PL9fwy3NUQKwZ52Wxrug71SHLnFjqhlVJc/8csqceWNOlQ.srt

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Okay, good morning everybody. Hope you are doing

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well after this weekend. Have some time to read 

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something about Sir Thomas Wyatt, his poem. Okay? 

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And, of course, like, having a good impression about 

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the previous class. So, as usual, let us start by 

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listening to a report. Who's ready to read her

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report? Who's willing to read her report? Okay? 

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Good. The last lecture was very formal, because

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the cameras were *found*. All of us were not in

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the normal state, including Dr. Akram. Anyway, Dr.

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Akram wrote some part of the poem, which was not 

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written in the right way as a poem. It's called 

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Forty Love. We were surprised. Then he wrote

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another poem, which was so strange one. It's

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called An-An-Tee-Tee. So he asked us to put it in 

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a metrical language. One student did it, and all 

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of us started laughing. Then he read it like a

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poem. It was a Chinese language. In fact, last 

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lecture was very funny, and it was a good start 

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to our day with that. OK, thank you very much. Now,

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again, is anybody willing to? Yes?

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So far, it's been a positive response.

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But again, if you have a problem, you can

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complain. It's not a big deal, you know? Okay.

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Really it was an interesting lecture last week. I 

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admire the system of education by distance very 

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much. How it's beautiful to find my lecture when I 

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need it on my computer despite my feeling in

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restriction because of *recording* devices in more

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than one place. One of my happiness reasons also 

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the easiness of the poetry introduction that makes

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me trust in the poetry material. Okay, thank you

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very much. Next time, I'm going to ask randomly. 

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I'm not going to tell you who's willing, okay? 

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Now, what about, like, the poem? I mean, who's

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lost a hand? What about the,

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I mean, the poet himself, Sir Thomas Wyatt? I

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think you had time to prepare and to write a 

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response. So I need somebody with a response, and

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then I have to ask each student. 

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Who's ready to read a response? Yes, please. 

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When Dr. Habib asked us to write our first 

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response about our first gorgeous poem, Who's Lost

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a Hunt, I knew that we were going to write about 

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our first impression when we read the poem for the 

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first time. At the same time, first impressions

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differ widely, and it's very *unreal* to have a. I may 

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like the poem, but the other may not. I may enjoy

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it, but my friend may not. All these questions 

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came to my mind and made me a little bit confused.

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But the teacher said that the first impression may

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differ from one person to another, but at the same

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time there is one common understanding and

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realization *that* comes after your realization to the

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language and the use of the language and the

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historical background about the poem and about

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itself, himself. We are lucky to begin with one of 

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the best sonnets ever written by Wyatt, which is 

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"Who's Lost a Hunt." It's held by Wyatt's imitation for

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the *line*, written by Petrarch, a 14th century

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Italian poet. He describes a hunt where a deer is 

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birthed and ultimately owned by the royal who owns 

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the land. When I looked on the poems that the

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teacher selected, I realized that they selected 

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poems *that* were the most common poems in certain ages.

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For example, this poem written in the Elizabethan 

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age when the courtly love was one of the most

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important themes. Courtly love could be defined as

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unsuccessful love that exists between two unequal 

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sides, the lover from a non-upper class but the

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lady from a high class. And it's worth mentioning 

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that Wyatt was succeeded in making his personal 

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experience and his personal feeling equal with

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the public one. It reached our heart and which

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made it a realistic one. The poem opens with a sort 

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of open invitation to hunters who wants to take a 

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capture hind. Furthermore, he describes that Anne 

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who she's the high class lady, became the

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property of the king alone. He introduced the 

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sonnet, which is a form of lyrical poetry written

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in a different shape. It's written in accordance

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with a set of rules and it consists of 14 lines. 

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The first eight lines form one unit and the last

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six, it's another. And it was introduced to 

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England by Wyatt. So he's considered the father of

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English sonnet. Moreover, I liked the using of

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figure of speech that the poet uses in his poem. 

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For instance, the using of *alliteration* in the

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first, third, and the fifth lines, which add a 

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musical tone to the poem. Metaphors are also used, 

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which is a central figure of speech. When he 

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compares between a lady to a hand in the first 

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line, and when he compares between the task of 

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catching air to the task of catching a wind.

