or

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verbs, like mock,

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mock,

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satirizes,

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refutes,

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you know refutes, debunks,

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invalidates,

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What do I do? Yeah, just like I want a small, I

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mean a large font, a large font. So when we are

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discussing how this is a parody, we might need to

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use these verbs. How he makes fun of him. How he,

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you know, disdains his idea. You might need the

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word disdain.

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So all these are necessary to use when you are

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explaining the parody. Now, you mentioned parody.

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It's an imitation. What is he imitating? If we

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look at Marlow's poem, you remember how it went?

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Come live with me and be my love. And here you see

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if all the word and love were young and truth in

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every shepherd's tongue. So what do you notice? Do

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you notice like the same rhyme and the same

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rhythm? What is like the rhythm? Do you remember

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the rhythm of Marlow's poem? Iambic pentameter. So

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again, if all the word and love were young, and

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truth in every shepherd's tongue. So if you scan

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this and you say, if we

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take this line, and make it scansion if the word

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and

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love were

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enough.

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Now I think if the word is stress, which is

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stress? What is stress?

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if they were and

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love were

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enough so again we are having if they were and

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love were enough like we have how many meters do

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we have? I mean, how many feet do we have? If the

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word, word, one. And love? Two. Where? Enough. You

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know? Three and four, because enough. Four. Four.

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And you know, each syllable has two. So it is the

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same rhythm. And the same, if you look, it is the

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same rhyme.

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B, A, A, B, B. So if you go to the original poem.

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Yes. And he's using almost the same number of

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stanzas, except in the reply you have one missing

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stanza, which is about the food one. Now, we have

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to see how he's making fun of him. How he's making

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fun of him. How is he ridiculing him? Is he making

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fun of him? Yes. How? How is he criticizing him?

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How is he satirizing him? How he is refuting? Now,

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when I say this is a parody, I don't want you to

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compare or contrast, because this is a common

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mistake. Usually in the exam, last year, I asked,

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to what extent is this poem a parody? And most of

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the students kept comparing and contrasting

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between the two poems, and they missed the point

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of the question. So when I say a parody, I want

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you to show me how he is making fun, how he is

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underestimating, how he is devaluing the whole

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poem. You see what I mean? So let's see how. Yes.

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Yes.

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Yes.

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So what was seen as immortal in Marlow is becoming

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Mortal. So in Raleigh or in Marlow, love and life

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were immortal. But here they are mortal. How? How

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do you say, like, how they are mortal? You know?

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How they are mortal. Like, do you have evidence

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from the poem that these things are mortal? Yes.

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How they are mortal. Yes? Okay, this is what you

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can from the outside, but from the inside of the

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poem. Yes, how? Yes, Jahan? It's like we discussed

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it last time, when we took the very first line and

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he said the word if. It's actually like, it's as

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if he's stating that the world and love are not

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enough, and he's saying that if they were. So, do

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you want to say the assumption, like, the

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assumption that life and love are not enough?

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Because this is, you know, an assumption. This is

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an assumption. But, like, I want more concrete,

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you know, images or evidence from the poem that

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indicate that all these, yes please? When he says,

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the girls, the shoes, die.

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Yes, this is an example of ephemerality, like you

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know what it means, transience. Ephemeral, like

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something which doesn't last.

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Means transient.

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Something which doesn't last. Yes, like these, thy

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gown, thy shoes, you know, all the golden

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promises, you know, will be like transient, like

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will be temporal. Okay, good. Also, he said the

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flowers will fade. The flowers fade, okay.

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The flowers fade like here, it's an image of

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morality, sorry, mortality. What else? Okay, let's

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go to the poem. Yes. Yes, please.

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Excellent. Yes, time drives the flock from field

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to fold. This is an image of what? Destruction,

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devastation. It is an image of finality, end. You

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know, there is nothing called mortal. Look here.

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Time drives the flux from field to field. So you

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can say, you know, like Rani in this poem

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undercuts or undermines or invalidates, whatever.

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You can use refutes. Like Marlow's assumption

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about the immortality of life by saying that time

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will put an end to each thing, to each immortal

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thing. So yes, here, more images, more images of

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mortality.

