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| السلام عليكم hello back everyone thank you for |
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| 2 |
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| submitting your homework most of you if you didn't |
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| 3 |
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| already submit your homeworkهي ليست جيدة ولكن |
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| 4 |
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| سأعطيك فرصة حتى غدا في الساعة 11 وإذا لم تجدني في |
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| 5 |
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| مكتبتي فانت فقط تنقلها تحت .. تحت الباب ولكن |
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| 6 |
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| سأخبرك بمقالات منك إذا كنت متأخر لأن إذا كنت تشغّل |
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| 7 |
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| في وقت طوال الوقت ستحصل على مقالات كامة لكي تشغّل |
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| 8 |
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| في وقت طوال الوقت لذلك اليوم لدينا |
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| 9 |
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| مدرسة تجارب سنرى |
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| 10 |
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| أي أسئلة لديكabout the course هابدأ تانى لازم |
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| 11 |
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| بس أعيد من الأول اه الان بدي أبدأ يالا again مافي |
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| 12 |
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| شأن |
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| 13 |
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| thank you |
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| 14 |
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| So السلام عليكم again everyone thank you for |
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| 15 |
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| submitting your first assignment for this course |
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| 16 |
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| and I'm really looking forward to grading them I'm |
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| 17 |
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| sure you did a good job answering questions about |
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| 18 |
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| Shakespeare today I'll take a chance to give you a |
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| 19 |
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| review session let's take a breakلنبدأ بقصة جديدة |
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| 20 |
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| لأننا يجب أن نبدأ مع مارلو و بين جونسون كعاملين من |
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| 21 |
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| التقريرات الإليزابية والبلاي رايتس وعاملين من |
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| 22 |
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| التقريرات الإليزابية والبلاي رايتس وعاملين من |
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| 23 |
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| التقريرات الإيزابية وعاملين من التقريرات الإيزابية |
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| 24 |
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| وعاملين من التقريرات الإيزابية وعاملين من |
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| 25 |
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| التقريرات الإيزابية وعاملين من التقريرات الإيزابية |
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| 26 |
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| وعاملين من التقريرات الإيزابية وعاملين من |
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| 27 |
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| التقريرات الإيزابية وعاملين من التقريرات |
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| 28 |
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| الإيزابية وعاملين من التقريرات الإيزابOkay, yes |
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| 29 |
| 00:03:10,080 --> 00:03:12,640 |
| can you also .. everyone if you want to ask |
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| 30 |
| 00:03:12,640 --> 00:03:17,680 |
| question please speak up When two lines of verse |
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| 31 |
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| rhyme, we call them couple, right? Yeah In the |
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| 32 |
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| cystic and octave, when the eight .. does the |
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| 33 |
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| eight lines have to rhyme, so we're going to call |
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| 34 |
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| them cystic and octave? Okay, so when we spoke |
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| 35 |
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| about the sonnet, remember the Italian sonnet? Yes |
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| 36 |
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| The sonnet was born in Italy with a Y not Iand we |
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| 37 |
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| spoke about Dante in brief, we spoke also about .. |
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| 38 |
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| about .. the other name, the other Italian |
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| 39 |
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| sonneteer the father of the sonnet Petrarch is |
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| 40 |
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| it a difficult name? is it difficult? so Petrarch |
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| 41 |
| 00:04:03,030 --> 00:04:10,060 |
| CH Petrarch exactly how you spell itالان قد يسمى |
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| 42 |
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| Petrarch كالصينيتيه الأهم الإيطالية، هناك أسماء |
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| 43 |
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| أخرى في إيطاليا، ولكن هذا ما نريد أن نركز عليه لأن |
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| 44 |
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| بسبب Petrarch، |
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| 45 |
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| و سيد توماس ويت .. they brought .. they loved the |
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| 46 |
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| sonnet and again remember we always talk about the |
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| 47 |
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| influence of Europe, of Italy, France, mainly |
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| 48 |
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| Italy and France Actually the renaissance started |
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| 49 |
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| in Italy well before it started in Englandفإنجلترا |
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| 50 |
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| كانت ما زلت تكون مفروضة من أوروبا، خاصة من |
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| 51 |
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| إيطاليا، فالصونت الإيطالي هو عامة اتنين جزء، تذكر؟ |
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| 52 |
