COLLECTION NAME:
Deaf Studies, Culture, and History Archives
mediaCollectionId
RIT~7~7
Deaf Studies, Culture, and History Archives
Collection
true
Filename:
ds_0031_panarateaching_cap_02.mp4
filename
ds_0031_panarateaching_cap_02.mp4
Filename
false
Identifier:
ds_0031_panarateaching_cap_02.mp4
identifier
ds_0031_panarateaching_cap_02.mp4
Identifier
false
Title:
Poetry class part two analysis of poetry
title
Poetry class part two analysis of poetry
Title
false
Creator:
Panara, Robert
creator
Panara, Robert
Creator
false
Subject:
English poetry 17th century Study and teaching
subject
English poetry 17th century Study and teaching
Subject
false
Subject:
English poetry 20th century Study and teaching
subject
English poetry 20th century Study and teaching
Subject
false
Subject:
American Sign Language literature
subject
American Sign Language literature
Subject
false
Subject:
Deaf Poetry
subject
Deaf Poetry
Subject
false
Subject:
ASL poetry
subject
ASL poetry
Subject
false
Summary:
Dr. Panara discusses the vocabulary, analyzes similes and metaphors, and notes themes from several poems with a Deaf class, including John Masefield's "The West Wind," Robert Herrick's "To the Virgins, to Make Much of Time," and Shakespeare's "O Mistress Mine."
description
Dr. Panara discusses the vocabulary, analyzes similes and metaphors, and notes themes from several poems with a Deaf class, including John Masefield's "The West Wind," Robert Herrick's "To the Virgins, to Make Much of Time," and Shakespeare's "O Mistress Mine."
Summary
false
Publisher:
National Technical Institute for the Deaf
publisher
National Technical Institute for the Deaf
Publisher
false
Digital Publisher:
Rochester Institute of Technology - RIT Libraries - RIT Archive Collections
digital_publisher
Rochester Institute of Technology - RIT Libraries - RIT Archive Collections
Digital Publisher
false
Date of Original:
1974
date
1974
Date of Original
false
Date of Digitization:
2018
date_of_digitization
2018
Date of Digitization
false
Broad Type:
moving image
broad_type
moving image
Broad Type
false
Digital File Format:
mp4
format
mp4
Digital File Format
false
Physical Format:
VHS
physical_format
VHS
Physical Format
false
Dimensions of Original:
55 minutes
dimensions_of_original
55 minutes
Dimensions of Original
false
Language:
American Sign Language
language
American Sign Language
Language
false
Language:
English
language
English
Language
false
Original Item Location:
RITDSA.0031
relation
RITDSA.0031
Original Item Location
false
Library Collection:
Sculptures in the Air: An Accessible Online Video Repository of the American Sign Language (ASL) Poetry and Literature Collections
original_item_location
Sculptures in the Air: An Accessible Online Video Repository of the American Sign Language (ASL) Poetry and Literature Collections
Library Collection
false
Library Collection:
Robert Panara Deaf Video Collection
original_item_location
Robert Panara Deaf Video Collection
Library Collection
false
Digital Project:
2018-2019 CLIR Grant-ASL Poetry and Literature
digital_projects__
2018-2019 CLIR Grant-ASL Poetry and Literature
Digital Project
false
Catalog Record:
catalog_record
https://albert.rit.edu/record=b3955765
Catalog Record
false
Catalog Record:
catalog_record
https://archivesspace.rit.edu/repositories/2/resources/820
Catalog Record
false
Place:
New York - Rochester
coverage
New York - Rochester
Place
false
RIT Spaces and Places:
Henrietta Campus
rit_spaces_and_places_ii
Henrietta Campus
RIT Spaces and Places
false
Rights:
RIT Libraries makes materials from its collections available for educational and research purposes pursuant to U.S. Copyright Law. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. It is your responsibility to obtain permission from the copyright holder to publish or reproduce images in print or electronic form.
rights
RIT Libraries makes materials from its collections available for educational and research purposes pursuant to U.S. Copyright Law. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. It is your responsibility to obtain permission from the copyright holder to publish or reproduce images in print or electronic form.
Rights
false
Rights:
CC BY-NC-ND: Attribution NonCommercial NoDerivatives 4.0 International
rights
CC BY-NC-ND: Attribution NonCommercial NoDerivatives 4.0 International
Rights
false
Transcript:
PANARA: NOTICE, IT'S MONDAY.
HA HA! BIG SMILE.
NO CLASS FRIDAY. RIGHT.
CLASS: YAY!
I'M GOING TO WASHINGTON, D.C.
[CLASS MURMURING]
NO CLASS ON FRIDAY,
THIS COMING FRIDAY. YEAH.
THIS FRIDAY.
SO...GIVE YOU ENOUGH TO STUDY
DURING THAT LONG WEEKEND.
SOME OF THESE
ARE LONG POEMS,
MORE THAN ONE PAGE,
ESPECIALLY...
SO YOU HAVE THAT TO STUDY.
WHAT?
FRIDAY, NO CLASS.
AS YOU READ THAT OUTLINE...
REALLY EXPLAINS
HOW TO STUDY A POEM.
WE STARTED WITH THAT
LAST MONDAY,
ASKED YOU TO START
LOOKING FOR "IMAGES."
STUDY OF IMAGERY IN
POETRY MEANS WHAT?
THE STUDY OF IMAGERY,
IMAGERY, MEANS WHAT?
WHAT YOU MEAN?
5...
WOMAN: SENSE?
[MAN SPEAKING INDISTINCTLY]
- SMELL.
- [INHALES]
PANARA: SMELL, RIGHT.
THE 5 SENSES REALLY MEANS...
HOW WORDS INFLUENCE,
AFFECT YOUR SENSES,
THE EXPERIENCE
THAT YOU RECEIVE
THROUGH THE 5 SENSES
WHEN YOU READ A POEM.
READ...
YET SOMETHING TWANGS
YOUR 5 SENS--
ONE OF THE 5 SENSES...
SENSE OF SOUND.
BEAUTIFUL.
WHAT?
SENSE OF SMELL, MAYBE,
OR TASTE.
THAT'S WHAT
WE MEAN BY THIS. OK.
SECOND, TALK ABOUT...
POETRY HAS A LOT OF RHYME,
ESPECIALLY LYRIC POEMS...
BECAUSE IT WAS
MEANT TO BE SONG
SPOKEN WITH THE MUSICAL
ACCOMPANIMENT OF A LYRE.
NOW, THIS WILL ALSO EXPLAIN
WORDS LIKE ALLITERATION.
WHAT DOES THAT MEAN?
[MAN SPEAKING INDISTINCTLY]
PANARA: THE LINE HAS
THE SAME LETTER SIGNS.
"W," "W," "W."
[WOMAN SPEAKING INDISTINCTLY]
YES.
YEAH. ALL RIGHT, NOW,
FOR WHAT REASON?
ALLITERATION FOR RHYTHM.
SO, WHAT REASON?
WHAT DO WE USE? WHY?
[WOMAN SPEAKING INDISTINCTLY]
PANARA: TO...TO WHAT?
INSPIRE YOU
WHEN YOU READ.
WORD BY WORD.
BUT WHY ARE WE TALKING
ABOUT "W," "W," "W"?
WHAT? WHAT'S SUPPOSED TO DO?
WOMAN: WIND.
WIND.
PANARA: WHOO...
YEAH. IF YOU SPELL "W,"
YOU SHOULD ALSO SAY
"WHOO...W..." HA HA!
IF I SAY, "W," "W," "W," "W,"
IN THE SAME LINE OF POETRY,
THAT'S ALLITERATION.
SUPPOSED TO AFFECT THE SENSE,
THEREFORE, YOU MUST
SAY THE SOUND. SAY IT.
"WHOO..." HA HA!
"W," "W," "W."
WIND, WHALE...
"WIND IS LIKE A WHETTED KNIFE."
WHERE ALL "W"s PUT TOGETHER,
THE TOTAL EFFECT, THE IMPRESSION
OF "W," "W," "W"--
ADD THEM UP.
"W," "W," "W," "W."
THERE ARE 4. ADDED UP
MAKES A STRONG IMPRESSION
ON THE SOUND "WHOO..."
BECAUSE IN THAT LINE,
THE POET WAS TALKING ABOUT WHAT?
- WIND.
- WIND.
WIND. WIND.
THAT'S THE IDEA.
ALLITERATION.
ONE OF THE THINGS YOU
SHOULD LOOK FOR IN POETRY.
NOT ALL POEMS HAVE THEM.
SOME POEMS USE IT FOR
A SPECIAL PURPOSE--
OTHER THINGS LIKE
SIMILE, COMPARISON;
METAPHOR, COMPARISON.
SYMBOL.
ALL OF THOSE THINGS
WE WILL BEGIN TO STUDY
IN MORE DETAIL.
AND THAT'S WHAT THE
OUTLINE WANTS YOU TO DO
WHEN YOU READ A POEM.
IT WILL BE YOUR
"GUIDE," GUIDE.
WE'RE GOING TO GO INTO
THE STUDY OF POEMS NOW.
WE'LL TAKE A POEM LIKE
"THE WEST WIND."
"THE WEST WIND."
PAGE 343.
343.
[MAN SPEAKING INDISTINCTLY]
YEAH. ALLITERATION. WHY?
"W." YES,
THE SAME THING AGAIN.
WHICH LINE HAS THAT?
WHICH LINE?
FIRST LINE. FIRST LINE.
- HOW MANY "W"s?
- 3.
2.
- 4.
- 4.
4. NOW LET'S SAY THAT.
"A WARM WIND,
THE WEST WIND,
FULL OF BIRDS CRIES."
NOW, THERE'S ANOTHER IMAGE.
WHAT IS ANOTHER IMAGE?
BIRDS THAT CRY.
BIRDS CRY.
LOOK, YOU GET AN IDEA.
BIRDS FULL OF BIRDS' CRIES.
THIS POEM TALKS ABOUT
"THE WEST WIND."
[WOMAN SPEAKING INDISTINCTLY]
AND BEAUTIFUL WEATHER.
RIGHT. WHY?
- WARM.
- WARM.
YOU SEE THE BIRDS FLYING.
AND WHAT OTHER THINGS?
WHAT OTHER THINGS?
[MAN SPEAKING INDISTINCTLY]
OK, PEOPLE--
WAIT A MINUTE.
I'M TALKING ABOUT YOUR
EXPERIENCE. RIGHT.
LET'S SEE THE POEM.
PUT THE POEM UNDER
YOUR MICROSCOPE.
JUST READ THE POEM NOW.
READ FIRST, SECOND,
AND THIRD STANZAS.
"IT'S A WARM WIND, THE WEST
WIND, FULL OF BIRDS' CRIES;
"I NEVER HEAR THE WEST WIND
BUT TEARS ARE IN MY EYES.
"FOR IT COMES FROM THE WEST
LANDS, THE OLD BROWN HILLS.
AND APRIL'S IN THE WEST WIND,
AND DAFFODILS."
NOW CAN YOU TELL ME WHAT
OTHER SENSE, IMPRESSIONS,
ARE EVOKED?
MEANS...YOU ARE INFLUENCED
IN SOME WAY READING THE POEM.
WHAT OTHERS?
TALKED ABOUT THE WIND BLOWING
AND BIRDS CRYING.
- WHAT OTHERS?
- FLOWERS.
FLOWERS BLOOMING. WHERE'S
THE LINE THAT SAYS THAT?
[MAN SPEAKING INDISTINCTLY]
[WOMAN SPEAKING INDISTINCTLY]
PANARA: "APPLE ORCHARDS
BLOSSOM THERE." BEAUTIFUL.
HAVE YOU EVER SEEN
APPLE ORCHARDS?
- WHAT COLOR?
- PINK.
WHITE, MOSTLY. PINK.
PINK. IT CAN. PINK.
SAME AS OTHER
CHERRY BLOSSOMS.
BEAUTIFUL.
ALL RIGHT, "APPLE ORCHARD
BLOSSOMS THERE."
YOU SEE THAT. BEAUTIFUL.
AND YOU ALSO SEE WHAT ELSE?
[MAN SPEAKING INDISTINCTLY]
THE GRASS GREEN.
"THE COOL GREEN GRASS"--
THAT'S MORE THAN JUST VISUAL.
THERE. YEAH.
LIKE YOU TAKE OFF
YOUR SHOES.
BARE-FOOTED.
COOL.
HOW DO YOU FEEL?
IN THE WINTER, WINTERTIME...
HURRY UP INSIDE.
[LAUGHTER]
BUT IN THE SPRING...
HA HA!
OOH, FEEL THE COOL
GREEN GRASS.
OH, WARM WIND,
SUN...
MARVELOUS.
AND AFTER A WHILE,
YOU FEEL LIKE LAYING DOWN
ON THAT COOL
GREEN GRASS. RIGHT?
[INHALES]
YOU'RE SMELLING THE FLOWERS.
WHAT ELSE?
THERE'S A GOOD
DESCRIPTION IN HERE.
WHAT ELSE?
AH...
"AND THE AIR'S LIKE WINE."
WHY?
PANARA: LIKE APPLES.
- SMELL.
- THE SMELL.
PANARA: YOU CAN SMELL
THE BLOSSOMS.
LIKE WINE, BUT THERE'S
ANOTHER REASON.
WHY DO WE HAVE THE SIGN "WINE"?
WHY NOT "WINE"?
WHY NOT "WINE"?
"WINE."
WHAT'S OVER HERE?
[SLURPS]
[SLURPS]
WHAT HAPPENED OVER HERE?
RED.
GOES DOWN AND IT'S RED.
HA HA HA!
IT'S RED. MMM...
WINE. ...
WINE.
[INHALES]
YOU'VE BEEN INDOORS
ALL WINTER.
INSIDE.
[INHALES]
FLOWERS.
[INHALES]
GREEN GRASS.
[INHALES]
CAN THAT MAKE YOUR HEAD DIZZY?
SURE! SPRING FEVER, RIGHT.
AND WINE...WONDERFUL!
SEE A MOVIE, SHOW
A PERSON IN LOVE.
DON'T HAVE TO BE IN LOVE
WITH A GIRL.
