WEBVTT 00:00:00.000 --> 00:00:03.416 align:middle line:84% [OPENING OF BEETHOVEN'S 5TH SYMPHONY PLAYING] 00:00:03.416 --> 00:00:05.368 align:middle line:90% 00:00:05.368 --> 00:00:06.344 align:middle line:90% It's a pattern. 00:00:06.344 --> 00:00:09.272 align:middle line:90% 00:00:09.272 --> 00:00:12.130 align:middle line:90% Then starting the asymmetry. 00:00:12.130 --> 00:00:14.290 align:middle line:84% Here, it takes those little short chunks, 00:00:14.290 --> 00:00:15.290 align:middle line:90% and he's lining that up. 00:00:15.290 --> 00:00:17.940 align:middle line:90% So now we go to longer phase. 00:00:17.940 --> 00:00:20.200 align:middle line:90% Momentary repose, stop. 00:00:20.200 --> 00:00:21.413 align:middle line:90% [INAUDIBLE] 00:00:21.413 --> 00:00:23.080 align:middle line:84% Then you go back to the beginning again. 00:00:23.080 --> 00:00:26.480 align:middle line:90% Pattern, then we go again. 00:00:26.480 --> 00:00:28.030 align:middle line:90% It's going out, it's going out. 00:00:28.030 --> 00:00:31.300 align:middle line:90% 00:00:31.300 --> 00:00:35.092 align:middle line:84% It's going further this time, on to a new territory. 00:00:35.092 --> 00:00:37.020 align:middle line:90% Is it ever coming back? 00:00:37.020 --> 00:00:37.984 align:middle line:90% What now? 00:00:37.984 --> 00:00:39.912 align:middle line:90% He turned it upside down. 00:00:39.912 --> 00:00:41.358 align:middle line:90% Do we know where we are? 00:00:41.358 --> 00:00:45.710 align:middle line:90% 00:00:45.710 --> 00:00:47.150 align:middle line:90% Momentary repose, you hear that? 00:00:47.150 --> 00:00:49.170 align:middle line:90% It gets you back to the pattern. 00:00:49.170 --> 00:00:51.738 align:middle line:84% So you say, oh, that was a long phrase. 00:00:51.738 --> 00:00:53.030 align:middle line:90% That was a long musical phrase. 00:00:53.030 --> 00:00:54.990 align:middle line:84% It went like that, and then it came to rest. 00:00:54.990 --> 00:00:56.820 align:middle line:90% Now we're starting another. 00:00:56.820 --> 00:00:58.815 align:middle line:84% This is another, this is a little subtheme. 00:00:58.815 --> 00:01:02.100 align:middle line:90% 00:01:02.100 --> 00:01:06.712 align:middle line:84% You hear pieces of it, creating a longer phrase. 00:01:06.712 --> 00:01:15.110 align:middle line:90% 00:01:15.110 --> 00:01:18.568 align:middle line:90% We don't know where we are. 00:01:18.568 --> 00:01:21.038 align:middle line:90% We don't know where we are. 00:01:21.038 --> 00:01:25.500 align:middle line:90% Longer phrase, do you hear it? 00:01:25.500 --> 00:01:26.430 align:middle line:90% That's good. 00:01:26.430 --> 00:01:27.920 align:middle line:84% All right, and we'll come back to that momentarily. 00:01:27.920 --> 00:01:28.300 align:middle line:90% [MUSIC STOPS] 00:01:28.300 --> 00:01:30.217 align:middle line:84% So, you hear that, it's little trochees. 00:01:30.217 --> 00:01:32.490 align:middle line:90% Da-da-da, that's a chunk. 00:01:32.490 --> 00:01:33.662 align:middle line:90% That's a little chunk. 00:01:33.662 --> 00:01:35.048 align:middle line:90% Da-da-da. 00:01:35.048 --> 00:01:36.900 align:middle line:90% You won't repeat it, da-da-da. 00:01:36.900 --> 00:01:39.480 align:middle line:84% And then that longer phrase is where the chunks 00:01:39.480 --> 00:01:41.550 align:middle line:84% are put together to make some larger 00:01:41.550 --> 00:01:43.200 align:middle line:90% thing that goes like that. 00:01:43.200 --> 00:01:46.140 align:middle line:84% That's what we thrill to when we hear music. 00:01:46.140 --> 00:01:50.160 align:middle line:84% If all we heard was chunk, chunk, chunk, chunk, chunk, 00:01:50.160 --> 00:01:52.500 align:middle line:84% you're back with the fourth grade marching band. 00:01:52.500 --> 00:01:54.360 align:middle line:84% That's a fourth grade marching band. 00:01:54.360 --> 00:01:57.570 align:middle line:84% And that's one kind of rhythmic system that is meaner. 