| 00:04:55,810 --> 00:05:03,290 |
| الشكل، الشكل من الصونت هي اتن خطوط، ثم اتن خطوط، |
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| 53 |
| 00:05:03,290 --> 00:05:10,810 |
| اتن خطوط، ثم اتن خطوط، اتن خطوط نسميها أكتف |
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| 54 |
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| وهذا الـ Sestate ستة |
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| 55 |
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| من ستة عقبس من أكتر من أكتر من أكتر من أكتر من |
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| 56 |
| 00:05:23,700 --> 00:05:23,740 |
| أكتر من أكتر من أكتر من أكتر من أكتر من أكتر من |
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| 57 |
| 00:05:23,740 --> 00:05:23,940 |
| أكتر من أكتر من أكتر من أكتر من أكتر من أكتر من |
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| 58 |
| 00:05:23,940 --> 00:05:27,600 |
| أكتر من أكتر من أكتر من أكتر من أكتر من أكتر من |
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| 59 |
| 00:05:27,600 --> 00:05:27,600 |
| أكتر من أكتر من أكتر من أكتر من أكتر من أكتر من |
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| 60 |
| 00:05:27,600 --> 00:05:27,740 |
| أكتر من أكتر من أكتر من أكتر من أكتر من أكتر من |
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| 61 |
| 00:05:27,740 --> 00:05:29,980 |
| أكتر من أكتر من أكتر من أكتر من أكتر من أكتر من |
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| 62 |
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| أكتر |
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| 63 |
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| four lines, remember the four lines, the quatrain؟ |
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| 64 |
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| your question is does this count as a rhyme, sorry |
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| 65 |
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| as a rhyming couplet? no you know why? because |
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| 66 |
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| generally this stops here, even does this count as |
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| 67 |
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| a couplet? no it's part of the octave or the group |
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| 68 |
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| of the stanza or the quatrainإذا في مجلسك أو أنك |
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| 69 |
| 00:06:10,780 --> 00:06:14,080 |
| تجد اي شخص يحب فقط هذه الاتصالات وانت تنظر إليهم |
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| 70 |
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| في حفرة، يمكنك أن تسميهم كابلت، انه بخير، يمكنك، |
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| 71 |
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| إذا كانوا في حفرة، لأنك لا تعرفين المجلس، لا |
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| 72 |
| 00:06:22,720 --> 00:06:28,700 |
| تعرفين .. ولكن عاملاً، هذا مهم، عاملاً، هنا لا |
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| 73 |
| 00:06:28,700 --> 00:06:32,600 |
| يعطيوا واحدة فكرة، هذا هو أهم شيء عن الكابلت، |
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| 74 |
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| أتذكر؟it's like a paragraph, a prose paragraph, |
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| 75 |
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| what is a paragraph? a group of related sentences |
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| 76 |
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| about one topic, one idea. Now the couplet, two |
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| 77 |
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| rhyming lines, two rhymes, two lines that rhymeانا |
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| 78 |
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| .. they are about the same thing always remember |
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| 79 |
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| Shakespeare's couplet at the end so long as this |
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| 80 |
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| .. so long as men can breathe or eyes can see so |
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| 81 |
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| long lives this and this gives life to thee what |
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| 82 |
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| happens in the first four lines here the quadrant |
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| 83 |
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| is the author develops an idea if you stop here |
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| 84 |
| 00:07:10,100 --> 00:07:13,140 |
| the idea is not complete if you stop here it's |
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| 85 |
| 00:07:13,140 --> 00:07:15,600 |
| usually not complete if you stop here it's usually |
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| 86 |
| 00:07:15,600 --> 00:07:21,250 |
| not completeعندما تنتهي أول أربع رقم، فهناك جزء من |
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| 87 |
| 00:07:21,250 --> 00:07:23,350 |
| فكرة تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر |
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| 88 |
| 00:07:23,350 --> 00:07:24,330 |
| تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر |
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| 89 |
| 00:07:24,330 --> 00:07:25,130 |
| تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر |
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| 90 |
| 00:07:25,130 --> 00:07:25,630 |
| تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر |
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| 91 |
| 00:07:25,630 --> 00:07:26,210 |
| تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر |
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| 92 |
| 00:07:26,210 --> 00:07:28,110 |
| تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر تقدر |
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| 93 |
| 00:07:28,110 --> 00:07:43,070 |
| تقدر تقدر تقدر تقدر تقدر تقدر تقد |
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| 94 |
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| نحن لدينا ثلاثة كواترين، تذكرين؟ ثلاثة .. ماهو |
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| 95 |
| 00:07:50,090 --> 00:07:58,270 |
| كواترين؟ أربعة خطوط، حسنًا؟ ومجموعة، ومجموعة |
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| 96 |
| 00:07:58,270 --> 00:08:02,630 |
| الأولى |
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| 97 |
| 00:08:02,630 --> 00:08:09,810 |
| أربعة خطوط عادة تكون لديها فكرة واحدة فكرة واحدة |
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| 98 |
| 00:08:09,810 --> 00:08:14,710 |
| وثم كواترين الثانيةتتحرك إلى فكرة أو صورة أخرى |
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| 99 |
| 00:08:14,710 --> 00:08:18,570 |
| والثالث قواتر يتحرك إلى فكرة أخرى ولكن الثلاث |
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| 100 |
| 00:08:18,570 --> 00:08:21,890 |
| قواترين لديهم نفس الموضوع، نفس المشكلة، نفس |
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| 101 |
| 00:08:21,890 --> 00:08:24,950 |
| المصادر مثل ان شل اي compare thee to a summer's |
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| 102 |
| 00:08:24,950 --> 00:08:29,430 |
| day فهو يقوم بالكتابة تقريبا 12 قطع ويقول لا، |
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| 103 |
| 00:08:29,430 --> 00:08:34,090 |
| الحياة ليست ممتازة، كل حفر من حفر أحيانا يتخلص |
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| 104 |
| 00:08:34,960 --> 00:08:37,400 |
| Summer is beautiful but sometimes there is rough |
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| 105 |
| 00:08:37,400 --> 00:08:40,800 |
| winds right? Summer is beautiful but again the |