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Another figurative device found in the poem is the 

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paradox, which is clearly seen at the end of the 

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poem. Here, Wyatt declares that although she's a 

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pure stem, it's dangerous to hold her as she is

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wild. Talking about the rhyme in "Who's Lost a Hunt", 

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Wyatt uses a *iambic pentameter* in which a

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line has five pairs of unstressed syllabus. To

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conclude, I'd like to confess that the poem is 

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amazing and the poet succeeded in describing his 

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suffering and his sorrow, talking about one of the

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most important themes in his age, which is 

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courtly love. Last but not least, I want to say

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that he did succeed in ending it perfectly. Okay, 

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I think she is worth a big applause.

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Thank you very much. This is a very, you know, 

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thorough, entire response, which makes up, like, 

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responsibility great. There have been many terms

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that have been introduced, like the sonnet, 

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courtly love, rhyme, rhythm, you know, the poem,

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the age. So this is what we are going to do today. 

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But again, as a point of entry, I would like to go 

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through your response, whether you liked the poem

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or you didn't like the poem. Those who liked the 

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poem should say why. Those who didn't like, again, 

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they should justify why they didn't like it.

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Okay, again, courtly love is, you know, an issue

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which we have to explain, you know. But were you 

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happy with the poet? Like, you think he's a good 

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poet? Did you admire the poet? Did you? He's a

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nice gentleman? Like, okay, the poet, I think in 

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the poem, Do you know what is it about? Like what

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is it about? 

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Okay, is it about like a man hunting? Huh? No?

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Why? You know, the poet declares from the very

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beginning, who's supposed to hunt. I know *that* where is

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a knight. So don't you think this is a hunting 

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position? Huh? You think *that* he is going to hunt 

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something? But when we read it after *adapting*, we 

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discover that he's talking about his mistress. OK.

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So this is not about hunting, but rather it's 

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about something else. It's about the relationship 

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between a man and a woman. In this sense, this

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kind of poetry or literature, we call it what?

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Allegorical. OK. Thank you very much. It is 

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allegorical. *Allegory* means to speak in the

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terms about something in the terms of something

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else. This is what we call allegory. Okay? 

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Good.

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Let's see someone else. 

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But again, we might say,

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Why wasn't he very straightforward? Okay. So why? 

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We might think of an answer later. Good. Let's see

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somebody else. Go ahead. Do you like the poem or

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do you like the poem? Okay. 

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Let's see. What about the poet? Have you read 

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something about the poet? You mentioned the

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sonnet. What is a sonnet? What is a sonnet? Yes?

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Yes, so it is a poem formed of 14 lines. Now you

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said like in her response she said Sir Thomas

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Wyatt was the father of the English sonnet. What

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does this mean? Like, was he the one who created

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the sonnet? Was he? Yes? 

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Yeah, he brought it from Rome. Very good. He 

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brought *the* sonnet from Petrarch. 

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Petrarch was a famous Italian poet. And you know, 

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Sir Thomas Wyatt had the chance because he was an 

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ambassador. He was a courtier living in the court

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of, you know, Henry VIII. He had the chance. He 

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had the chance to go to Rome, and he *translated*. 

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He met Petrarch. He translated some of his poems,

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and he started to use, you know, this type of, you 

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know, or this form. in order to express a very

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traditional English theme, which is courtly love. 

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Again, courtly love is a term which requires some 

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definition. What is courtly love? Because, you

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know, I want you to understand *that* this is like a 

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theme which reflected the culture of the time. And 

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the culture of the time was a little bit masculine 

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culture. You know, courtly love was, you know, was

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*a* type of poetry which was written by like

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courtiers. Okay. So what is courtly love? Yes. I 

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think it is a traditional English game. Okay. With 

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a, with a man. They see a woman and fall in love 

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with her. He put himself in a room for two *court* 

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days. Yes. If the woman of his beloved accepted 

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him, he will write the best poem to express his 

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beloved. And if she rejected him, he will write

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the best poem to express his family. That's it.

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You know, yes, it is very traditional, very old

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English theme, you know, and It was like Chaucer, 

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a 14th century. Have you heard of Chaucer? Chaucer 

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was, you know, the father of English literature. 

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He was writing courtly love and *before* him. And it

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seems like courtly love was influenced by

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troubadour poets who used to live in France and

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Eight lines. Eight lines, and the sestet, we have?