00:01:57.570 --> 00:02:00.990 align:middle line:84% And it's a pulse, and it's unvarying, and it is boring. 00:02:00.990 --> 00:02:03.570 align:middle line:90% Go listen to Bolero again, OK? 00:02:03.570 --> 00:02:04.740 align:middle line:90% [LAUGHS] 00:02:04.740 --> 00:02:05.760 align:middle line:90% Cause it doesn't build-- 00:02:05.760 --> 00:02:08.250 align:middle line:84% I mean, that piece builds, but it builds the same way 00:02:08.250 --> 00:02:09.630 align:middle line:90% every single time. 00:02:09.630 --> 00:02:13.230 align:middle line:84% OK, this is talking about a structure, an architecture 00:02:13.230 --> 00:02:15.630 align:middle line:90% around those sounds, OK? 00:02:15.630 --> 00:02:17.230 align:middle line:90% And they are two things at work. 00:02:17.230 --> 00:02:19.740 align:middle line:84% One is the kind of steadiness that's happening 00:02:19.740 --> 00:02:21.210 align:middle line:90% and the regularity of the meter. 00:02:21.210 --> 00:02:23.520 align:middle line:84% And the other is this longer thing, 00:02:23.520 --> 00:02:27.660 align:middle line:84% and it's that that seizes our hearts, OK? 00:02:27.660 --> 00:02:29.670 align:middle line:90% Poetry has got to do that, too. 00:02:29.670 --> 00:02:32.150 align:middle line:90% Poetry has got to do that, too. 00:02:32.150 --> 00:02:37.140 align:middle line:84% If it's nothing but iamb, iamb, iamb, iamb, iamb, iamb, iamb, 00:02:37.140 --> 00:02:38.550 align:middle line:90% it's boring. 00:02:38.550 --> 00:02:39.960 align:middle line:90% It is boring. 00:02:39.960 --> 00:02:44.850 align:middle line:84% And if it's nothing but an uncontrolled movement 00:02:44.850 --> 00:02:48.930 align:middle line:84% into unfamiliar territory, with no moments of repose, 00:02:48.930 --> 00:02:51.450 align:middle line:84% with no sense of development, with nothing 00:02:51.450 --> 00:02:53.830 align:middle line:84% leaking where you start with, where you ended up, 00:02:53.830 --> 00:02:55.240 align:middle line:90% then that's chaos. 00:02:55.240 --> 00:02:55.890 align:middle line:90% OK. 00:02:55.890 --> 00:02:58.530 align:middle line:84% And there's no reason why we can't have both. 00:02:58.530 --> 00:03:03.070 align:middle line:84% Because we write in sentences, and we write in lines. 00:03:03.070 --> 00:03:03.570 align:middle line:90% OK. 00:03:03.570 --> 00:03:07.080 align:middle line:90% 00:03:07.080 --> 00:03:07.905 align:middle line:90% I'm going to just-- 00:03:07.905 --> 00:03:09.872 align:middle line:84% I think I'll skip now past more of Mr. Justice. 00:03:09.872 --> 00:03:12.330 align:middle line:84% Because I don't want to read through a whole lot of them. 00:03:12.330 --> 00:03:14.038 align:middle line:90% 00:03:14.038 --> 00:03:16.080 align:middle line:84% We are going to do a whole lot of meter with you, 00:03:16.080 --> 00:03:18.390 align:middle line:84% but I do encourage you, I mean, I'm 00:03:18.390 --> 00:03:21.060 align:middle line:84% doing a very bad job on that poem. 00:03:21.060 --> 00:03:24.120 align:middle line:84% Because I'm skipping over what happens with the little what 00:03:24.120 --> 00:03:26.400 align:middle line:84% Jourdain calls the "small-scale music." 00:03:26.400 --> 00:03:27.615 align:middle line:90% OK, where he has-- 00:03:27.615 --> 00:03:29.820 align:middle line:84% each time, each line is going to have two feet. 00:03:29.820 --> 00:03:31.770 align:middle line:84% But the two feet are going to be different from one another, 00:03:31.770 --> 00:03:33.562 align:middle line:84% I mean slightly different from one another. 00:03:33.562 --> 00:03:36.810 align:middle line:84% So when he brings it back around, 00:03:36.810 --> 00:03:39.810 align:middle line:84% well, that's the only other thing that just-- you notice, 00:03:39.810 --> 00:03:43.015 align:middle line:84% you probably noticed that yourself. 