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Yes, here we have to be insider, to look at

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images.

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What about rocks growing old? What's been rocks

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growing old? It's an image of aging. It's an image

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of change. It's an image of transformation. Yeah.

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Yes. What else?

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What about the image of rottenness? Like here.

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Yeah. What will happen?

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The force.

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Yes, like thy gowns, thy shoes, thy bed of roses,

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thy cap, thy kirtle, and thy poses, soon break,

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soon wither, soon forgotten, infolirized,

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unreasoned, rotten. Like everything will be

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rotten. And rottenness is an image of decay. It's

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an image of decay. So as you see here, he

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undermines.

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He mocks Marlos by showing that nothing is

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immortal. So he mocks him by subverting his theme.

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I like the word subvert. Subvert like twisting his

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theme, showing the opposite. If you want to

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subvert something, you are showing the opposite.

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Subvert.

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Yes, he subverts the

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field by showing the opposite.

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The parody here is working on one level, which is

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thematic, you know, like he's taking the theme, he

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satirizes, he mocks him by showing, you know, an

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opposite theme. Also, we have other, like, it

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could be by using lexical choices, by using other

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linguistic choices. So what can you tell me about

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Here, if we look at the words,

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Marlowe, in his poem, Come Live With Me and Be My

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Love, and We All The Pleasures Prove. So if you

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talk about love and pleasure, if we go to Marlowe,

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love and pleasure, beauty, what are these things?

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You know, like in grammar, we call them what? Are

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they, you know, concrete nouns or what? They are

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abstract nouns. They are abstract nouns. And here,

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like in the poem, again, he keeps to the same

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choices. He uses them, if all the word and love

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were young. Like, again, he stresses that these

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things are abstract. And what is abstract is

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remote from reality, from real things. See? And

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even like, because this is, who's replying to

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Marlo?

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Who's replying to Marlo in Raleigh? Who's, who's

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like the speaker? The lady. But what is the lady

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called? The nymph. What is a nymph? What is a

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nymph? Yeah, I know, a nymph, but it is a mythical

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creature. A mythical. Originally, the word nymph,

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you know, is from Latin, which means a mythical.

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And what is mythical? When we are saying mythical,

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this is a myth. What is myth? A myth is something

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unreal. Unreal. So here, again, he is slapping

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him. He is slapping him by showing that he's

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talking about unreal things. Look, abstract nouns.

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Look at the nymph, which is like imaginary

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creatures. So by choosing words, by choosing

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words, you know, that have to do with unreal

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things. And this, again, is, you know, supported

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by what? By if. If all. If all the word. You see?

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If all the word and love by if. If, as we said

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last time, It is hypothetical.

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And the hypothesis has to do with his attitude. He

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is, like if somebody says, if all the word and

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love were enough. So this is, what does it

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reflect? It reflects the attitude of the poet And

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what do we call this attitude? It is an attitude

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of cynicism.

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He's cynical. He is skeptical.

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So by using if, by using if and again could. If

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you look at the end,

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But could youth lust and love still breed? Had

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joys? Again here, we have the conditional. So the

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poem begins with the conditional and ends with the

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conditional. And the conditional has to do with

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the attitude of cynicism. So we could easily say

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Raleigh is skeptical, doesn't believe Marlowe.

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He thinks, that the notions of immortal love and

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life are nonsensical. They are not true. And this

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cynical attitude is demonstrated by the use of F

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or the conditional use, I mean, the conditional of

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F at the beginning and could and had at the end.

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OK. More. Like, if we look here,

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thy belt. Look at the pronouns. Look at the

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repetition of these pronouns. Thy belt of straw

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and ivy buds. Thy coral clasp and amber studs. And

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I think, you know, Thy shoes, thy beds of roses,

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thy cap, thy curtain, and thy poses. So here, yes,

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these lexical

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or these syntactic choices, you know, thy, thy,

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with the repetition, what do they convey with

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them? A sense of? Rejection. Yeah, they induced,

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you know, a sense of boredom. But when you say,

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thy, thy. Yeah, like, he's sarcastic. He's

248
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sarcastic. He makes fun of him. He, you know,