CAN BE IN LOVE
WITH SPRING. CAN.
[INHALES]
AHH...
MOVIE GOES SLOW.
JUMP...OHH...
SEE THAT?
SAME IDEA.
A RUSSIAN MOVIE.
"DR. ZHIVAGO," YES.
SPRINGTIME.
BEAUTIFUL SCENES.
THAT'S RIGHT. YEAH.
"DR. ZHIVAGO."
MAN: ZHIVAGO.
WELL, NOW, THAT--
THAT IS ALSO IMAGE THAT AFFECTS
YOUR SENSE OF SMELL.
"THE AIR'S LIKE WINE."
IT IS ALSO A COMPARISON.
AIR...EQUALS...WINE.
WE CALL THAT A SIMILE.
SIMILE.
NOT A SMILE.
NO. HA HA! LOOK.
[MAN SPEAKING INDISTINCTLY]
PANARA: RIGHT. RIGHT. GOOD.
HE SAID SAME WITH ANOTHER
COMPARISON IN THAT POEM.
QUOTE..."HEARTS
AS TIRED AS MINE."
RIGHT.
YOU COMPARE THINGS.
OFTEN, THAT COMPARISON
SEEMS STRANGE AT FIRST.
IF--IF, FOR EXAMPLE,
IF YOU SAID TO A SMALL CHILD,
BOY OR GIRL,
THAT, UM...
"THE AIR IS LIKE WINE"...
[MAN SNICKERING]
"WHAT'S WRONG WITH
THAT ADULT?
MUST BE DRUNK." HA HA!
CHILDREN CAN'T SEE
THAT COMPARISON YET.
THEY CAN FEEL IT...
[INHALES]
BUT THEY DON'T
GET THE IDEA.
THE WIND CAN FEEL WARM.
YES, WE GET A COMPARISON.
THIS IS LIKE THAT UNDER,
UNDER THAT CONDITION,
THAT ENVIRONMENT.
IF I'M AT SPRINGTIME...
[INHALES]
I FEEL REALLY DIZZY.
YEAH.
WE CAN UNDERSTAND THAT,
AND THAT IS ALWAYS MADE CLEAR
WITH THE WORDS "AS" OR "LIKE."
IT'S VERY--"HER TEETH--"
BEAUTIFUL GIRL.
"HER TEETH ARE LIKE PEARLS."
WOMAN: GOT IT.
THE SKY AS WHITE.
AND PEARLS ARE HARD,
CAN BE COMPARED.
"HER EYES ARE LIKE STARS."
WHY? HER EYES
ARE WHITE.
MAN: NO, THEY'RE BLACK.
AND IF YOU TELL A CHILD,
"YOUR EYES ARE LIKE STARS."
"NO, MY EYES ARE NOT WHITE.
MY EYES ARE BLUE."
SHINING...STARS.
SHINE, OK.
SO THAT'S WHAT
COMPARISONS ARE LIKE.
WE HAVE A LOT IN POETRY
BECAUSE IN EVERYDAY LIFE,
DO YOU USE COMPARISONS MUCH?
WHEN A BOY...
MEETS A GIRL,
HE LIKES HER,
HE WANTS TO TAKE HER
OUT FOR A DATE,
BOY...
DOES THE BOY SAY,
"YOU ARE LIKE
A RED, RED ROSE
THAT'S NEWLY
SPRUNG IN JUNE."
HA HA!
OR "YOUR VOICE
IS LIKE THE MELODY
THAT'S SWEETLY SUNG IN TUNE."
THE BOY SAY THAT?
"YOUR TEETH ARE
LIKE PEARLS." YEAH.
BOY--WHAT DOES HE SAY?
"HEY, YOU AND ME DATE TONIGHT.
COME ON. I HAVE A CAR."
HA HA HA HA!
THINK IF THE BOY WOULD USE
A LITTLE BIT MORE POETRY
AND STUDY...HMM...
MAYBE TRIED TO
USE THAT--A GIRL
WHO WAS USED TO
THE SAME OLD LINE...
"COME ON. YOU TWO OUT
TONIGHT. HAVE A CAR."
MEETS THIS BOY...BOY.
"YOUR CHEEKS ARE LIKE ROSES."
[INHALING]
"YOU'VE EYES LIKE STARS."
GIRL...
"WHAT'S THIS?"
[LAUGHTER]
A DIFFERENT--
DIFFERENT BREED OF CAT.
HA HA HA!
" ...WITH HIM.
OK, I WILL GO WITH YOU."
WE HAVE TO BE MORE
IMAGINATIVE.
READING POETRY HELPS YOU
BECOME MORE IMAGINATIVE.
AND...YOU'LL BE MORE CREATIVE.
TRY TO LOOK AT THINGS,
REALLY LOOK AT THEM
MORE THAN BEFORE.
BEAUTIFUL.
SO THAT'S THE IDEA.
POETRY TRIES TO DO THAT.
WELL, LET'S GO ON
WITH THE POEM.
OUR POEM IS EXPLANATION
OF WHAT? WHAT?
YOU HAVE READ THE POEM.
DO YOU THINK THE IDEA
IS ENJOY THE SPRING?
RIGHT?
IT'S A FEELING, YES.
WELL, ANYTHING ELSE?
ANYTHING ELSE YOU GOT FROM
READING THE POEM? ANYTHING?
WHAT?
BUT WHAT DID YOU GET?
ALL TOGET--
WHOLE EFFECT.
WHAT DID WE SEE?
[WOMAN SPEAKING INDISTINCTLY]
SPRING FEVER. YEAH.
YEAH.
EVERYTHING WE HAVE...,
IT'S WONDERFUL TO BE ALIVE
IN THE SPRING.
RIGHT?
THAT'S THE IDEA.
AND PERHAPS
THE BEAUTIFUL SOUNDS.
"IT'S A FINE LAND,
"THE WEST LAND,
THE LAND WHERE I BELONG."
YOU WANT TO BE IN ARIZONA
IN THE SPRINGTIME?
NO, YOU'D RATHER
BE HERE. HA HA HA!
WE HAVE 4 SEASONS TO CHANGE.
NICE. THAT'S SOMETHING
PEOPLE THERE DON'T HAVE.
FOR THEM IN THE WINTER, FINE.
WE'D LIKE TO CHANGE PLACES,
BUT NOT IN THE SPRING.
THAT IDEA, THAT POEM GIVES YOU
THAT APPRECIATION OF THE SPRING.
LET'S READ ANOTHER POEM
THAT IS ENTITLED...
"TO THE VIRGINS."
PAGE...
MAKE THE MOST OF...
21. PAGE 21.
"TO THE VIRGINS,
TO MAKE MUCH OF TIME."
PAGE 21.
21.
[STUDENT COUGHING]
NOW, YOU WERE SUPPOSED TO READ
THAT FOR TODAY'S LESSON.
WE'LL READ AGAIN
THE FIRST STANZA.
THE FIRST STANZA,
READ NOW,
FIRST 4 LINES.
"GATHER YE ROSEBUDS
WHILE YE MAY,
"OLD TIME IS STILL A-FLYING;
"AND THE SAME FLOWER
THAT SMILES TODAY
TOMORROW WILL BE DYING."
THE WRITER--
WE SAY THE POET--
IS TALKING TO WHO?
"YE."
YOU.
BUT THE TITLE OF THE POEM...
"TO THE VIRGINS"
WHAT DO WE MEAN
BY "VIRGINS"?
VIRGINS.
UNUSED. WHAT ELSE?
GIRLS.
YES, GIRLS, BUT WHAT
KIND OF A GIRL?
WOMAN.
PURE.
WHAT ELSE?
AH, BEFORE MARRY.
BEFORE MARRY HIM. OK.
THAT WAS THE OLD ... TIME.
VIRGINS.
MEANS UNMARRIED.
TODAY, LET US CHANGE THE
WORD TO "UNMARRIED." OK?
HA HA! UNMARR--
HE SAID "UNTOUCHED."
TODAY, TIMES HAVE CHANGED.
LET'S SAY "UNMARRIED,"
BUT MAYBE WE SHOULD
INCLUDE "UNTOUCHED," YES,
BECAUSE THE POEM
IS ABOUT THAT.
OK?
YE. "YE" MEANS YOU,
MORE THAN ONE.
"THOU"...
WHAT?
THOU.
T-H-O-U.
[STUDENTS SPEAKING INDISTINCTLY]
THE. THE, NO.
- OUR.
- OUR, UM-UMM.
YOU.
THOU.
FIRST PERSON
IS SINGULAR, THAT.
THAT. WELL, YOU, REALLY.
I, ME, MY, YOU.
YOU, THIRD PERSON, REALLY.
THIRD PERSON.
THOU. THOU. YOU.
BUT THAT IS OLD.
WE CALL IT "ARCHAIC,"
A-R-C-H-A-I-C.
ARCHAIC. ARCHAIC.
DICTIONARY OFTEN SAYS
"ARCHAIC," ARCHAIC.
ARCH--
THE STUDY OF ARCHAEOLOGY.
WHAT? ARCHAEOLOGY.
ARCHAEOLOGY.
LONG, LONG AGO
OLD THINGS
AND BONES...
BROKEN POTS,
FOUND--3,000 YEARS OLD.
CALLED "ARCHAEOLOGY."
MEANS OLD THINGS...
NOT USED ANYMORE.
"THOU"--YOU, ONE.
BUT "YE"...
NOW HE SAYS,
"GATHER YE ROSEBUDS
WHILE YOU...
"OLD TIME IS STILL
A-FLYING."
WHAT'S THE COMPARISON?
TIME EQUALS WHAT?
FLYING?
HAD AIRPLANES IN THOSE DAYS?
WHY? THERE'S A BETTER
SIGN FOR THAT.
TIME GOES BY.
LIKE WHAT?
WHAT FLIES?
WHAT FLIES?
MAN: OH, THE
WORLD SPINNING.
PANARA: YES.
HA HA HA!
WE SEE THE COMPARISON.
TIME HAS WINGS.
ALL RIGHT, IT'S OLD.
YOU OFTEN SAY,
"TIME FLIES," RIGHT?
"TIME FLIES."
IT'S A COMPARISON,
BUT THEY DON'T USE THE
WORD "LIKE" OR "AS." NO.
SO WE CALL THAT...
MAN: METAPHOR.
NOT DIRECT, BECAUSE
I DON'T SAY,
"TIME IS LIKE A BIRD
ON THE WING."
I DIDN'T SAY, "THIS
IS LIKE THAT." VERY EASY.
NOW I MAKE IT HARDER.
"TIME IS FLYING."
HAVE TO WATCH MORE CAREFULLY
WHEN THE POET DOESN'T USE THE
WORD "AS" OR "LIKE"
IN ORDER TO SEE.
IF I SAY...
"MY LIFE HAS CREPT
SO LONG
ON A WOUNDED WING..."
WAIT TILL I PUT THE...
I JUST INVENTED THAT,
BUT I WANT TO SEE
IF YOU GET THE IDEA.
ALL RIGHT. MY LIFE...
MY LIFE IS NOW
COMPARED LIKE WHAT?
"CREPT." WHAT DOES IT MEAN,
THE WORD "CREPT"?
DO YOU KNOW?
CRAWL.
HOW, CRAWL?
SLOWLY.
WHO CAN ACT THAT OUT?
CREPT. CREPT.
CREPT. OK.
ACCEPT THE WORD "CREPT." OK.
MY LIFE IS COMPARED LIKE WHAT?
SOMETHING.
YEAH. HA HA! OK.
YOU GOT HURT. YOU BUMPED
YOUR HEAD AGAINST THE TV!
HA HA HA!
BUT--BUT YOU HAD
THE RIGHT ANSWER!
YES. SHE SAID IT. COMPARED
WITH SOMETHING HURT.
WHAT IS HURT? WHAT?
[MAN SPEAKING INDISTINCTLY]
WAIT A MINUTE. LOOK.
PUT IT UNDER
YOUR MICROSCOPE.
LOOK AT THE WORD.
AH...A BIRD WING.
BIRD.
YOU'RE HURT.
HE HITS THE TREE.
AH...BOOM!
FALLS DOWN.
BIRD...
HAVE YOU EVER SEEN A BIRD
WITH A BROKEN WING?
HAVE YOU EVER SEEN IT?
FEEL SORRY FOR HIM, SAD.
THERE, THERE. ALL RIGHT,
NOW COMPARE ME OR YOU.
"MY LIFE HAS CREPT ALONG
ON A WOUNDED WING."
AND I'M NOT A BIRD,
BUT I'M USING THIS AS AN IDEA
THAT MYSELF...WHAT,
FOR EXAMPLE?
[MAN SPEAKING INDISTINCTLY]
PANARA: I'M GETTING OLD.
BUT IF "A LONG TIME" MEANS
THROUGH A LONG PART OF MY LIFE,
I HAVE THAT.
WHAT CAN THAT BE?
AH!
DEAFNESS.
YOU CAN'T SEE
MY BROKEN WING,
BUT I HAVE IT.
IT'S BROKE. HA HA!
SAME AS YOURS, RIGHT?
NOT EASY TO LIVE
WITH DEAFNESS.
MANY, MANY THINGS
WE CAN'T DO--
CAN'T HEAR MUSIC;
CAN'T USE A TELEPHONE;
WE CAN'T, UM...TALK SMOOTHLY
LIKE HEARING PEOPLE CAN--
MANY, MANY, MANY THINGS,
SO IT'S FRUSTRATING.
DISAPPOINTMENT
ALL PUT TOGETHER.
RIGHT, MMM. A BIRD WHO WAS
USED TO FLYING FREE...
SOARING...
AS YOU WILL SEE
WHEN YOU READ
"JONATHAN LIVINGSTON SEAGULL,"
THE NEXT BOOK WE STUDY.
AND NOW...
ALL RIGHT, YOU GET
THE IDEA NOW,
BUT WE DON'T USE THE WORD
"AS" OR "LIKE,"
SO IT'S A LITTLE MORE
DIFFICULT TO GRASP.
THAT IS CALLED "META-PHOR,"
"METAPHOR, METAPHOR."
METAPHOR MEANS
COMPARISON,
SAME AS SIMILE, SIMILE,
BUT WITHOUT THE WORD
"AS" OR "LIKE."
