PL9fwy3NUQKwZ52Wxrug71SHLnFjqhlVJc/LE5sUeIfHpY_raw.srt

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Good morning everybody. How are you? Good. How was

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the weekend first? Did you have a nice time? Why?

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You have to study. We had to study. To study what?

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To study for exams. More exams. Good. And I think

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you had the poetry exam. Yes. How was it? Yes. It

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was good. But the time was not enough. The time

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was not enough? Yes. I think we gave you five

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minutes more. No. Yes. Just enough. Okay, we said

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like I told them to give you five minutes more. I

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think even like some students finished before the

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hour. And yes, so it depends like how you organize

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your time. It depends like what you are writing.

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If you remember the second question didn't need

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like long time or space even. You have to answer

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the questions in one or two lines. Good. So today

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we are going to have a big leap. You know what's

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mean leap? Jump, like we're going to skip perhaps

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a century and a half. You know last week before

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the exam we discussed the mathematical poetry

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represented by John Donne and his poem, Better My

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Heart. So we had a feeling about the century, the

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intellectualism of the century, the political

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uncertainty,

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the subversive poetic technique of those

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metaphysical poets.

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We also saw, when I gave you a historical

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background, how the 17th century was full of

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revolutions, unrest, instability, political

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controversies and debates, and how it ended or,

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you know, the revolution itself ended with the

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restoration of the king. Today, we're going I

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mean, we're skipping the Restoration period.

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However, I think it is indispensable, if not

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imperative, that we should talk something about

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that period because it is difficult to estimate or

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understand Romanticism without talking about the

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Restoration period or what is called

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alternatively, the Age of Reason or the Augustan

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Age. I don't want to start lecturing before

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listening to your reports, you know, and if you

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have a response I don't mind, but I want to listen

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to reports because it seems like after the exam

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some students had something to say. Yes, please.

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My poem is about stress. You have to say good

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morning for you. Good morning everybody. Stress

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and pressure, pressure, that's unfair. There are

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many duties to have, so I have to take exams,

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presentations and researches everywhere. Go to

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this library and another one is there. Look for

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books in shelves ground and there. Would you mind

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boring some sir? Thinking and rethinking is what

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to do and dare. Am I have a choice to say stop it

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or I guess no, I just have to obey. Anyone help me

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please, I can't stand, I can't stand and bear.

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Thank you. Thank you very much. It's a wonderful

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poem and it shows that we are on the right track.

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I mean, we teachers, we department, we are on the

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right track because yes, we succeeded in putting

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you in much trouble. And I think this is where you

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can learn, where you can develop your skills.

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Yes, I was thinking of the oxymoron which says,

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you know, this is what we call the delicious

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torment. You know, something is like torture,

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torment, but it is delicious. Why? Because You

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benefit, you learn from this experience of being

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under the pressure of the exam, under the pressure

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of lectures, classes, coming in even under the

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pressure of fluctuating weather. It's good. Okay,

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there is space for another report.

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And this time I have to pick out one. Yes? Yes.

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Good morning everybody. In that day, we come to

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the lecture with frustration because we suffered a

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lot in that day and we had an examination.

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Actually, at the beginning of that day, I came

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with some motivation to the poetry lecture. But

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unfortunately, I remembered our exam and began to

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feel in pressure. I believe in that condition

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which says if you study hard, you will get a high

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mark. But what is the benefit we harvest because

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of the serious study and then we feel like a

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broken heart? Actually, I don't like to make you

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hate exams. I don't want to exaggerate. Just what

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I like to say that the crowded schedule of exams

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this semester made me to become so desperate. Made

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me become what? Oh God, I forgot to talk about the

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pottery lecture. Actually, this is the only thing

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I admire because it motivates me to like it with

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some feelings of desire.

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We continued explaining about the poem of John

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Donne and discussed many issues about that with

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some fun. After that, Mr. Habib explained for us

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the main features of metaphysical poetry and then

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we talked about the exam of poetry and he advised

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us to concentrate in our study by saying, poetry

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is poetry. Ah, this is very interesting.