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Six lines. Six lines. And she mentioned, like,

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that the Petrarchan sonnet was a little bit 

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distinguished for its rhyme scheme. When we are 

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talking about rhyme scheme, we have to look at the 

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poem in this way. 

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We have to look at the, you know, the last line. 

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And, so we should start with a. More, it's a new 

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rhyme. You see, it should be, should it be a if 

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no. And, you know, let's take the poem like this.

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Sorry.

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Because I want you to know how the right scheme is 

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taken. No problem. 

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Okay, so we failed. 

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Okay, so if we are talking about, we can do it in

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this way. 

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Okay, "I'm" is the first sound. So if we go, it

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should be given a sign A.

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It is another one, so it should be B. Then we have 

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sore, which is exactly the same. So we have A, B, 

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B, and then A. Okay, so we have A, B, B, A, then 

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what? A, you know? B, B, A. So this is what we

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call the octave. Okay? And now the system should

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be assigned.

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So we have one, two, three, four, five, six,

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seven, eight. And now we have doubt. Okay? It 

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should be what? C, D, D, C. So C, D. C, D. Then we 

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have a new rhyme, which is E, E. So this is the 

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rhyme scheme of the Petrarchan Sonnet. I want you

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to like, to be aware of the, because later, this

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sonnet will not remain as it is. Henry Howard,

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Earl of Surrey, will come and develop this form

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and it will assume a purely English identity. Now,

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identity,

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nationalism, these are issues which, you know, we 

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might discuss when we are discussing the poem. I 

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don't want, like, to go far. Let's go back to the 

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poem. Have you read it aloud? I mean, the poem. 

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Have you read it aloud? How did it sound?

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Okay.

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So you started to feel with the poet. Okay. 

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So, I don't know, like, how you read it.

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Did anybody, like, read the poem, like, in a 

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lyrical, in singing it? Like, who's lost a heart?

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I know where is a nine. Or like So

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it is available on the YouTube good and which one

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like did you like the singing Okay both Okay

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Okay, 

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so let me read it aloud for you and Who's lost a

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hunt? I know where is a nine. But as for me, alas,

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I may know more. The vain travel hath worried me 

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so sore. Among them that farthest comes behind. It 

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may I by no means my willed mind draw from the

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deer. But as chief bee leaves a four, fainting I 

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follow. I leave after four. Since in a net I seek 

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00:21:51,150 --> 00:21:55,830
to hold the wind. Who lost her hunt, I put him out 

279
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of doubt, as well as I may spend his time in vain.

280
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And the graven with diamonds and letters plain, 

281
00:22:04,190 --> 00:22:09,630
there is written her fair neck round about, no

282
00:22:09,630 --> 00:22:14,130
limit and jar for Caesar I am, and while for the

283
00:22:14,130 --> 00:22:22,450
cold though I seem tame. Very sad, huh? Who's sad?

284
00:22:23,920 --> 00:22:26,920
You or the poet? The poet. And you are not made 

285
00:22:26,920 --> 00:22:33,340
sad? Look at him. He's poor. He's impoverished. 

286
00:22:34,200 --> 00:22:38,300
He's abject. You understand abject? Very poor. 

287
00:22:38,560 --> 00:22:41,460
Because this is, you know, what should happen in

288
00:22:41,460 --> 00:22:47,480
courtly love. We have a poet who's abject. Why?

289
00:22:47,620 --> 00:22:50,780
Because of the cruelty of a lady. So it is the

290
00:22:50,780 --> 00:22:57,420
lady Who causes all this misery for the poet? Why?

291
00:22:57,540 --> 00:23:02,560
Because she's not compassionate. She doesn't

292
00:23:02,560 --> 00:23:07,400
understand him. And she causes, I bet you don't 

293
00:23:07,400 --> 00:23:11,500
like this, of course. This is too much. But that's 

294
00:23:11,500 --> 00:23:18,880
what happened in Cordula. So a man wanted to 

295
00:23:18,880 --> 00:23:24,850
confirm you know, his masculinity. How? How can 

296
00:23:24,850 --> 00:23:29,390
you show yourself that you're a gentleman? Just by

297
00:23:29,390 --> 00:23:35,550
contrasting yourself, you know, with a woman,

298
00:23:35,910 --> 00:23:38,570
right? So we have here, if we have to look at the 

299
00:23:38,570 --> 00:23:42,990
man and assign some attributes to him, we'll find

300
00:23:42,990 --> 00:23:48,410
him what? Give some attributes. He's gentle? Go 

301
00:23:48,410 --> 00:23:55,290
ahead. He's gentle, a bit sincere, noble, honest, 

302
00:23:56,530 --> 00:23:58,650
self-confident, 

303
00:24:00,290 --> 00:24:05,330
sensitive, and if you look at the lady, she's 

304
00:24:05,330 --> 00:24:10,170
what? She is beautiful, 

305
00:24:12,770 --> 00:24:13,730
arrogant,

306
00:24:16,020 --> 00:24:18,080
You have to be responsible for every word.

