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00:20Thank you very much.
00:59Thank you very much.
01:00Merchant of Venice, written by William Shakespeare.
01:03Let's introduce, Council for the Indian School Certificate Examiner Affiliated Teachers, Mrs. Shutu Shmitara.
01:09Good afternoon.
01:09Good afternoon, ma'am.
01:11So, ma'am, we are not supposed to discuss the intro drama, right?
01:15No, we cannot.
01:16It's a huge play.
01:17It's got five acts.
01:18I welcome all class 10 students who will be starting with Act 3, Scene 2 when they go back to
01:25school.
01:26So, we are helping you and your teachers by starting even the scene off with you.
01:32It's a huge scene.
01:33Two major scenes which are very long in the play are Act 3, Scene 2 and Act 4, Scene 1.
01:39And we cannot do the entire play because the entire play is of five acts.
01:44So, up till Act 3, Scene 1, the students have already studied in class 9.
01:49Okay.
01:50So, may we go on with the lesson?
01:52Yes.
01:53Just a brief recap for the class 10s and for the class 9s, an introduction to the play.
01:59Of course, it will be much more elaborate when you go to school.
02:02If you go to school, they can also get to know the play.
02:06Yes, they get to know the play.
02:08Yes.
02:08From Act 1 to Act 3, Scene 1, we've seen the introduction and progress of two main plots of the
02:15play.
02:16There are other minor plots, but we're not looking at those.
02:19There are two main plots, the Bond story and the Casket story.
02:28The main characters involved in the Bond story are Antonio, the merchant of Venice.
02:33He's a rich merchant.
02:35Bassanio, Antonio's dearest friend, and Shylock, who plays such an important role in the play,
02:41a rich Jew and a moneylender.
02:44The other plot is the Casket story.
02:49The characters associated with the story are Portia, a rich, beautiful and accomplished heiress.
02:57Now, I've purposely used these adjectives because later on, you will probably need to use this
03:03when you're discussing her character in the four mark question that you get in your questions.
03:11Nerissa, her maid and friend.
03:13Not a maid as such, as a lady in waiting.
03:16You know, rich women in those days would have an attendant, a lady in waiting,
03:20to help them, to accompany them.
03:23And very often, they would also become friends.
03:26Two important men who vie for Portia's hand, the princes of Morocco and Aragon.
03:34They are a group of others who come before, but they leave.
03:37And we have actually Morocco and Aragon trying for her hand.
03:41And ultimately, of course, we have got Bassanio.
03:45He's the common factor.
03:46You've seen him earlier.
03:48Bassanio is too much, yeah.
03:50And also, and we get the idea very, very clearly, the man whom she actually loves.
03:56Yes, yes.
03:57So, at 3, scene 2, develops the Casket story.
04:02We've come midway through the Bond story.
04:04And now, the scene, the play keeps shifting between Venice, where the Bond story primarily
04:11takes place, and the Casket story, which takes place in Belmont, which is Portia's home.
04:17We already know that the princes of Morocco and Aragon attempted the choice of the Caskets
04:23and were largely...
04:28...and led, with inscriptions written on them.
04:32And the inscriptions are very cryptic inscriptions.
04:35You've got to decipher what is being said.
04:38And the correct Casket, the actual Casket, or the winning Casket, has Portia's portrait in it.
04:44So, that's how they would know whom to, whether they were right or wrong.
04:47Now, Morocco chose the gold Casket, while Aragon chose the silver Casket.
04:52Both were unsuccessful.
04:54One, I have a question.
04:56Yes, ma'am.
04:57I shall tell you about that.
04:59They were both proud and overconfident.
05:01Yes.
05:02And love, you cannot be proud.
05:03All right?
05:04They chose by outward show.
05:07Appearance and reality are two very important themes of the play.
05:12And thirdly, they did not understand the real meaning of the inscription on the Caskets.
05:20We also note, and again, this is important for your four-mark question that you get,
05:26and which tests your understanding of the play, several qualities of Portia.
05:31She's an obedient daughter.
05:33In Act 1, Scene 2, she tells her friend,
05:36If I live to be as old as Sibylla, I will die as chaste as Diana, unless I be obtained
05:43by the manner of my father's will.
05:45She's not happy.
05:46Which girl is?
05:48You can also associate it with your young cousins who are on the brink of getting married.
05:53They're not really happy when their parents dictate terms about whom they should marry.
05:57But she, again, even though she's unhappy about her father's decision, she decides to abide by it.
06:06She's tactful.
06:07When Morocco talks about his complexion, he's got a complex about his complexion.
06:12He's dark-skinned.
06:13Remember, he's from Morocco, which is the talk show.
06:16It's in the talk part of Africa.
06:18She declares she's not solely led by her eyes, that is, by outward appearance.
06:26And then she's polite.
06:28When Aragon is very disappointed, you know, when he chooses the wrong casket, he learns that he is wrong.
06:35She very tactfully dismisses him.
