Great. So, are you doing right? Nice and nice. Yes. A little bit lower. I
don't know if that's the right way. I don't know if that's the right way.
Do you want to tell us a little bit more I'm going to try to speak loud in
English. Oh, okay. It's the second question. Does it sound good or not?
Well, let's see. Question number one. What is an elegy? A poem about death.
Many times yes. Yes, the loss of something. Many times this is an elegy. At
least someone has died, but... When we talk about an English epic, we are
basically talking about a poem. There are elements of an epic within a
poem. but basically a lament. Yes, lamenting that one can't live. But here
we have more examples than one. Where do our elegy come from? How many are
there? Are there only two that are in the book? Of the course? Yes, the
Exeter Book. Well, it's a book in the Cathedral of Exeter that was written
by an bishop. I think he was associating this with the text of Beowulf two
years ago. This is the Exeter Book that is in the Cathedral of Exeter, or
was it? I don't know if... I suppose it is in the British Library. I'm not
sure where it is right now. So, we have The Wanderer, The Seafarer,
Whitsitt, which is a name, a poem called El Poema que Rima, that is, The
Rhyming Poem. Why are they like this? What's the most stupid title?
Tenerima. Right. Tenerima combined with alliteration. So, it's a clear
example of literary transition in the Deo siglo, which is also a name. Wolf
and Edward, which is the story about a forbidden love. The Lamentation of
the Woman, or the instrument that we have here. The Message from the
Husband, The Husband's Message. And The Ruin, which seems to describe some
ruins So, there are... I think I said eight titles. What conclusions can we
draw from the different titles that these poems have? What conclusions can
we draw from the titles of these poems? In some cases, in the case of The
Wanderer, The Seafarer, Whitsitt, The Rhyming Poem, No, They Are Sea, Wolf
and Edward Rucker is The Best Personas, The Washed Lament, Si, Dale Uno,
The Husband's Message, Sea, The Ruin, No. But in many cases, Sea. Is there
anything else that we can draw? Any conclusions? They are melancholic.
Whitsitt is melancholic as a title. Yes. So, it's a number. Trump's
Question. We cannot draw any conclusions. All these titles are modern. They
are not the titles of the works. They are titles that have been put
posteriorly and, in addition, they have been put with academic rigor and
very little imagination. In other words, they are the least interesting
titles that you can find and more descriptive. The same as with Beowulf.
Beowulf is not called The Little Beowulf or Beowulf or whatever it is. It
has simply been placed in the memoirs in the case of Beowulf. It has all
the meaning. But, all these titles are modern and bear in mind that, in a
certain way, they can include more. They are quite difficult. So, they will
probably not include much, but they can include more. Yes, yes, yes. Yes.
Well, play with words always has been something that we like. And why?
Well, it's very deep psychological, I don't get into that. But, yes, the
assertions and, in addition, it is curious because some are absolutely
innocent but they are made to seem vulgar. To produce a doubtful when in
reality the response of the assertion is innocent. There is one about a
girl that goes in this plan. I, the only thing I can answer because the
psychological point of the English or whatever I don't carry, but there is
clearly an interest there and a way to understand the terms of this is like
a micro puzzle because it is not connected to this. And the terms of other
countries of Germanic speech such as Iceland are more complex than English.
There are characteristics that I don't understand much. There is an
interest in the language there, but no, I mean, there has to be Spanish
assertions but you say how it is so high at its level in Spanish. Yes,
there can be some differences English and understand I don't know.
Investigate and tell us what you know. I don't understand the question .
Please remind me to repeat the questions because, of course, I only hear
half of a conversation on the telephone. He asked me why English people
have this obsession with adjectives and I have given long answers because I
don't know the answer. But I don't know English or not. Well, then, what
terminology can we use in relation to the no, thanks for reminding me that
you don't hear me. What terminology can we use in relation to the
electives? Yes. What are the literary terms that you will put into your
compositions on the question about this that is going to hallucinate
people? Lament. Well, there is an element of lament for the loss of it is a
characteristic of all this poetry and it is probably this is also an
English characteristic at least in English literature. Yes, I don't want to
get into trouble because there is a certain Spanish tendency to compare
something with something minor as an ironic element. It is very typical of
English literature in general and of English literature in that area. I've
heard you think . So, there are elements but it is in all the English that
we have, which is not much, that we could mention. Write it well. Oh, I'm
not writing anything. Come on, let's see if I can write it now. . Okay,
very good The poetic voice is the self and that is important and we can say
that an element of what is called monologues in the sense that it is quite
clear that this is playing a character. This is not written on the in the
wall, in a cave, under a tree, in the case of the lamentation of the woman.
It is someone adopting this voice, imitating someone in that situation. And
also, we imagine that the sailor, or the member of the committee who is in
the sea, in front of him, he would have other things to think about than
writing poetry. So, it is a voice that is different than the voice of the
author or the authoress in these classes. We could argue that it is a
monologuery of grammar in this sense. I return to my word, ráclast. Has
anyone seen the word raq or raqa before? I don't know which one. In the...