249
00:22:50,530 --> 00:22:55,670
refutes all his

250
00:22:56,980 --> 00:23:00,440
allegations, all his assumptions about the

251
00:23:00,440 --> 00:23:06,120
immortality, the beauty. Now if we look, we have

252
00:23:06,120 --> 00:23:10,500
just seen how he was mocking the idea of

253
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immortality and how he's mocking the idea of

254
00:23:12,840 --> 00:23:17,080
beauty. Say again, you know, here you have images

255
00:23:17,080 --> 00:23:21,820
of horror, you have images of ugliness, you know,

256
00:23:21,900 --> 00:23:24,840
and if we go to them, like look here, when

257
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something is fading, is it beautiful? Yeah. When

258
00:23:29,440 --> 00:23:35,620
something is turning from like lush green into

259
00:23:35,620 --> 00:23:40,180
dark, you know, dark black or something like this,

260
00:23:40,560 --> 00:23:43,490
it is an image of death. And this is what is

261
00:23:43,490 --> 00:23:49,790
happening. But again, thy belt of straw and ivy

262
00:23:49,790 --> 00:23:55,870
buds, thy coral clasp and amber studs, thy, thy.

263
00:23:57,370 --> 00:24:01,950
So what does this show? It shows like, I mean,

264
00:24:02,030 --> 00:24:08,950
here, what Rani wants to say, that these things

265
00:24:08,950 --> 00:24:16,210
are artificial. Their beauty is artificial. It is

266
00:24:16,210 --> 00:24:18,990
not genuine beauty. Yeah, it is not genuine

267
00:24:18,990 --> 00:24:22,210
because it is not lasting beauty.

268
00:24:38,150 --> 00:24:43,060
And If you go up a little bit, for all the world

269
00:24:43,060 --> 00:24:45,480
and love were young and truth in every show, these

270
00:24:45,480 --> 00:24:49,860
pretty pleasures, the word pretty. When he says

271
00:24:49,860 --> 00:24:53,160
these pretty, does he mean like they are pretty?

272
00:24:54,340 --> 00:24:57,720
So what does he want to say? Like, don't you think

273
00:24:57,720 --> 00:25:00,940
he's sarcastic here? So what does he want to say

274
00:25:00,940 --> 00:25:01,320
exactly?

275
00:25:04,220 --> 00:25:05,060
Yes, please.

276
00:25:08,430 --> 00:25:11,550
Yeah, they're pretty, and they are not pretty.

277
00:25:11,770 --> 00:25:15,490
These pretty, like he was, it's an irony. These

278
00:25:15,490 --> 00:25:19,910
pretty pleasures make me move. Again, he wanted to

279
00:25:19,910 --> 00:25:24,050
say that these things are artificial, are not

280
00:25:24,050 --> 00:25:26,710
genuine, so I'm not coming with you.

281
00:25:29,950 --> 00:25:34,610
If we look at the artistic aspects, I mean, like

282
00:25:34,610 --> 00:25:39,720
the metaphors, like how he employs the metaphors,

283
00:25:40,260 --> 00:25:44,700
how he employs the alliteration, also we see like

284
00:25:44,700 --> 00:25:48,900
he's satirizing him. When he says, time drives the

285
00:25:48,900 --> 00:25:53,040
flux from field to fold. The alliteration here,

286
00:25:53,820 --> 00:26:02,520
you know, the alliteration shows what? Yeah, shows

287
00:26:02,520 --> 00:26:11,600
an image of horror. It reflects how tough,

288
00:26:12,780 --> 00:26:18,220
how fatal will be like the ravages of time. Time

289
00:26:18,220 --> 00:26:24,980
will be destructive. And this toughness, which,

290
00:26:26,520 --> 00:26:31,920
you know, we feel from the alliteration, it

291
00:26:31,920 --> 00:26:39,400
contrasts with the musical tone of Marlow's poem.