307
00:24:18,220 --> 00:24:23,900
Changeable? Like fickle? You know? What else? 

308
00:24:24,120 --> 00:24:33,240
Cruel? Why? Why is she cruel? Because she doesn't 

309
00:24:33,240 --> 00:24:41,680
reciprocate the poet's feelings. Okay. I think 

310
00:24:41,680 --> 00:24:46,940
if we read it in courtly love, we might not enjoy

311
00:24:46,940 --> 00:24:52,260
the aesthetics of the poem. So let's look at the 

312
00:24:52,260 --> 00:24:56,320
poem, because I said that the culture of the time

313
00:24:56,320 --> 00:25:01,320
before, we have to understand the poem in its

314
00:25:01,320 --> 00:25:05,900
cultural and historical context. The 16th century 

315
00:25:05,900 --> 00:25:10,250
was an age of expansion, was an age of even 

316
00:25:10,250 --> 00:25:14,450
establishing its identity. Henry VIII, who took

317
00:25:14,450 --> 00:25:23,530
power in 1519, was a very powerful king and he 

318
00:25:23,530 --> 00:25:30,750
wanted to establish the idea of Great Britain. So 

319
00:25:30,750 --> 00:25:33,790
he succeeded in getting Wales because Wales was 

320
00:25:33,790 --> 00:25:40,990
not part of the Great Britain, and even by fourth 

321
00:25:40,990 --> 00:25:45,870
island in order to have. So he became the monarch 

322
00:25:45,870 --> 00:25:52,890
of Great Britain. And during his time, England was 

323
00:25:52,890 --> 00:25:56,790
exposed to the Renaissance. And when I say

324
00:25:56,790 --> 00:26:02,190
Renaissance, we talk about the 

325
00:26:02,190 --> 00:26:06,180
rebirth, the coming civilization. And of course, 

326
00:26:07,020 --> 00:26:11,040
Italy, I mean Rome, where the Pope was, it was the

327
00:26:11,040 --> 00:26:12,600
center of Renaissance.

328
00:26:15,160 --> 00:26:18,840
England also was powerful. It wanted to expand. 

329
00:26:19,620 --> 00:26:23,020
You know, the king, you know, had an army and a

330
00:26:23,020 --> 00:26:29,040
fleet. So it was the age of chivalry, chivalry

331
00:26:29,040 --> 00:26:33,320
like knighthood. It was the age of heroism because

332
00:26:33,620 --> 00:26:36,820
If you want to expand, if you want to annex a new

333
00:26:36,820 --> 00:26:41,520
land, you need heroes. So that was the culture of

334
00:26:41,520 --> 00:26:47,220
the time. And as we said, heroism in that age,

335
00:26:48,040 --> 00:26:51,640
unfortunately, was not distinguished without

336
00:26:51,640 --> 00:26:57,540
something like courtly love. So courtly love was an 

337
00:26:57,540 --> 00:27:00,760
issue. You cannot prove yourself. You cannot be a

338
00:27:00,760 --> 00:27:03,480
courtier and you cannot be influential until you 

339
00:27:03,480 --> 00:27:07,300
show that you are a courtly lover.

340
00:27:09,760 --> 00:27:15,120
Of course, like Henry VIII was a controversial

341
00:27:15,120 --> 00:27:19,340
king. He got married for six times. You know, 

342
00:27:19,400 --> 00:27:25,500
there were six queens, you know. And he first got

343
00:27:25,500 --> 00:27:31,320
married to Catherine, who was the bride of his

344
00:27:31,320 --> 00:27:36,320
brother Arthur. Then he got married to Anne

345
00:27:36,320 --> 00:27:40,160
Boleyn, the one whom he fell in love with. And I 

346
00:27:40,160 --> 00:27:44,020
think Anne Boleyn is in the background of the

347
00:27:44,020 --> 00:27:49,620
poem. But all these marriages had to be confirmed

348
00:27:49,620 --> 00:27:55,570
by the Pope in Italy. The Pope had an upper hand.