When we are asking for words, we are talking about the raqa, in singular,
plural, raqan. Yes, exactly. A party, someone who is expelled from the
community, expelled from the committee. And if you want, I will tell you
that, in addition to the word raqa, which is a monologuery of grammar,
anyone, yes, an exiled person, anyone could kill you without consequences.
In other words... No, exactly. Yes. So... Yes. So, I'm not saying that they
are necessarily raqa, raqan, the characters in these. But the raqlast,
which is related etymologically, but it is not the same word, is the
isolation of the community. So, you can be intentionally isolated in the
community, as is the case with the ráclast, in the lamentation of the
woman, or it can be for causes that you have no guilt, which can also be a
case of errantness. But there is this concept that if the community is very
important, it is very important, because it is the difference between life
and death in this society. Quite. Because it is very difficult to survive
alone. It is quite difficult. I think that life expectancy is about 30
years, but it is more difficult to survive alone. And the contrast with
this is the importance of belonging to the group. That is, the importance
of belonging. As it is said in English, I study English, but I don't know
how to say it in English. Belonging... Belonging is plural, they are
pertinences. But belonging, in singular, is that pertinent word. That many
times the value, the importance of the community is learned just when the
community is lost, almost everything. And then a way to speak, to give
emphasis to the importance of the community, is to attract a person who is
in some way or another, And we have... Oops, did I say it right? Ubi sunt.
What is ubi sunt? Where are they? Yes. In its complete version, it is ubi
sunt ki ante nos fueron. Where are those who were before. And then we have
this... Emphasis on the lost. Yes. Specifically here, the comitatus or the
relationship of community. So an explicit part of this literature is to
describe what has been lost. All this, of course, we can put into a... An
understanding of literature from a... Analysis... of archetypes. If we have
one of the great stories of literature, perhaps the greatest is the idea of
someone going on an adventure, leaving home, from a safe place, having an
adventure and coming back at the end of the adventure changed in some way.
From a psychological point of view, it is fundamental because it describes,
in many ways, life itself. Life implies leaving the state we were in
before, possibly, but most obviously leaving the paternal home and all
that, going to the world and coming back in the sense of dying, etc.,
changed. Thank you. So, from the typical story of the Lord of the Rings and
all this kind of thing, we have this as a type of story that is perhaps the
most important. And within this arc of the development of history, there
will almost necessarily be a moment when one feels exiled, or that is, one
feels outside the element, inside the element, inside the element. extraño
y sin amigos, como parte de esta aventura. Entonces, una forma de entender
esta literatura es un momento, un diapositivo dentro del arco más grande
de lo que es la aventura, la vida o el arco literario del ser. Es un estado
fundamental que se va a encontrar. También dentro de esto tenemos
eusfugaces. Estamos en muchos idiomas hoy, un poco más latín, eusfugaces.
Eusfugaces. ¿Qué significa esto? ¿Puedo ver el video? ¿Alguien? Es una
frase más larga en el video. No es exactamente como el tiempo fugitivo y
todo esto. Es más el concepto, como te dije, es el principio de una frase
del video. Pero es la idea de que todo se desintegra, todo se deshace.
Tenemos la novela más famosa de la literatura africana, básicamente es
Things Fall Apart. Y esto, Things Fall Apart, las cosas se desintegran, es
un idioma básico aquí y lo tenemos en el video desde donde viene esta
frase. Pero una cierta tendencia de cualquier estado estable, si lo
pensamos en términos físicos, de desintegrarse, de volver a ser.
Generalmente la literatura tiene el concepto de momentos de estabilidad
puntuales y luego una vuelta al caos. Y entonces, todas las cosas tienden a
ser gruesas, a ser caosas, y el proceso de vivir es un proceso de
precipitación, de caída, yo lo he dicho todos los días, que la, o sea,
tendemos a la descomposición, que es una parte inevitable de la vida. El
problema es que lo contrario, el stasis, que también es un concepto
importante, que es un estado de conveniencia donde las cosas no cambian,
es, por definición, fuera de la vida. O sea, una situación permanente,
una situación absolutamente estática, es la muerte. Un objeto de arte
puede tener stasis, pero por su propia definición, está muerto. Y nuestra
relación con la literatura puede estar gobernada por esa constitución.