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| 106 |
| 00:08:40,800 --> 00:08:44,440 |
| winds do shake the darling buds of May Summer is |
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| 107 |
| 00:08:44,440 --> 00:08:48,100 |
| beautiful but summer is sometimes what? Short and |
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| 108 |
| 00:08:48,100 --> 00:08:52,040 |
| hot. Sometimes the clouds destroy the beauty of |
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| 109 |
| 00:08:52,040 --> 00:08:56,020 |
| this So he moves from one image to the other like |
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| 110 |
| 00:08:56,020 --> 00:08:59,540 |
| in Sonnet 73 I guess where he speaks in the first |
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| 111 |
| 00:08:59,540 --> 00:09:03,120 |
| quatrain he speaks about the end of the year |
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| 112 |
| 00:09:03,120 --> 00:09:07,540 |
| autumnWhat happens in autumn؟ Yellow leaves, |
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| 113 |
| 00:09:08,100 --> 00:09:13,360 |
| right؟ The end of the circle In the second |
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| 114 |
| 00:09:13,360 --> 00:09:16,600 |
| quadrant we've got the end of the day, the sunset |
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| 115 |
| 00:09:16,600 --> 00:09:21,220 |
| So the day is good, we start active, energetic, we |
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| 116 |
| 00:09:21,220 --> 00:09:23,960 |
| have all hopes and you know dreams We want to go |
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| 117 |
| 00:09:23,960 --> 00:09:26,640 |
| to school, to attend classes, to meet friends, to |
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| 118 |
| 00:09:26,640 --> 00:09:30,190 |
| go to the cafeteria, to eat pizza, you knowفي |
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| 119 |
| 00:09:30,190 --> 00:09:33,770 |
| نهاية اليوم، كل شيء يأتي إلى نهاية، لا شيء يستمر |
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| 120 |
| 00:09:33,770 --> 00:09:39,510 |
| أبدًا، ثم في الثالث قطر، يتحدث عن نهاية حرارة، |
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| 121 |
| 00:09:39,510 --> 00:09:44,890 |
| حرارة، هل تعرفين؟ حرارة، لكنها تنتهي بـAshes، |
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| 122 |
| 00:09:44,890 --> 00:09:47,450 |
| اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، |
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| 123 |
| 00:09:47,450 --> 00:09:48,050 |
| اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، |
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| 124 |
| 00:09:48,050 --> 00:09:51,250 |
| اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، اشيس، |
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| 125 |
| 00:09:51,250 --> 00:09:57,300 |
| اشيس، اشيس، اشيس، اشيس، اشيسin a way this is the |
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| 126 |
| 00:09:57,300 --> 00:10:01,880 |
| crisis، this is the issue of time، but what does |
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| 127 |
| 00:10:01,880 --> 00:10:05,660 |
| he do in the couplet؟ in a way he twists، there's |
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| 128 |
| 00:10:05,660 --> 00:10:08,040 |
| something called a volta، the volta is a twist |
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| 129 |
| 00:10:09,120 --> 00:10:13,880 |
| وكذلك في الصينيت 18 مرة أخرى قال شيء مثل .. لا |
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| 130 |
| 00:10:13,880 --> 00:10:18,040 |
| أستطيع أن أتذكر ذالك قصة مثل 18 مرة، قال إن كذلك، |
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| 131 |
| 00:10:18,040 --> 00:10:22,420 |
| ولكن عيوني ستعيش دائما، عيوني ليس مات، صينيتي ليس |
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| 132 |
| 00:10:22,420 --> 00:10:28,520 |
| مات، يذكرنا مرة أخرى كيف يؤمن في عيونه، يعطينا نوع |
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| 133 |
| 00:10:28,520 --> 00:10:33,030 |
| من الأمل أو مقفلة أو نهايةSo long as men can |
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| 134 |
| 00:10:33,030 --> 00:10:38,730 |
| breathe or eyes can see, so long lives this and |
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| 135 |
| 00:10:38,730 --> 00:10:40,990 |
| this gives life to thee So the couplet has one |
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| 136 |
| 00:10:40,990 --> 00:10:44,250 |
| idea، so again going back to your question، can we |
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| 137 |
| 00:10:44,250 --> 00:10:50,910 |
| call this here a couplet؟ Generally no، if you |
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| 138 |
| 00:10:50,910 --> 00:10:55,640 |
| find them alone wandering aroundyou could say that |
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| 139 |
| 00:10:55,640 --> 00:10:57,400 |
| but when you read them they are not going to give |
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| 140 |
| 00:10:57,400 --> 00:11:02,700 |
| you a full idea like the idea of so long as men |
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| 141 |
| 00:11:02,700 --> 00:11:05,200 |
| can breathe or eyes can see, so long as this or |
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| 142 |
| 00:11:05,200 --> 00:11:08,330 |
| this gives lifein other words in your exam I'm not |
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| 143 |
| 00:11:08,330 --> 00:11:10,550 |
| going to give you two lines from here and ask you |
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| 144 |
| 00:11:10,550 --> 00:11:13,070 |
| whether this is a couplet I'll give you a full |
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| 145 |
| 00:11:13,070 --> 00:11:18,530 |
| stanza either two lines if it's complete couplet |
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| 146 |
| 00:11:18,530 --> 00:11:23,610 |
| or quatrain four lines or six or maybe eight lines |
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| 147 |
| 00:11:23,610 --> 00:11:26,590 |
| but we usually because you're still beginning to |
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| 148 |
| 00:11:26,590 --> 00:11:29,390 |
| learn English in English literature I usually only |
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| 149 |
| 00:11:29,390 --> 00:11:31,590 |
| focus on two lines okay |
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| 150 |
| 00:11:37,040 --> 00:11:38,860 |
| any any other question about the sonnet, does |
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| 151 |
| 00:11:38,860 --> 00:11:41,100 |
| anyone want to ask questions about the sonnet, the |
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| 152 |
| 00:11:41,100 --> 00:11:44,980 |
| rhyme scheme, the importance of the sonnet, |
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| 153 |
| 00:11:45,080 --> 00:11:49,500 |
| Shakespeare and the sonnet please |
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| 154 |
| 00:11:49,500 --> 00:11:55,660 |
| do ask sorry not the sonnet, so no more sonnet |
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| 155 |
| 00:11:55,660 --> 00:12:01,440 |
| okay |
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| 156 |
| 00:12:01,440 --> 00:12:06,450 |
| I'll ask you a question hereفي .. في .. في .. في |
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| 157 |
| 00:12:06,450 --> 00:12:07,410 |
| .. في .. في .. في .. في .. في .. في .. في .. في .. |
|
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| 158 |
| 00:12:07,410 --> 00:12:07,970 |
| في .. في .. في .. في .. في .. في .. في .. في .. في |
|
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| 159 |
| 00:12:07,970 --> 00:12:08,330 |
| .. في .. في .. في .. في .. في .. في .. في .. في .. |
|
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| 160 |
| 00:12:08,330 --> 00:12:09,450 |
| في .. في .. في .. في .. في .. في .. في .. في .. في |
|
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| 161 |
| 00:12:09,450 --> 00:12:09,950 |