349
00:27:56,070 --> 00:28:00,050
So if he wanted to marry or to change anything, he 

350
00:28:00,050 --> 00:28:04,130
had to consult or the Pope in Rome had to give him

351
00:28:04,130 --> 00:28:09,110
an agreement. But during his time, like later, he

352
00:28:09,110 --> 00:28:15,330
succeeded in 1533

353
00:28:15,330 --> 00:28:23,400
to break up with the Catholic Church of Rome and 

354
00:28:23,400 --> 00:28:27,100
started to establish the, you know, or to 

355
00:28:27,100 --> 00:28:31,260
encourage the established church, which is of

356
00:28:31,260 --> 00:28:34,520
England, which was Protestant. So they had some 

357
00:28:34,520 --> 00:28:40,700
differences with that, and he succeeded in fixing

358
00:28:40,700 --> 00:28:44,680
the English identity. So the issue of identity, it

359
00:28:44,680 --> 00:28:48,340
was there in politics, I mean, nationalism. It was 

360
00:28:48,340 --> 00:28:52,920
in politics. It was in, you know, religion. It was 

361
00:28:52,920 --> 00:28:59,420
even at social level. Okay. Now if we go to the

362
00:28:59,420 --> 00:29:03,240
poem, because I don't want to deprive ourselves 

363
00:29:03,240 --> 00:29:06,140
from the aesthetics of the poem. Who's lost to 

364
00:29:06,140 --> 00:29:12,040
hunt? I know where is unarmed. It's a question

365
00:29:12,040 --> 00:29:20,360
declaring that for people that whoever is 

366
00:29:20,360 --> 00:29:28,350
interested In finding a hind, a deer, I can tell 

367
00:29:28,350 --> 00:29:36,330
him. But as for me, alas, I may know more. So you 

368
00:29:36,330 --> 00:29:40,950
see here the poet is disinterested, is 

369
00:29:40,950 --> 00:29:46,290
disinterested in hunting. Why? So we ask why. And

370
00:29:46,290 --> 00:29:50,850
we expect that you know, in the octave, he's going

371
00:29:50,850 --> 00:29:54,190
to list the reasons. Why is he disinterested

372
00:29:54,190 --> 00:29:57,910
according to the poem? Why is he disinterested?

373
00:30:01,170 --> 00:30:09,230
Yes? Because he tries? Yeah, because sometimes

374
00:30:09,230 --> 00:30:12,230
like when you try to hunt and you fail, you try to 

375
00:30:12,230 --> 00:30:14,530
hunt and you fail, you get bored and you get

376
00:30:14,530 --> 00:30:18,950
disinterested. Good. But as for me, alas, I may

377
00:30:18,950 --> 00:30:24,870
know more. I'm not going to do it again. Why? In

378
00:30:24,870 --> 00:30:29,670
the third line, he's trying to say why. He's 

379
00:30:29,670 --> 00:30:33,950
trying to warrant his decision, to justify his 

380
00:30:33,950 --> 00:30:38,970
decision. He says, the veil travailed, which is a 

381
00:30:38,970 --> 00:30:42,810
French word, wearied me so sore. 

382
00:30:46,340 --> 00:30:52,300
exhausted me, like the efforts, the vain. What's

383
00:30:52,300 --> 00:30:56,340
mean vain? At some point, it is very important to 

384
00:30:56,340 --> 00:31:00,540
understand the dictionary meaning of the words, 

385
00:31:00,660 --> 00:31:03,200
the prose meaning of the poem. So at this stage,

386
00:31:03,240 --> 00:31:07,200
as you see, we are paraphrasing the poem and

387
00:31:07,200 --> 00:31:11,540
paraphrasing the poem is only a step towards a 

388
00:31:11,540 --> 00:31:15,380
total appreciation or a total understanding of the

389
00:31:15,380 --> 00:31:23,410
poem. The vein traveled without benefit. The vein

390
00:31:23,410 --> 00:31:28,710
traveled without benefit. The vein traveled 

391
00:31:28,710 --> 00:31:31,570
without benefit. The vein traveled without

392
00:31:31,570 --> 00:31:32,190
benefit. The vein traveled without benefit. The

