 First, under the gloomy sea, Annabelle Lee, and the other poem, Sea Fever, and then next, stopping by Woods, on a snowy evening, fine, four okay, and West Wind, there are two poems with almost the same title. One is the West Wind, and that's the one I wanted you to read. That's by John Masefield, the other one owed to the West Wind. That's another, by another poet named Shelly. We will definitely read that later when we study the book, Jonathan Livingstone, Seagull, because that poem, Ode to the West Wind, blends nicely with that story about seagulls. Now, we're going to add some more poems for you to read for this Wednesday. That adds up to 10 lyric poems that we will start with, start our poetry assignment by studying those 10 lyric poems. Now, when it comes to the study of poetry, this is a very interesting sign, poetry. He said it thinks it has to do with song, the sign for songs, poetry. Now, why songs? What? The violin? You're probably thinking of who was Nero, Roman what? Roman king? Nero the violinist? While Rome burned. What an artist dies in me. He thought himself as the world's best artist, paid more attention to writing short poetry than attending to the governance of the city of Rome. But that's another story. But the sign comes from the word liar. Now, back then, back in Roman times, even before Roman times, there was even a greater civilization, culturally speaking. I'm talking about the arts, poetry, drama, sculpture. And what was that civilization before Rome? Greece. That's right, Greece. G R E E C E Greece. Compare Rome to Greek. Many use sign Greek like this with the G by the nose. If you look at their sculpturing, you'll see the profile shaped like this. Hence the sign Greek. However, if you look at Roman sculpture, their profile was shaped like this. And that was called a Aculacline nose. But what? But like an eagle. So the sign is Roman, Roman. The study of Latin language. So don't confuse those two Greek and Roman. Okay. Now it comes to the, when it comes to the Greek civilization, the word liar. What is meant by L Y R E? A liar was a, does anybody have an idea? What was an liar? Yes. It was a harp. A very small one. They had larger harps back in the day, which you plucked, or you had the smaller one that you could carry around. It was portable. And so that was the sign during Greek times. They believe that poetry as written or spoken was most pleasing if it was accompanied with a liar and they could follow the boom, the meter. So you get the idea, boom, boom, music, poetry, music, poetry. So the idea was about lyric poetry. Lyric was a poem that was meant to be sung, where you have to think as poetry as something else that is spoken, then sung. Singing is supposed to give pleasure to the listener. We who are deaf seem that we may be shut out from that pleasure, but do you think that's so? You can read, you can read, you can feel. What do you mean by feel? No, I'm talking about poetry. Do you hear the vibrations? No, you can't hear. You feel what? The feel the vibrations of what? Of music? But if you had a liar, you're probably right, but pushing that aside, if you just read, it silently makes you feel inspired based on your emotion. It's something inside of you. You read and think and imagine. You think and read. Part of music, you feel, you use your imagination. Can you imagine that? Read? Well, if you read the prose, not poetry, but everyday prose and still see the picture, still you seem to touch something. Touch a rough sidewalk, for example, when you're walking on, you know, walking in bare feet and you read. Just imagine that, can you? That's the same with poetry. I once wrote a poem and in that poem, I tried to picture that even though I can't hear, still through my imagination, I could imagine what the words sounded like. So I once wrote a poem like that. Let me start off by signing that poem to give you some idea of what the printed word can make us imagine. This is, quote, on his deafness. My ears are deaf, but still I seem to hear sweet nature's music and the sound of man. For I have learned from fancy artisans how written words can thrill the inner ear, just as they move the heart. And so for me, they also seem to ring out loud and free. In silent study, I've learned to tell each secret shade of meaning and to hear a magic harmony at once sincere that somehow notes the tinkle of a bell, the cooing of a dove, the swish of leaves, the raindrops pitter patter on the eaves, the lover's sigh, and the strumming of a guitar. And if I choose the rustle of a star, you get the idea? Reading and imagination can make us, quote, hear. Now, dealing with one of our sense experiences. One, do we have any other senses? A sixth? That's true. But what is the sixth? A