| .. في .. في .. في .. في .. في .. في .. في .. في .. |
|
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| 162 |
| 00:12:09,950 --> 00:12:12,310 |
| في .. في .. في .. في .. في .. في .. في .. في .. في |
|
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| 163 |
| 00:12:12,310 --> 00:12:12,590 |
| .. في .. في .. في .. في .. في .. في .. في .. في .. |
|
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| 164 |
| 00:12:12,590 --> 00:12:12,850 |
| في .. في .. في .. في .. في .. في .. في .. في .. في |
|
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| 165 |
| 00:12:12,850 --> 00:12:12,850 |
| .. في .. في .. في .. في .. في .. في .. في .. في .. |
|
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| 166 |
| 00:12:12,850 --> 00:12:12,850 |
| في .. في .. في .. في .. في .. في .. في .. في .. في |
|
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| 167 |
| 00:12:12,850 --> 00:12:13,930 |
| .. في .. في .. في .. في .. في .. في .. في .. في .. |
|
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| 168 |
| 00:12:13,930 --> 00:12:15,730 |
| في .. في .. في .. في .. في .. في .. في .. في .. في |
|
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| 169 |
| 00:12:15,730 --> 00:12:22,170 |
| .. في .. في .. في .. في .. |
|
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| 170 |
| 00:12:22,170 --> 00:12:27,990 |
| في .. في .. |
|
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| 171 |
| 00:12:30,600 --> 00:12:33,600 |
| Do they rhyme? Is there rhyme here? This doesn't |
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| 172 |
| 00:12:33,600 --> 00:12:37,880 |
| count generally, unless the sounds before it have |
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| 173 |
| 00:12:37,880 --> 00:12:42,120 |
| something similar to drop, like hops for example, |
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| 174 |
| 00:12:43,140 --> 00:12:49,460 |
| hops, drops and hopsلكن drop و box لا يتعرفون، |
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| 175 |
| 00:12:49,460 --> 00:12:53,200 |
| التعرف غالبا ليس الأصوات الأخيرة، عادة 2 أو أحيانا |
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| 176 |
| 00:12:53,200 --> 00:12:58,740 |
| 3، يجب أن ننظر إلى هذا بطيئة مرة أخرى، ماذا تفكر |
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| 177 |
| 00:12:58,740 --> 00:13:08,400 |
| بهذا؟ قصة مشهورة من مالو، سنقرأها لاحقا، يبدأ قصته |
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| 178 |
| 00:13:08,400 --> 00:13:09,200 |
| يقول come |
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| 179 |
| 00:13:13,380 --> 00:13:21,740 |
| Live with me and be my love and |
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| 180 |
| 00:13:25,340 --> 00:13:28,120 |
| Notice when you begin a line of verse, you begin |
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| 181 |
| 00:13:28,120 --> 00:13:31,820 |
| with capital. That's the rules when you write |
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| 182 |
| 00:13:31,820 --> 00:13:35,520 |
| poetry. The first word, you capitalize the first |
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| 183 |
| 00:13:35,520 --> 00:13:38,440 |
| letter of the first word of each and every line. |
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| 184 |
| 00:13:39,400 --> 00:13:42,280 |
| And this is how you distinguish sometimes verse |
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| 185 |
| 00:13:42,280 --> 00:13:45,500 |
| from prose in Shakespeare. If it is capitalized, |
|
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| 186 |
| 00:13:45,600 --> 00:13:48,080 |
| then it's poetry. If it's not, it's prose. But |
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| 187 |
| 00:13:48,080 --> 00:13:51,120 |
| more important than this is the musicنحن رأينا |
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| 188 |
| 00:13:51,120 --> 00:13:54,940 |
| كمان شايلوف لا يستخدم الكتابة في have not a true |
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| 189 |
| 00:13:54,940 --> 00:14:06,440 |
| eyes و سوف نستخدم كل المعجزات هذا |
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| 190 |
| 00:14:06,440 --> 00:14:16,520 |
| قصة مشهورة جدا هنا هل هي قصة مشهورة؟ لا لدينا |
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| 191 |
| 00:14:16,520 --> 00:14:19,600 |
| love and |
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| 192 |
| 00:14:21,850 --> 00:14:28,910 |
| Prove Okay we have O V E and also O V E if you |
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| 193 |
| 00:14:28,910 --> 00:14:33,750 |
| know how to do transcription this is love and this |
|
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| 194 |
| 00:14:33,750 --> 00:14:40,090 |
| is prove probably next year what do you think of |
|
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| 195 |
| 00:14:40,090 --> 00:14:45,090 |
| this is this a couplet do we have rhyme here what |
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| 196 |
| 00:14:45,090 --> 00:14:50,130 |
| do you think it's not a couplet because the sound |
|
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| 197 |
| 00:14:50,130 --> 00:14:53,380 |
| is differentThe sounds are different, we have love |
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| 198 |
| 00:14:53,380 --> 00:15:03,400 |
| like dove, cut, hot, but and this is prove What do |
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| 199 |
| 00:15:03,400 --> 00:15:05,180 |
| you think? Does anybody have something? |
|
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| 200 |
| 00:15:08,260 --> 00:15:12,920 |
| If you look at the words, if you look at the |
|
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| 201 |
| 00:15:12,920 --> 00:15:18,340 |
| words, they look similar They look similar O V E O |
|
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| 202 |
| 00:15:18,340 --> 00:15:23,860 |
| V EThe V sound is the same but the one before, so |
|
|
| 203 |
| 00:15:23,860 --> 00:15:25,960 |
| if you look at it from a distance, if you don't |
|
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| 204 |
| 00:15:25,960 --> 00:15:28,440 |
| know the words, how they are pronounced, you think |
|
|
| 205 |
| 00:15:28,440 --> 00:15:32,280 |
| they rhyme, but in reality they don't perfectly |
|
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| 206 |
| 00:15:32,280 --> 00:15:37,720 |
| rhymeهم يراميين بشكل محدد، نسمي هذا .. لديه إسمات |
|
|
| 207 |
| 00:15:37,720 --> 00:15:41,820 |
| مختلفة، يسميها رامي غير ممتاز أو أحيانًا يسميها اي |
|
|
| 208 |
| 00:15:41,820 --> 00:15:45,940 |
| رامي، هل تعرفين اي رامي؟ لأنك تنظر إليها، تبدوا |
|
|
| 209 |
| 00:15:45,940 --> 00:15:50,380 |
| كما لو كانوا يراميين، لكنهم لا يراميين بشكل ممتاز، |
|
|
| 210 |
| 00:15:50,380 --> 00:15:55,940 |
| لذلك، ماهو هذا؟ إنه ما زلت كابلت، هذا كابلت، لأنه |
|
|
| 211 |
| 00:15:55,940 --> 00:15:59,260 |
| لديه فكرة واحدة، تعالي تعيشي معي و تكون حبيبي و |
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| 212 |
| 00:15:59,260 --> 00:16:00,260 |
| سنقوم بجمع جمهور |
|
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| 213 |
| 00:16:02,820 --> 00:16:06,480 |
| Is there a rhyme here? yes but the rhyme is |
|
|
| 214 |
| 00:16:06,480 --> 00:16:14,060 |
| imperfect imperfect still a rhyme now imperfect |
|
|
| 215 |
| 00:16:14,060 --> 00:16:16,940 |
| rhyme is still a rhyme they rhyme but they don't |
|
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| 216 |
| 00:16:16,940 --> 00:16:18,980 |
| rhyme one hundred percent they rhyme like what |
|
|
| 217 |
| 00:16:18,980 --> 00:16:22,780 |
| sixty fifty percent now there is a justification |
|
|
| 218 |
| 00:16:22,780 --> 00:16:28,660 |
| for here sometimes the poet uses imperfect rhyme |
|
|
| 219 |
| 00:16:28,660 --> 00:16:33,630 |
| to tell us there's something wrong hereانظر إلى |
|
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| 220 |
| 00:16:33,630 --> 00:16:41,370 |
| هذا، هذا قصة من رجل يقابل حبيبه لحبه و يعيش معاه، |
|
|
| 221 |
| 00:16:41,370 --> 00:16:46,870 |
| لماذا؟ كيف يحاول أن يثبتها؟ هو يقول لها نحن سنحصل |
|
|
| 222 |
| 00:16:46,870 --> 00:16:50,990 |
| على جمهورنا جميعا، نحن لدينا جمهورنا جميعا في |