393
00:31:32,190 --> 00:31:32,310
without benefit. The vein traveled without 

394
00:31:32,310 --> 00:31:32,370
benefit. The vein traveled without benefit. The

395
00:31:32,370 --> 00:31:32,390
without benefit. The vein traveled without 

396
00:31:32,390 --> 00:31:32,410
benefit. The vein traveled without benefit. The 

397
00:31:32,410 --> 00:31:32,690
vein traveled without benefit. The vein traveled 

398
00:31:32,690 --> 00:31:35,510
without benefit. The vein traveled without

399
00:31:35,510 --> 00:31:41,090
benefit. The vein traveled without benefit. The

400
00:31:41,090 --> 00:31:46,440
vein Yeah, there is a kind of alliteration, so 

401
00:31:46,440 --> 00:31:50,340
sore. Like somebody, this alliteration, so sore. 

402
00:31:50,820 --> 00:31:56,080
The vain travel has wearied me so sore. Somebody 

403
00:31:56,080 --> 00:32:00,240
like complaining against like this. It was very 

404
00:32:00,240 --> 00:32:05,240
painful. Among them, that farthest comes behind. 

405
00:32:06,120 --> 00:32:12,370
So, he is not going to be the first. in hunting,

406
00:32:12,770 --> 00:32:19,450
but rather they lost. Yet may I by no means my

407
00:32:19,450 --> 00:32:23,490
wearied mind draw from the deer. Again he's asking

408
00:32:23,490 --> 00:32:27,750
question, do you think like I'm giving up because 

409
00:32:27,750 --> 00:32:28,510
of no reasons? 

410
00:32:32,310 --> 00:

445
00:35:14,930 --> 00:35:20,170
decision to quit, with his decision to leave.

446
00:35:21,550 --> 00:35:27,230
Since in a net, I seek to hold the money. Wow, I

447
00:35:27,230 --> 00:35:31,230
think this is self-explanatory. What a very 

448
00:35:31,230 --> 00:35:34,850
frustrating image, isn't it? Like if somebody is

449
00:35:34,850 --> 00:35:39,550
trying to hold the wind in a net. How do you

450
00:35:39,550 --> 00:35:43,590
describe this effort? If somebody is trying to

451
00:35:43,590 --> 00:35:43,890
hold.

452
00:35:47,050 --> 00:35:51,050
It's a waste of time. Very disappointing. Very 

453
00:35:51,050 --> 00:35:53,690
disappointing experience. Like somebody who is 

454
00:35:53,690 --> 00:35:58,500
trying to hold the wind. What? In a net. So do you

455
00:35:58,500 --> 00:36:03,780
think it will be held? No. Okay. Since in a net, I 

456
00:36:03,780 --> 00:36:10,240
seek to hold the wind. It's impossible. Who's next 

457
00:36:10,240 --> 00:36:16,180
to hunt? I put, you know, him out of doubt. This

458
00:36:16,180 --> 00:36:20,600
is the beginning of the system, the second part of

459
00:36:20,600 --> 00:36:26,460
the poem. I put him out of a doubt, like the poet 

460
00:36:26,460 --> 00:36:31,880
is in a position to advise other people. He's

461
00:36:31,880 --> 00:36:37,760
sagacious, very wise, and he was made sagacious by

462
00:36:37,760 --> 00:36:42,240
his own experience, as well as I may spend his 

463
00:36:42,240 --> 00:36:47,220
time in vain. So the poet's personal experience 

464
00:36:47,220 --> 00:36:54,260
made him like in a position to advise other

465
00:36:54,260 --> 00:37:00,600
people. He is going to spend his time in vain and

466
00:37:00,600 --> 00:37:04,540
graven with diamonds and letters plain, there is 

467
00:37:04,540 --> 00:37:09,060
written her fair neck round about. I think this 

468
00:37:09,060 --> 00:37:12,860
line has some indication about the beauty. Because 

469
00:37:12,860 --> 00:37:15,040
you know, in courtly love, yes, as you mentioned, 

470
00:37:15,600 --> 00:37:17,980
the lady should be beautiful.

471
00:37:20,530 --> 00:37:25,230
There is written, what is written? Her fair neck 

472
00:37:25,230 --> 00:37:31,230
round about, no limi tangere. Don't touch me. You 

473
00:37:31,230 --> 00:37:35,170
know, this is like in Latin, no limi tangere for

474
00:37:35,170 --> 00:37:38,790
Caesar's ayat. And we understand who's Caesar.