Sabemos que estamos descomponiéndonos, estamos envejeciéndonos, estamos
en un proceso con pocos esfuerzos de décadas, de morir, porque estamos
vivos. Si no estuvimos detallando en ese sentido, estaremos ya muertos. Las
únicas cosas que tienen stasis son Dios y las cosas. Incluso las cosas
tienden, o sea, las huertas al final se desintegran y todo esto. Que nos
alegres. Bien. Entonces, otra situación. ¿Qué pasa cuando un hombre, un
hombre no está fuera de la sociedad? Se entrega al destino. Se entrega al
destino, bien. La idea del destino, que es Dios, etc., etc., es muy
importante. Es vulnerable, sí. Pero también, al estar fuera, estamos en
una situación donde podemos evaluar, podemos pensar sobre las cosas. Si
está dentro de un sistema, es mucho más difícil verlas. Es mucho más
fácil entender, por ejemplo, la propia cultura de uno si vives fuera de
ella. Porque la ves desde fuera. Entonces, hay una bastante tendencia de
contemptus mundi, de desprecio hacia el mundo dentro de esta literatura.
Las cosas que importan cuando estás dentro de la sociedad el poder, el
dinero, todas estas cosas, cuando estás fuera, carecen absolutamente de
importancia. Entonces, esto se puede... Es una de las razones porque hay
una relación evidente entre las elefías y lo que se llama literatura de
sabiduría. De sabiduría. Sabiduría de sabiduría. Sí, exacto. Esto es
enormemente importante dentro de esto. También la idea de la mujer es que
lo que le toca es aguantar. Es este concepto estoico. Que no desesperarse
en una situación bastante chunga. Porque los valores estoicos son muy
importantes. Los valores estoicos son muy importantes para estos pueblos.
Entonces, pues, Winston Churchill, literatura de sabiduría, generalmente
tiene... Seguramente, sí, sí. Es que uno aprende a través del
sufrimiento. Entonces... ¿Quién llega al nivel de sabiduría? Pues los
viejos y los exiliados y la gente que sufre. Los demás están demasiado
cerca a la vida para poder sacar conclusiones sabias de la misma vida. Y
todo esto se puede vincular bastante con el autor más importante de la
Edad Media, ¿Quién es? Inglaterra, en este momento, es un país de
segunda o de tercera división. No es nada. No, no, no. Mucho más
importante que tanto. El libro más reproducido durante toda la Edad Media.
No. Casi más importante de la Biblia. Poesía. Sí. La consolación de la
filosofía. Mucho más importante de la Biblia. No, no es más importante
de la Biblia. La Biblia para la Biblia no es de un autor. Y no es algo tan
puesto en la Edad Media. Yo estoy hablando específicamente de atrasos
prescritos... ¿Para ti no es así? Sí. ¿En inglés? Ya me salió en
español y no me salió en inglés. Sí. No, pero estoy... ¿Cómo se dice
en inglés? Poesía. Sí. Es cantiacho. Pero creo que es poesía. Sí. Es
cantiacho. Pero creo que es poesía. Sí. So, the consolation of philosophy
is a conversation between him and a lady who is a philosopher. There is the
idea of ​​Sophia, like Hagia Sophia in Istanbul, and all this, as a
woman, is typical of these times. And how he can learn to resign himself to
his destiny, which is to be executed, and to write that book in prison, in
brothels. Yes, yes. It is present in all cultures. But the influence of
this book on all of us is enormous. And on Dante, and on all of us. It is
super important in this topic. Um... So... Well, there are quite a few
ideas about the fact that the riches of the world are transitory, they are
not permanent. The only thing that makes sense is faith in God. The only
thing that is safe, the only thing that is permanent and stable is God. And
the only way to the prison of imprisonment is suffering. Suffering. And the
path to suffering leads to the truth. These are not very happy messages,
but I think there are. Another concept is the inevitability of life. The
idea that it is quite difficult to describe the meaning of life and the
meaning of emotions in words. There is a little bit of anti-literature
element in the context of ineffability, because at the extreme, emotions,
philosophical terms are felt, but they cannot be expressed in words well.
It sounds like an excuse among people who are writing literature, but it is
very important. We will see in Shakespeare that it often reaches that point
where there are no words that express ideas well, that language has limits,
and that is important. Someone mentioned accepting the idea that destiny is
irreplaceable, and therefore the only thing to do is to resign oneself to
it. Another concept that is often mentioned in this area, but to me it
provokes a lot of laughter, is the aspect in the theology of what is a
culture of transition. There is an English Marxist literary critic named
Terry Eagleton who says that the only thing that can be said about all eras
is that there was a culture of transition and the middle class was high.
And if you read popular history about the middle class, they always say
those two things. It was advanced. In many ways, obviously, it is a culture
of transition, because all cultures are in transition, from where they come
to where they go. But not out of idiocy, it is necessarily bad to put it in
compositions that you write, and many times what we find in the elegies is
that there is a culture of transition, but there is also a culture of
transition, a mixture of pagan elements, of the social, Germanic and
previous social culture, with some Christian elements. But we find it in
Beowulf, and Beowulf could have written in the 7th or 8th or 9th or 10th
century. So this is a culture of transition. Very well, that's what I want.
We constantly have these changes in the world. That's what I wanted to say.