292
00:26:39,540 --> 00:26:45,040
If you remember Marlow's poem, it was full of

293
00:26:45,040 --> 00:26:49,740
music. It was full of the singing of the birds,

294
00:26:49,860 --> 00:26:55,820
the madrigals. Here, we have, instead of the

295
00:26:55,820 --> 00:27:01,770
melodious The melodious madrigals, we have time

296
00:27:01,770 --> 00:27:09,130
drives the flux from field to fold, and rivers

297
00:27:09,130 --> 00:27:16,170
rage and rocks grow cold. So the serenity, the

298
00:27:16,170 --> 00:27:23,510
tranquility of Marlow's poem are subverted.

299
00:27:25,560 --> 00:27:29,760
replaced, subverted like they are distorted. By

300
00:27:29,760 --> 00:27:35,540
what? By images, roaring images, by images of

301
00:27:35,540 --> 00:27:36,200
destruction.

302
00:27:39,160 --> 00:27:47,900
Okay. And Philemon becomes dumb. You know, the

303
00:27:47,900 --> 00:27:54,340
singing poet, There we have the poet was singing,

304
00:27:54,920 --> 00:27:59,340
but here the philomel becomes dumb. Here people

305
00:27:59,340 --> 00:28:06,320
are speechless. Why? So like the sense of

306
00:28:06,320 --> 00:28:11,100
security, the sense of tranquility are replaced by

307
00:28:11,100 --> 00:28:17,100
horror and shock. Here there is a shock. Why would

308
00:28:17,100 --> 00:28:23,390
philomel be dumb? Because of the horror of the

309
00:28:23,390 --> 00:28:26,710
upheaval. You know what I mean by upheaval? The

310
00:28:26,710 --> 00:28:30,230
change. It will be global change. You know,

311
00:28:30,330 --> 00:28:34,390
nothing will remain as it is, so the phenomenon

312
00:28:34,390 --> 00:28:40,860
will be done. You know? Again, this is like a

313
00:28:40,860 --> 00:28:44,380
myth. A mythical philomel is a mythical creature,

314
00:28:44,480 --> 00:28:49,420
but philomel means a bird, you know? So you can in

315
00:28:49,420 --> 00:28:53,220
both ways, like the philomel is done because of

316
00:28:53,220 --> 00:28:57,940
the shock out of the horror of the transformation

317
00:28:57,940 --> 00:28:59,000
or the upheaval.

318
00:29:08,860 --> 00:29:14,120
So I think we started to dislike. Huh? We started

319
00:29:14,120 --> 00:29:20,420
to dislike. Marlow's poem started to lose. The

320
00:29:20,420 --> 00:29:25,320
flowers do fade and wanton feels. To weigh word,

321
00:29:25,400 --> 00:29:28,660
winter reckoning yields. A honey tongue. Look,

322
00:29:28,760 --> 00:29:31,940
again, this is another technique. A honey tongue,

323
00:29:32,640 --> 00:29:36,150
a heart of gold. Fancy spring, but soon it falls.

324
00:29:36,590 --> 00:29:41,150
Now, what is he doing? He's juxtaposing. You know

325
00:29:41,150 --> 00:29:44,050
what's been juxtaposed? To put side by side

326
00:29:44,050 --> 00:29:50,650
things. A honey tongue, what is sweet, will be

327
00:29:50,650 --> 00:29:57,800
bitter of gold. What is lovely will be sorrowful

328
00:29:57,800 --> 00:30:02,700
and ugly. So again, the juxtaposition, like the

329
00:30:02,700 --> 00:30:05,880
technique of juxtaposition, like here in this

330
00:30:05,880 --> 00:30:10,920
poem, he juxtaposes beauty with ugliness. He

331
00:30:10,920 --> 00:30:14,680
juxtaposes sweetness with bitterness. So

332
00:30:14,680 --> 00:30:19,620
juxtaposition is like to invalidate, to show that

333
00:30:20,220 --> 00:30:24,360
whatever was beautiful in Marlow is nothing to

334
00:30:24,360 --> 00:30:28,280
show the reality, the opposite reality of Marlow's

335
00:30:28,280 --> 00:30:28,720
assumption.