OK, NOW COME BACK
TO THAT POEM.
"GATHER YE ROSEBUDS
WHILE YOU CAN,
"OLD TIME IS STILL A-FLYING;
"AND THAT SAME FLOWER
THAT SMILES TODAY
TOMORROW..."
RIGHT?
A COMPARISON.
YEAH, OK. WHAT'S THE POINT?
WHAT'S THE IDEA?
[WOMAN SPEAKING INDISTINCTLY]
WHAT'S IT MEAN?
YOU LIVE ONLY ONCE.
FINE. WHAT ELSE?
WHAT ABOUT TODAY?
[MAN SPEAKING INDISTINCTLY]
SEASON CHANGES. OK.
"GATHER YOU ROSEBUDS..."
WHEN DO THEY BLOOM?
ROSEBUDS?
SPRING.
ROSEBUD. WHY BUD?
YEAH.
COMPARISON WITH VIRGIN?
MAN: AWW, IT'S THE...
PANARA: YOUNG GIRL
LATE MARRIED.
HA HA HA!
BEAUTIFUL. LATE
MARRIED, RIGHT?
HE'S TALKING TO
THAT YOUNG GIRL.
MAN: HURRY UP.
"GATHER YOU ROSEBUDS
WHILE YOU CAN.
"OLD TIME IS FLYIN'
"AND THE SAME FLOWER
THAT SMILES TODAY
TOMORROW..."
YEAH.
NOW, WHAT'S THE IDEA?
YEAH, THE IDEA IS THAT BETTER
GET MARRIED, CERTAINLY NOW,
OR TOO LATE. MMM!
HA! OK. SO YOU GOT THE IDEA.
NOW, LET'S GO AHEAD
AND READ THE REST OF THE POEM,
THE SECOND STANZA.
"THE GLORIOUS LAMP
OF HEAVEN, THE SUN,
"THE HIGHER HE'S A-GETTING,
THE SOONER WILL HIS RACE BE RUN
AND NEARER HE'S TO SETTING."
WHAT IS THE LAMP OF HEAVEN?
[STUDENTS SPEAKING INDISTINCTLY]
MEANS THE SUN.
WONDERFUL.
WE SAY, "THE SUN, THE SUN,"
AND NOW HE'S SAYING...
"LAMP OF HEAVEN." RIGHT.
HEAVEN IS...
BIGGEST LAMP IN THE SKY.
IT'S CALLED "THE SUN."
THE LAMP, THE SUN.
THE MORE...
THE FASTER HIS
RACE...RIGHT?
THE BIGGER THE ...
...HOT.
WHAT ABOUT MAN'S LIFE?
SAME.
WHY SAME?
[WOMAN SPEAKING INDISTINCTLY]
MAN ONLY LIVES ONCE.
WORKS.
WELL, HOW DO YOU COMPARE
A MAN'S LIFE AND THE SUN?
LIKE A MAN'S GROWTH, OK...
TO DEATH, RIGHT.
BABY.
ROSEBUD.
WELL, WELL...
NOON.
FULL OF RED BLOOD.
I CAN.
HA HA HA!
YOU GET OLDER...
YOU'RE TIRED.
I DON'T THINK I CAN
ALL THE TIME.
I'M OLD. HA HA!
AND LAST...
DONE.
THAT'S THE IDEA.
SO HE'S TALKING TO
THOSE YOUNGER VIRGINS.
NOW THE THIRD STANZA...
STANZA.
"THAT AGE IS BEST
WHICH IS THE FIRST,
"WHEN YOUTH AND BLOOD
ARE WARMER;
"BUT BEING SPENT,
THE WORSE, AND WORST
TIMES STILL SUCCEED THE FORMER."
RIGHT.
"THAT AGE IS BEST
THAT IS THE FIRST..."
THE AGE,
WHEN YOU'RE YOUNG.
BEST, RIGHT!
YOUTH IS BEST UNDER 30.
MARVELOUS! HA HA!
BETTER AT 20!
BETTER. HA HA!
OLDER...
"WHEN YOUTH AND BLOOD
ARE WARMER..."
HOT STUFF! WOW!
YOUTH WONDERFUL
THING HERE.
SO HE SAYS, AND
"BEING SPENT..."
WHEN YOU'RE FINISHED,
SPENT YOUR YOUTH,
20, 25, 30, 35...
SPENT!
WORST TIME AND
WORST TIME WILL FOLLOW.
HA HA!
AND LESS, LESS,
LESS PLEASURE.
- SPEAK FOR YOURSELF. NOT ME.
I'M NOT THAT OLD YET!
HA HA HA!
[PANARA SPEAKING INDISTINCTLY]
[LAUGHTER]
OK. JUST WAIT TILL ALL
OF YOU REACH THAT AGE.
SOMETIMES, VERY INTERESTING.
MAKES THE ONE THAT THEY CALL--
WE HEAR THE EXPRESSION
"DIRTY OLD MAN."
[LAUGHTER]
IT'S TRUE!
REMEMBER, IT'S VERY HARD
FOR YOUNG GIRLS
WHO LOOK TWICE
AT AN OLD MAN. HA HA!
[LAUGHTER]
IT'S EASY FOR THEM TO
LOOK ONCE AT A YOUNG MAN.
ANYWAY, READ
THE LAST STANZA,
THE LAST ONE.
"THEN BE NOT COY,
BUT USE YOUR TIME,
"AND WHILE YE MAY, GO MARRY;
"FOR HAVING LOST
ONCE YOUR PRIME,
YOU WILL FOREVER...TARRY."
"USE YOUR TIME."
WHAT'S ANOTHER WORD
FOR THAT?
MAKE THE MOST
OF YOUR LIFE. RIGHT.
"USE THE TIME."
YEAH, GRAB, GRAB, GRAB!
ENJOY, ENJOY, ENJOY!
NOW, NOW, NOW!
ALSO, THERE'S ANOTHER WORD,
A BIG WORD FOR THAT.
MAKE THE MOST OF YOUR WHAT?
TIME--ANOTHER WORD.
[STUDENTS SPEAKING INDISTINCTLY]
MOMENT.
KNOCK ON THE DOOR OF...
OPEN ONE...KNOCK.
YES. OPPORTUNITY.
HAVE YOU HEARD OF THAT?
O-P-P-O-R-T-U-N-I-T-Y.
OPPORTUNITY.
IF I SAY, "USE YOUR TIME,"
THAT'S YOUR OPPORTUNITY.
20, 25, 30.
HURRY UP.
DON'T WASTE TIME.
OK. THAT'S THE POINT
OF THE POEM--
MEANS NOT ONLY FOR LOVE
BUT EVERYTHING ELSE.
WHEN THE SPRINGTIME COMES,
ENJOY IT, GO OUT.
[INHALES]
ENJOY THINGS WHILE YOU CAN,
WHILE YOU'RE HEALTHY,
WHEN IT HAPPENS.
MAKE THE MOST OF
THAT OPPORTUNITY.
WHAT ABOUT SCHOOL?
SAME THING.
DO YOU ALWAYS GO TO SCHOOL?
[STUDENTS TALKING INDISTINCTLY]
DO YOU ALWAYS
GO TO SCHOOL?
WHEN YOU DO, MAKE THE MOST
OF THAT OPPORTUNITY.
LEARN POETRY!
HA HA HA!
OK. WE HAVE ANOTHER POEM.
I CAN READ ONE MORE.
ONE MORE, QUICK.
"O MISTRESS MINE,"
PAGE 8 AND 9,
8 AND 9.
"O MISTRESS MINE."
"O MISTRESS..."
8 AND 9.
YOU READ THE POEM.
READ THE POEM QUICKLY.
READ THE POEM.
"O MISTRESS MINE,
WHERE ARE YOU ROAMING?
"O STAY AND HEAR!
YOUR TRUE-LOVE'S COMING
"THAT CAN SING
BOTH HIGH AND LOW;
"TRIP NO FURTHER,
PRETTY SWEETING,
"JOURNEYS END
IN LOVERS' MEETING--
"EVERY WISE MAN'S
SON DOTH KNOW.
"WHAT IS LOVE?
IT'S NOT HEREAFTER;
"PRESENT MIRTH HATH
PRESENT LAUGHTER;
"WHAT'S TO COME
IS STILL UNSURE:
"IN DELAY THERE
LIES NO PLENTY--
"THEN COME KISS ME,
SWEET-AND-TWENTY,
YOUTH'S A STUFF
WILL NOT ENDURE."
OK. WORK WITH ME.
"O MISTRESS MINE."
"MISTRESS" OUT OF DATE
NOW IN THAT SENSE.
LONG AGO, IT MEANT...
UNMARRIED GIRL,
SAME AS A VIRGIN.
TODAY, IT MEANS
SOMETHING ELSE.
[LAUGHTER]
BUT WE CAN ALSO--IN THE STYLE,
CAN MEAN SOMETHING LIKE...
THAT GIRL--HE'S TALKING TO HER,
MORE LIKE UNMARRIED GIRL.
"O MISTRESS MINE,
"WHERE ARE YOU ROAMING?
"STAY! HEAR! YOUR
TRUE-LOVE IS COMING.
WHO CAN SING BOTH
HIGH AND LOW..."
MAN IS TALKING TO THAT GIRL,
FLIRTING WITH HER.
- RIGHT.
HE'S TRYING--
HE'S TRYING TO ARGUE,
MAKE HER SEE WHY IT'S
IMPORTANT TO LOVE NOW,
NOT TOMORROW, NOT NEXT
WEEK, NOT NEXT YEAR,
NOT 10 YEARS FROM NOW.
HE SAYS, "WHAT IS LOVE?"
READ THE ANSWER.
WHAT IS LOVE?
READ THE ANSWER.
WHAT IS LOVE? WHAT? TELL ME.
IT'S "TIS."
IT'S NOT "HEREAFTER."
WHAT DO WE MEAN "HEREAFTER"?
LATER ON.
NOW, YEAH.
"PRESENT MIRTH..."
WHAT DO WE MEAN "MIRTH"?
PRESENT MIRTH
AND PRESENT LAUGHING.
"WHAT IS TO COME,"
WHAT VISION,
"IS STILL UNSURE."
DO YOU KNOW TOMORROW?
YOU KNOW NEXT YEAR?
BUT I KNOW NOW.
YOU'RE YOUNG.
"SWEET-AND-TWENTY..."
HA HA HA!
"YOUTH--YOUTH IS A STUFF
WILL NOT ENDURE."
WHAT'S THE WORD "ENDURE"?
LAST. MMM.
YOUTH WILL NOT...FOREVER.
YOU ARE YOUNG ONLY ONCE,
LIKE THE POEM
"TO THE VIRGIN"...
"TIME IS FLYING."
YOU FIND THAT
IN MANY POEMS.
YOU THINK OF SEX ALONE,
BUT SEX IS NOT
EVERYTHING IN LIFE.
IT MEANS MANY WONDERFUL THINGS.
"HAPPENINGS."
THAT'S THE WORD.
H-A--HAPPENINGS...
BEAUTIFUL GET-TOGETHERS
OUTDOORS IN THE NATURE.
BEAUTIFUL SEASONS...
MANY, MANY THINGS.
WHEN YOU'RE YOUNG,
MAKE THE MOST OF IT
BECAUSE TIME IS FLYING.
OK. I WILL GIVE YOU YOUR PAPERS
FROM THE LAST EXAM NOW.
[SPEAKING INDISTINCTLY]
MAN: GOT "F."
GOT AN "F."
SECOND MAN: OH, NO, NO, NO.
[MAN BLOWS RASPBERRY]
WOMAN: SEE WHAT I GOT?
SEE WHAT I GOT?
MAN: AN "A."
YOU PROBABLY GOT "A."
PANARA: SLOAN.
MAN: LET ME SEE.
"A." THOUGHT SO.
SON OF A GUN.
I GOT 85.
THIRD MAN: WELL, THE LAST ONE,
I DIDN'T FINISH IT.
WHEN THAT HAPPENED,
I WAS 10 POINTS OFF.
WOMAN: DIDN'T
HAVE ENOUGH TIME.
- RIGHT.
- YEAH.
WOMAN: OK, THEN...
HA HA! BIG SMILE.
NO CLASS FRIDAY. RIGHT.
CLASS: YAY!
I'M GOING TO WASHINGTON, D.C.
[CLASS MURMURING]
NO CLASS ON FRIDAY,
THIS COMING FRIDAY. YEAH.
THIS FRIDAY.
SO...GIVE YOU ENOUGH TO STUDY
DURING THAT LONG WEEKEND.
SOME OF THESE
ARE LONG POEMS,
MORE THAN ONE PAGE,
ESPECIALLY...
SO YOU HAVE THAT TO STUDY.
WHAT?
FRIDAY, NO CLASS.
AS YOU READ THAT OUTLINE...
REALLY EXPLAINS
HOW TO STUDY A POEM.
WE STARTED WITH THAT
LAST MONDAY,
ASKED YOU TO START
LOOKING FOR "IMAGES."
STUDY OF IMAGERY IN
POETRY MEANS WHAT?
THE STUDY OF IMAGERY,
IMAGERY, MEANS WHAT?
WHAT YOU MEAN?
5...
WOMAN: SENSE?
[MAN SPEAKING INDISTINCTLY]
- SMELL.
- [INHALES]
PANARA: SMELL, RIGHT.
THE 5 SENSES REALLY MEANS...
HOW WORDS INFLUENCE,
AFFECT YOUR SENSES,
THE EXPERIENCE
THAT YOU RECEIVE
THROUGH THE 5 SENSES
WHEN YOU READ A POEM.
READ...
YET SOMETHING TWANGS
YOUR 5 SENS--
ONE OF THE 5 SENSES...
SENSE OF SOUND.
BEAUTIFUL.
WHAT?
SENSE OF SMELL, MAYBE,
OR TASTE.
THAT'S WHAT
WE MEAN BY THIS. OK.
SECOND, TALK ABOUT...
POETRY HAS A LOT OF RHYME,
ESPECIALLY LYRIC POEMS...
BECAUSE IT WAS
MEANT TO BE SONG
SPOKEN WITH THE MUSICAL
ACCOMPANIMENT OF A LYRE.