475
00:37:39,590 --> 00:37:44,010
Who's Caesar? Henry. So we are having a poet who

476
00:37:44,010 --> 00:37:48,710
fell in love with the king you know, potential

477
00:37:48,710 --> 00:37:53,910
wife or potential mistress. And that, you know, is

478
00:37:53,910 --> 00:37:56,870
like very precarious, very dangerous. And perhaps 

479
00:37:56,870 --> 00:38:01,370
you might have read that, you know, he was put in

480
00:38:01,370 --> 00:38:04,670
prison like because of this, you know, suspected 

481
00:38:04,670 --> 00:38:07,510
relation. There was, you know, some suspicion that 

482
00:38:07,510 --> 00:38:11,170
he was in relation, but there was no concrete 

483
00:38:11,170 --> 00:38:14,850
evidence of that relation. So he was put in the

484
00:38:14,850 --> 00:38:18,740
tower, he was in prison. And Anne Boleyn herself,

485
00:38:19,120 --> 00:38:22,560
who became the wife, was beheaded by the king.

486
00:38:23,200 --> 00:38:26,540
She, you know, was executed by the king. Why?

487
00:38:26,620 --> 00:38:34,640
Because she was accused of adultery. And wild for

488
00:38:34,640 --> 00:38:38,040
to hold though I seem tame. Yeah, it's a paradox.

489
00:38:38,680 --> 00:38:44,520
How come you are wild and tame? You know? And this

490
00:38:44,520 --> 00:38:48,990
paradox shows or reflects the nature, the elusive

491
00:38:48,990 --> 00:38:53,070
nature of that lady. So she's not attainable.

492
00:38:53,670 --> 00:38:57,910
She's very elusive. It is difficult to catch her. 

493
00:38:58,630 --> 00:39:03,490
Now, today, like this is what I want to say today. 

494
00:39:04,570 --> 00:39:08,670
We have not read the poem as, you know, what we

495
00:39:08,670 --> 00:39:12,720
said in the last lecture. So we talked a little

496
00:39:12,720 --> 00:39:15,980
bit about the atmosphere, the general context of

497
00:39:15,980 --> 00:39:19,540
the poem. Next time, we have to read to delve

498
00:39:19,540 --> 00:39:25,040
deeper into the aesthetics and to see how the poet

499
00:39:25,040 --> 00:39:29,960
was successful or was not successful. So what you

500
00:39:29,960 --> 00:39:33,320
have to do again is to look at the poem, to look 

501
00:39:33,320 --> 00:39:37,500
at, you know, the figures of speech, to look at 

502
00:39:37,500 --> 00:39:41,340
certain, to look at the tone, the attitude, and

503
00:39:41,340 --> 00:39:45,320
then We are going to talk about poetry by using

504
00:39:45,320 --> 00:39:50,300
specialized language and general language. I hope 

505
00:39:50,300 --> 00:39:55,600
that, you know, you enjoy listening. If not, like 

506
00:39:55,600 --> 00:39:57,520
you can complain. But do you have any question 

507
00:39:57,520 --> 00:40:00,680
like before? Or do you want to add anything? Yes?

508
00:40:05,170 --> 00:40:09,110
No, the Petrarchian Sonnet. We're talking about 

509
00:40:09,110 --> 00:40:12,150
Petrarchian Sonnet. The Petrarchian Sonnet

510
00:40:12,150 --> 00:40:19,770
consists only of two, yes, two parts. Now I think

511
00:40:19,770 --> 00:40:24,030
I left for you in the reader something about the

512
00:40:24,030 --> 00:40:29,090
sonnet, so you have to study like what is the

513
00:40:29,090 --> 00:40:31,490
Petrarchian Sonnet? You can read, what is the 

514
00:40:31,490 --> 00:40:34,320
Petrarchian Sonnet? What is the Shakespearean

515
00:40:34,320 --> 00:40:38,700
sonnet? How this sonnet was developed? And how it

516
00:40:38,700 --> 00:40:44,240
became or it assumed like a very British form?

517
00:40:45,560 --> 00:40:50,300
Any other question? Thank you very much and see

518
00:40:50,300 --> 00:40:55,960
you next time for a new lecture on the same topic. 

519
00:40:56,420 --> 00:40:56,800
Thank you.