|
|
| 223 |
| 00:16:50,990 --> 00:16:54,830 |
| العالم، في الحقيقة لا أحد لديه جمهوره جميعا في |
|
|
| 224 |
| 00:16:54,830 --> 00:16:59,170 |
| العالم، لا أحد لديه جمهوره جميعا في العالم، |
|
|
| 225 |
| 00:17:02,990 --> 00:17:07,870 |
| في الحقيقة هو لا يخبر الحقيقة و هذا الصوت اللي |
|
|
| 226 |
| 00:17:07,870 --> 00:17:15,130 |
| يظهر هنا هو يخبرنا أنه يحكي لأنه يحاول أن يوصف |
|
|
| 227 |
| 00:17:15,130 --> 00:17:21,080 |
| الحياة للمرأة كمفتاحperfect life, but even the |
|
|
| 228 |
| 00:17:21,080 --> 00:17:24,080 |
| rhyme doesn't rhyme perfectly, that's the trick |
|
|
| 229 |
| 00:17:24,080 --> 00:17:27,020 |
| here, so the rhyme .. the imperfect rhyme here |
|
|
| 230 |
| 00:17:27,020 --> 00:17:31,280 |
| tells us something about the idea, so there is |
|
|
| 231 |
| 00:17:31,280 --> 00:17:33,940 |
| imperfection in the poem and the imperfection is |
|
|
| 232 |
| 00:17:33,940 --> 00:17:38,070 |
| reflected in the imperfect rhymeولكن ماذا يقول |
|
|
| 233 |
| 00:17:38,070 --> 00:17:42,570 |
| الراجل؟ هو يقول الحياة ممتازة، أنا أملك كل شيء، كل |
|
|
| 234 |
| 00:17:42,570 --> 00:17:44,970 |
| شيء بخير، أنا أملك كل شيء، نحن نستطيع أن نحصل على |
|
|
| 235 |
| 00:17:44,970 --> 00:17:48,830 |
| كل المعجزات في العالم وصوت القصة تخبرنا أنه يحكي |
|
|
| 236 |
| 00:17:48,830 --> 00:17:53,710 |
| لأن خطة الـ rhyme ليست ممتازة، إنها تشكل شيء غير |
|
|
| 237 |
| 00:17:53,710 --> 00:17:58,830 |
| ممتاز في المعنى، في الفكرة أو بسيطة، بعض الناس |
|
|
| 238 |
| 00:17:58,830 --> 00:18:02,690 |
| يقولون، ولكن هذه إجابة غير ممتازة، ربما في وقت |
|
|
| 239 |
| 00:18:02,690 --> 00:18:08,550 |
| شكسبير أو مارلو، ربما هذه الكلماتcould have the |
|
|
| 240 |
| 00:18:08,550 --> 00:18:12,810 |
| same rhyme could have rhymed in the past like |
|
|
| 241 |
| 00:18:12,810 --> 00:18:16,330 |
| three four hundred years ago maybe they rhymed I |
|
|
| 242 |
| 00:18:16,330 --> 00:18:19,910 |
| don't know how which is better to say love and |
|
|
| 243 |
| 00:18:19,910 --> 00:18:25,710 |
| prove or love and prove love or prove yeah in my |
|
|
| 244 |
| 00:18:25,710 --> 00:18:28,750 |
| opinion I think it's harsh to destroy love saying |
|
|
| 245 |
| 00:18:28,750 --> 00:18:34,630 |
| provemaybe you can play with but I don't know how |
|
|
| 246 |
| 00:18:34,630 --> 00:18:37,210 |
| they pronounce it maybe we can check this later on |
|
|
| 247 |
| 00:18:37,210 --> 00:18:41,690 |
| so what's the point here sometimes this is not |
|
|
| 248 |
| 00:18:41,690 --> 00:18:45,790 |
| rhyme because the S here doesn't make rhyme you |
|
|
| 249 |
| 00:18:45,790 --> 00:18:50,070 |
| need to check the letter the sound before here we |
|
|
| 250 |
| 00:18:50,070 --> 00:18:53,710 |
| check the sound before and they don't perfectly |
|
|
| 251 |
| 00:18:53,710 --> 00:18:59,860 |
| rhyme we call it imperfect rhyme or I rhymeهل هذا |
|
|
| 252 |
| 00:18:59,860 --> 00:19:06,200 |
| مهم في القصة؟ نعم لأنها تظهر شيء عن القصة ومعنى |
|
|
| 253 |
| 00:19:06,200 --> 00:19:11,060 |
| القصة نفسها القصة تقول انتظر لحظة هناك موسيقى |
|
|
| 254 |
| 00:19:11,060 --> 00:19:16,340 |
| وممتع ولكن هنا لا يوجد موسيقى ممتعة لا يوجد موسيقى |
|
|
| 255 |
| 00:19:16,340 --> 00:19:19,720 |
| ممتعة لأن هناك شيء غير صح ماهي غير صح هنا؟ قصد |
|
|
| 256 |
| 00:19:19,720 --> 00:19:26,720 |
| يكذب على زوجته واسم القصة هنا The Shepherdsالشيبرد |
|
|
| 257 |
| 00:19:26,720 --> 00:19:31,000 |
| ال .. the .. the speaker, the character, the man |
|
|
| 258 |
| 00:19:31,000 --> 00:19:33,000 |
| saying come live with me and be my love is a |
|
|
| 259 |
| 00:19:33,000 --> 00:19:37,200 |
| shepherd and a shepherd is generally a poor man |
|
|
| 260 |
| 00:19:37,200 --> 00:19:42,080 |
| who takes care of sheep if you are a shepherd you |
|
|
| 261 |
| 00:19:42,080 --> 00:19:45,700 |
| .. it's impossible for you to have all .. all the |
|
|
| 262 |
| 00:19:45,700 --> 00:19:49,780 |
| pleasures in life etc okay |
|
|
| 263 |
| 00:19:50,950 --> 00:19:52,690 |
| No more questions about the sonnet, please do ask |
|
|
| 264 |
| 00:19:52,690 --> 00:19:55,170 |
| if you have any. The sonnet, go. So I didn't get |
|
|
| 265 |
| 00:19:55,170 --> 00:19:59,170 |
| it clearly, but is a rhyme scheme focused more on |
|
|
| 266 |
| 00:19:59,170 --> 00:20:01,890 |
| the letters rather than the sound? The sound of |
|
|
| 267 |
| 00:20:01,890 --> 00:20:05,150 |
| course, no, the sound. When it comes to the rhyme, |
|
|
| 268 |
| 00:20:05,770 --> 00:20:13,990 |
| we care about the sound, not the letter. But verbs |
|
|
| 269 |
| 00:20:13,990 --> 00:20:17,230 |
| and verbs like, must be clearer than love and |
|
|
| 270 |
| 00:20:17,230 --> 00:20:21,740 |
| rules.this one? no yeah no sometimes yes like why |
|
|
| 271 |
| 00:20:21,740 --> 00:20:25,080 |
| why why wouldn't this rhyme? like because more |
|
|
| 272 |
| 00:20:25,080 --> 00:20:27,240 |
| important this is an additional letter like it |
|
|
| 273 |
| 00:20:27,240 --> 00:20:31,740 |
| just comes and goes drop |
|
|
| 274 |
| 00:20:31,740 --> 00:20:39,120 |
| and book? no way drop book book book |
|
|
| 275 |
| 00:20:42,220 --> 00:20:52,000 |
| even if we say for example drop |
|
|
| 276 |
| 00:20:52,000 --> 00:20:59,720 |
| drop drop drop it still doesn't rhyme drop and بق |
|
|
| 277 |
| 00:20:59,720 --> 00:21:06,000 |
| no way there is no rhyme here but with the S does |
|
|
| 278 |
| 00:21:06,000 --> 00:21:10,290 |
| it rhyme no I don't think it rhymes hereلكن إذا |
|
|
| 279 |
| 00:21:10,290 --> 00:21:16,130 |
| كنت تقلق، لا بأس، ليس مشكلة كبيرة، نعم؟ إذا كان |
|
|
| 280 |
| 00:21:16,130 --> 00:21:21,710 |
| هناك تقصير و طلبنا أن نكتب عنه، هل يجب أن نكتب |
|
|
| 281 |
| 00:21:21,710 --> 00:21:25,730 |
| drop A و box B؟ نعم، لكن إذا لم تكن تكتب عنه، لأنك |
|
|
| 282 |
| 00:21:25,730 --> 00:21:29,770 |
| ما زلت مبدأ، ليس هذا نهاية العالم نفس الشيء مع |
|
|
| 283 |
| 00:21:29,770 --> 00:21:33,090 |
| love and war، هل يجب أن نكتب عنه؟ لا، لكن هناك رمز |
|
|
| 284 |
| 00:21:33,090 --> 00:21:37,580 |
| هنا، هناك رمز هناbut it's imperfect, this is |
|
|
| 285 |
| 00:21:37,580 --> 00:21:43,160 |
| clearer than this in many ways, good question, so |
|
|
| 286 |
| 00:21:43,160 --> 00:21:46,480 |
| because this is not year four, you're not about to |
|
|
| 287 |
| 00:21:46,480 --> 00:21:48,780 |
| graduate, you're still starting your life learning |
|
|
| 288 |
| 00:21:48,780 --> 00:21:50,500 |
| English, English poetry and you're not native |
|
|
| 289 |
| 00:21:50,500 --> 00:21:53,120 |
| speakers, so sometimes there's a lot of |
|
|
| 290 |
| 00:21:53,120 --> 00:21:59,480 |
| flexibility, yesgo on next I wanna ask something |
|
|
| 291 |
| 00:21:59,480 --> 00:22:04,560 |
| are the questions about history for example who |
|
|
| 292 |
| 00:22:04,560 --> 00:22:07,780 |
| invaded England are they included in the exam? |
|
|
| 293 |
| 00:22:08,740 --> 00:22:13,000 |
| listen this is a course about the literature |
|
|
| 294 |
| 00:22:13,000 --> 00:22:16,620 |
| itself or the situation we are not studying |
|
|
| 295 |
| 00:22:16,620 --> 00:22:19,080 |
| history we are studying literature this is an |
|
|
| 296 |
| 00:22:19,080 --> 00:22:22,900 |
| introduction to English literature course for |
|
|
| 297 |
| 00:22:22,900 --> 00:22:27,300 |
| beginnersوقد قلت في البداية أننا سنقوم بتجارب قصص |
|
|
| 298 |
| 00:22:27,300 --> 00:22:33,720 |
| الكتابة في مجالها التاريخي، وسنقوم بتدري كيف كانت |
|
|
| 299 |
| 00:22:33,720 --> 00:22:36,480 |
| التاريخ أو الأحداث التاريخية تأثير على الكتابة |
|
|
| 300 |
| 00:22:36,480 --> 00:22:41,740 |
| وكيف تأثير الكتابة على الحياة، تغيير الحياة بطريقة |
|
|
| 301 |
| 00:22:41,740 --> 00:22:46,160 |
| ما أو باختصار آخر، لكن التركيز، 80% من تركيزنا على |
|
|
| 302 |
| 00:22:46,160 --> 00:22:51,150 |
| الكتابةبعض الأحداث في التاريخ مهمة جدًا مثل الـ |
|
|
| 303 |
| 00:22:51,150 --> 00:22:55,930 |
| printing press يجب أن تتعرف على هذا هذا مصطلح علمي |
|
|
| 304 |
| 00:22:55,930 --> 00:23:00,070 |
| انه مصطلح علمي انه مصطلح علمي انه مصطلح علمي انه |
|
|
| 305 |
| 00:23:00,070 --> 00:23:01,450 |
| مصطلح علمي انه مصطلح علمي انه مصطلح علمي انه مصطلح |
|
|
| 306 |
| 00:23:01,450 --> 00:23:02,550 |
| علمي انه مصطلح علمي انه مصطلح علمي انه مصطلح علمي |