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Right. Thank you for your reports. Today is

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supposed to be a general background about

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Romanticism. And as I said in the introductory

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note, we cannot understand Romanticism without

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understanding the period before that.

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So the restoration period, which was called

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alternatively the Augustan Age, was the age of

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reason also. Reason was privileged over passion,

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over feelings. Everything was governed by reason.

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Imagination expressing

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your feelings were things of like taboos. People

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who intended to express their own feelings to

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write imaginative literature were seen as like

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crazy or lunatic. The age was characterized by

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certain rules, certain social and even poetic

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rules.

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In terms like society was more important than

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individual.

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It was the age of industry. I mean, we are talking

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about 18th century. It was the age of industrial

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revolution. It was the age of mechanization. So

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individuals, were replaced by machine. Man was

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replaced by machine. And that was a little bit

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disappointing to people, to individuals, because

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losing your place, being replaced by a machine

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causes some disillusionment in your mental

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landscape.

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Things like, as I said, poets like Alexander Pope,

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John Dryden, were having the supremacy. John

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Dryden, or I mean Alexander Pope, wrote many poems

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telling

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people what to do. So their poetry was didactic

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poetry. You know what I mean, didactic? Yes.

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teaches lessons. Yes. Yes, their poetry was

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didactic. They were telling people like what to

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do, how to behave.

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Alexander Poe in his poem on nature, he said,

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first follow nature and your judgment frame. They

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are never erring. They are always the same. So

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nature, he said, it's in your book, Alexander

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Pope, you know, on nature. He says, first follow

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nature and your judgment frame. They are never

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erring, they are always the same.

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I'm trying to retrieve it here. First follow

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nature and your judgment frame. It's from ASA to

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criticism. What is he telling us? Yes, as you see,

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yes, this is part of, you know, I cannot have

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access to the poem. Okay, but we can skip it. So

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as you see in the poem, he's telling us what to

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do. To follow nature.

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To follow nature. and follow reason. Nature was

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full of rules. Later in the Romantic period, we're

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going to see the Romantics following nature. But

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their perception of nature will be quite different

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from the neoclassical perception of nature. The

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neoclassics, I mean those

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poets of the Age of Reason, believe that nature

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was an example to be followed because it was

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systematic. It was following rules. The day was

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following the night in a very systematic, the

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seasons. So if you want to learn how to organize

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yourself, you have to look at nature, which is

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methodized according to what Alexander Pope says

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in A.C. in Chrysism. So their main concern was not

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to sway, not to go astray. So if you follow

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reason, your mind, if you follow nature, you're

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going to be all right. However, if you follow your

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imagination, if you follow your idiosyncratic

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feelings, you'll be Yes, you'll be mad. You'll be

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marginalized. You're not a normal human being.

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Within this culture, I mean, the culture of

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reason, as I said, the main concern was society.

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The position of the individual was relegated, you

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know, got a very minor place in the concern of the

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age itself. So the individual position was not

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seen, individual was not seen as what the

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romantics would later say, a reservoir of

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possibilities. The individual was seen as only a

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member in that community. So you are only

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important as long as you are part of that

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community. Even children, children were not looked

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at as being innocent, but children were looked at

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as being they would be men of a society, like the

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men who would, they are children, but they

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shouldn't be dealt with as children, they should

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be dealt with as grown up. So it was a culture, it

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was a very culture of restrictions. And even in

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poetry, they had certain poetic rules.

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They have something called heroic couplet. What is

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heroic couplet? In a heroic couplet, if you look

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again at first follow nature and your judgment

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frame, I think you would find what is heroic

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couplet of two lines. So first, follow nature and

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your judgment frame. They are never erring. They

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are always the same. And if you continue, you'll

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have also each two lines have the same rhyme. This

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is like a rule. If you want to write poetry, you

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don't have to write it in different rhyme.