336
00:30:35,020 --> 00:30:44,060
So as you see here, it's a full parody and you can

337
00:30:45,030 --> 00:30:49,130
Start your writing, how it is a parody, by showing

338
00:30:49,130 --> 00:30:54,610
this. But you can be more organized. You see? You

339
00:30:54,610 --> 00:30:59,450
should show how he is making fun of the

340
00:30:59,450 --> 00:31:03,930
suggestion. He's making fun of the theme itself.

341
00:31:04,450 --> 00:31:10,790
He's making fun of all the promises. So the

342
00:31:10,790 --> 00:31:15,180
promises, which were very enticing, are becoming

343
00:31:15,180 --> 00:31:19,440
repugnant. So what has been enticing, you know

344
00:31:19,440 --> 00:31:23,480
what's been enticing, tempting in Marlow is

345
00:31:23,480 --> 00:31:28,060
becoming here repugnant. Repugnant like hateful,

346
00:31:28,180 --> 00:31:30,600
something we don't like, repugnant.

347
00:31:43,310 --> 00:31:46,830
Yeah, repugnant. So I think the cup of flowers,

348
00:31:47,950 --> 00:31:51,470
the curtain, which was made of myrtle, are now

349
00:31:51,470 --> 00:31:56,070
what? They are things which they, they, we don't

350
00:31:56,070 --> 00:32:00,030
like them. They are no longer tempting. They are

351
00:32:00,030 --> 00:32:03,270
no longer enticing. On the contrary, they are

352
00:32:03,270 --> 00:32:06,870
images of horror and death. They are images of

353
00:32:06,870 --> 00:32:12,990
transience. So like here, you see, he rallies by

354
00:32:12,990 --> 00:32:17,530
doing this. He undermines everything. He

355
00:32:17,530 --> 00:32:20,610
satirizes. He mocks. He rebukes. This is what I

356
00:32:20,610 --> 00:32:26,010
want you to do when you write the parody. Okay,

357
00:32:26,250 --> 00:32:29,450
this is about the parody. Now we have some time to

358
00:32:29,450 --> 00:32:32,750
talk about, because this is like your reflection,

359
00:32:32,950 --> 00:32:36,170
will be your reflection. So I want you to compare

360
00:32:36,170 --> 00:32:39,950
and to contrast between the two poems. And when

361
00:32:39,950 --> 00:32:43,470
you are writing a comparison, you know, I want you

362
00:32:43,470 --> 00:32:46,410
like to take into consideration one. So when you

363
00:32:46,410 --> 00:32:50,080
are contrasting and Comparing. What are you going

364
00:32:50,080 --> 00:32:54,220
to do? And I think here, you have to contrast more

365
00:32:54,220 --> 00:33:00,300
than compare. But there are, you know, when I say

366
00:33:00,300 --> 00:33:03,560
compare, you talk about similarities. Contrast

367
00:33:03,560 --> 00:33:11,940
talk about, you know, yes, differences. You can do

368
00:33:11,940 --> 00:33:15,360
this by writing paragraph about the theme of this

369
00:33:15,360 --> 00:33:18,480
poem and writing a paragraph about the theme of

370
00:33:18,480 --> 00:33:21,120
this poem, by writing a paragraph about the tone

371
00:33:21,120 --> 00:33:23,940
of this poem, by writing another paragraph. This

372
00:33:23,940 --> 00:33:27,580
is like block. You assume the block. But if you

373
00:33:27,580 --> 00:33:32,320
want to, you know, to take the point and mix them,

374
00:33:32,500 --> 00:33:35,400
it's okay. It's up to you. You say, okay, the tone

375
00:33:35,400 --> 00:33:40,630
of Marlon's poem is so-and-so. While the tone of,

376
00:33:40,870 --> 00:33:45,050
you know, you can use while, whereas, on one hand,

377
00:33:45,150 --> 00:33:48,790
on the other hand, like these transitional words

378
00:33:48,790 --> 00:33:51,470
you are familiar with in your writing courses.

379
00:33:52,210 --> 00:33:55,850
Okay. So when you want to compare and contrast,

380
00:33:58,390 --> 00:34:03,030
what do you want to compare? I think you can

381
00:34:03,030 --> 00:34:12,970
compare Yeah, the theme. The theme. The rhyme. The

382
00:34:12,970 --> 00:34:13,270
rhythm.