|
|
| 307 |
| 00:23:02,550 --> 00:23:02,650 |
| انه مصطلح علمي انه مصطلح علمي انه مصطلح علمي انه |
|
|
| 308 |
| 00:23:02,650 --> 00:23:06,610 |
| مصطلح علمي انه مصطلح علمي انه مصطلح علمي انه مصطلح |
|
|
| 309 |
| 00:23:06,610 --> 00:23:12,710 |
| علمي انه مصطلح |
|
|
| 310 |
| 00:23:12,710 --> 00:23:13,470 |
| علمي |
|
|
| 311 |
| 00:23:17,620 --> 00:23:24,780 |
| 1 سنة 200 صحيحة مثلا الانفجار الفرنسي النارماني |
|
|
| 312 |
| 00:23:24,780 --> 00:23:28,700 |
| عندما جاءوا لإنجلان انفجروا اللغة في الكتابة |
|
|
| 313 |
| 00:23:28,700 --> 00:23:33,680 |
| فالركز على الكتابة ولكن يجب أن تكون مهم أن تعرف |
|
|
| 314 |
| 00:23:33,680 --> 00:23:38,920 |
| الأحداث التاريخية المهمة مثلا بريطانيا تم انفجارها |
|
|
| 315 |
| 00:23:38,920 --> 00:23:42,500 |
| الكثير من الناس من أوروبا انغلومر، ساكسن، جويت، |
|
|
| 316 |
| 00:23:42,500 --> 00:23:46,700 |
| هذا ليس موجود يجب أن تعرف هذاOkay are you gonna |
|
|
| 317 |
| 00:23:46,700 --> 00:23:50,480 |
| put a question in the exam? maybe but the question |
|
|
| 318 |
| 00:23:50,480 --> 00:23:53,860 |
| here is in their .. in the literary context in the |
|
|
| 319 |
| 00:23:53,860 --> 00:23:57,000 |
| sense that remember when we spoke about old |
|
|
| 320 |
| 00:23:57,000 --> 00:24:01,880 |
| English we saidat that time we didn't have a clear |
|
|
| 321 |
| 00:24:01,880 --> 00:24:05,380 |
| idea of what England is even the literature was |
|
|
| 322 |
| 00:24:05,380 --> 00:24:08,740 |
| not pure English in the sense we have now or even |
|
|
| 323 |
| 00:24:08,740 --> 00:24:12,640 |
| the sense Shakespeare composed because people |
|
|
| 324 |
| 00:24:12,640 --> 00:24:16,340 |
| still had .. came from different countries across |
|
|
| 325 |
| 00:24:16,340 --> 00:24:21,160 |
| Europe and they were using different languagesSo |
|
|
| 326 |
| 00:24:21,160 --> 00:24:23,880 |
| did this .. they know the invasions .. did this |
|
|
| 327 |
| 00:24:23,880 --> 00:24:26,420 |
| influence the culture, the language, the |
|
|
| 328 |
| 00:24:26,420 --> 00:24:29,080 |
| literature؟ Yes and that's the focus So at that |
|
|
| 329 |
| 00:24:29,080 --> 00:24:32,060 |
| time we said England was trying to shape its |
|
|
| 330 |
| 00:24:32,060 --> 00:24:36,300 |
| identityفي السنة المتوسطة، السنة المتوسطة |
|
|
| 331 |
| 00:24:36,300 --> 00:24:40,940 |
| الإنقليزية، بعد 3، 4، 500 عاماً، بدأنا نتحدث عن |
|
|
| 332 |
| 00:24:40,940 --> 00:24:43,340 |
| الكتابة الإنقليزية، الكتابة الإنقليزية الحقيقية |
|
|
| 333 |
| 00:24:43,340 --> 00:24:46,320 |
| عندما نتحدث عن Chaucer نقول، في Chaucer، هناك |
|
|
| 334 |
| 00:24:46,320 --> 00:24:50,080 |
| دائما هذا الانتقال في أن نكون مختلفين، بدأ حياته |
|
|
| 335 |
| 00:24:50,080 --> 00:24:52,500 |
| بالطريقة التي كان يمثل بعض الكتابات الإيطالية |
|
|
| 336 |
| 00:24:52,500 --> 00:24:57,820 |
| والفرنسية، لكن بعد ذلك، فإنشغل طريقته وركز على |
|
|
| 337 |
| 00:24:57,820 --> 00:24:59,180 |
| كتابة الإنقليزية |
|
|
| 338 |
| 00:25:03,090 --> 00:25:05,710 |
| because when you have your own country you want to |
|
|
| 339 |
| 00:25:05,710 --> 00:25:07,590 |
| have your own culture and literature, you want to |
|
|
| 340 |
| 00:25:07,590 --> 00:25:09,870 |
| be different, you want to create your identity, |
|
|
| 341 |
| 00:25:10,010 --> 00:25:12,590 |
| remember we spoke about the English identity when |
|
|
| 342 |
| 00:25:12,590 --> 00:25:16,730 |
| we mentioned Skelton, Philip Sparrow, vengeance I |
|
|
| 343 |
| 00:25:16,730 --> 00:25:21,490 |
| ask and cryقلنا إن جون سكيلتون كان شخصًا مهمًا في |
|
|
| 344 |
| 00:25:21,490 --> 00:25:26,330 |
| ذلك الوقت لأنه كان يساعد في شكل اعتبار الإنقليزية |
|
|
| 345 |
| 00:25:26,330 --> 00:25:30,270 |
| الإنقليزية وفي قصته يمكننا أن نجد قصة مختلفة من |
|
|
| 346 |
| 00:25:30,270 --> 00:25:37,310 |
| قصة أوروبا وخاصة إيطاليا وفرنسا في قصته هناك شعور |
|
|
| 347 |
| 00:25:37,310 --> 00:25:40,710 |
| قوي لإنقليزية الإنقليزية ماهي إنقليزية الإنقليزية؟ |
|
|
| 348 |
| 00:25:40,710 --> 00:25:44,370 |
| ماذا يعني أن تكون إنقليزيا؟ ماذا يجعلك مختلفا من |
|
|
| 349 |
| 00:25:44,370 --> 00:25:52,020 |
| الإيطاليين والفرنسا؟number one your language |
|
|
| 350 |
| 00:25:52,020 --> 00:25:57,620 |
| right? number two your literature, your poetry, |
|
|
| 351 |
| 00:25:57,960 --> 00:26:00,160 |
| the stories, the narratives, the customs, the |
|
|
| 352 |
| 00:26:00,160 --> 00:26:03,700 |
| habits, so they were focusing on the things that |
|
|
| 353 |
| 00:26:03,700 --> 00:26:08,390 |
| make them differentهذه الانفجارات مهمة لأن |
|
|
| 354 |
| 00:26:08,390 --> 00:26:12,990 |
| الإنجليزية كلغة في الواقع موجودة من كلمات مختلفة، |
|
|
| 355 |
| 00:26:12,990 --> 00:26:18,670 |
| هناك طريقات اللاتين، طريقات ألمانيا، كلمات فرنسية، |
|
|
| 356 |
| 00:26:18,670 --> 00:26:20,750 |
| الكثير من الكلمات فرنسية، حتى كلمات عربية، |
|
|
| 357 |
| 00:26:20,750 --> 00:26:24,730 |
| الإنجليزية طبعاً هي كلمة مستقلة جداً، تتخلص من كل |
|
|
| 358 |
| 00:26:24,730 --> 00:26:30,950 |
| الكلمات، لذلك الانفجارات مهمة لكي تفهمها، لأن هذا |
|
|
| 359 |
| 00:26:30,950 --> 00:26:33,730 |
| هو طريقة انتصار إنجليزيا إلى إنجليزيا، انتصار |
|
|
| 360 |
| 00:26:33,730 --> 00:26:39,680 |
| مختلفةهناك حركة قوية في إنجلترا و في الولايات |
|
|
| 361 |
| 00:26:39,680 --> 00:26:42,700 |
| المتحدة التي تسمى بـ white supremacy، حيث الناس |
|
|
| 362 |
| 00:26:42,700 --> 00:26:47,560 |
| يقولون إن إنجلترا هي للبلايين، فقط الناس البلايين |
|
|
| 363 |
| 00:26:47,560 --> 00:26:53,590 |
| و أمريكا هي للبلايين، هذا غريب حقًاRacism, because |
|
|
| 364 |
| 00:26:53,590 --> 00:26:55,910 |
| of racism, yeah, but also because England and |
|
|
| 365 |
| 00:26:55,910 --> 00:26:59,070 |
| America, they started on diversity in a sense, |
|
|
| 366 |
| 00:26:59,490 --> 00:27:01,530 |
| people from across Europe came there, people from |
|
|
| 367 |
| 00:27:01,530 --> 00:27:04,690 |
| across Europe went to America, and there was this |
|
|
| 368 |
| 00:27:04,690 --> 00:27:09,690 |
| reconstructuring of, they found a body of 10,000 |
|
|
| 369 |
| 00:27:09,690 --> 00:27:13,390 |
| years ago in England, and when they did |
|
|
| 370 |
| 00:27:13,390 --> 00:27:15,790 |
| experiments and tests, they realized that one, |
|
|
| 371 |
| 00:27:16,230 --> 00:27:21,940 |
| he's a black manفي إنجلترا، كان هناك 10 ألف عامًا |
|
|
| 372 |
| 00:27:21,940 --> 00:27:26,220 |
| قبل ذلك وكان أعتبر .. أعتقد أنه أبطال من 20% من |
|
|
| 373 |
| 00:27:26,220 --> 00:27:30,820 |
| الناس الإنجليزية الآن فالفكرة |
|
|
| 374 |
| 00:27:30,820 --> 00:27:34,980 |
| عن مجتمع صحيح هو مخطط، ليس صحيحًا، إنها تصميم، |
|
|
| 375 |
| 00:27:34,980 --> 00:27:38,400 |
| الناس دائمًا تتعامل مع بعضها البعض، لماذا هذا |
|
|
| 376 |
| 00:27:38,400 --> 00:27:42,760 |
| الرجل بلقه بلقه في إنجلترا؟ لأن الناس عبرت حوارات |
|
|
| 377 |
| 00:27:42,760 --> 00:27:46,260 |
| تبحث عن حماية أو طعام تتعامل مع بعضها البعض بطريقة |
|
|
| 378 |
| 00:27:46,260 --> 00:27:51,570 |
| أو أخرىsome of the names are really hard to spell |
|
|
| 379 |
| 00:27:51,570 --> 00:27:54,650 |
| if you misspell some .. no worries about spelling |
|
|
| 380 |
| 00:27:54,650 --> 00:27:59,930 |
| but like Machiavelli for example okay not easy to |
|
|
| 381 |
| 00:27:59,930 --> 00:28:02,890 |
| spell but try to train it to get as close as |
|
|
| 382 |
| 00:28:02,890 --> 00:28:05,710 |
| possible don't give me for example don't spell |
|
|
| 383 |
| 00:28:05,710 --> 00:28:11,450 |
| spaghetti Machiavelli is Machiavelli what |
|
|
| 384 |
| 00:28:11,450 --> 00:28:14,430 |
| difficult names but again most importantly I don't |
|
|
| 385 |
| 00:28:14,430 --> 00:28:16,250 |
| want you to misspell Shakespeare |
|
|
| 386 |
| 00:28:19,130 --> 00:28:22,870 |
| I feel sad that's shakes you know shake shakes |
|
|
| 387 |
| 00:28:22,870 --> 00:28:28,030 |
| shaking shake before use she shakes the I don't |
|
|
| 388 |
| 00:28:28,030 --> 00:28:32,790 |
| know the juice before use it's shake and then or |
|
|
| 389 |
| 00:28:32,790 --> 00:28:35,730 |
| shake spear I don't know how you would do this |
|
|
| 390 |
| 00:28:35,730 --> 00:28:40,630 |
| either shake or shakes and then or spear because |
|
|
| 391 |
| 00:28:40,630 --> 00:28:45,260 |
| spear is another word but this E is extraهل أخبرتك |