At least the concept is good. What is the relationship between the elegies
and the equity? You said that there are... Oops. There are values in
certain mediums. Okay. You keep writing your elements in common, which we
all have written when we arrive. But I'm going to answer this first. There
is a... What is the term you wanted to use? Yes. I mean, there is a certain
exaggeration, there is a problem, there is an advance in life in a certain
way, right? There are the earthly acts, the feats, all these things are in
the past. So, from this point of view, you can understand the elegy as an
antidote to equity. Now, well, within the context we're talking about, I
remember that Tolkien rejected the idea that Beowulf could be understood as
an equity, as it was said. We already said last week or maybe last week
that equity, like almost all systems, is an item of another culture, and
Tolkien is referring to Beowulf as a heroic, elegy... I don't know how to
say it. Elegy? Elegy. How do you say this? But as an epic, so to speak,
because the epic, so to speak, is the epitome of the Danes, of Mesopotamia.
And you can use the term in relation to the Beowulf and the Romans, but
about the Germanic culture it's a little more difficult. And we also have
elegy, as I said, within Beowulf. In Beowulf we have the song of the last
survivor, and we also have the lamentation of Hrethel, which in both cases,
well... Yes. They are in the last episode of Beowulf, in the episode of the
dragon, and the feeling of all that episode is basically of elegance. It's
still good there, it's almost ready for me, it's already done there. So, we
also have in the character, there is not much psychological development of
Beowulf. He's a pretty two-dimensional character in that sense, he doesn't
have much depth. But in this last episode we see him... Maduro? Yes.
Maduro? Maduro. In this last stage, he expresses pessimism, melancholy,
these emotions. So we could go through this whole episode pretty much
within the tradition of elegance, rather than... The episode with the
Gwendolkins, with Gwendoline and her mother, the first half and more than
half of the poem, okay, it has more epic. But the epic... The epic with
Gwendoline and her mother, the last touch, it already has a lot. M. And for
you, who is your destiny? M. In the Beowulf's life. M. Yes. M. All right.
No, I mean, go into your destiny, in the sense that the fate decides who is
not outside, but the only option the individual wants is to act. Yes, is to
act. So, want a secret? It's not an option. M. Yes, but he has a bit of
regret in this, I mean, yes, he does act, but he gives it all for the
request, in other words, the Hagen-Dazs Wolf cannot react like that. There
is an element, if you will, it's a bit of a chameleon in this last episode,
being a very worn out in this sense of life. Well, then, let's see our
list, and try to compare it with a video. We have the same values, how
could we describe those values, but in this specific context? Of the
Anglo-Saxons and what these literatures have in common. The Comitatus,
well, that is, the culture of the Comitatus, and beyond the Comitatus, what
is the Healers. That is, the old customs, that is, yes, yes. Ealdor is Old,
in Anglo-Saxon, and Hitz is, ah, yes, which is, oh, I'm sorry, how is it?
Yes, and Dion, sorry, Dion is in French. Hitz is the English. It is, ah,
right, but as, ah, customs, they are this kind of thing. I mean, if Reich
is, in the last case, reigned, that is, we know it in relation to the Third
Reich, but there was a Second Reich and a First Reich, and there he is more
or less reigned, the system. And, and in this case, Ealdor is, refers
simply to the old customs, the old customs, and that's it. old ways to do
things, basically. So the Comitatus, from this somewhat hyper-correct
posture, it is perfectly possible to simply talk about the values of
society in terms of the Comitatus, but if it is being hyper-correct, the
Comitatus is the group of errors and Alderweireld is the values of society
in its context. So, for example, if we are talking about the limitation of
women, she cannot go directly to the Comitatus because she cannot be a
member of the group of errors. The Vikings also had errors, but the
Anglo-Saxons and Yosemite did not have errors. But... Okay, let's get to
this. Very well. I want you to give me a list first. I would not call them
the Comitatus, but surely... I don't know if you can imagine that in the
book they make references in a certain way. What there is is a relationship
of... Yes, that's it. And this is not wrong, this is simply the question
of... When I say hyper-correct, what I mean is to be a bit pedantic about
the Comitas. And if there is something that characterizes me, it is to be
pedantic. And then, well, the Comitatus, if we understand it as the values
in general of the Anglo-Saxon societies, the Anglo-Saxons and the primitive
Germanics in general, then yes, the book has a reason. If we understand it
specifically as a band of errors, then it is parallel to that, but it is
not a relation of the Comitatus. So, the basis of the organization of the
Comitatus is that the Lord... In other words, the warrior of faith owes
everything to his Lord and is willing to sacrifice his life for his own
sake. And on the other hand, the Lord is going to protect, using all the
warriors, the individual warrior and he is going to repay his treasures and
all that. So... What we see in the lamentation of the woman is that she is
in a situation where she has been abandoned, in some sense, which is not
very clear, by her Lord. And therefore, her situation is very similar, it
is very parallel to that of a common warrior who has been abandoned by his
Lord. So... There is a situation of hierarchy where one is somewhat
protected, because he has duties, because of hierarchy, and both have asked
for this relation and therefore they are, in some sense, they are equal,
because they are in the same group. But... I personally did not discover
this as a relation of the Comitatus, because, as you say, she cannot fight
for her Lord. Am I right? Yes, exactly. Yes. Good. I'm going to go back to
my record, if my record is not lost. The alliterative verse. Very good.