383
00:34:16,030 --> 00:34:20,850
You can talk about figures of speech. I mean, the

384
00:34:20,850 --> 00:34:25,230
style. The style in general. The style includes

385
00:34:25,230 --> 00:34:29,230
figures of speech, includes alliteration, includes

386
00:34:29,230 --> 00:34:34,950
sound, music. What else? So we have the theme.

387
00:34:38,210 --> 00:34:40,670
Yeah, when you talk about the language, we are

388
00:34:40,670 --> 00:34:47,310
talking about the style. The theme. The tone. What

389
00:34:47,310 --> 00:34:49,730
is the tone, by the way? When we say the tone,

390
00:34:49,810 --> 00:34:53,910
what is the tone? Like usually people are mixing

391
00:34:53,910 --> 00:34:57,830
between the tone and attitude. What is a tone?

392
00:35:01,850 --> 00:35:02,950
And what is attitude?

393
00:35:06,850 --> 00:35:10,610
What is the tone and what is the attitude? What is

394
00:35:10,610 --> 00:35:13,690
the difference between the two? Yes?

395
00:35:16,610 --> 00:35:25,730
The tone. The tone is the impact of the words on

396
00:35:25,730 --> 00:35:31,080
us. the impact of the words on us. Like you look

397
00:35:31,080 --> 00:35:37,000
at a text and you see the happy child was smiling

398
00:35:37,000 --> 00:35:41,900
at his mom and started laughing and you know, like

399
00:35:41,900 --> 00:35:47,480
so the words smile, laugh, happy, you know, have

400
00:35:47,480 --> 00:35:52,740
what on us. So we call this tone as happy tone.

401
00:35:53,260 --> 00:35:58,500
cheerful tone. But when we have the crying, the

402
00:35:58,500 --> 00:36:02,000
tears, you know, it is sad. So if you look at the

403
00:36:02,000 --> 00:36:06,940
words in Marlow's poem, the tone of the whole text

404
00:36:06,940 --> 00:36:11,420
is very happy, jovial, cheerful. Look at the

405
00:36:11,420 --> 00:36:14,480
words, the happy, the birds, this way, you know,

406
00:36:14,780 --> 00:36:18,360
the singing of the swains, you know, so the tone

407
00:36:18,360 --> 00:36:24,660
is happy. But in Marlow, The tone is very sad.

408
00:36:25,340 --> 00:36:34,240
Very sad. Okay. The attitude. You know how the

409
00:36:34,240 --> 00:36:41,880
poet feels towards something. How the poet feels

410
00:36:41,880 --> 00:36:45,120
towards something. Like how you feel. When I'm

411
00:36:45,120 --> 00:36:48,240
talking about your attitude, Or when I'm talking

412
00:36:48,240 --> 00:36:51,820
about the attitude, I'm talking about the poet's

413
00:36:51,820 --> 00:36:56,360
attitude, the poet's feelings, view of something.

414
00:36:56,660 --> 00:37:03,680
So if we are looking at the attitude of Marlow, so

415
00:37:03,680 --> 00:37:11,040
he was open, he was optimistic, while Raleigh was

416
00:37:11,980 --> 00:37:16,200
Pessimistic. And you can, I think, demonstrate

417
00:37:16,200 --> 00:37:21,680
that from examples. So here, we have tone and

418
00:37:21,680 --> 00:37:29,820
attitude. You can also compare

419
00:37:29,820 --> 00:37:33,800
the themes. The theme, as we saw in the parody,

420
00:37:34,600 --> 00:37:37,880
one theme was about the immortality, and the other

421
00:37:37,880 --> 00:37:42,100
theme was about immortality. You can talk about

422
00:37:42,100 --> 00:37:45,620
the figures of speech, how the figures of speech

423
00:37:45,620 --> 00:37:52,860
and the images, the images, the figures of speech.

424
00:37:53,740 --> 00:37:54,240
Okay.