|
|
| 392 |
| 00:28:45,260 --> 00:28:50,040 |
| أن شيكسبيرز قمت بتسمية إسمه في 17 طرق |
|
|
| 393 |
| 00:28:50,040 --> 00:28:54,860 |
| مختلفة؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟طبعا |
|
|
| 394 |
| 00:28:54,860 --> 00:28:59,520 |
| لا يوجد |
|
|
| 395 |
| 00:28:59,520 --> 00:29:11,120 |
| طرق مختلفة لتسمية |
|
|
| 396 |
| 00:29:11,120 --> 00:29:16,270 |
| إسمكلم يكن هناك قوانين لـ Spelling الناس كانت |
|
|
| 397 |
| 00:29:16,270 --> 00:29:18,390 |
| تسميها بطريقات مختلفة فقط في السنة السادسة |
|
|
| 398 |
| 00:29:18,390 --> 00:29:21,050 |
| الواحدة، الناس بدأت لديها قوانين، افعل هذا، افعل |
|
|
| 399 |
| 00:29:21,050 --> 00:29:23,570 |
| ذلك، لا تفعل ذلك، اترك هذا، تغير هذا، تغير ذلك، |
|
|
| 400 |
| 00:29:23,570 --> 00:29:24,170 |
| تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، |
|
|
| 401 |
| 00:29:24,170 --> 00:29:24,650 |
| تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، |
|
|
| 402 |
| 00:29:24,650 --> 00:29:25,990 |
| تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، |
|
|
| 403 |
| 00:29:25,990 --> 00:29:30,470 |
| تغير ذلك، |
|
|
| 404 |
| 00:29:30,470 --> 00:29:39,650 |
| تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، تغير ذلك، |
|
|
| 405 |
| 00:29:39,650 --> 00:29:43,430 |
| تغير ذthis we want to really appreciate |
|
|
| 406 |
| 00:29:43,430 --> 00:29:46,590 |
| Shakespeare for what he does what other names do |
|
|
| 407 |
| 00:29:46,590 --> 00:29:47,330 |
| you find difficult? |
|
|
| 408 |
| 00:29:53,310 --> 00:30:00,690 |
| Bewolf؟ لسه |
|
|
| 409 |
| 00:30:00,690 --> 00:30:06,570 |
| if it is something I skipped you just skip it if I |
|
|
| 410 |
| 00:30:06,570 --> 00:30:09,790 |
| skip names of authors names of texts you just skip |
|
|
| 411 |
| 00:30:09,790 --> 00:30:14,170 |
| thembut other than this, the background, the talk, |
|
|
| 412 |
| 00:30:14,270 --> 00:30:16,150 |
| the brief description about the age, about the |
|
|
| 413 |
| 00:30:16,150 --> 00:30:19,150 |
| writer, about the text please go through them and |
|
|
| 414 |
| 00:30:19,150 --> 00:30:20,970 |
| I want you to read what is in the book because |
|
|
| 415 |
| 00:30:20,970 --> 00:30:24,150 |
| this is how you improve your writing and your |
|
|
| 416 |
| 00:30:24,150 --> 00:30:27,590 |
| English the |
|
|
| 417 |
| 00:30:27,590 --> 00:30:30,370 |
| name, the authors, the texts we study, we examine, |
|
|
| 418 |
| 00:30:30,610 --> 00:30:35,510 |
| we mention in this class if I skip something, any |
|
|
| 419 |
| 00:30:35,510 --> 00:30:40,440 |
| name, any text, you just skip itplease are we |
|
|
| 420 |
| 00:30:40,440 --> 00:30:43,500 |
| going to be asked about .. يعني to summarize what |
|
|
| 421 |
| 00:30:43,500 --> 00:30:47,480 |
| they place on Shakespeare? generally no you wont |
|
|
| 422 |
| 00:30:47,480 --> 00:30:51,720 |
| but maybe for example in one of your questions is |
|
|
| 423 |
| 00:30:51,720 --> 00:30:58,700 |
| going to ask you to contextualize anyway |
|
|
| 424 |
| 00:30:58,700 --> 00:31:00,380 |
| I shouldn't be speaking about this now because |
|
|
| 425 |
| 00:31:00,380 --> 00:31:03,580 |
| we'll talk about this when we approach the exams |
|
|
| 426 |
| 00:31:03,580 --> 00:31:10,460 |
| you know contextto contextualize a text so I'll |
|
|
| 427 |
| 00:31:10,460 --> 00:31:14,280 |
| ask you for example if I bring you five extracts |
|
|
| 428 |
| 00:31:14,280 --> 00:31:18,340 |
| from poems or texts we studied and I ask you to |
|
|
| 429 |
| 00:31:18,340 --> 00:31:22,020 |
| contextualize three or four of them I usually give |
|
|
| 430 |
| 00:31:22,020 --> 00:31:26,860 |
| you more choices so more flexibility okay question |
|
|
| 431 |
| 00:31:26,860 --> 00:31:30,240 |
| number one is to be or not to be that is the |
|
|
| 432 |
| 00:31:30,240 --> 00:31:34,500 |
| question so number one you put it in its context |
|
|
| 433 |
| 00:31:34,500 --> 00:31:41,340 |
| you tell meThis is by Hamlet from Hamlet by |
|
|
| 434 |
| 00:31:41,340 --> 00:31:48,800 |
| Shakespeare Hamlet is a tragedy of a young prince |
|
|
| 435 |
| 00:31:48,800 --> 00:31:54,780 |
| who wanted to take revenge because his uncle |
|
|
| 436 |
| 00:31:54,780 --> 00:32:00,640 |
| killed his fathermost importantly focus on the |
|
|
| 437 |
| 00:32:00,640 --> 00:32:04,020 |
| text I give you however because hamlet is a modern |
|
|
| 438 |
| 00:32:04,020 --> 00:32:09,560 |
| man a university student he is in conflict to kill |
|
|
| 439 |
| 00:32:09,560 --> 00:32:12,040 |
| or not to kill, to be or not to be, to die or not |
|
|
| 440 |
| 00:32:12,040 --> 00:32:18,120 |
| to die and this is hamlet's tragic flow you know |
|
|
| 441 |
| 00:32:18,120 --> 00:32:25,810 |
| tragedy, tragic his weakness is hesitationهزيتشان |
|
|
| 442 |
| 00:32:25,810 --> 00:32:29,550 |
| تعرفين هزيتشان؟ ان تكون او لا تكون، ان تقتل او لا |
|
|
| 443 |
| 00:32:29,550 --> 00:32:34,410 |
| تقتل، ان تلعب او لا تلعب، انه يهزيت، هذا كله، هذا |
|
|
| 444 |
| 00:32:34,410 --> 00:32:40,310 |
| يسمى كونتكستوليزيات، ولكن على الرغم من أنه فلسوفر، |
|
|
| 445 |
| 00:32:40,310 --> 00:32:46,930 |
| على الأقل، لديه قليل من الجمال في صندوقه، هذا من |
|
|
| 446 |
| 00:32:46,930 --> 00:32:52,850 |
| قصص الـCanterbury by Chaucer، هذه اللعبة، هذه |
|
|
| 447 |
| 00:32:52,850 --> 00:32:53,890 |
| اللعبة اللعبية الصحيحة، |
|
|
| 448 |
| 00:32:56,840 --> 00:32:59,580 |
| Okay has irony but probably before this give me |
|
|
| 449 |
| 00:32:59,580 --> 00:33:02,880 |
| the context it tells the story of a philosopher |
|
|
| 450 |
| 00:33:02,880 --> 00:33:08,700 |
| who instead of collecting knowledge is collecting |
|
|
| 451 |
| 00:33:08,700 --> 00:33:13,400 |
| money there is irony here because Chaucer is |
|
|
| 452 |
| 00:33:13,400 --> 00:33:19,820 |
| making fun of the new habits of the society short |
|
|
| 453 |
| 00:33:19,820 --> 00:33:22,840 |
| paragraphs like these okay clear to explain the |
|
|
| 454 |
| 00:33:22,840 --> 00:33:26,040 |
| linefocus on the line what do we have in the line |
|
|
| 455 |
| 00:33:26,040 --> 00:33:28,300 |
| when you tell me this is a couplet you save |
|
|
| 456 |
| 00:33:28,300 --> 00:33:30,500 |
| yourself a lot of time instead of saying the rhyme |
|
|
| 457 |
| 00:33:30,500 --> 00:33:32,240 |
| and there is a rhyme in one topic you say a |
|
|
| 458 |
| 00:33:32,240 --> 00:33:39,000 |
| couplet اه excellent okay |
|
|
| 459 |
| 00:33:39,000 --> 00:33:44,680 |
| again this extract is taken from canterberry tales |
|
|
| 460 |
| 00:33:44,680 --> 00:33:50,400 |
| by Chaucer that's number oneفي هذا المجلد، في هذه |
|
|
| 461 |
| 00:33:50,400 --> 00:33:56,220 |
| المجلة، Chaucer يتكلم عن طرق جديدة المجتمع، هنا |
|
|
| 462 |
| 00:33:56,220 --> 00:34:02,460 |
| لدينا فلوسفر مهتم بجمع المال أكتر من جمع المعرفة، |
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| 463 |
| 00:34:02,460 --> 00:34:09,960 |
| هناك عرنية في قليل الجمهور، لأن قليل الجمهور مستمر |
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| 464 |
| 00:34:09,960 --> 00:34:17,700 |
| في جمع الكثير من المال، شيء مثل هذاthis is called |
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| 465 |
| 00:34:17,700 --> 00:34:21,300 |
| contextualization, you don't have to memorize the |
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| 466 |
| 00:34:21,300 --> 00:34:24,880 |
| lines but if you do it will really be fun for you, |
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| 467 |
| 00:34:24,980 --> 00:34:28,620 |
| just .. I will not ask you to recite something or |
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| 468 |
| 00:34:28,620 --> 00:34:31,760 |
| write complete a line or something but when you |
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| 469 |
| 00:34:31,760 --> 00:34:34,380 |
| memorize line .. does anyone memorize anything |
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| 470 |
| 00:34:34,380 --> 00:34:38,360 |
| other than have not a juwais or something?it's |
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| 471 |
| 00:34:38,360 --> 00:34:42,120 |
| really fun for god's sake or shall I compare thee |
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| 472 |