00:03:43.015 --> 00:03:44.640 align:middle line:84% Farewell is the bell beginning to ring. 00:03:44.640 --> 00:03:47.460 align:middle line:90% One sentence, two lines. 00:03:47.460 --> 00:03:49.890 align:middle line:84% The children singing did not yet hear it. 00:03:49.890 --> 00:03:52.350 align:middle line:90% One sentence with two lines. 00:03:52.350 --> 00:03:54.870 align:middle line:84% The sun is shining in their song. 00:03:54.870 --> 00:03:57.660 align:middle line:84% One sentence, not quite two lines. 00:03:57.660 --> 00:04:00.750 align:middle line:84% The sun is in fact shining upon the schoolyard on children 00:04:00.750 --> 00:04:02.490 align:middle line:84% swinging like tongues of a bell, swung 00:04:02.490 --> 00:04:04.230 align:middle line:84% on the long arc of a silence, said 00:04:04.230 --> 00:04:07.350 align:middle line:84% will not seem to have been a silence till it is broken, 00:04:07.350 --> 00:04:08.730 align:middle line:90% as it is breaking. 00:04:08.730 --> 00:04:10.260 align:middle line:90% That's the fourth sentence. 00:04:10.260 --> 00:04:11.700 align:middle line:84% You see how out of whack that is, 00:04:11.700 --> 00:04:13.410 align:middle line:90% like how the first two were? 00:04:13.410 --> 00:04:16.500 align:middle line:84% That same [INAUDIBLE] that Larkin did. 00:04:16.500 --> 00:04:20.490 align:middle line:84% There is a sun now, louder than the sun of which the children 00:04:20.490 --> 00:04:23.430 align:middle line:84% are singing, brighter too, than that other 00:04:23.430 --> 00:04:25.440 align:middle line:84% against whose brightness their eyes 00:04:25.440 --> 00:04:27.660 align:middle line:84% seem caught in the act of shutting. 00:04:27.660 --> 00:04:29.090 align:middle line:90% Another long sentence. 00:04:29.090 --> 00:04:30.720 align:middle line:90% Now, watch what he does. 00:04:30.720 --> 00:04:34.260 align:middle line:84% The young schoolteacher, waving one arm in time to the music, 00:04:34.260 --> 00:04:36.300 align:middle line:90% is waving farewell. 00:04:36.300 --> 00:04:38.610 align:middle line:90% That one's got four lines in. 00:04:38.610 --> 00:04:42.420 align:middle line:84% Her mouth is open to sound the alarm, two lines. 00:04:42.420 --> 00:04:43.860 align:middle line:84% The mouth of the world goes round 00:04:43.860 --> 00:04:45.480 align:middle line:90% with the sound, two lines. 00:04:45.480 --> 00:04:48.690 align:middle line:84% Do you see how he makes this absolutely perfect shape, 00:04:48.690 --> 00:04:51.810 align:middle line:84% classical shape, that he ends up where he's going? 00:04:51.810 --> 00:04:52.360 align:middle line:90% OK. 00:04:52.360 --> 00:04:54.742 align:middle line:84% Starts here, here's the pattern, here's 00:04:54.742 --> 00:04:55.950 align:middle line:90% how long their sentences are. 00:04:55.950 --> 00:04:57.270 align:middle line:90% They're perfectly balanced. 00:04:57.270 --> 00:04:59.725 align:middle line:84% This whole middle goes, oh, like that. 00:04:59.725 --> 00:05:01.600 align:middle line:84% And then, he's going to bring us back around. 00:05:01.600 --> 00:05:03.350 align:middle line:84% He would never do like old Larkin. 00:05:03.350 --> 00:05:06.630 align:middle line:84% Even Justice would never write a poem that's so ends out there 00:05:06.630 --> 00:05:08.160 align:middle line:90% on that very long sentence. 00:05:08.160 --> 00:05:10.050 align:middle line:84% But he's going to bring us around to the end. 00:05:10.050 --> 00:05:10.650 align:middle line:90% OK? 00:05:10.650 --> 00:05:12.270 align:middle line:84% So you can check that on the meter, 00:05:12.270 --> 00:05:13.770 align:middle line:84% too, because he does the same thing. 00:05:13.770 --> 00:05:16.050 align:middle line:84% He goes back, and those last couplets to the meter 00:05:16.050 --> 00:05:18.320 align:middle line:90% that he started out with.