425
00:37:56,780 --> 00:38:00,120
Here, like how they were glowing, full of beauty,

426
00:38:00,860 --> 00:38:06,240
but in Marlow, the images are in Raleigh, sorry,

427
00:38:06,320 --> 00:38:11,450
yes. Okay, so you were talking. Good. I think,

428
00:38:11,610 --> 00:38:17,230
yes, here, the images are also different. The

429
00:38:17,230 --> 00:38:20,170
metaphors are different. So most of the metaphors

430
00:38:20,170 --> 00:38:25,770
in Raleigh's poem have to do with death, decay.

431
00:38:27,170 --> 00:38:32,050
Okay, yes. You can talk also... I think this is

432
00:38:32,050 --> 00:38:35,430
when you talk about the style, you know? You can

433
00:38:35,430 --> 00:38:40,290
talk about in the style, the form. the form, the

434
00:38:40,290 --> 00:38:45,270
figures of speech, the language, the sound, the

435
00:38:45,270 --> 00:38:45,910
alliteration.

436
00:38:48,430 --> 00:38:53,070
So the form is the larger category. So let's say

437
00:38:53,070 --> 00:38:59,290
these points you should consider the theme, the

438
00:38:59,290 --> 00:39:04,930
tone, the attitude, and then the style. The style

439
00:39:04,930 --> 00:39:10,580
includes the form, the images, the figures of

440
00:39:10,580 --> 00:39:14,740
speech, the alliteration, the sound, the rhyme and

441
00:39:14,740 --> 00:39:20,260
the rhythm. So I wish you would give me a

442
00:39:20,260 --> 00:39:23,800
masterpiece soon. And if possible, I'll be sending

443
00:39:23,800 --> 00:39:28,700
you a small article about how the parody itself.

444
00:39:28,880 --> 00:39:33,060
This might help you. But please try to distinguish

445
00:39:33,060 --> 00:39:37,260
between a parody and a comparison. In the parody,

446
00:39:37,920 --> 00:39:44,300
I look how you use these words. If you say this

447
00:39:44,300 --> 00:39:47,280
poem is lovely or the other, you're not writing it

448
00:39:47,280 --> 00:39:49,220
or you're not speaking about the parody, but you

449
00:39:49,220 --> 00:39:53,220
are comparing and contrasting. So I think this is

450
00:39:53,220 --> 00:39:56,560
enough for today. If you have any question, let me

451
00:39:56,560 --> 00:40:02,660
know, please. No questions. Today, I know I forgot

452
00:40:02,660 --> 00:40:07,020
the report, but it doesn't mean that, I don't know

453
00:40:07,020 --> 00:40:10,380
how I forgot the report. So let's do it like this

454
00:40:10,380 --> 00:40:13,160
time differently. We need somebody to read her

455
00:40:13,160 --> 00:40:16,740
report now. If anybody is willing to read her

456
00:40:16,740 --> 00:40:21,940
report, it would be funny. Is anybody willing?

457
00:40:23,300 --> 00:40:23,920
Yes. Okay.

458
00:40:27,160 --> 00:40:31,480
So this is a deviation from the norm. We are

459
00:40:31,480 --> 00:40:35,360
deviating from the norm. Every time we're having

460
00:40:35,360 --> 00:40:38,640
the report, At the beginning, now let's see the

461
00:40:38,640 --> 00:40:44,020
report at the end. Daily Report. When I wrote my

462
00:40:44,020 --> 00:40:47,840
daily report, I feel confused. That because when I

463
00:40:47,840 --> 00:40:51,160
wrote it, I measure myself walking in a long road.

464
00:40:51,480 --> 00:40:55,280
I mean, I find many difficulties when writing it

465
00:40:55,280 --> 00:40:58,360
because it is a kind of brainstorming and needs

466
00:40:58,360 --> 00:41:01,720
serious thinking a little bit. However, I like

467
00:41:01,720 --> 00:41:05,680
this task because I discovered that it has special

468
00:41:05,680 --> 00:41:09,220
taste. And also because I hate the method of

469
00:41:09,220 --> 00:41:13,070
cutting based. Regarding to the previous lecture,

470
00:41:13,310 --> 00:41:15,710
it was like something has a special sight of

471
00:41:15,710 --> 00:41:20,970
beauty. That because we began the lecture by

472
00:41:20,970 --> 00:41:24,110
saying the report and then students said her

473
00:41:24,110 --> 00:41:27,790
response which was beautiful and funny. Then Mr.