| 00:34:42,120 --> 00:34:44,980 |
| to summers day you feel like oh my god I know more |
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| 473 |
| 00:34:44,980 --> 00:34:47,220 |
| English than anyone else you feel proud of |
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| 474 |
| 00:34:47,220 --> 00:34:50,820 |
| yourself you feel confident so long as men can .. |
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| 475 |
| 00:34:50,820 --> 00:34:54,060 |
| and listen very easy seriously one of the students |
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| 476 |
| 00:34:54,060 --> 00:34:57,300 |
| was like .. the boy was telling me the other day |
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| 477 |
| 00:34:57,300 --> 00:34:59,600 |
| that Shakespeare is difficult I hate Shakespeare |
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| 478 |
| 00:34:59,600 --> 00:35:02,880 |
| عشان this is a misconception this is a prejudice |
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| 479 |
| 00:35:02,880 --> 00:35:05,580 |
| did you study anything about Shakespeare did you |
|
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| 480 |
| 00:35:05,580 --> 00:35:08,600 |
| read anything about Shakespearenot much, when you |
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| 481 |
| 00:35:08,600 --> 00:35:10,840 |
| read his poetry to be or not to be that is the |
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| 482 |
| 00:35:10,840 --> 00:35:15,360 |
| question, yes it's not this simplistic but it's |
|
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| 483 |
| 00:35:15,360 --> 00:35:18,280 |
| easy to understand, so long as men can breathe or |
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| 484 |
| 00:35:18,280 --> 00:35:20,360 |
| eyes can see, so long lives this and this gives |
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| 485 |
| 00:35:20,360 --> 00:35:22,060 |
| life to it, that's why I usually advise my |
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| 486 |
| 00:35:22,060 --> 00:35:23,600 |
| students when you learn things about poetry, |
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| 487 |
| 00:35:23,740 --> 00:35:28,080 |
| Shakespeare, go, all of you use social media, post |
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| 488 |
| 00:35:28,080 --> 00:35:30,560 |
| this on your Facebook, on Twitter, on Instagram, |
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| 489 |
| 00:35:31,080 --> 00:35:36,200 |
| Snapchat, use them in your lifeToday I want all of |
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| 490 |
| 00:35:36,200 --> 00:35:39,240 |
| you to go home and when you have electricity, if |
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| 491 |
| 00:35:39,240 --> 00:35:43,780 |
| you have electricity, you just type and every fare |
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| 492 |
| 00:35:43,780 --> 00:35:46,200 |
| from fare sometime declines, one of the most |
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| 493 |
| 00:35:46,200 --> 00:35:51,210 |
| beautiful lines everبدأ بالتغيير من حياتك، |
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| 494 |
| 00:35:51,210 --> 00:35:53,870 |
| فيسبوكك، الانصار الاجتماعي، كل شيء إلى اللغة |
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| 495 |
| 00:35:53,870 --> 00:35:57,910 |
| الإنقليزية و انا متأكد انك ستستفيد منها كثيرًا، |
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| 496 |
| 00:35:57,910 --> 00:36:01,170 |
| لذا عندما الناس تسألك ما يعني هذا؟ سيكون عمك أو |
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| 497 |
| 00:36:01,170 --> 00:36:08,170 |
| عمك مثلًا واو، نحن فخورين منك عندما الناس تسألك |
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| 498 |
| 00:36:08,170 --> 00:36:13,890 |
| مايعني هذا، فانت فقط تشرحه لهم تشرح |
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| 499 |
| 00:36:13,890 --> 00:36:20,950 |
| أو فقط تشرحyes more questions more please I always |
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| 500 |
| 00:36:20,950 --> 00:36:24,690 |
| know that Shakespeare's style is three verse I |
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| 501 |
| 00:36:24,690 --> 00:36:26,350 |
| never know that his poems |
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| 502 |
| 00:36:29,180 --> 00:36:34,220 |
| Okay Shakespeare mainly wrote in verse, his |
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| 503 |
| 00:36:34,220 --> 00:36:38,940 |
| sonnets are classical English verse, but his plays |
|
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| 504 |
| 00:36:38,940 --> 00:36:42,180 |
| because when you write a five thousand line play, |
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| 505 |
| 00:36:42,700 --> 00:36:45,580 |
| you can't make them rhyme in any particular way, |
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| 506 |
| 00:36:46,300 --> 00:36:50,640 |
| so generally this is called blank verse What's |
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| 507 |
| 00:36:50,640 --> 00:36:54,260 |
| blank verse?It's a verse but doesn't rhyme. |
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| 508 |
| 00:36:54,840 --> 00:36:57,740 |
| Generally in the play because it's very difficult |
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| 509 |
| 00:36:57,740 --> 00:37:00,940 |
| to make the whole play rhyme a b a b or a b c a b |
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| 510 |
| 00:37:00,940 --> 00:37:04,600 |
| c or something and this is totally different from |
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| 511 |
| 00:37:04,600 --> 00:37:10,800 |
| totally different from free verse free verse is |
|
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| 512 |
| 00:37:10,800 --> 00:37:13,440 |
| something that appeared probably 200 years ago في |
|
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| 513 |
| 00:37:13,440 --> 00:37:17,260 |
| شعر الحرب free verse generally in in blank verse |
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| 514 |
| 00:37:17,260 --> 00:37:20,200 |
| we have music we have rhythm but we don't have |
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| 515 |
| 00:37:20,200 --> 00:37:26,010 |
| rhymeWe don't have rhyme. Three verses, generally |
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| 516 |
| 00:37:26,010 --> 00:37:33,090 |
| no music and no rhyme. It's the poetry that most |
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| 517 |
| 00:37:33,090 --> 00:37:36,610 |
| people write nowadays, 20th century, 21st century |
|
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| 518 |
| 00:37:38,990 --> 00:37:43,610 |
| في مقالته شيكسبير و مارلو قاموا بإستخدام قصة غير |
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| 519 |
| 00:37:43,610 --> 00:37:49,950 |
| موجودة لأنه إذا أردوا أن يركزوا على الرمز سيكون |
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| 520 |
| 00:37:49,950 --> 00:37:57,430 |
| ذلك مغلقا جدا في نفس الوقتhave chosen or what any |
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| 521 |
| 00:37:57,430 --> 00:38:00,030 |
| other literary works other than .. of course yeah |
|
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| 522 |
| 00:38:00,030 --> 00:38:03,690 |
| of course many and that's why he is the father of |
|
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| 523 |
| 00:38:03,690 --> 00:38:05,630 |
| English poetry or English literature you only |
|
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| 524 |
| 00:38:05,630 --> 00:38:08,450 |
| study .. we only studying the Canterbury tales |
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| 525 |
| 00:38:08,450 --> 00:38:11,030 |
| I'll stop here thank you very much for these |
|
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| 526 |
| 00:38:11,030 --> 00:38:14,610 |
| questions if you have more questions feel free to |
|
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| 527 |
| 00:38:14,610 --> 00:38:16,470 |
| ask thank you وطيكوا العافية |
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