six? Tacked? Something tactful? A six? What is the sixth sense? What? ESP? ESP? That's an idea. Hard to explain, right? What is it? When you sleep and someone walks into your room, you can't hear it. You feel, you feel a presence. Yeah, we use the word sign feel, but it's not exactly that because you're not really touching, touching anything. It's something inside. Some people, yeah, it's really hard to explain. It's something that is intuitive, but we sign this. That's true. It's something that we can have a lot of argument about, but we're talking about the five senses. One is hearing. What's the other? Smell, hearing, smell, taste, sight, feeling. It really means what? Touch. That's correct. Remember, it's more touch. Touch. You touch this, you touch that. That's pretty rough there, huh? Okay, now you get the idea that all of us have, all of us have experienced the world through the senses, sight, hearing, taste, touch. For example, when you go to the seashore, you can see what you see in the water. What? You see the fish? Oh, if you look down deep, yeah. Maybe they're jumping. Okay. You see birds. What else? Huh? Colors? What colors? Blue, the blue sky, and you see green, the green water. So you see these things, all right? What do you hear? The sound of the ocean, the sound of the waves crashing. You hear rain? No, I'm talking about going to the beach. Oh, if it's raining, yeah. If it's raining, what else? The surf and the sounds. What else? They're very interesting. You feel it? He says, without shoes, you take your sandals off. That's a good one. And you walk on the sand, the white sand. You walk it and you can hear the steps. But at the same time, you feel, what do you feel? You feel the texture of the sand. And if it's hot, if you're in the middle of the sun, you feel the sun on your back and the sun at the soles of your feet. What else? What about you feel the hot temperatures under your feet and the sun beating in your face? What do you hear? You hear the waves? You hear yourself walking on the sand? What else do you hear? I'm talking about hearing. Imagine, what? Shells? You pick up a shell and put it up to your ear and you listen to it. Yes. What else? Sea gulls. Yeah, you hear them calling. They're fighting each other for fish. You're hearing gulls crying, crying good. What about other senses? Any other senses? About an airplane? But we're talking about the seashore. Limited to the sea. I have a special reason for that experience that you get from visiting the seashore. Colorful as the sun goes down. Color as it goes under the water. Okay, yeah. Wind. Wind. Especially if you are on a boat with a sail. The sail? Is it quiet? Or does it flap a lot? Can you imagine that? Oh, there wasn't experience. The hearing of the flapping of the sail? That's a different sound. What about smell? We haven't come to that. Oh, a fishy smell. Right. You smell salt water, fishy and salt. Cool. Taste. Last. Taste. What do you taste? Salt? Salt water. Okay, fine. You see poetry deals with all of that. Yes. Poetry is short compared with prose. Every day language. It uses a lot of words. Often uses too many words. Poets carefully choose words. Very economical by carefully choosing. And each word should have a special impression on one of your senses. Now, so that's the idea. Now, we are going to go into the language of poetry. Image, image, image. Most of the time, if you think of a picture, we talk about a photographic image. You've seen that expression, right? Photographic image, likeness, a photo that looks the same as copied from there, reproduced. But images really relate to any of the senses. You can have an image that appeals to your sense of touch. You feel something rough. It doesn't feel good. Something sharp. Or image can appeal to your sense of sound. As we said before, the seagulls crying. So that's the idea. The idea, the concept that deals with all of the different sense experiences. We call that imagery. How do you pronounce that? Imagery, imagery, imagery, imagery, imagery, imagery. Often I like to make a comparison that suppose you have a small liar, a small one. Suppose that liar has five strings. Chords, we call them strings, five. And I strum the strings. Or suppose one of those strings that you pluck deals with the sense of taste. You pluck the string. When I read a poem, if it contains one word that deals with taste, and it say it was salt or the sea, sea spray, salt, sea spray. Can at the same time you can taste it and feel it. See the beach and the surf and the spray hitting you in the face. It's part of feeling it, tasting it, both. So you pluck the string and you get two of my senses that experience a sense, sense of touch and the sense of taste. So when you pluck