06:38So these are very remarkable Shakespeare's heroines are very, very outstanding women.
06:44And he's got a very vast variety of heroines.
06:48You know, each one is special in our own way.
06:51Portia stands out for certain qualities.
06:54Some of them are here.
06:55Others you'll read later in the play.
06:59We go on to Act 3, Scene 2.
07:01It's set in Belmont.
07:03And I would ask all of you to take out your books, your texts and follow.
07:07Portia's Palace, A Room.
07:09The characters present are Portia, Narissa.
07:12Portia's attendants, Bassanio and Graziano.
07:16We will look at the lines, 1 to 40.
07:19And then if you have time, we will progress.
07:22All right.
07:23Portia has fallen in love with Bassanio.
07:26We've seen that earlier.
07:27Bassanio very clearly has told Antonio he's fallen in love with her.
07:31But they have to abide by her father's will.
07:33All right.
07:33That he has to make the choice of the caskets.
07:36So, she's expressing, in the first few lines of the scene, she's expressing her reluctance at allowing Bassanio to choose
07:44the casket.
07:45So, what does she say?
07:46She says, I pray you.
07:48Now, remember Shakespearean language.
07:50I request you.
07:51Terry, wait.
07:52Pause a day or two.
07:54If you remember with the other two princes, it was more like good riddance.
07:58They've gone.
07:58All right.
07:59But here she wants Bassanio to stay before you hazard, if you take the risk of choosing the caskets.
08:07And she explains why.
08:09She says, for choosing wrong, I lose your company.
08:13Like, these were the three conditions that any suitor had to make before he went to the choice of the
08:20caskets.
08:21One of them was, if they chose wrong, they had to leave the place immediately.
08:26So, she says, I lose your company.
08:29Therefore, wait a while.
08:30Forbear a while.
08:32Wait a while.
08:34And then she wants to tell him that she loves him.
08:36Up till now, she has it.
08:38All right.
08:38So, she says, this something tells me.
08:41And then quickly she says, no, it's not love that I would not lose you.
08:45I don't lose you.
08:46And then she's afraid she said too much.
08:49So, indirectly, she says, and you know yourself, hate counsels not in such a quality.
08:56If I hated you, I wouldn't have told you to stay back.
08:58All right.
08:59So, in an indirect way, she's already told him that she's fallen for him.
09:03With your due permission.
09:04Yes, yes.
09:05It's a vakao.
09:05Yes, sir.
09:07Siddharth, Mr. from Lucknow.
09:09Siddharth.
09:11Ma'am, I have a doubt.
09:14Yes, yes, Siddharth.
09:15Ma'am, I want you to ask at the court, Peter.
09:18And like for the gold casket or the silver casket.
09:21So, do we have to write them in the sheet?
09:24It would be very nice.
09:27There are three sayings.
09:28It's very easy to learn them up by heart.
09:31It would be very nice if you could quote them.
09:34All right?
09:35Okay.
09:36Okay.
09:36So, then she says, she's telling him, well, I love you.
09:40All right?
09:40And then she says, you know, she doesn't know how to say it anymore.
09:43She can't say, I love you.
09:45All right?
09:46So, she says, but lest you should not understand me well.
09:49In case you don't understand what I'm trying to convey to you.
09:52Can you understand the frustration that's growing between her?
09:55And yet, a maiden has.
09:57And look at the language.
09:59A maiden has no tongue but thought.
10:02She can only think about it.
10:03She cannot see it.
10:05Remember, you were supposed to be very maidenly in those days.
10:08You didn't come right out and see it.
10:10Though some of his heroines are very different.
10:14All right?
10:14I would detain you, keep you here for some month or two before you venture, before you
10:21take the chance.
10:22I could teach you.
10:24And here is her obedience.
10:25And she's a very principled woman.
10:28She said, I could teach you how to choose right.
10:31But then I'm foresworn.
10:33I've given my word to my father, she says.
10:37So, will I never be?
10:38I'll never be able to tell you.
10:41And in doing that, all right, I'll never be able to.
10:46You may miss me.
10:47You know, because I haven't told you the secret of the caskets.
10:51And then she says, if you do so, you'll make me wish a sin.
10:55And what is the sin?
10:56That I had been foreworn.
10:57I had not, you know, agreed to my father's decision.
11:02Sorry, ma'am.
11:03Yes, ma'am.
11:03Again, I interrupt.
11:04Yes, tell me.
11:05Sri Lahiri.
11:06Uttar Pada.
11:07From Uttar Pada, Sri Lahiri.
11:09Sri?
11:10Yes, ma'am.
11:11Yes, ma'am.
11:11Good afternoon, ma'am.
11:12Good afternoon.
11:13Good afternoon.
11:13So, ma'am, my question is, when we start answering the fourth question for the next
11:18act, should we write the F and T number?
11:20No.
11:20Not necessary.
11:21Not necessary at all.
11:23Stay with us.
11:24All right?
11:25Bishru, curse your eyes, she says.
11:28They have overlooked me and divided me.