NOW, THIS WILL ALSO EXPLAIN
WORDS LIKE ALLITERATION.
WHAT DOES THAT MEAN?
[MAN SPEAKING INDISTINCTLY]
PANARA: THE LINE HAS
THE SAME LETTER SIGNS.
"W," "W," "W."
[WOMAN SPEAKING INDISTINCTLY]
YES.
YEAH. ALL RIGHT, NOW,
FOR WHAT REASON?
ALLITERATION FOR RHYTHM.
SO, WHAT REASON?
WHAT DO WE USE? WHY?
[WOMAN SPEAKING INDISTINCTLY]
PANARA: TO...TO WHAT?
INSPIRE YOU
WHEN YOU READ.
WORD BY WORD.
BUT WHY ARE WE TALKING
ABOUT "W," "W," "W"?
WHAT? WHAT'S SUPPOSED TO DO?
WOMAN: WIND.
WIND.
PANARA: WHOO...
YEAH. IF YOU SPELL "W,"
YOU SHOULD ALSO SAY
"WHOO...W..." HA HA!
IF I SAY, "W," "W," "W," "W,"
IN THE SAME LINE OF POETRY,
THAT'S ALLITERATION.
SUPPOSED TO AFFECT THE SENSE,
THEREFORE, YOU MUST
SAY THE SOUND. SAY IT.
"WHOO..." HA HA!
"W," "W," "W."
WIND, WHALE...
"WIND IS LIKE A WHETTED KNIFE."
WHERE ALL "W"s PUT TOGETHER,
THE TOTAL EFFECT, THE IMPRESSION
OF "W," "W," "W"--
ADD THEM UP.
"W," "W," "W," "W."
THERE ARE 4. ADDED UP
MAKES A STRONG IMPRESSION
ON THE SOUND "WHOO..."
BECAUSE IN THAT LINE,
THE POET WAS TALKING ABOUT WHAT?
- WIND.
- WIND.
WIND. WIND.
THAT'S THE IDEA.
ALLITERATION.
ONE OF THE THINGS YOU
SHOULD LOOK FOR IN POETRY.
NOT ALL POEMS HAVE THEM.
SOME POEMS USE IT FOR
A SPECIAL PURPOSE--
OTHER THINGS LIKE
SIMILE, COMPARISON;
METAPHOR, COMPARISON.
SYMBOL.
ALL OF THOSE THINGS
WE WILL BEGIN TO STUDY
IN MORE DETAIL.
AND THAT'S WHAT THE
OUTLINE WANTS YOU TO DO
WHEN YOU READ A POEM.
IT WILL BE YOUR
"GUIDE," GUIDE.
WE'RE GOING TO GO INTO
THE STUDY OF POEMS NOW.
WE'LL TAKE A POEM LIKE
"THE WEST WIND."
"THE WEST WIND."
PAGE 343.
343.
[MAN SPEAKING INDISTINCTLY]
YEAH. ALLITERATION. WHY?
"W." YES,
THE SAME THING AGAIN.
WHICH LINE HAS THAT?
WHICH LINE?
FIRST LINE. FIRST LINE.
- HOW MANY "W"s?
- 3.
2.
- 4.
- 4.
4. NOW LET'S SAY THAT.
"A WARM WIND,
THE WEST WIND,
FULL OF BIRDS CRIES."
NOW, THERE'S ANOTHER IMAGE.
WHAT IS ANOTHER IMAGE?
BIRDS THAT CRY.
BIRDS CRY.
LOOK, YOU GET AN IDEA.
BIRDS FULL OF BIRDS' CRIES.
THIS POEM TALKS ABOUT
"THE WEST WIND."
[WOMAN SPEAKING INDISTINCTLY]
AND BEAUTIFUL WEATHER.
RIGHT. WHY?
- WARM.
- WARM.
YOU SEE THE BIRDS FLYING.
AND WHAT OTHER THINGS?
WHAT OTHER THINGS?
[MAN SPEAKING INDISTINCTLY]
OK, PEOPLE--
WAIT A MINUTE.
I'M TALKING ABOUT YOUR
EXPERIENCE. RIGHT.
LET'S SEE THE POEM.
PUT THE POEM UNDER
YOUR MICROSCOPE.
JUST READ THE POEM NOW.
READ FIRST, SECOND,
AND THIRD STANZAS.
"IT'S A WARM WIND, THE WEST
WIND, FULL OF BIRDS' CRIES;
"I NEVER HEAR THE WEST WIND
BUT TEARS ARE IN MY EYES.
"FOR IT COMES FROM THE WEST
LANDS, THE OLD BROWN HILLS.
AND APRIL'S IN THE WEST WIND,
AND DAFFODILS."
NOW CAN YOU TELL ME WHAT
OTHER SENSE, IMPRESSIONS,
ARE EVOKED?
MEANS...YOU ARE INFLUENCED
IN SOME WAY READING THE POEM.
WHAT OTHERS?
TALKED ABOUT THE WIND BLOWING
AND BIRDS CRYING.
- WHAT OTHERS?
- FLOWERS.
FLOWERS BLOOMING. WHERE'S
THE LINE THAT SAYS THAT?
[MAN SPEAKING INDISTINCTLY]
[WOMAN SPEAKING INDISTINCTLY]
PANARA: "APPLE ORCHARDS
BLOSSOM THERE." BEAUTIFUL.
HAVE YOU EVER SEEN
APPLE ORCHARDS?
- WHAT COLOR?
- PINK.
WHITE, MOSTLY. PINK.
PINK. IT CAN. PINK.
SAME AS OTHER
CHERRY BLOSSOMS.
BEAUTIFUL.
ALL RIGHT, "APPLE ORCHARD
BLOSSOMS THERE."
YOU SEE THAT. BEAUTIFUL.
AND YOU ALSO SEE WHAT ELSE?
[MAN SPEAKING INDISTINCTLY]
THE GRASS GREEN.
"THE COOL GREEN GRASS"--
THAT'S MORE THAN JUST VISUAL.
THERE. YEAH.
LIKE YOU TAKE OFF
YOUR SHOES.
BARE-FOOTED.
COOL.
HOW DO YOU FEEL?
IN THE WINTER, WINTERTIME...
HURRY UP INSIDE.
[LAUGHTER]
BUT IN THE SPRING...
HA HA!
OOH, FEEL THE COOL
GREEN GRASS.
OH, WARM WIND,
SUN...
MARVELOUS.
AND AFTER A WHILE,
YOU FEEL LIKE LAYING DOWN
ON THAT COOL
GREEN GRASS. RIGHT?
[INHALES]
YOU'RE SMELLING THE FLOWERS.
WHAT ELSE?
THERE'S A GOOD
DESCRIPTION IN HERE.
WHAT ELSE?
AH...
"AND THE AIR'S LIKE WINE."
WHY?
PANARA: LIKE APPLES.
- SMELL.
- THE SMELL.
PANARA: YOU CAN SMELL
THE BLOSSOMS.
LIKE WINE, BUT THERE'S
ANOTHER REASON.
WHY DO WE HAVE THE SIGN "WINE"?
WHY NOT "WINE"?
WHY NOT "WINE"?
"WINE."
WHAT'S OVER HERE?
[SLURPS]
[SLURPS]
WHAT HAPPENED OVER HERE?
RED.
GOES DOWN AND IT'S RED.
HA HA HA!
IT'S RED. MMM...
WINE. ...
WINE.
[INHALES]
YOU'VE BEEN INDOORS
ALL WINTER.
INSIDE.
[INHALES]
FLOWERS.
[INHALES]
GREEN GRASS.
[INHALES]
CAN THAT MAKE YOUR HEAD DIZZY?
SURE! SPRING FEVER, RIGHT.
AND WINE...WONDERFUL!
SEE A MOVIE, SHOW
A PERSON IN LOVE.
DON'T HAVE TO BE IN LOVE
WITH A GIRL.
CAN BE IN LOVE
WITH SPRING. CAN.
[INHALES]
AHH...
MOVIE GOES SLOW.
JUMP...OHH...
SEE THAT?
SAME IDEA.
A RUSSIAN MOVIE.
"DR. ZHIVAGO," YES.
SPRINGTIME.
BEAUTIFUL SCENES.
THAT'S RIGHT. YEAH.
"DR. ZHIVAGO."
MAN: ZHIVAGO.
WELL, NOW, THAT--
THAT IS ALSO IMAGE THAT AFFECTS
YOUR SENSE OF SMELL.
"THE AIR'S LIKE WINE."
IT IS ALSO A COMPARISON.
AIR...EQUALS...WINE.
WE CALL THAT A SIMILE.
SIMILE.
NOT A SMILE.
NO. HA HA! LOOK.
[MAN SPEAKING INDISTINCTLY]
PANARA: RIGHT. RIGHT. GOOD.
HE SAID SAME WITH ANOTHER
COMPARISON IN THAT POEM.
QUOTE..."HEARTS
AS TIRED AS MINE."
RIGHT.
YOU COMPARE THINGS.
OFTEN, THAT COMPARISON
SEEMS STRANGE AT FIRST.
IF--IF, FOR EXAMPLE,
IF YOU SAID TO A SMALL CHILD,
BOY OR GIRL,
THAT, UM...
"THE AIR IS LIKE WINE"...
[MAN SNICKERING]
"WHAT'S WRONG WITH
THAT ADULT?
MUST BE DRUNK." HA HA!
CHILDREN CAN'T SEE
THAT COMPARISON YET.
THEY CAN FEEL IT...
[INHALES]
BUT THEY DON'T
GET THE IDEA.
THE WIND CAN FEEL WARM.
YES, WE GET A COMPARISON.
THIS IS LIKE THAT UNDER,
UNDER THAT CONDITION,
THAT ENVIRONMENT.
IF I'M AT SPRINGTIME...
[INHALES]
I FEEL REALLY DIZZY.
YEAH.
WE CAN UNDERSTAND THAT,
AND THAT IS ALWAYS MADE CLEAR
WITH THE WORDS "AS" OR "LIKE."
IT'S VERY--"HER TEETH--"
BEAUTIFUL GIRL.
"HER TEETH ARE LIKE PEARLS."
WOMAN: GOT IT.
THE SKY AS WHITE.
AND PEARLS ARE HARD,
CAN BE COMPARED.
"HER EYES ARE LIKE STARS."
WHY? HER EYES
ARE WHITE.
MAN: NO, THEY'RE BLACK.
AND IF YOU TELL A CHILD,
"YOUR EYES ARE LIKE STARS."
"NO, MY EYES ARE NOT WHITE.
MY EYES ARE BLUE."
SHINING...STARS.
SHINE, OK.
SO THAT'S WHAT
COMPARISONS ARE LIKE.
WE HAVE A LOT IN POETRY
BECAUSE IN EVERYDAY LIFE,
DO YOU USE COMPARISONS MUCH?
WHEN A BOY...
MEETS A GIRL,
HE LIKES HER,
HE WANTS TO TAKE HER
OUT FOR A DATE,
BOY...
DOES THE BOY SAY,
"YOU ARE LIKE
A RED, RED ROSE
THAT'S NEWLY
SPRUNG IN JUNE."
HA HA!
OR "YOUR VOICE
IS LIKE THE MELODY
THAT'S SWEETLY SUNG IN TUNE."
THE BOY SAY THAT?
"YOUR TEETH ARE
LIKE PEARLS." YEAH.
BOY--WHAT DOES HE SAY?
"HEY, YOU AND ME DATE TONIGHT.
COME ON. I HAVE A CAR."
HA HA HA HA!
THINK IF THE BOY WOULD USE
A LITTLE BIT MORE POETRY
AND STUDY...HMM...
MAYBE TRIED TO
USE THAT--A GIRL
WHO WAS USED TO
THE SAME OLD LINE...
"COME ON. YOU TWO OUT
TONIGHT. HAVE A CAR."
MEETS THIS BOY...BOY.
"YOUR CHEEKS ARE LIKE ROSES."
[INHALING]
"YOU'VE EYES LIKE STARS."
GIRL...
"WHAT'S THIS?"
[LAUGHTER]
A DIFFERENT--
DIFFERENT BREED OF CAT.
HA HA HA!
" ...WITH HIM.
OK, I WILL GO WITH YOU."
WE HAVE TO BE MORE
IMAGINATIVE.
READING POETRY HELPS YOU
BECOME MORE IMAGINATIVE.
AND...YOU'LL BE MORE CREATIVE.
TRY TO LOOK AT THINGS,
REALLY LOOK AT THEM
MORE THAN BEFORE.
BEAUTIFUL.
SO THAT'S THE IDEA.
POETRY TRIES TO DO THAT.
WELL, LET'S GO ON
WITH THE POEM.
OUR POEM IS EXPLANATION
OF WHAT? WHAT?
YOU HAVE READ THE POEM.
DO YOU THINK THE IDEA
IS ENJOY THE SPRING?
RIGHT?
IT'S A FEELING, YES.
WELL, ANYTHING ELSE?
ANYTHING ELSE YOU GOT FROM
READING THE POEM? ANYTHING?
WHAT?
BUT WHAT DID YOU GET?
ALL TOGET--
WHOLE EFFECT.
WHAT DID WE SEE?
[WOMAN SPEAKING INDISTINCTLY]
SPRING FEVER. YEAH.
YEAH.
EVERYTHING WE HAVE...,
IT'S WONDERFUL TO BE ALIVE
IN THE SPRING.
RIGHT?
THAT'S THE IDEA.
AND PERHAPS
THE BEAUTIFUL SOUNDS.
"IT'S A FINE LAND,
"THE WEST LAND,
THE LAND WHERE I BELONG."
YOU WANT TO BE IN ARIZONA
IN THE SPRINGTIME?
NO, YOU'D RATHER
BE HERE. HA HA HA!
WE HAVE 4 SEASONS TO CHANGE.
NICE. THAT'S SOMETHING
PEOPLE THERE DON'T HAVE.
FOR THEM IN THE WINTER, FINE.
WE'D LIKE TO CHANGE PLACES,
BUT NOT IN THE SPRING.
THAT IDEA, THAT POEM GIVES YOU
THAT APPRECIATION OF THE SPRING.