That is, we have, both in... in all of the Lamentations and in all of
Wendro, the same rules of alliteration, of... that we have in Braavos.
There are two provisions, two addendum that you have to give this
commentary. First, the translation that we use about the Lamentation of the
woman does not reproduce the alliteration. It reproduces it in terms of
four or five verses in the whole poem. But it goes a long way there. It is
more interested in making it rhyme because it makes it more bearable to a
modern audience. In that tradition that we are using. But I comment on it,
I highlight it, because if it falls into the exam that gives it, again, or
if it falls into the PEC that sees it quite impossible, because it fell
last year. And you are there desperately looking for phrases with
alliteration, because surely you are looking for a phrase, a phrase that
has one, but you will not find it in Braavos because the... the... the
Dutch poet who wrote it, I don't know if it works, well, no, he is not
interested in that, There are versions, there are traditions that respect
alliteration in that area, but in this case, no. And the other thing is
that at the end of... of the... of Devendra there is a section that can be
added, but it has like double alliteration. The phrases are longer and they
alliterate more than what is normal. But the... the whole... the... Yes,
well, we've heard this. The fusion of pagan and Christian elements. Yes,
there is a certain syncretism, a certain fusion between the two elements.
More clearly in Beowulf and the Wendra, there is the possibility that it
has been raised since ancient times that the story of the Wendra was
Christianized posteriorly, that there is a story like the one I have in my
book of elements so that it fits well because we have the context that the
book of Exodus, something that is anti-Christian, is not enough in a book
that a bishop gives to his cathedral for the sake of his bishop. In the
values of the Comitatos and all this, but there is nothing contradictory
about the Christian. And it is clear that... I mean, for example, there is
a guy called Saint Boniface, a missionary that the English sent to Germany
to convert the original Saxons, for example. And at the same time that this
and many others, and even some women, are there trying to end paganism, and
to make sure that all these people are Christians. There are letters to the
English of Boniface saying that, okay, they don't know the God's modality
and all this, but in other senses they are more moral and they are more
consequent with their morality than the people who are in England, than the
supposed Christians. In other words, there is a certain admiration that we
can expect in some Christian Anglo-Saxon contexts, towards... the previous
culture, in the sense that, well, at least they are not hypocrites and they
follow those values. And we even have members of the Church saying they are
not Christians, so they are going to be condemned, but they are more evil
in their morality than we are. That seems to me to be a very interesting
thing. Although... This will have a lot to do with... This has a lot more
to do with the issues of Wycliffe in the 14th century, and then he took the
ideas of the so-called Lollards and they were transferred to Bohemia and
the Hussites, and then the Hussites in their influence on people like
Luther, who directly from here see it as difficult. Yes. Yes, yes, yes,
yes, yes, yes, yes. Yes, yes, yes, yes, yes, yes. Yes. Yes, yes, yes, yes.
And there is someone who has accepted that conclusion, yes. There are
different... This was standard conclusion at the beginning. I mean, when I
say at the beginning, a century ago, everyone assumed that it was a
relatively pagan product, that someone had added some things to make it
more Christian. For these abrupt changes. What happens is that in the more
modern analysis there are more... It is given more... I mean, it is
recognized more that to the extent that these two poems and the energy a
little in general is an attempt, something primitive, but at least an
attempt to reflect the patterns of the mind. Well, there are these abrupt
changes when we are thinking. Let's change this topic, and let's change
this topic, and la, la, la. So it is more... It can be understood as a
royalism within this kind of previous monologue. That not for being such an
abrupt change necessarily I want to say that it is added. And the fact is
that we see it in several poems, that we see some very abrupt changes in
the lamentation of the woman and yet there is no mention of any Christian
word throughout the poem. So... Seeing it in isolation is a logical
conclusion. Seeing it in the set of other Anglo-Saxon elegies, less. But I
don't want to say that it is not like that. It is a bit ambiguous. Well,
the... The... The pagan culture of then... Yes, the real culture in
Germanic ruled polytheism is not the culture of religion that is portrayed
in Beowulf. In Beowulf, what is portrayed is a kind of monotheism something
apart from Judaism. From what the people of Beowulf have who are
pre-Christian. There is a common concept that there is a God, perhaps, but
who does not exist. It does not reflect the real culture that existed in
the 6th century in Denmark and the 60s. That is... Yes. Yes, yes, yes. is
where we live. There are the hells and all that. There are different mixes
of different traditions. I mean, let's see. They say they raise There is a
mention of gods, to pray to their gods, but that's when they get off the
right path, those pagans. When they are on the right path, they are
monotheists, but not with the Christian God. They don't express it like
that, and there is no concept of redemption. It also reflects a bit how the