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Otherwise, you're not writing good poetry. And

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even their poetry was characterized by what is

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called poetic diction. Poetic diction.

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What is poetic diction? They believed that if you

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want to write good poetry, you have to choose

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words which are apt to poetry. You have to choose

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words,

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highly sophisticated words. Not demotic, not

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popular. I mean, not everyday language. Poetry has

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a special language. So for example, you cannot use

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the word horse because horse, instead, you should

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be using words like steed. Steed, which means

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horse, horse. You know, instead of horse, you use

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steed.

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Instead of, you know, field. Field is everyday

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language, field. Instead of field, you have to use

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lee. Lee, the word lee. You see, instead of, for

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example, lying, to lie, you know what's mean lie?

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Or lying, you can use recumbent, recumbent

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or supine, you know?

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And instead of saying over there, over there,

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they would go say and say, over.

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See? So they were very selective in choosing the

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words. So if they want to say, the horse is lying

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in the field over there, they would say, the steel

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is recumbent in the lee over. You know, it's very

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selective language and very selective and

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restrictive at the same time because you have to

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use words. Part of the poetic diction is to use

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the adjective before, sorry, after the noun. So

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instead of saying the valley, the profound valley

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or the deep valley, they would say the valley

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deep. That was the spirit of the 18th century,

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early 18th century, and even the whole 18th

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century.

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It continued like this. Industrial revolution

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prospered more and more. Industry invaded the

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countryside, and even the countryside was

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partitioned with what was called the Enclosure

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Act. I mean, instead of having the landscape as

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one landscape, they started to make it like farms,

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you know, small farms to graze animals, like to

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have farms. Everybody was having his farm to grow

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or to have more product.

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William Blake, the pre-romantic poet, was born, I

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think, 15, sorry, he was born 17, he was born

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1757.

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So he was born in the middle of the century, and

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he was born in London.

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And when he started, he learned at school. There

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were schools, but he didn't continue. He learned

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as a printer, as a grave digger. He was engraving,

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not a grave digger. He was engraving on graves. He

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was an engraver. You know what's an engraver? Like

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digging on stones and copper. He was an artist. So

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William Blake started... He was an artist. At the

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same time, he was a poet. But when he started to

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write poetry, his poetry was not read. He was

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not... Why? Why do you think his poetry was not

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read? He didn't publish it. Why? It's a good

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starting point. Why didn't he publish it? Perhaps

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because he was poor. This is a possibility. He

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didn't have money to, you know, but he was

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working. He was a hardworking man. So I guess he

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had money to publish. But what are the reasons why

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wouldn't he get his works published?

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What do you think?

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Maybe because it was against that age and against

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Yes, this is right. Because he was writing poetry

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against the expectation of his time. He was

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writing poetry contradicting the spirit of the

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time. He was not conforming to the rules of poetic

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diction. He was not writing following the heroic

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couplet. He was writing poetry of vision, of

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imagination. That's why he was described as the

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madman. Yes, William Blake was described as a

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madman. Why? Because his poetry was not conforming

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to the expectation of the time, was not following

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the rules. He was not abiding himself by the rules

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of the poetic diction, by, you know, just

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following reason. He was writing poetry of

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imagination and feelings.

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So in his poetry, it was passion which dominated.

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It was imagination. His poetry was very symbolic.

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This is a good background when we approach William

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Blake next time, and we approach his poem, The

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Sick Crows.

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His poetry was revolutionary, as I said. It was

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against the restriction of the time in terms of

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rules, poetic rules, and even religious rules. He

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was against He was not against the Bible, but he

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was against the established church, the organized

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religion. He was against religion because during

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his time, he was very cynical. Those who were

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religious people were not very virtuous people. So

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those who were calling for virtue were not

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virtuous. They were hypocrites. And those who were

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stigmatized as being devilish, bad people, they

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were okay. So they were, you know, the opposite.

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That was confusing to him. And that's what made

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him see the picture in a different way. William

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Blake did not see black in isolation to white. So

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he saw that white and black were complementing

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each other. His philosophy was based on his

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articulation that without progressions, without

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contraries, there is no progression.