the different strings, you get different senses activated. You get the idea. You put them all together, we call that sense experiences. They travel to the mind up to different strings. Or maybe they go to your heart depends which one. Both you're saying, right, both sometimes, right? Or it goes to your stomach and doesn't feel so good. When somebody scratches a chalkboard, that doesn't feel so good. That goes to the gut. Not such a good sensation, right? Anyway, now there are certain poems that I've asked you to study. What poem comes to mind based on this discussion? You know, what poem comes to mind from your outside reading that deals with a sea fever, sea fever. Okay, let's turn to that page now, sea fever, page 343, 343. Why don't you read the first verse again, just the first verse, the first stanza, the first four lines, page 343, 343. Read the first four lines. We're getting close. You read the first four lines and you feel the rhythm. Say the words, I must go down to the seashore again, to the lonely sea and sky. And all I ask is for a tall ship, massed, right? A tall ship and a sail and the stars and the wheels. What are the wheels? What were the wheels kick? Are there actual wheels? No. The controls? The rudder that you would have here? Or it could be connected to the wheel? A console, that's the right word. But what does kick mean? Kick, kick. When it says wheels kick, what kicks your, you kick the wheel? If you can drive on a rough road, sometimes holding the steering wheel will make it a little jerky. It kicks like a deer kick, getting kicked by an animal. That's the same with a boat as you traverse the water, it kicks back and forth and the wind and the white sails shaking, flapping in the wind, shaking, and the gray mist, again, gray mist on the sea face, misting ahead of you on the water and the fog all coming together and the white dawn breaking. What time does that refer to? Yes, early in the morning as the sun starts rising and the mist starts evaporating. Okay, now you say, I must go down to the sea, again, the lonely sea and sky. And all I ask is for a tall ship to lead. You see, the wheels kick and the wind kicks and the song, the white sails shaking. Do you feel a rhythm back and forth, back and forth, back? So poetry tries to make that rhythm sound almost as if the water and the waves are passing along. So you have the measured beat. Do you know what a beat is? What is a beat? A heartbeat. Can you feel your heart beating? How fast is it now? How fast? You know, if you're sleeping right after lunch? Not? Okay. So your heart beats, boom, boom. When you run, right, it beats faster. Okay. So there's beats in many, many things. What other things have beats? Drums? Dance has a beat too. Yeah, right? That'll put you to sleep or it'll feel like a dope like trance. Everything, many things have a beat. That's the stuff of life. And poetry depends heavily on that, really. Not all poems have that, sometimes are written without a beat, without a meter. That means the same thing. Same idea. In poetry, poets try sometimes to create that beat, that sound, almost like the movement of what is happening. Sometimes poem can be about riding a horse and the beat will be much faster. Riding, riding, riding. Now the man came riding up to the end, or we'll read that one later, the highway man. But for now, we're looking at waves and the kick of the sea and the wind and the white sail on the mast. And when you read a poem, it tries to speak the words to yourself. Try to say it out loud. You will appreciate what feedback you get or the feeling. So you get feedback through feeling, whether it's your throat, your chest, you feel really good. It's a beautiful feeling. We also begin to see that poetry can appeal to us in other ways. In other words, when it comes to the sea and the sky, what does that tell you? Sea, sky. Interesting. It's long vowels. That poem has many simple vowels that stress long vowels, long A's, long E's, long I's, long O's, long U's. Poetry is like that. That's why you have rhymes. Rhymes, the last word, they must sound like sea of the loneliest or lonely sea and the sky. And all I ask is for a tall ship and a star to drive by. That's what interesting about that. Okay, there's again, the sense of sound. What else? What else about the visual images? What things touch or what things influence your sense of sight? You visualize a picture. What else is there? Anyone? Said the star. What else? The gray dawn with the sun coming up and the brightening of the sky. Beautiful sign language. Wow. See the sun coming up on the horizon. Makes its way up into the sky and brightens the day. Marvelous. If we only had color, it'd be a perfect picture, a perfect image of what you