474
00:41:27,850 --> 00:41:31,210
Habib asked several questions and gave us many

475
00:41:31,210 --> 00:41:34,530
chances to think deeply, so we began to understand

476
00:41:34,530 --> 00:41:38,360
the poem and think seriously. After that, the

477
00:41:38,360 --> 00:41:42,040
teacher thanked us because of our efforts. Also,

478
00:41:42,140 --> 00:41:44,980
he motivated and encouraged us by saying you

479
00:41:44,980 --> 00:41:47,820
should always follow this method. In short, the

480
00:41:47,820 --> 00:41:51,420
lecture was so amazing and nice that we felt

481
00:41:51,420 --> 00:41:55,580
excited and did not feel in that period of that

482
00:41:55,580 --> 00:41:57,980
time. Okay, thank you very much. Do you want like

483
00:41:57,980 --> 00:42:03,260
to read yours? Okay. Is anybody willing? Yes?

484
00:42:03,360 --> 00:42:03,600
Okay.

485
00:42:09,480 --> 00:42:13,800
At night, when I came to write my daily report, at

486
00:42:13,800 --> 00:42:18,360
night, when I came to write my daily report, I

487
00:42:18,360 --> 00:42:20,680
decided to write about what happened in Arab world

488
00:42:20,680 --> 00:42:23,700
last week. As a Palestinian people, we hadn't

489
00:42:23,700 --> 00:42:26,400
heard on the following news for a long time. But

490
00:42:26,400 --> 00:42:30,880
when the exchange prisoner deal achieved between

491
00:42:30,880 --> 00:42:35,140
Hamas and Israel government with Egyptian eye,

492
00:42:35,900 --> 00:42:40,160
mediation with Egyptian mediation. The Palestinian

493
00:42:40,160 --> 00:42:45,400
city had celebrated in the national wedding a

494
00:42:45,400 --> 00:42:48,520
request to release about more than 1,000

495
00:42:48,520 --> 00:42:51,200
Palestinian prisoners of the Israeli prisons.

496
00:42:52,680 --> 00:42:57,500
Through this happy news, the education minister

497
00:42:57,500 --> 00:43:01,220
and others announced a vacation of three days.

498
00:43:01,960 --> 00:43:05,020
Also, among this happy news, we hear the falling

499
00:43:05,020 --> 00:43:09,920
of Gaddafi's body and his guards among the Libyan

500
00:43:09,920 --> 00:43:13,540
rebels. And we hope to listen more, more happy

501
00:43:13,540 --> 00:43:16,240
news. Yeah, and Gaddafi has to do with Raleigh

502
00:43:16,240 --> 00:43:18,980
because, you know, Gaddafi thought, like Marlow,

503
00:43:19,060 --> 00:43:24,320
that life and palaces will remain forever. You

504
00:43:24,320 --> 00:43:29,220
know, yesterday I read an article, من القصر إلى

505
00:43:29,220 --> 00:43:34,740
السرداب إلى القبر. So I changed it in my mind, من

506
00:43:34,740 --> 00:43:39,640
القصر إلى الوكر ثم القبر. Because this is how it

507
00:43:39,640 --> 00:43:44,440
should be like this. And we hope to listen more

508
00:43:44,440 --> 00:43:46,760
happy news about the Arab leaders following

509
00:43:46,760 --> 00:43:50,900
scenario in Arab Spring Revolution.

510
00:43:54,030 --> 00:43:57,590
Although the winter season will soon, the spring

511
00:43:57,590 --> 00:44:00,730
revolution will continue. In the other hand, about

512
00:44:00,730 --> 00:44:03,210
pottery class, last class we started a new poem

513
00:44:03,210 --> 00:44:06,810
for Dari. Yes, and we finished it today. Thank you

514
00:44:06,810 --> 00:44:09,470
very much. Good. Thank you and take care. Okay,

515
00:44:10,190 --> 00:44:11,590
see you next time, Inshallah.