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You might have read that he wrote his famous

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collection of poetry was the collection, I mean,

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The Songs of Innocence and The Songs of

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Experience. The Songs of Innocence were poems,

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collection of poems written to celebrate

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innocence, the values of childhood, the values I

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mean, the innate human values, the simplicity of

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life. Experience, like when he was talking about

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experience, he was trying to show how experience

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was oppressive to the world of innocence. How

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experience was suppressing man's innate you know,

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goodness. It was victimizing his, I mean,

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goodness. Experience was, what is experience? Let

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me clarify. Okay, experience was represented by

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rules. Experience was represented by religious

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restrictions. So he was against that and he

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thought that innocence and experience should be

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like there should be harmony between them.

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He created his own mythology.

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He thought that, you know, the word of experience,

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the word of innocence is beneath and the word of

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experience is above. But above the word of

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innocence, there is God called Horizon. He was

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always trying to suppress the eruption of the word

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of innocence.

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He thought that there should be a kind of harmony

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between the two. I know this is very abstract.

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This is very difficult. We cannot appreciate this

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until we look at, you know, the poems more

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closely. I mean, look at The Sick Rose and The

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Tiger. Both of them are symbolic. Both of them

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speak about — they don't speak about reason. They

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don't speak about religion, but they speak about

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the contrary of that. They speak about feelings.

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They speak about imagination. So I want you to

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prepare them very well, to prepare the two poems,

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and to respond to them next time. Some of you

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might have had a response to that, I bet. Not?

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Yes? Yeah, what did you say about the sick rose?

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Why was the rose sick, you know?

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The rose is

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about maybe love or something like that because it

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is romanticism and the sick is a power or

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something or a power or something that make his

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relationship flop very weak and there is something

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or something inside, outside that destroy his

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relationship with his killer. It's very good like,

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you know, and you reminded me of like a very key

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issue, which is like, yes, for our class

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discussion, we should develop a list of

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characteristic of romanticism. And I thought that

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by contradiction or by contrast romanticism would

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be characterized by its celebration of

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imagination, its celebration of freedom, its

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celebration of using everyday language. It's

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focused on individualism. It's focused also on the

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simple countryside people. If you remember John

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Dryden, I told you once John Dryden and Alexander

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Pope focused on high class people. Alexander Pope,

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for example, in his poem, famous poem, The Rape of

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the Log, was criticizing the aristocratic people,

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the triviality of aristocratic lady, so he was

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Very satirical. In Ashtiful and Ashtiful also,

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it's a satirical poem. Dryden was satirizing

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certain political figures during his time because

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of their corrupted practices. So poetry had

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different purposes. It was not speaking about

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ordinary

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people. Romantic poetry was talking about ordinary

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people using ordinary language. Yes, the romantics

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were fascinated with nature. Nature was a source

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of fascination, was a source of creativity. So

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when you read Blake, now our concentration on

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Blake, because Blake, as we said, he was Emerging

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in a time where imagination was seen like a sin.

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Expressing your feelings was an atrocity.

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That's why a lot of critics dubbed him as pre

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-romantic, because he was the way, he was the poet

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who paved the way for Romanticism. And this is

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like a focus in our, when we discuss Blake,

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we are going to see how he paved the way. for the

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romantics. And when we talk about the romantics,

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we should, I mean, talk about colorage and words

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worth. So next time, we're going to discuss

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William Blake. I mean, his two poems. Hopefully,

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you know, The Sick Rose, and then after that, The

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Tiger, Tiger, Tiger, Burning Bride. Do you have

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any question?

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Okay, thank you very much. I know it was a tough

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lecture. But it's only a background. I'm not

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asking you questions in this. Later, you'll find

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this easy. What I'm saying, you'll find it easy

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when you approach the poem. Because this is like a

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yardstick against which we are going to measure

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our criticism or interpretation of the poems that

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would come. Thank you very much.