see, right? What else? What else? You see dawn breaking, the gray dawn breaking, the tall mass, the sailboat. What else is contained with this in the poem? What exact words do you see? We talked about the gray dawn breaking. I want the exact words. When you read poetry, you want to be careful that you see the poem under a microscope when you read, as if you're reading it under a microscope seeking clarification. So we also talk about I see air. I see a cloud. Oh, wait a minute. A tall ship, a star. You get the exact image, the exact idea. What else? A white sail. Yes, what else? Let's read the second stanza. Second four lines now. The second four lines. Like since chills up my side. That gives me goosebumps when I read this poem. Really. What other images do you see? Let's identify some more based on the words. Tide? The running tide. Yes. Right. What else? Seagulls. Great. See the images? The white clouds. Okay. Now let's talk about images that influence your sense of taste. What's listed here? Flung spray. The blown spray. What is flung spray? The spray of the water is just little droplets floating above the water and hitting you in the face and on your body and on your arms and it feels so cool. And the blown spume. What is spume? Windy? Windy what? Blown spume. Interesting. Why did the poet decide to use the word blown with the word spume? What do you think? Spume? Salt? Well, exactly what is it? A splash? It deals with that but of what? Spray? And also in the water you have the water crashing up against the boat. The boat going through the water. The rudder drifting the boat along. What happens with as the boat makes its way through the water? You see this white foam in your trail and you're awake. Why do I go like this with puff cheeks? Why? Right. Indicate spume. The foam, right? Sort of like foamy. Very interesting about the poet chose that word. Blown. He could have said floating but no. When it comes to foam he chose the word blown spume. Blown spume. That's the blown spume. Awesome. You can almost taste it, the foam. And that's the idea. I can do it in sign language just as you can but when it's written through words that will live forever. It's fantastic what poems attempt to do. Let's read the third verse now. Now listen. You strike the layer, the liar with the five strings. Each one is linked with a sense of the man. Not the five senses but the five senses here on your hand plucking the strings and hearing it and tasting it and seeing it. Something like that. Now which does this appeal as far as a sense of sound when you read? Read the third verse and tell me how does it appeal to the sense of sound? Well read the whole line. What is like a wetted knife? What? What is like a wetted knife? What? The wind. The wind, correct. Equals a sharp knife. The wind flapping the sails and the sharp knife. Sometimes they're both very cold. When you're sailing and the sails up, you're blocked from the sun and there's no sun because you're under the sail. The sun's on the other side of the sail. So you're blocked from the sun. Do you stay warm? No, you're rather cold. Have you had that experience? And you start feeling the wind. It strikes you. Now, interesting to hear the wind. What letters of the A, B, C, D try to allow you to hear the sound of the wind, correct? The W. Count how many Ws are in that one line where the six, six W sounds to the whale's ways and the gull's way where the wind has a wetted knife. The whale's way, gull's way, like a wetted knife, a W sound. Again, you get a sense of the wind. The poet chooses those words very carefully to influence your sense of sound, strumming the liar, hearing the W again and again. You get the idea, alliteration. It's an important word that we learn. In mathematics, you have to learn certain words, what is meant by, for example, parallel lines. You have to learn what we mean by concentric circles. You have to learn those special terms in math, right? In engineering, in medicine, right? And the same thing with the study of lit, the study of poetry. There are certain words that are used often. Alliteration is one of those. Sometimes they use the G sound, the gu sound. It sounds rough. Other times, you use the L sound, the la la la la. It's a beautiful sound. Why the mother carries a child and sings la la la la. It's a lullaby, lullaby with the L sound. And it's a special sound. And if you repeat that sound over and over again, it has a strong effect on the hearing, on the sound. So watch for examples of that, of when poetry tries to use alliteration to see why they chose that special sound. Why? Time is up. So on Wednesday, we will continue the study of lyric, and I'll ask you many more questions when it comes to the discussion of imagery.