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Module A100
Retrospect
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Retrospect
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Description
A review of the course A100, each chair outlining the aims of his particular aspect of the course.
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Subtitle Number
Time In
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Subtitle Text
1
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00:00:12,000
Well of course the whole point is supposed to be that it increases the enjoyment.
2
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00:00:18,000
But a whole number of students have asked me – at Summer Schools and study centres –
3
00:00:18,000
00:00:22,000
exactly what we mean, in the literature parts of the course,
4
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00:00:27,000
when we ask students to pay special attention to the way a particular writer uses language.
5
00:00:28,000
00:00:31,000
Well, here's a pretty well-known bit of language:
6
00:00:38,000
00:00:46,000
Hamlet: To be, or not to be... that is the question.
7
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00:00:53,000
Whether 'tis nobler in the mind to suffer the slings and arrows of outrageous fortune,
8
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or to take arms against a sea of troubles, and by opposing end them? To die: to sleep…
9
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00:01:09,000
..no more; and by a sleep to say we end the heart-ache and the thousand natural shocks...
10
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..that flesh is heir to, 'tis a consummation devoutly to be wish'd. To die, to sleep;
11
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to sleep, perchance to dream: ay, there's the rub;
12
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for in that sleep of death what dreams may come...
13
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..when we have shuffled off this mortal coil, must give us pause: there's the respect...
14
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..that makes calamity of so long life; for who would bear the whips and scorns of time,
15
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the oppressor's wrong, the proud man's contumely, the pangs of despised love,
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the law's delay, the insolence of office and the spurns…
17
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..that patient merit of the unworthy takes, when he himself might…
18
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Hamlet: ..his quietus make with a bare bodkin?
19
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Arnold Kettle: Is this question of attention to language a formal thing?
20
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Do we want people to say to themselves…
21
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.."Oh, what a splendid example of a metaphysical conceit!" or...
22
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.."Just listen to that subtle dissonance!" Well, I don't think that is the main point,
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though of course it is good to recognise a conceit when you see one…
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..and to be aware of terms like internal rhyme. Being aware of these terms helps you…
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..to recognise the things and so formulate your more instinctive reactions.
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But the main point is to be aware that words aren't to be taken for granted,
27
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that good writers use words in ways that help you to be aware…
28
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..of the full force (and often complexity) of their meaning.
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When – in the "To be or not to be " speech – Hamlet asks…
30
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.."Whether 'tis nobler in the mind to suffer the slings and arrows of outrageous fortune",
31
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he isn't just asking himself whether it's better to put up with…
32
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..pieces of exceptionally bad luck , even though…
33
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..that's a fair enough paraphrase of his meaning.
34
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But Shakespeare wrote 'nobler' not 'better'.
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If he'd meant 'better' he could have written it.
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'Nobler' brings in all sorts of associations 'better' wouldn't.
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It makes us realise that because Hamlet is 'noble', he has special problems of how to act.
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It makes us realise even that there's a difference between the social sense of 'noble'…
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..(someone who belongs to the nobility that's to say) and…
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..the more abstract sense of the word to convey a high-minded,
41
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morally exalted sort of feeling. ( Are nobles always noble?)
42
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What I'm getting at is that to read the sentence – "Whether tis nobler" –
43
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for all it's worth means to get the full force of the actual words…
44
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..(those words and no others) that Shakespeare's using:
45
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00:04:04,000
and to ask you to pay that sort of attention to language is one of the chief things…
46
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..we've been trying to do in the literature aspect of the course.
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