post-cultures saw people like Virgilio. The church of the Middle Ages and
the Renaissance had enormous problems with people like Virgilio, who were
clearly very moral and very acceptable, and only had the bad luck of being
born before Christ. What can you do with someone like that? So Dante puts
Virgilio in the middle. In the pediatrics. In the pediatrics it sounds
terrible, but it's better than in here. There are people who, surely, when
Christ returns, they will be saved, because they are in the living room
with others. Moral, pre-Christian people. Yes, exactly. It's a bit of a mix
of all these things, because, of course, you have to... You're talking
about people who are good and bad, but they are pre-Christians, so they
can't be totally good, because then, what's the point of that? So they make
a bit of a mess in this sense. Well, he mentions us. Looking through my
list, we have the lettering. It's Cunningham. We all have Cunningham. For
example, he talks about an eye and a breath hole in verse 29 of The
Lamentation of the Woman, which is like a place in the Hayward, but made up
of dirt and, therefore, it's a tomb. There are liturgies. There is racking
in the three. There is the concept of the weird, which I was just talking
about earlier. We talk a lot about the weird, but I don't speak that way,
but it's barely mentioned in The Lamentations of the Gods. Well, okay. We
have a problem there, because weird, in its origins, is a goddess. I mean,
weird is related to the word where it was, that is, the past. It's what is
the past. Then there is another definition, but there is a goddess... I
mean, there is a kind of Germanic past. The one from the future is called
Sid, which is related to Sid, and, therefore, to the future in English. And
weird is related to the past in English. It seems that the Anglo-Saxons
what they did was get rid of the gods, the past, the present and the
future. And there is the idea more of an old goddess, which is what governs
the past over the present and the future. It turns her into a dominant
goddess. So, if you think about what destiny is, weird in this sense, it's
elements of the past that determine the future. So, she is a goddess, yes
or no. It's like a primordial force. A primordial force, more than a
goddess. But yes, it is the fundamental that is behind. It is fundamental
that weird rules over the gods. The gods cannot escape from weird within
the Anglo-Saxon tradition. They have to submit themselves to weird as well.
Yes, you are right. Exactly. Yes, yes. You have a lot to say. It has been
transforming. The ghosts of ours are elements of the past that interrupt
the present. Therefore, it is exactly the same thing that we are talking
about there. But they are also sinister in the sense of weird, strange,
that we have in the Anglo-Saxon tradition. And we can see totally the
account between these two concepts. In Macbeth, in Shakespeare's work, he
talks about the three witches as the weird sisters, in the sense that they
define what is the future, they govern what is the future, but they are
also sinister. That is, it has been a little changing these things. By
moving away from Germanic culture, the elements of Germanic culture, or I
don't know how to say it in Spanish, they become more negative. Negative.
Something that is clearly pre-Christian is going to get worse and worse in
that sense. So there is a direct link between the English word weird and
the English word idolatry, because it sounds like the I comes before the E,
but it is like that. Yes, weird, yes. The destination of this area is with
a W in the letter because it is a noun, weird, yes? But they pronounce
basically the same thing. It is very common to idolatry even among the
natives, because it is like a pronunciation, but we don't do it like that,
it is annoying. The element of peace-readers. There is no peace-reader in
The Wanderer, but there is probably one. No, there isn't. There are only
peace-readers in the woman of Rothka in Beowulf and one of the
interpretations of the lamentation of women that has been a peace-reader.
Peace-reader. Yes. You know? Yes, yes. That is, one of these women who
married someone from the other side after a peace-reader, Yes. So, that is,
that is, what the monarchy has done since always, and many times it creates
problems. It shows that all the different kings in the First World War were
cousins. They were... They were grandchildren of the Queen Victoria. The
Kaiser Wilhelm, the Tsar Nicholas, and the English king I think, I don't
know how many, they were all cousins. And besides, they had the same
appearance. I mean, you put them on that side and they are... Yes, yes.
Yes, but man, In the sense of... Yes. What... Yes, yes, yes. If a thing
goes well, well, you know, it is someone who was quite untouchable and that
he was someone who had a lot of respect because he was the personal symbol
of what a peace is. But obviously, also, in the situation that things fall
apart and all this, it's a terrible situation. No, it was still
untouchable, but of course, I mean, you can't change if people look at you
badly or whatever. So... Yes. Yes, no, but, I mean, for all the monarchies
that are being done and the and all of them are interoperable. Yes, and if
you study the French monarchy yes, it is full of this too. The Mead Hall
that we have the example of Beowulf here, and we have references there in a
certain way in the world feel a bit of the Mead Hall culture but it's
there. The Beowulf that you mentioned Yes. The that you say, if you're
hacking what you've done, it's one thing, and if you're hacking what you're
going to do, it's another thing. This BEOT is hacking what you're going to
do, but then it's a way of binding you, of forcing you, towards the WIRTH.