LET'S READ ANOTHER POEM
THAT IS ENTITLED...
"TO THE VIRGINS."
PAGE...
MAKE THE MOST OF...
21. PAGE 21.
"TO THE VIRGINS,
TO MAKE MUCH OF TIME."
PAGE 21.
21.
[STUDENT COUGHING]
NOW, YOU WERE SUPPOSED TO READ
THAT FOR TODAY'S LESSON.
WE'LL READ AGAIN
THE FIRST STANZA.
THE FIRST STANZA,
READ NOW,
FIRST 4 LINES.
"GATHER YE ROSEBUDS
WHILE YE MAY,
"OLD TIME IS STILL A-FLYING;
"AND THE SAME FLOWER
THAT SMILES TODAY
TOMORROW WILL BE DYING."
THE WRITER--
WE SAY THE POET--
IS TALKING TO WHO?
"YE."
YOU.
BUT THE TITLE OF THE POEM...
"TO THE VIRGINS"
WHAT DO WE MEAN
BY "VIRGINS"?
VIRGINS.
UNUSED. WHAT ELSE?
GIRLS.
YES, GIRLS, BUT WHAT
KIND OF A GIRL?
WOMAN.
PURE.
WHAT ELSE?
AH, BEFORE MARRY.
BEFORE MARRY HIM. OK.
THAT WAS THE OLD ... TIME.
VIRGINS.
MEANS UNMARRIED.
TODAY, LET US CHANGE THE
WORD TO "UNMARRIED." OK?
HA HA! UNMARR--
HE SAID "UNTOUCHED."
TODAY, TIMES HAVE CHANGED.
LET'S SAY "UNMARRIED,"
BUT MAYBE WE SHOULD
INCLUDE "UNTOUCHED," YES,
BECAUSE THE POEM
IS ABOUT THAT.
OK?
YE. "YE" MEANS YOU,
MORE THAN ONE.
"THOU"...
WHAT?
THOU.
T-H-O-U.
[STUDENTS SPEAKING INDISTINCTLY]
THE. THE, NO.
- OUR.
- OUR, UM-UMM.
YOU.
THOU.
FIRST PERSON
IS SINGULAR, THAT.
THAT. WELL, YOU, REALLY.
I, ME, MY, YOU.
YOU, THIRD PERSON, REALLY.
THIRD PERSON.
THOU. THOU. YOU.
BUT THAT IS OLD.
WE CALL IT "ARCHAIC,"
A-R-C-H-A-I-C.
ARCHAIC. ARCHAIC.
DICTIONARY OFTEN SAYS
"ARCHAIC," ARCHAIC.
ARCH--
THE STUDY OF ARCHAEOLOGY.
WHAT? ARCHAEOLOGY.
ARCHAEOLOGY.
LONG, LONG AGO
OLD THINGS
AND BONES...
BROKEN POTS,
FOUND--3,000 YEARS OLD.
CALLED "ARCHAEOLOGY."
MEANS OLD THINGS...
NOT USED ANYMORE.
"THOU"--YOU, ONE.
BUT "YE"...
NOW HE SAYS,
"GATHER YE ROSEBUDS
WHILE YOU...
"OLD TIME IS STILL
A-FLYING."
WHAT'S THE COMPARISON?
TIME EQUALS WHAT?
FLYING?
HAD AIRPLANES IN THOSE DAYS?
WHY? THERE'S A BETTER
SIGN FOR THAT.
TIME GOES BY.
LIKE WHAT?
WHAT FLIES?
WHAT FLIES?
MAN: OH, THE
WORLD SPINNING.
PANARA: YES.
HA HA HA!
WE SEE THE COMPARISON.
TIME HAS WINGS.
ALL RIGHT, IT'S OLD.
YOU OFTEN SAY,
"TIME FLIES," RIGHT?
"TIME FLIES."
IT'S A COMPARISON,
BUT THEY DON'T USE THE
WORD "LIKE" OR "AS." NO.
SO WE CALL THAT...
MAN: METAPHOR.
NOT DIRECT, BECAUSE
I DON'T SAY,
"TIME IS LIKE A BIRD
ON THE WING."
I DIDN'T SAY, "THIS
IS LIKE THAT." VERY EASY.
NOW I MAKE IT HARDER.
"TIME IS FLYING."
HAVE TO WATCH MORE CAREFULLY
WHEN THE POET DOESN'T USE THE
WORD "AS" OR "LIKE"
IN ORDER TO SEE.
IF I SAY...
"MY LIFE HAS CREPT
SO LONG
ON A WOUNDED WING..."
WAIT TILL I PUT THE...
I JUST INVENTED THAT,
BUT I WANT TO SEE
IF YOU GET THE IDEA.
ALL RIGHT. MY LIFE...
MY LIFE IS NOW
COMPARED LIKE WHAT?
"CREPT." WHAT DOES IT MEAN,
THE WORD "CREPT"?
DO YOU KNOW?
CRAWL.
HOW, CRAWL?
SLOWLY.
WHO CAN ACT THAT OUT?
CREPT. CREPT.
CREPT. OK.
ACCEPT THE WORD "CREPT." OK.
MY LIFE IS COMPARED LIKE WHAT?
SOMETHING.
YEAH. HA HA! OK.
YOU GOT HURT. YOU BUMPED
YOUR HEAD AGAINST THE TV!
HA HA HA!
BUT--BUT YOU HAD
THE RIGHT ANSWER!
YES. SHE SAID IT. COMPARED
WITH SOMETHING HURT.
WHAT IS HURT? WHAT?
[MAN SPEAKING INDISTINCTLY]
WAIT A MINUTE. LOOK.
PUT IT UNDER
YOUR MICROSCOPE.
LOOK AT THE WORD.
AH...A BIRD WING.
BIRD.
YOU'RE HURT.
HE HITS THE TREE.
AH...BOOM!
FALLS DOWN.
BIRD...
HAVE YOU EVER SEEN A BIRD
WITH A BROKEN WING?
HAVE YOU EVER SEEN IT?
FEEL SORRY FOR HIM, SAD.
THERE, THERE. ALL RIGHT,
NOW COMPARE ME OR YOU.
"MY LIFE HAS CREPT ALONG
ON A WOUNDED WING."
AND I'M NOT A BIRD,
BUT I'M USING THIS AS AN IDEA
THAT MYSELF...WHAT,
FOR EXAMPLE?
[MAN SPEAKING INDISTINCTLY]
PANARA: I'M GETTING OLD.
BUT IF "A LONG TIME" MEANS
THROUGH A LONG PART OF MY LIFE,
I HAVE THAT.
WHAT CAN THAT BE?
AH!
DEAFNESS.
YOU CAN'T SEE
MY BROKEN WING,
BUT I HAVE IT.
IT'S BROKE. HA HA!
SAME AS YOURS, RIGHT?
NOT EASY TO LIVE
WITH DEAFNESS.
MANY, MANY THINGS
WE CAN'T DO--
CAN'T HEAR MUSIC;
CAN'T USE A TELEPHONE;
WE CAN'T, UM...TALK SMOOTHLY
LIKE HEARING PEOPLE CAN--
MANY, MANY, MANY THINGS,
SO IT'S FRUSTRATING.
DISAPPOINTMENT
ALL PUT TOGETHER.
RIGHT, MMM. A BIRD WHO WAS
USED TO FLYING FREE...
SOARING...
AS YOU WILL SEE
WHEN YOU READ
"JONATHAN LIVINGSTON SEAGULL,"
THE NEXT BOOK WE STUDY.
AND NOW...
ALL RIGHT, YOU GET
THE IDEA NOW,
BUT WE DON'T USE THE WORD
"AS" OR "LIKE,"
SO IT'S A LITTLE MORE
DIFFICULT TO GRASP.
THAT IS CALLED "META-PHOR,"
"METAPHOR, METAPHOR."
METAPHOR MEANS
COMPARISON,
SAME AS SIMILE, SIMILE,
BUT WITHOUT THE WORD
"AS" OR "LIKE."
OK, NOW COME BACK
TO THAT POEM.
"GATHER YE ROSEBUDS
WHILE YOU CAN,
"OLD TIME IS STILL A-FLYING;
"AND THAT SAME FLOWER
THAT SMILES TODAY
TOMORROW..."
RIGHT?
A COMPARISON.
YEAH, OK. WHAT'S THE POINT?
WHAT'S THE IDEA?
[WOMAN SPEAKING INDISTINCTLY]
WHAT'S IT MEAN?
YOU LIVE ONLY ONCE.
FINE. WHAT ELSE?
WHAT ABOUT TODAY?
[MAN SPEAKING INDISTINCTLY]
SEASON CHANGES. OK.
"GATHER YOU ROSEBUDS..."
WHEN DO THEY BLOOM?
ROSEBUDS?
SPRING.
ROSEBUD. WHY BUD?
YEAH.
COMPARISON WITH VIRGIN?
MAN: AWW, IT'S THE...
PANARA: YOUNG GIRL
LATE MARRIED.
HA HA HA!
BEAUTIFUL. LATE
MARRIED, RIGHT?
HE'S TALKING TO
THAT YOUNG GIRL.
MAN: HURRY UP.
"GATHER YOU ROSEBUDS
WHILE YOU CAN.
"OLD TIME IS FLYIN'
"AND THE SAME FLOWER
THAT SMILES TODAY
TOMORROW..."
YEAH.
NOW, WHAT'S THE IDEA?
YEAH, THE IDEA IS THAT BETTER
GET MARRIED, CERTAINLY NOW,
OR TOO LATE. MMM!
HA! OK. SO YOU GOT THE IDEA.
NOW, LET'S GO AHEAD
AND READ THE REST OF THE POEM,
THE SECOND STANZA.
"THE GLORIOUS LAMP
OF HEAVEN, THE SUN,
"THE HIGHER HE'S A-GETTING,
THE SOONER WILL HIS RACE BE RUN
AND NEARER HE'S TO SETTING."
WHAT IS THE LAMP OF HEAVEN?
[STUDENTS SPEAKING INDISTINCTLY]
MEANS THE SUN.
WONDERFUL.
WE SAY, "THE SUN, THE SUN,"
AND NOW HE'S SAYING...
"LAMP OF HEAVEN." RIGHT.
HEAVEN IS...
BIGGEST LAMP IN THE SKY.
IT'S CALLED "THE SUN."
THE LAMP, THE SUN.
THE MORE...
THE FASTER HIS
RACE...RIGHT?
THE BIGGER THE ...
...HOT.
WHAT ABOUT MAN'S LIFE?
SAME.
WHY SAME?
[WOMAN SPEAKING INDISTINCTLY]
MAN ONLY LIVES ONCE.
WORKS.
WELL, HOW DO YOU COMPARE
A MAN'S LIFE AND THE SUN?
LIKE A MAN'S GROWTH, OK...
TO DEATH, RIGHT.
BABY.
ROSEBUD.
WELL, WELL...
NOON.
FULL OF RED BLOOD.
I CAN.
HA HA HA!
YOU GET OLDER...
YOU'RE TIRED.
I DON'T THINK I CAN
ALL THE TIME.
I'M OLD. HA HA!
AND LAST...
DONE.
THAT'S THE IDEA.
SO HE'S TALKING TO
THOSE YOUNGER VIRGINS.
NOW THE THIRD STANZA...
STANZA.
"THAT AGE IS BEST
WHICH IS THE FIRST,
"WHEN YOUTH AND BLOOD
ARE WARMER;
"BUT BEING SPENT,
THE WORSE, AND WORST
TIMES STILL SUCCEED THE FORMER."
RIGHT.
"THAT AGE IS BEST
THAT IS THE FIRST..."
THE AGE,
WHEN YOU'RE YOUNG.
BEST, RIGHT!
YOUTH IS BEST UNDER 30.
MARVELOUS! HA HA!
BETTER AT 20!
BETTER. HA HA!
OLDER...
"WHEN YOUTH AND BLOOD
ARE WARMER..."
HOT STUFF! WOW!
YOUTH WONDERFUL
THING HERE.
SO HE SAYS, AND
"BEING SPENT..."
WHEN YOU'RE FINISHED,
SPENT YOUR YOUTH,
20, 25, 30, 35...
SPENT!
WORST TIME AND
WORST TIME WILL FOLLOW.
HA HA!
AND LESS, LESS,
LESS PLEASURE.
- SPEAK FOR YOURSELF. NOT ME.
I'M NOT THAT OLD YET!
HA HA HA!
[PANARA SPEAKING INDISTINCTLY]
[LAUGHTER]
OK. JUST WAIT TILL ALL
OF YOU REACH THAT AGE.
SOMETIMES, VERY INTERESTING.
MAKES THE ONE THAT THEY CALL--
WE HEAR THE EXPRESSION
"DIRTY OLD MAN."
[LAUGHTER]
IT'S TRUE!
REMEMBER, IT'S VERY HARD
FOR YOUNG GIRLS
WHO LOOK TWICE
AT AN OLD MAN. HA HA!
[LAUGHTER]
IT'S EASY FOR THEM TO
LOOK ONCE AT A YOUNG MAN.
ANYWAY, READ
THE LAST STANZA,
THE LAST ONE.
"THEN BE NOT COY,
BUT USE YOUR TIME,
"AND WHILE YE MAY, GO MARRY;
"FOR HAVING LOST
ONCE YOUR PRIME,
YOU WILL FOREVER...TARRY."
"USE YOUR TIME."
WHAT'S ANOTHER WORD
FOR THAT?
MAKE THE MOST
OF YOUR LIFE. RIGHT.
"USE THE TIME."
YEAH, GRAB, GRAB, GRAB!
ENJOY, ENJOY, ENJOY!
NOW, NOW, NOW!
ALSO, THERE'S ANOTHER WORD,
A BIG WORD FOR THAT.
MAKE THE MOST OF YOUR WHAT?
TIME--ANOTHER WORD.
[STUDENTS SPEAKING INDISTINCTLY]
MOMENT.
KNOCK ON THE DOOR OF...
OPEN ONE...KNOCK.
YES. OPPORTUNITY.
HAVE YOU HEARD OF THAT?
O-P-P-O-R-T-U-N-I-T-Y.
OPPORTUNITY.