So if you say, I'm going to fight that troll, and I'm going to attack him,
or else he'll kill me, you've already chosen your WIRTH. And you can't do
anything about it anymore, and you can't do anything about it anymore.
Exactly. That's a good example. I know how to do it, but investigate. I'm
not saying that you can't, but I think you can. The others don't have the
same ability. And in different cases there is the idea of this Christian
banish based on the differences. And you're going to answer me, but don't
you want to say that there's nothing Christian in the lamentation of women?
Because you were about to say that. Well, you weren't about to say that.
One of the possible interpretations of the lamentation of women is that it
is the divorce of the church of God. That is, the separation that exists in
this mundane world. But in the mundane context, we are separated from our
Lord, blah, blah, blah, blah, blah, blah, blah, blah. So whoever is
talking, the woman who is mentioned, can be interpreted as the human beings
separated from God. In our mundane context. Maybe, for me, it's a big leap.
But there are those who have given this interpretation. Everyone also has
the concept of the transitory age of human lives. I mean, there are
fleeting years. All that is disintegrated, all that is achieved is lost in
the end. Blah, blah, blah, blah, blah. We also have the concept in all the
three works of the Anglo-Saxon vision of time. The strong thing for the
Anglo-Saxons, one of their great metaphors is that human life is like a
gorilla in a snowstorm who gets in through a window or a door. It goes
through a hole and comes out through another. So there is chaos,
nothingness, and nonsense before. I mean, life is that moment of peace and
comfort and all that. And then there's the other. That's right. It depends
on everything. Everyone has this idea of nature. Going back to the subject
of nature, someone said something that I don't want to hear. Yes, the time
of nature is horrible, yes. There are several things that we can associate
with this. First, they were at the beginning of an ice age in this time.
There are those who interpret meteorologically or geologically that the
fall of the Mayans and the beginning of the Vikings and several other
events have to do with this ice age in this time. The climate is running
against it. And we have these problems. That's why. I'm not saying that...
No. But a very important element that I want you to take, because I'm going
to be giving you the story with this for the next three years, is pathetic
fallacy. Does anyone know what pathetic fallacy is? Pathetic fallacy sounds
very bad. It sounds both pathetic and fallacy. Pathetic fallacy is a term
used by the great Victorian literary and artistic critic John Ruskin, And
he used it as a term, something negative, but it has lost a lot of its
negative intentionality. Exactly. In fact, it agrees with the feelings of
people. So, the best way to understand that is typical American film,
there's a funeral, what are you doing? It's raining. It's always in the
funerals. I'm raining in Caldres in American films, right? So, this is time
connecting... I mean, there's a cosmic connection between what is happening
in the world in general, the outside world, with people's emotions. There's
a transmission, a connection between these things. Dramatic, narratively,
it obviously helps. I mean, if you're writing like the last 13 days we've
had, and all this, it helps and makes it much easier to describe a personal
situation, depriming, than if there's a sad feeling and everything is a
myth. Ruskin sees this as a defect. And abusing it is a defect. What
happens is that, once you've said that, it's a characteristic of all human
literatures that people don't live. You know? It's a constant that we use.
And there's a certain logical element within this, because when you're
negative and all this, well, you focus on the bad stuff. When you're
mentally positive, even if it's raining, you're going to see the upper
iris. You're not going to see the rain. I mean, You have to see that it's
all there et cetera. So, there's a combination of all these things within
this. But, we have, without a doubt, well, elements of pathetic fallacy
within the two poems that we're seeing. So, perhaps, above all, the
lamentation of the woman for also the cold and the cold that is the sea and
all this. It has to do with this situation. If you want, it doesn't go much
further than there are old people but they're all yours. I mean, when
you're in a negative situation you're going to see the negative in
everything. This woman may be living for her natural precious that doesn't
serve her at all. But, she's skinny. She's not old. She's skinny. You're
right, is she a woman? She's a woman. no, in English it's the family . Uh,
so then is what makes us So, you can depend on the love of God and on the
message that he uses in himself. Exactly. In other words, it leads to this
conclusion by Favre of his eschatism directly to the Christian message. And
therefore, he has this epiphany, as we have commented, as a desilierer, and
as a person not only old but also older, about the transitoriness of life
and about the mundane values that really do not lead to anything. We also
have this idea, as we have said, it is a fundamental idea within the
Universal Literature, of the journey of knowledge. He passes through this
journey, suffers through this journey, in order to grow morally and learn
what really matters in life. If he had stayed at home, if he had stayed in
the Comitatus, he would not have learned what he learns. It is useful for
something in suffering. Yes, it is useful for something in suffering. Yes.
Yes, you have to ask him if he does what is no longer there. I would not
have asked him so much if he were to stay there, but yes. So, as... when he
was young, this man had a somewhat childish relationship with the Lord.
That is, he accepted this subordinate relationship, in childish terms, like
a child, with his Lord, who was the one who gave the treasure. Adultery is
to leave a relationship of this kind. And go to a situation where he has a
relationship with, instead of the one who gives the treasure, with the one
who gives the grace, with the one who gives the grace, that is, God, which
is a deeper and more stable thing. As for the relationship between
euthanasia and ecstasy, there are many references in this poem to the
arches, to binding and fasting and everything else, to what binds you, to
what can be ecstasy, but life is that progress. Another interesting thing,
because it is such an early thing, is that... It doesn't fall anymore. We
have a moment when he longs for his dreams. That is, the idea that in a
situation of suffering, dreams are a refuge, a place that gives solace,
etc. And we have exactly the same feelings expressed by Caliban in La
Tempestad, which we are going to see in April. Yes, let's go. But it is
also like... The relationship between the dream and the real, the eunuch
and such, is important. And in a certain way, within the dominant
philosophy of all this time, which is Neoplatonism, we have... What we have
with dreams is a bit what we understand in our lives with cosmic reality.
There is a certain... It is a question of what are the realities of life
that we cannot see while we are alive. So, that separation between dreams
and our reality is comparable to the separation that there is between our
apparent reality and the ultimate reality that has been imposed from this
point of view. Neoplatonism. What is distinctive about the lamentation of
women? What does it mean? Yes, well... So, we have... Ambiguity. Okay,
well... Ambiguity is interesting. Remember that we have had the experience
that in all other contexts of life ambiguity is negative. We are in a
conjecture. We are in a connotation of things. In literature, ambiguity is
good because it allows us many simple interpretations. Well, we have a
female voice as a protagonist and... an absolute protagonist in this case.
Really, for the first time, at least for the first time in English
literature, the only possible exception is a poem by Judith that is taken
from the story of Juliet in the Bible which is a Jewish woman who... I
can't remember exactly but it is taken from the head of a tyrant who also
turns into a woman. But, see that it is a story... She, in this case, in
English, does not have as much of a protagonist as she has in the Bible
story and... she has a secondary role as a protagonist that has God in the
story. So, we don't see that here. The woman has an absolute protagonist.
What do we know about English-speaking women? No, I don't read it, but what
you have left... Yes. So, she had entered into a matrimonial contract with
a continental prince and when he found the renown of the contract he took a
group of soldiers to force her to marry him. This is according to one of
the Byzantine historians of the Glow Sextuple. I don't know... I hear the
question. The question that I was saying is what do we know about English
women? It was a patriarchal society, correct, but that is an easy answer
because all societies up to our days have been patriarchal. All societies
that we have certain knowledge about them are patriarchal. There are some
who have small distinctions from these, but there are not many points to
say this. It was... I mean, one thing that we have popularly is the idea
that the situation of women goes little to little by growing by the
centuries to the centuries. Is that valid? Here? Yes. Well, it is better to
talk about that. Yes. distinctions. Yes. Yes, but speaking... going out of
the water and speaking in terms of women, the answer is very much no. The
pagan situation of Germanic women was much better than the Christian
situation. The... I mean, the... Although Tacito and others tell us that
they put... I mean, they saw adultery in the same terms a tradition against
the comitatus. So, all society was against a woman who committed adultery.
When Christians came or non-Christians who were cut the eyebrows and the
nose of the adulterers who didn't do the previous pagans that... The women
from England for example the situation of the women with the arrival of the
Normans got much worse. So, it's not a simple little by little better.
Within the dominant class we are always talking about this there are quite
a few as you say women who have very relevant roles in society that is
warriors one of the best military leaders in the history of England was a
daughter of a great woman who conquered the city and many other cities in
the centre of England of the British and a woman called Ethel but we also
have missionary women poets women who were royal counsellors like Hill we
have women who were in control they had the number one position they had
the women separated the men for the hierarchical of women in some cases
there are women sculptors there is a woman who wrote a travel book so there
are quite there are situations where we find in the tombs the keys of the
houses with the women who were proprietors and as I said in some way there
is a certain empowerment of this situation with Christianism and even more
women and it is I think it is possible because we have a situation where we
know of people like who was who wrote poetry in Latin we still have a poem
written there in Latin that was written by his brother and I think if you
can write in Latin you can write in your own language but tradition is part
of the supernatural this is written by a woman or by a man simply because
we don't know who wrote it according to history anonymous in history is
usually a woman there that is a point of view we simply don't know in some
way there is an argument that if it is written by a man it is almost more
interesting explain to me because there is a situation of a man making the
effort to make the effort to have a man that is a man that and that is a
man that is a