IF I SAY, "USE YOUR TIME,"
THAT'S YOUR OPPORTUNITY.
20, 25, 30.
HURRY UP.
DON'T WASTE TIME.
OK. THAT'S THE POINT
OF THE POEM--
MEANS NOT ONLY FOR LOVE
BUT EVERYTHING ELSE.
WHEN THE SPRINGTIME COMES,
ENJOY IT, GO OUT.
[INHALES]
ENJOY THINGS WHILE YOU CAN,
WHILE YOU'RE HEALTHY,
WHEN IT HAPPENS.
MAKE THE MOST OF
THAT OPPORTUNITY.
WHAT ABOUT SCHOOL?
SAME THING.
DO YOU ALWAYS GO TO SCHOOL?
[STUDENTS TALKING INDISTINCTLY]
DO YOU ALWAYS
GO TO SCHOOL?
WHEN YOU DO, MAKE THE MOST
OF THAT OPPORTUNITY.
LEARN POETRY!
HA HA HA!
OK. WE HAVE ANOTHER POEM.
I CAN READ ONE MORE.
ONE MORE, QUICK.
"O MISTRESS MINE,"
PAGE 8 AND 9,
8 AND 9.
"O MISTRESS MINE."
"O MISTRESS..."
8 AND 9.
YOU READ THE POEM.
READ THE POEM QUICKLY.
READ THE POEM.
"O MISTRESS MINE,
WHERE ARE YOU ROAMING?
"O STAY AND HEAR!
YOUR TRUE-LOVE'S COMING
"THAT CAN SING
BOTH HIGH AND LOW;
"TRIP NO FURTHER,
PRETTY SWEETING,
"JOURNEYS END
IN LOVERS' MEETING--
"EVERY WISE MAN'S
SON DOTH KNOW.
"WHAT IS LOVE?
IT'S NOT HEREAFTER;
"PRESENT MIRTH HATH
PRESENT LAUGHTER;
"WHAT'S TO COME
IS STILL UNSURE:
"IN DELAY THERE
LIES NO PLENTY--
"THEN COME KISS ME,
SWEET-AND-TWENTY,
YOUTH'S A STUFF
WILL NOT ENDURE."
OK. WORK WITH ME.
"O MISTRESS MINE."
"MISTRESS" OUT OF DATE
NOW IN THAT SENSE.
LONG AGO, IT MEANT...
UNMARRIED GIRL,
SAME AS A VIRGIN.
TODAY, IT MEANS
SOMETHING ELSE.
[LAUGHTER]
BUT WE CAN ALSO--IN THE STYLE,
CAN MEAN SOMETHING LIKE...
THAT GIRL--HE'S TALKING TO HER,
MORE LIKE UNMARRIED GIRL.
"O MISTRESS MINE,
"WHERE ARE YOU ROAMING?
"STAY! HEAR! YOUR
TRUE-LOVE IS COMING.
WHO CAN SING BOTH
HIGH AND LOW..."
MAN IS TALKING TO THAT GIRL,
FLIRTING WITH HER.
- RIGHT.
HE'S TRYING--
HE'S TRYING TO ARGUE,
MAKE HER SEE WHY IT'S
IMPORTANT TO LOVE NOW,
NOT TOMORROW, NOT NEXT
WEEK, NOT NEXT YEAR,
NOT 10 YEARS FROM NOW.
HE SAYS, "WHAT IS LOVE?"
READ THE ANSWER.
WHAT IS LOVE?
READ THE ANSWER.
WHAT IS LOVE? WHAT? TELL ME.
IT'S "TIS."
IT'S NOT "HEREAFTER."
WHAT DO WE MEAN "HEREAFTER"?
LATER ON.
NOW, YEAH.
"PRESENT MIRTH..."
WHAT DO WE MEAN "MIRTH"?
PRESENT MIRTH
AND PRESENT LAUGHING.
"WHAT IS TO COME,"
WHAT VISION,
"IS STILL UNSURE."
DO YOU KNOW TOMORROW?
YOU KNOW NEXT YEAR?
BUT I KNOW NOW.
YOU'RE YOUNG.
"SWEET-AND-TWENTY..."
HA HA HA!
"YOUTH--YOUTH IS A STUFF
WILL NOT ENDURE."
WHAT'S THE WORD "ENDURE"?
LAST. MMM.
YOUTH WILL NOT...FOREVER.
YOU ARE YOUNG ONLY ONCE,
LIKE THE POEM
"TO THE VIRGIN"...
"TIME IS FLYING."
YOU FIND THAT
IN MANY POEMS.
YOU THINK OF SEX ALONE,
BUT SEX IS NOT
EVERYTHING IN LIFE.
IT MEANS MANY WONDERFUL THINGS.
"HAPPENINGS."
THAT'S THE WORD.
H-A--HAPPENINGS...
BEAUTIFUL GET-TOGETHERS
OUTDOORS IN THE NATURE.
BEAUTIFUL SEASONS...
MANY, MANY THINGS.
WHEN YOU'RE YOUNG,
MAKE THE MOST OF IT
BECAUSE TIME IS FLYING.
OK. I WILL GIVE YOU YOUR PAPERS
FROM THE LAST EXAM NOW.
[SPEAKING INDISTINCTLY]
MAN: GOT "F."
GOT AN "F."
SECOND MAN: OH, NO, NO, NO.
[MAN BLOWS RASPBERRY]
WOMAN: SEE WHAT I GOT?
SEE WHAT I GOT?
MAN: AN "A."
YOU PROBABLY GOT "A."
PANARA: SLOAN.
MAN: LET ME SEE.
"A." THOUGHT SO.
SON OF A GUN.
I GOT 85.
THIRD MAN: WELL, THE LAST ONE,
I DIDN'T FINISH IT.
WHEN THAT HAPPENED,
I WAS 10 POINTS OFF.
WOMAN: DIDN'T
HAVE ENOUGH TIME.
- RIGHT.
- YEAH.
WOMAN: OK, THEN...
transcript
PANARA: NOTICE, IT'S MONDAY.
HA HA! BIG SMILE.
NO CLASS FRIDAY. RIGHT.
CLASS: YAY!
I'M GOING TO WASHINGTON, D.C.
[CLASS MURMURING]
NO CLASS ON FRIDAY,
THIS COMING FRIDAY. YEAH.
THIS FRIDAY.
SO...GIVE YOU ENOUGH TO STUDY
DURING THAT LONG WEEKEND.
SOME OF THESE
ARE LONG POEMS,
MORE THAN ONE PAGE,
ESPECIALLY...
SO YOU HAVE THAT TO STUDY.
WHAT?
FRIDAY, NO CLASS.
AS YOU READ THAT OUTLINE...
REALLY EXPLAINS
HOW TO STUDY A POEM.
WE STARTED WITH THAT
LAST MONDAY,
ASKED YOU TO START
LOOKING FOR "IMAGES."
STUDY OF IMAGERY IN
POETRY MEANS WHAT?
THE STUDY OF IMAGERY,
IMAGERY, MEANS WHAT?
WHAT YOU MEAN?
5...
WOMAN: SENSE?
[MAN SPEAKING INDISTINCTLY]
- SMELL.
- [INHALES]
PANARA: SMELL, RIGHT.
THE 5 SENSES REALLY MEANS...
HOW WORDS INFLUENCE,
AFFECT YOUR SENSES,
THE EXPERIENCE
THAT YOU RECEIVE
THROUGH THE 5 SENSES
WHEN YOU READ A POEM.
READ...
YET SOMETHING TWANGS
YOUR 5 SENS--
ONE OF THE 5 SENSES...
SENSE OF SOUND.
BEAUTIFUL.
WHAT?
SENSE OF SMELL, MAYBE,
OR TASTE.
THAT'S WHAT
WE MEAN BY THIS. OK.
SECOND, TALK ABOUT...
POETRY HAS A LOT OF RHYME,
ESPECIALLY LYRIC POEMS...
BECAUSE IT WAS
MEANT TO BE SONG
SPOKEN WITH THE MUSICAL
ACCOMPANIMENT OF A LYRE.
NOW, THIS WILL ALSO EXPLAIN
WORDS LIKE ALLITERATION.
WHAT DOES THAT MEAN?
[MAN SPEAKING INDISTINCTLY]
PANARA: THE LINE HAS
THE SAME LETTER SIGNS.
"W," "W," "W."
[WOMAN SPEAKING INDISTINCTLY]
YES.
YEAH. ALL RIGHT, NOW,
FOR WHAT REASON?
ALLITERATION FOR RHYTHM.
SO, WHAT REASON?
WHAT DO WE USE? WHY?
[WOMAN SPEAKING INDISTINCTLY]
PANARA: TO...TO WHAT?
INSPIRE YOU
WHEN YOU READ.
WORD BY WORD.
BUT WHY ARE WE TALKING
ABOUT "W," "W," "W"?
WHAT? WHAT'S SUPPOSED TO DO?
WOMAN: WIND.
WIND.
PANARA: WHOO...
YEAH. IF YOU SPELL "W,"
YOU SHOULD ALSO SAY
"WHOO...W..." HA HA!
IF I SAY, "W," "W," "W," "W,"
IN THE SAME LINE OF POETRY,
THAT'S ALLITERATION.
SUPPOSED TO AFFECT THE SENSE,
THEREFORE, YOU MUST
SAY THE SOUND. SAY IT.
"WHOO..." HA HA!
"W," "W," "W."
WIND, WHALE...
"WIND IS LIKE A WHETTED KNIFE."
WHERE ALL "W"s PUT TOGETHER,
THE TOTAL EFFECT, THE IMPRESSION
OF "W," "W," "W"--
ADD THEM UP.
"W," "W," "W," "W."
THERE ARE 4. ADDED UP
MAKES A STRONG IMPRESSION
ON THE SOUND "WHOO..."
BECAUSE IN THAT LINE,
THE POET WAS TALKING ABOUT WHAT?
- WIND.
- WIND.
WIND. WIND.
THAT'S THE IDEA.
ALLITERATION.
ONE OF THE THINGS YOU
SHOULD LOOK FOR IN POETRY.
NOT ALL POEMS HAVE THEM.
SOME POEMS USE IT FOR
A SPECIAL PURPOSE--
OTHER THINGS LIKE
SIMILE, COMPARISON;
METAPHOR, COMPARISON.
SYMBOL.
ALL OF THOSE THINGS
WE WILL BEGIN TO STUDY
IN MORE DETAIL.
AND THAT'S WHAT THE
OUTLINE WANTS YOU TO DO
WHEN YOU READ A POEM.
IT WILL BE YOUR
"GUIDE," GUIDE.
WE'RE GOING TO GO INTO
THE STUDY OF POEMS NOW.
WE'LL TAKE A POEM LIKE
"THE WEST WIND."
"THE WEST WIND."
PAGE 343.
343.
[MAN SPEAKING INDISTINCTLY]
YEAH. ALLITERATION. WHY?
"W." YES,
THE SAME THING AGAIN.
WHICH LINE HAS THAT?
WHICH LINE?
FIRST LINE. FIRST LINE.
- HOW MANY "W"s?
- 3.
2.
- 4.
- 4.
4. NOW LET'S SAY THAT.
"A WARM WIND,
THE WEST WIND,
FULL OF BIRDS CRIES."
NOW, THERE'S ANOTHER IMAGE.
WHAT IS ANOTHER IMAGE?
BIRDS THAT CRY.
BIRDS CRY.
LOOK, YOU GET AN IDEA.
BIRDS FULL OF BIRDS' CRIES.
THIS POEM TALKS ABOUT
"THE WEST WIND."
[WOMAN SPEAKING INDISTINCTLY]
AND BEAUTIFUL WEATHER.
RIGHT. WHY?
- WARM.
- WARM.
YOU SEE THE BIRDS FLYING.
AND WHAT OTHER THINGS?
WHAT OTHER THINGS?
[MAN SPEAKING INDISTINCTLY]
OK, PEOPLE--
WAIT A MINUTE.
I'M TALKING ABOUT YOUR
EXPERIENCE. RIGHT.
LET'S SEE THE POEM.
PUT THE POEM UNDER
YOUR MICROSCOPE.
JUST READ THE POEM NOW.
READ FIRST, SECOND,
AND THIRD STANZAS.
"IT'S A WARM WIND, THE WEST
WIND, FULL OF BIRDS' CRIES;
"I NEVER HEAR THE WEST WIND
BUT TEARS ARE IN MY EYES.
"FOR IT COMES FROM THE WEST
LANDS, THE OLD BROWN HILLS.
AND APRIL'S IN THE WEST WIND,
AND DAFFODILS."
NOW CAN YOU TELL ME WHAT
OTHER SENSE, IMPRESSIONS,
ARE EVOKED?
MEANS...YOU ARE INFLUENCED
IN SOME WAY READING THE POEM.
WHAT OTHERS?
TALKED ABOUT THE WIND BLOWING
AND BIRDS CRYING.
- WHAT OTHERS?
- FLOWERS.
FLOWERS BLOOMING. WHERE'S
THE LINE THAT SAYS THAT?
[MAN SPEAKING INDISTINCTLY]
[WOMAN SPEAKING INDISTINCTLY]
PANARA: "APPLE ORCHARDS
BLOSSOM THERE." BEAUTIFUL.
HAVE YOU EVER SEEN
APPLE ORCHARDS?
- WHAT COLOR?
- PINK.
WHITE, MOSTLY. PINK.
PINK. IT CAN. PINK.
SAME AS OTHER
CHERRY BLOSSOMS.
BEAUTIFUL.
ALL RIGHT, "APPLE ORCHARD
BLOSSOMS THERE."
YOU SEE THAT. BEAUTIFUL.
AND YOU ALSO SEE WHAT ELSE?
[MAN SPEAKING INDISTINCTLY]
THE GRASS GREEN.
"THE COOL GREEN GRASS"--
THAT'S MORE THAN JUST VISUAL.
THERE. YEAH.
LIKE YOU TAKE OFF
YOUR SHOES.
BARE-FOOTED.
COOL.
HOW DO YOU FEEL?
IN THE WINTER, WINTERTIME...
HURRY UP INSIDE.
[LAUGHTER]
BUT IN THE SPRING...
HA HA!
OOH, FEEL THE COOL
GREEN GRASS.
OH, WARM WIND,
SUN...
MARVELOUS.
AND AFTER A WHILE,
YOU FEEL LIKE LAYING DOWN
ON THAT COOL
GREEN GRASS. RIGHT?
[INHALES]
YOU'RE SMELLING THE FLOWERS.
WHAT ELSE?
THERE'S A GOOD
DESCRIPTION IN HERE.
WHAT ELSE?
AH...
"AND THE AIR'S LIKE WINE."
WHY?
PANARA: LIKE APPLES.
- SMELL.
- THE SMELL.
PANARA: YOU CAN SMELL
THE BLOSSOMS.
LIKE WINE, BUT THERE'S
ANOTHER REASON.
WHY DO WE HAVE THE SIGN "WINE"?
WHY NOT "WINE"?
WHY NOT "WINE"?
"WINE."
WHAT'S OVER HERE?
[SLURPS]
[SLURPS]
WHAT HAPPENED OVER HERE?
RED.
GOES DOWN AND IT'S RED.
HA HA HA!
IT'S RED. MMM...
WINE. ...
WINE.
[INHALES]
YOU'VE BEEN INDOORS
ALL WINTER.
INSIDE.
[INHALES]
FLOWERS.
[INHALES]
GREEN GRASS.
[INHALES]
CAN THAT MAKE YOUR HEAD DIZZY?
SURE! SPRING FEVER, RIGHT.
AND WINE...WONDERFUL!
SEE A MOVIE, SHOW
A PERSON IN LOVE.
DON'T HAVE TO BE IN LOVE
WITH A GIRL.
CAN BE IN LOVE
WITH SPRING. CAN.
[INHALES]
AHH...
MOVIE GOES SLOW.
JUMP...OHH...
SEE THAT?
SAME IDEA.
A RUSSIAN MOVIE.
"DR. ZHIVAGO," YES.
SPRINGTIME.
BEAUTIFUL SCENES.
THAT'S RIGHT. YEAH.
"DR. ZHIVAGO."
MAN: ZHIVAGO.
WELL, NOW, THAT--
THAT IS ALSO IMAGE THAT AFFECTS
YOUR SENSE OF SMELL.
"THE AIR'S LIKE WINE."
IT IS ALSO A COMPARISON.
AIR...EQUALS...WINE.
WE CALL THAT A SIMILE.
SIMILE.
NOT A SMILE.
NO. HA HA! LOOK.
[MAN SPEAKING INDISTINCTLY]
PANARA: RIGHT. RIGHT. GOOD.
HE SAID SAME WITH ANOTHER
COMPARISON IN THAT POEM.
QUOTE..."HEARTS
AS TIRED AS MINE."
RIGHT.
YOU COMPARE THINGS.
OFTEN, THAT COMPARISON
SEEMS STRANGE AT FIRST.
IF--IF, FOR EXAMPLE,
IF YOU SAID TO A SMALL CHILD,
BOY OR GIRL,
THAT, UM...
"THE AIR IS LIKE WINE"...
[MAN SNICKERING]
"WHAT'S WRONG WITH
THAT ADULT?
MUST BE DRUNK." HA HA!
CHILDREN CAN'T SEE
THAT COMPARISON YET.
THEY CAN FEEL IT...
[INHALES]
BUT THEY DON'T
GET THE IDEA.
THE WIND CAN FEEL WARM.
YES, WE GET A COMPARISON.
THIS IS LIKE THAT UNDER,
UNDER THAT CONDITION,
THAT ENVIRONMENT.
IF I'M AT SPRINGTIME...
[INHALES]
I FEEL REALLY DIZZY.
YEAH.
WE CAN UNDERSTAND THAT,
AND THAT IS ALWAYS MADE CLEAR
WITH THE WORDS "AS" OR "LIKE."
IT'S VERY--"HER TEETH--"
BEAUTIFUL GIRL.
"HER TEETH ARE LIKE PEARLS."
WOMAN: GOT IT.
THE SKY AS WHITE.
AND PEARLS ARE HARD,
CAN BE COMPARED.
"HER EYES ARE LIKE STARS."
WHY? HER EYES
ARE WHITE.
MAN: NO, THEY'RE BLACK.
AND IF YOU TELL A CHILD,
"YOUR EYES ARE LIKE STARS."
"NO, MY EYES ARE NOT WHITE.
MY EYES ARE BLUE."
SHINING...STARS.
SHINE, OK.
SO THAT'S WHAT
COMPARISONS ARE LIKE.
WE HAVE A LOT IN POETRY
BECAUSE IN EVERYDAY LIFE,
DO YOU USE COMPARISONS MUCH?
WHEN A BOY...
MEETS A GIRL,
HE LIKES HER,
HE WANTS TO TAKE HER
OUT FOR A DATE,
BOY...
DOES THE BOY SAY,
"YOU ARE LIKE
A RED, RED ROSE
THAT'S NEWLY
SPRUNG IN JUNE."
HA HA!
OR "YOUR VOICE
IS LIKE THE MELODY
THAT'S SWEETLY SUNG IN TUNE."
THE BOY SAY THAT?
"YOUR TEETH ARE
LIKE PEARLS." YEAH.
BOY--WHAT DOES HE SAY?
"HEY, YOU AND ME DATE TONIGHT.
COME ON. I HAVE A CAR."
HA HA HA HA!
THINK IF THE BOY WOULD USE
A LITTLE BIT MORE POETRY
AND STUDY...HMM...
MAYBE TRIED TO
USE THAT--A GIRL
WHO WAS USED TO
THE SAME OLD LINE...
"COME ON. YOU TWO OUT
TONIGHT. HAVE A CAR."
MEETS THIS BOY...BOY.
"YOUR CHEEKS ARE LIKE ROSES."
[INHALING]
"YOU'VE EYES LIKE STARS."
GIRL...
"WHAT'S THIS?"
[LAUGHTER]
A DIFFERENT--
DIFFERENT BREED OF CAT.
HA HA HA!
" ...WITH HIM.
OK, I WILL GO WITH YOU."
WE HAVE TO BE MORE
IMAGINATIVE.
READING POETRY HELPS YOU
BECOME MORE IMAGINATIVE.
AND...YOU'LL BE MORE CREATIVE.
TRY TO LOOK AT THINGS,
REALLY LOOK AT THEM
MORE THAN BEFORE.
BEAUTIFUL.
SO THAT'S THE IDEA.
POETRY TRIES TO DO THAT.
WELL, LET'S GO ON
WITH THE POEM.
OUR POEM IS EXPLANATION
OF WHAT? WHAT?
YOU HAVE READ THE POEM.
DO YOU THINK THE IDEA
IS ENJOY THE SPRING?
RIGHT?
IT'S A FEELING, YES.
WELL, ANYTHING ELSE?
ANYTHING ELSE YOU GOT FROM
READING THE POEM? ANYTHING?
WHAT?
BUT WHAT DID YOU GET?
ALL TOGET--
WHOLE EFFECT.
WHAT DID WE SEE?
[WOMAN SPEAKING INDISTINCTLY]
SPRING FEVER. YEAH.
YEAH.
EVERYTHING WE HAVE...,
IT'S WONDERFUL TO BE ALIVE
IN THE SPRING.
RIGHT?
THAT'S THE IDEA.
AND PERHAPS
THE BEAUTIFUL SOUNDS.
"IT'S A FINE LAND,
"THE WEST LAND,
THE LAND WHERE I BELONG."
YOU WANT TO BE IN ARIZONA
IN THE SPRINGTIME?
NO, YOU'D RATHER
BE HERE. HA HA HA!
WE HAVE 4 SEASONS TO CHANGE.
NICE. THAT'S SOMETHING
PEOPLE THERE DON'T HAVE.
FOR THEM IN THE WINTER, FINE.
WE'D LIKE TO CHANGE PLACES,
BUT NOT IN THE SPRING.
THAT IDEA, THAT POEM GIVES YOU
THAT APPRECIATION OF THE SPRING.
LET'S READ ANOTHER POEM
THAT IS ENTITLED...
"TO THE VIRGINS."
PAGE...
MAKE THE MOST OF...
21. PAGE 21.
"TO THE VIRGINS,
TO MAKE MUCH OF TIME."
PAGE 21.
21.
[STUDENT COUGHING]
NOW, YOU WERE SUPPOSED TO READ
THAT FOR TODAY'S LESSON.
WE'LL READ AGAIN
THE FIRST STANZA.
THE FIRST STANZA,
READ NOW,
FIRST 4 LINES.
"GATHER YE ROSEBUDS
WHILE YE MAY,
"OLD TIME IS STILL A-FLYING;
"AND THE SAME FLOWER
THAT SMILES TODAY
TOMORROW WILL BE DYING."
THE WRITER--
WE SAY THE POET--
IS TALKING TO WHO?
"YE."
YOU.
BUT THE TITLE OF THE POEM...
"TO THE VIRGINS"
WHAT DO WE MEAN
BY "VIRGINS"?
VIRGINS.
UNUSED. WHAT ELSE?
GIRLS.
YES, GIRLS, BUT WHAT
KIND OF A GIRL?
WOMAN.
PURE.
WHAT ELSE?
AH, BEFORE MARRY.
BEFORE MARRY HIM. OK.
THAT WAS THE OLD ... TIME.
VIRGINS.
MEANS UNMARRIED.
TODAY, LET US CHANGE THE
WORD TO "UNMARRIED." OK?
HA HA! UNMARR--
HE SAID "UNTOUCHED."
TODAY, TIMES HAVE CHANGED.
LET'S SAY "UNMARRIED,"
BUT MAYBE WE SHOULD
INCLUDE "UNTOUCHED," YES,
BECAUSE THE POEM
IS ABOUT THAT.
OK?
YE. "YE" MEANS YOU,
MORE THAN ONE.
"THOU"...
WHAT?
THOU.
T-H-O-U.
[STUDENTS SPEAKING INDISTINCTLY]
THE. THE, NO.
- OUR.
- OUR, UM-UMM.
YOU.
THOU.
FIRST PERSON
IS SINGULAR, THAT.
THAT. WELL, YOU, REALLY.
I, ME, MY, YOU.
YOU, THIRD PERSON, REALLY.
THIRD PERSON.
THOU. THOU. YOU.
BUT THAT IS OLD.
WE CALL IT "ARCHAIC,"
A-R-C-H-A-I-C.
ARCHAIC. ARCHAIC.
DICTIONARY OFTEN SAYS
"ARCHAIC," ARCHAIC.
ARCH--
THE STUDY OF ARCHAEOLOGY.
WHAT? ARCHAEOLOGY.
ARCHAEOLOGY.
LONG, LONG AGO
OLD THINGS
AND BONES...
BROKEN POTS,
FOUND--3,000 YEARS OLD.
CALLED "ARCHAEOLOGY."
MEANS OLD THINGS...
NOT USED ANYMORE.
"THOU"--YOU, ONE.
BUT "YE"...
NOW HE SAYS,
"GATHER YE ROSEBUDS
WHILE YOU...
"OLD TIME IS STILL
A-FLYING."
WHAT'S THE COMPARISON?
TIME EQUALS WHAT?
FLYING?
HAD AIRPLANES IN THOSE DAYS?
WHY? THERE'S A BETTER
SIGN FOR THAT.
TIME GOES BY.
LIKE WHAT?
WHAT FLIES?
WHAT FLIES?
MAN: OH, THE
WORLD SPINNING.
PANARA: YES.
HA HA HA!
WE SEE THE COMPARISON.
TIME HAS WINGS.
ALL RIGHT, IT'S OLD.
YOU OFTEN SAY,
"TIME FLIES," RIGHT?
"TIME FLIES."
IT'S A COMPARISON,
BUT THEY DON'T USE THE
WORD "LIKE" OR "AS." NO.
SO WE CALL THAT...
MAN: METAPHOR.
NOT DIRECT, BECAUSE
I DON'T SAY,
"TIME IS LIKE A BIRD
ON THE WING."
I DIDN'T SAY, "THIS
IS LIKE THAT." VERY EASY.
NOW I MAKE IT HARDER.
"TIME IS FLYING."
HAVE TO WATCH MORE CAREFULLY
WHEN THE POET DOESN'T USE THE
WORD "AS" OR "LIKE"
IN ORDER TO SEE.
IF I SAY...
"MY LIFE HAS CREPT
SO LONG
ON A WOUNDED WING..."
WAIT TILL I PUT THE...
I JUST INVENTED THAT,
BUT I WANT TO SEE
IF YOU GET THE IDEA.
ALL RIGHT. MY LIFE...
MY LIFE IS NOW
COMPARED LIKE WHAT?
"CREPT." WHAT DOES IT MEAN,
THE WORD "CREPT"?
DO YOU KNOW?
CRAWL.
HOW, CRAWL?
SLOWLY.
WHO CAN ACT THAT OUT?
CREPT. CREPT.
CREPT. OK.
ACCEPT THE WORD "CREPT." OK.
MY LIFE IS COMPARED LIKE WHAT?
SOMETHING.
YEAH. HA HA! OK.
YOU GOT HURT. YOU BUMPED
YOUR HEAD AGAINST THE TV!
HA HA HA!
BUT--BUT YOU HAD
THE RIGHT ANSWER!
YES. SHE SAID IT. COMPARED
WITH SOMETHING HURT.
WHAT IS HURT? WHAT?
[MAN SPEAKING INDISTINCTLY]
WAIT A MINUTE. LOOK.
PUT IT UNDER
YOUR MICROSCOPE.
LOOK AT THE WORD.
AH...A BIRD WING.
BIRD.
YOU'RE HURT.
HE HITS THE TREE.
AH...BOOM!
FALLS DOWN.
BIRD...
HAVE YOU EVER SEEN A BIRD
WITH A BROKEN WING?
HAVE YOU EVER SEEN IT?
FEEL SORRY FOR HIM, SAD.
THERE, THERE. ALL RIGHT,
NOW COMPARE ME OR YOU.
"MY LIFE HAS CREPT ALONG
ON A WOUNDED WING."
AND I'M NOT A BIRD,
BUT I'M USING THIS AS AN IDEA
THAT MYSELF...WHAT,
FOR EXAMPLE?
[MAN SPEAKING INDISTINCTLY]
PANARA: I'M GETTING OLD.
BUT IF "A LONG TIME" MEANS
THROUGH A LONG PART OF MY LIFE,
I HAVE THAT.
WHAT CAN THAT BE?
AH!
DEAFNESS.
YOU CAN'T SEE
MY BROKEN WING,
BUT I HAVE IT.
IT'S BROKE. HA HA!
SAME AS YOURS, RIGHT?
NOT EASY TO LIVE
WITH DEAFNESS.
MANY, MANY THINGS
WE CAN'T DO--
CAN'T HEAR MUSIC;
CAN'T USE A TELEPHONE;
WE CAN'T, UM...TALK SMOOTHLY
LIKE HEARING PEOPLE CAN--
MANY, MANY, MANY THINGS,
SO IT'S FRUSTRATING.
DISAPPOINTMENT
ALL PUT TOGETHER.
RIGHT, MMM. A BIRD WHO WAS
USED TO FLYING FREE...
SOARING...
AS YOU WILL SEE
WHEN YOU READ
"JONATHAN LIVINGSTON SEAGULL,"
THE NEXT BOOK WE STUDY.
AND NOW...
ALL RIGHT, YOU GET
THE IDEA NOW,
BUT WE DON'T USE THE WORD
"AS" OR "LIKE,"
SO IT'S A LITTLE MORE
DIFFICULT TO GRASP.
THAT IS CALLED "META-PHOR,"
"METAPHOR, METAPHOR."
METAPHOR MEANS
COMPARISON,
SAME AS SIMILE, SIMILE,
BUT WITHOUT THE WORD
"AS" OR "LIKE."
OK, NOW COME BACK
TO THAT POEM.
"GATHER YE ROSEBUDS
WHILE YOU CAN,
"OLD TIME IS STILL A-FLYING;
"AND THAT SAME FLOWER
THAT SMILES TODAY
TOMORROW..."
RIGHT?
A COMPARISON.
YEAH, OK. WHAT'S THE POINT?
WHAT'S THE IDEA?
[WOMAN SPEAKING INDISTINCTLY]
WHAT'S IT MEAN?
YOU LIVE ONLY ONCE.
FINE. WHAT ELSE?
WHAT ABOUT TODAY?
[MAN SPEAKING INDISTINCTLY]
SEASON CHANGES. OK.
"GATHER YOU ROSEBUDS..."
WHEN DO THEY BLOOM?
ROSEBUDS?
SPRING.
ROSEBUD. WHY BUD?
YEAH.
COMPARISON WITH VIRGIN?
MAN: AWW, IT'S THE...
PANARA: YOUNG GIRL
LATE MARRIED.
HA HA HA!
BEAUTIFUL. LATE
MARRIED, RIGHT?
HE'S TALKING TO
THAT YOUNG GIRL.
MAN: HURRY UP.
"GATHER YOU ROSEBUDS
WHILE YOU CAN.
"OLD TIME IS FLYIN'
"AND THE SAME FLOWER
THAT SMILES TODAY
TOMORROW..."
YEAH.
NOW, WHAT'S THE IDEA?
YEAH, THE IDEA IS THAT BETTER
GET MARRIED, CERTAINLY NOW,
OR TOO LATE. MMM!
HA! OK. SO YOU GOT THE IDEA.
NOW, LET'S GO AHEAD
AND READ THE REST OF THE POEM,
THE SECOND STANZA.
"THE GLORIOUS LAMP
OF HEAVEN, THE SUN,
"THE HIGHER HE'S A-GETTING,
THE SOONER WILL HIS RACE BE RUN
AND NEARER HE'S TO SETTING."
WHAT IS THE LAMP OF HEAVEN?
[STUDENTS SPEAKING INDISTINCTLY]
MEANS THE SUN.
WONDERFUL.
WE SAY, "THE SUN, THE SUN,"
AND NOW HE'S SAYING...
"LAMP OF HEAVEN." RIGHT.
HEAVEN IS...
BIGGEST LAMP IN THE SKY.
IT'S CALLED "THE SUN."
THE LAMP, THE SUN.
THE MORE...
THE FASTER HIS
RACE...RIGHT?
THE BIGGER THE ...
...HOT.
WHAT ABOUT MAN'S LIFE?
SAME.
WHY SAME?
[WOMAN SPEAKING INDISTINCTLY]
MAN ONLY LIVES ONCE.
WORKS.
WELL, HOW DO YOU COMPARE
A MAN'S LIFE AND THE SUN?
LIKE A MAN'S GROWTH, OK...
TO DEATH, RIGHT.
BABY.
ROSEBUD.
WELL, WELL...
NOON.
FULL OF RED BLOOD.
I CAN.
HA HA HA!
YOU GET OLDER...
YOU'RE TIRED.
I DON'T THINK I CAN
ALL THE TIME.
I'M OLD. HA HA!
AND LAST...
DONE.
THAT'S THE IDEA.
SO HE'S TALKING TO
THOSE YOUNGER VIRGINS.
NOW THE THIRD STANZA...
STANZA.
"THAT AGE IS BEST
WHICH IS THE FIRST,
"WHEN YOUTH AND BLOOD
ARE WARMER;
"BUT BEING SPENT,
THE WORSE, AND WORST
TIMES STILL SUCCEED THE FORMER."
RIGHT.
"THAT AGE IS BEST
THAT IS THE FIRST..."
THE AGE,
WHEN YOU'RE YOUNG.
BEST, RIGHT!
YOUTH IS BEST UNDER 30.
MARVELOUS! HA HA!
BETTER AT 20!
BETTER. HA HA!
OLDER...
"WHEN YOUTH AND BLOOD
ARE WARMER..."
HOT STUFF! WOW!
YOUTH WONDERFUL
THING HERE.
SO HE SAYS, AND
"BEING SPENT..."
WHEN YOU'RE FINISHED,
SPENT YOUR YOUTH,
20, 25, 30, 35...
SPENT!
WORST TIME AND
WORST TIME WILL FOLLOW.
HA HA!
AND LESS, LESS,
LESS PLEASURE.
- SPEAK FOR YOURSELF. NOT ME.
I'M NOT THAT OLD YET!
HA HA HA!
[PANARA SPEAKING INDISTINCTLY]
[LAUGHTER]
OK. JUST WAIT TILL ALL
OF YOU REACH THAT AGE.
SOMETIMES, VERY INTERESTING.
MAKES THE ONE THAT THEY CALL--
WE HEAR THE EXPRESSION
"DIRTY OLD MAN."
[LAUGHTER]
IT'S TRUE!
REMEMBER, IT'S VERY HARD
FOR YOUNG GIRLS
WHO LOOK TWICE
AT AN OLD MAN. HA HA!
[LAUGHTER]
IT'S EASY FOR THEM TO
LOOK ONCE AT A YOUNG MAN.
ANYWAY, READ
THE LAST STANZA,
THE LAST ONE.
"THEN BE NOT COY,
BUT USE YOUR TIME,
"AND WHILE YE MAY, GO MARRY;
"FOR HAVING LOST
ONCE YOUR PRIME,
YOU WILL FOREVER...TARRY."
"USE YOUR TIME."
WHAT'S ANOTHER WORD
FOR THAT?
MAKE THE MOST
OF YOUR LIFE. RIGHT.
"USE THE TIME."
YEAH, GRAB, GRAB, GRAB!
ENJOY, ENJOY, ENJOY!
NOW, NOW, NOW!
ALSO, THERE'S ANOTHER WORD,
A BIG WORD FOR THAT.
MAKE THE MOST OF YOUR WHAT?
TIME--ANOTHER WORD.
[STUDENTS SPEAKING INDISTINCTLY]
MOMENT.
KNOCK ON THE DOOR OF...
OPEN ONE...KNOCK.
YES. OPPORTUNITY.
HAVE YOU HEARD OF THAT?
O-P-P-O-R-T-U-N-I-T-Y.
OPPORTUNITY.
IF I SAY, "USE YOUR TIME,"
THAT'S YOUR OPPORTUNITY.
20, 25, 30.
HURRY UP.
DON'T WASTE TIME.
OK. THAT'S THE POINT
OF THE POEM--
MEANS NOT ONLY FOR LOVE
BUT EVERYTHING ELSE.
WHEN THE SPRINGTIME COMES,
ENJOY IT, GO OUT.
[INHALES]
ENJOY THINGS WHILE YOU CAN,
WHILE YOU'RE HEALTHY,
WHEN IT HAPPENS.
MAKE THE MOST OF
THAT OPPORTUNITY.
WHAT ABOUT SCHOOL?
SAME THING.
DO YOU ALWAYS GO TO SCHOOL?
[STUDENTS TALKING INDISTINCTLY]
DO YOU ALWAYS
GO TO SCHOOL?
WHEN YOU DO, MAKE THE MOST
OF THAT OPPORTUNITY.
LEARN POETRY!
HA HA HA!
OK. WE HAVE ANOTHER POEM.
I CAN READ ONE MORE.
ONE MORE, QUICK.
"O MISTRESS MINE,"
PAGE 8 AND 9,
8 AND 9.
"O MISTRESS MINE."
"O MISTRESS..."
8 AND 9.
YOU READ THE POEM.
READ THE POEM QUICKLY.
READ THE POEM.
"O MISTRESS MINE,
WHERE ARE YOU ROAMING?
"O STAY AND HEAR!
YOUR TRUE-LOVE'S COMING
"THAT CAN SING
BOTH HIGH AND LOW;
"TRIP NO FURTHER,
PRETTY SWEETING,
"JOURNEYS END
IN LOVERS' MEETING--
"EVERY WISE MAN'S
SON DOTH KNOW.
"WHAT IS LOVE?
IT'S NOT HEREAFTER;
"PRESENT MIRTH HATH
PRESENT LAUGHTER;
"WHAT'S TO COME
IS STILL UNSURE:
"IN DELAY THERE
LIES NO PLENTY--
"THEN COME KISS ME,
SWEET-AND-TWENTY,
YOUTH'S A STUFF
WILL NOT ENDURE."
OK. WORK WITH ME.
"O MISTRESS MINE."
"MISTRESS" OUT OF DATE
NOW IN THAT SENSE.
LONG AGO, IT MEANT...
UNMARRIED GIRL,
SAME AS A VIRGIN.
TODAY, IT MEANS
SOMETHING ELSE.
[LAUGHTER]
BUT WE CAN ALSO--IN THE STYLE,
CAN MEAN SOMETHING LIKE...
THAT GIRL--HE'S TALKING TO HER,
MORE LIKE UNMARRIED GIRL.
"O MISTRESS MINE,
"WHERE ARE YOU ROAMING?
"STAY! HEAR! YOUR
TRUE-LOVE IS COMING.
WHO CAN SING BOTH
HIGH AND LOW..."
MAN IS TALKING TO THAT GIRL,
FLIRTING WITH HER.
- RIGHT.
HE'S TRYING--
HE'S TRYING TO ARGUE,
MAKE HER SEE WHY IT'S
IMPORTANT TO LOVE NOW,
NOT TOMORROW, NOT NEXT
WEEK, NOT NEXT YEAR,
NOT 10 YEARS FROM NOW.
HE SAYS, "WHAT IS LOVE?"
READ THE ANSWER.
WHAT IS LOVE?
READ THE ANSWER.
WHAT IS LOVE? WHAT? TELL ME.
IT'S "TIS."
IT'S NOT "HEREAFTER."
WHAT DO WE MEAN "HEREAFTER"?
LATER ON.
NOW, YEAH.
"PRESENT MIRTH..."
WHAT DO WE MEAN "MIRTH"?
PRESENT MIRTH
AND PRESENT LAUGHING.
"WHAT IS TO COME,"
WHAT VISION,
"IS STILL UNSURE."
DO YOU KNOW TOMORROW?
YOU KNOW NEXT YEAR?
BUT I KNOW NOW.
YOU'RE YOUNG.
"SWEET-AND-TWENTY..."
HA HA HA!
"YOUTH--YOUTH IS A STUFF
WILL NOT ENDURE."
WHAT'S THE WORD "ENDURE"?
LAST. MMM.
YOUTH WILL NOT...FOREVER.
YOU ARE YOUNG ONLY ONCE,
LIKE THE POEM
"TO THE VIRGIN"...
"TIME IS FLYING."
YOU FIND THAT
IN MANY POEMS.
YOU THINK OF SEX ALONE,
BUT SEX IS NOT
EVERYTHING IN LIFE.
IT MEANS MANY WONDERFUL THINGS.
"HAPPENINGS."
THAT'S THE WORD.
H-A--HAPPENINGS...
BEAUTIFUL GET-TOGETHERS
OUTDOORS IN THE NATURE.
BEAUTIFUL SEASONS...
MANY, MANY THINGS.
WHEN YOU'RE YOUNG,
MAKE THE MOST OF IT
BECAUSE TIME IS FLYING.
OK. I WILL GIVE YOU YOUR PAPERS
FROM THE LAST EXAM NOW.
[SPEAKING INDISTINCTLY]
MAN: GOT "F."
GOT AN "F."
SECOND MAN: OH, NO, NO, NO.
[MAN BLOWS RASPBERRY]
WOMAN: SEE WHAT I GOT?
SEE WHAT I GOT?
MAN: AN "A."
YOU PROBABLY GOT "A."
PANARA: SLOAN.
MAN: LET ME SEE.
"A." THOUGHT SO.
SON OF A GUN.
I GOT 85.
THIRD MAN: WELL, THE LAST ONE,
I DIDN'T FINISH IT.
WHEN THAT HAPPENED,
I WAS 10 POINTS OFF.
WOMAN: DIDN'T
HAVE ENOUGH TIME.
- RIGHT.
- YEAH.
WOMAN: OK, THEN...
Transcript
false
Notes:
"This project is supported by a Digitizing Hidden Collections grant from the Council on Library and Information Resources (CLIR). The grant program is made possible by funding from the Andrew W. Mellon Foundation."
notes
"This project is supported by a Digitizing Hidden Collections grant from the Council on Library and Information Resources (CLIR). The grant program is made possible by funding from the Andrew W. Mellon Foundation."
Notes
false