11:31One half of me is yours.
11:33And the other half is also yours.
11:36You know, you've got the term nowadays, husbands call their wives the better halves.
11:40The idea was that when two people were in love, their souls become one.
11:46So, she said, your eyes have looked at me and they've divided me.
11:49One half is still mine, but the other half is yours.
11:53Mine, I, my own, I would say.
11:55But if mine, then yours.
11:57Because, you know, I am totally yours.
11:59And so, all yours.
12:02Oh, these naughty times.
12:04And look at the language.
12:06Naughty.
12:06Naughty.
12:06To me, when I say you're a naughty child, it's slightly a term of love.
12:13She calls the terms naughty.
12:15In Shakespearean language, naughty meant wicked.
12:18Okay.
12:19Okay.
12:19Oh, these naughty times which put barriers, bars, barriers between the owners and their rights.
12:28You own me because you love me.
12:31Yes, so she owns him because she loves him.
12:34And I'm rightfully yours.
12:36Yes, but the rules of the age.
12:38The rules of society.
12:40All right.
12:41So, therefore, she says that they naturally tell her.
12:46So, then she says that I'm so, though I'm yours, I'm not yours.
12:52Do it so, she says.
12:54Let fortune, for a moment, you know, she's reckless.
12:56Let fortune go to hell for it.
12:58Not I.
12:59And then she calms herself down.
13:01She says, I speak too long.
13:04But it is to piece out, to stretch out the time.
13:08The more she talks, the more time she has with him.
13:12All right.
13:13So, she says, to piece out the time, to extend it, eek it.
13:18All right.
13:19And to draw it out in length, to stay you, to keep you from election.
13:25Here, election means selection.
13:27Selection of the caskets.
13:29And Bassani, you can imagine, through the language, Shakespeare is explaining to us two states of mind.
13:38What is her state of mind?
13:39She doesn't want to lose him.
13:41So, she's trying her best to keep him with her.
13:45Bassani, on the other hand, you know, sometimes you do say he's a spendthrift.
13:51He does, you know, he's spent all his money.
13:54He's borrowed money.
13:55He's put his friend Antonio into danger.
13:58Because you and I have already understood that Shylock has not given the money very happily.
14:03All right.
14:04But here, you see, he's a person of principle also.
14:08He doesn't take advantage.
14:09He's understood that Portia loves him.
14:11So, what does he say?
14:13Let me choose.
14:15For as I am, I live upon the rack.
14:20All right.
14:21So, and Portia now, she doesn't know how to control herself.
14:25So, you know, very often, I mean, realize that when we feel something very deeply, we extend it and make
14:32a joke about it.
14:34Now, a rack, ma'am, was an instrument of torture.
14:37Ma'am, sorry, there is an adult.
14:39Okay.
14:40Aditya Joyce, what?
14:42From Kolkata.
14:43Aditya, Chris, what's your question?
14:44Good afternoon, ma'am.
14:45Good afternoon.
14:47Ma'am, my question is that what is written on the gold and silver casket?
14:52Please look at your text.
14:54You'll find the two answers.
14:57All right.
14:58Because I won't be able to quote them correctly.
15:01One is who he who chooses me will get what all the world desires, more or less.
15:06And the silver is he chooses me will get what he deserves.
15:10But the exact language, you'll have to look at your text.
15:14All right.
15:15You must know that.
15:16You've come into class 10.
15:18So, therefore, you must know the quotations by heart.
15:22All right.
15:23So, as I said, I live upon the rack that gives us a beautiful idea about his state of mind.
15:29The kind of mental torture he's going through.
15:32He loves her.
15:33And yet, he cannot express his love with the confidence of knowing that she is his.
15:40Yes.
15:41All right.
15:41So, she says, so she turns it into a joke.
15:44As I said, things that we feel very intensely about.
15:51You'll see that we turn that into a joke because it's easier for us to take it.
15:57She says, upon the rack of a sanyu, then confess what treason is there mingled with your love.
16:05Then your love is not a pure love.
16:07Because if you are on the wrestle.
16:10Because deceit.
16:11Are you deceiving me?
16:13Another word for treason is deceit.
16:15So, is there some deceit mingled?
16:17Your love is not a pure love that you're comparing it to torture?
16:22And Bassanio says, none but the ugly treason of mistrust.
16:28I don't know what is going to happen.
16:30Mistrust, he means doubt.
16:32I doubt what the outcome is going to be.
16:36All right.
16:37So, she says, which he says, which makes me fear the enjoying of my love.
16:43I cannot enjoy this love that I have.
16:46I cannot fully participate in this love that I have for you.
16:50Unless I'm absolutely sure that I actually, you know, deserve this love.
16:56And how will he understand that?
16:58By making the correct choice of the customer.
17:01When a student is waiting over the phone.
17:04Yes.
17:06Shangla, what's your question?
17:08Yes, ma'am.
17:09Good morning.
17:10My question was that when we are about to write about the question which we are given,
17:17say, the qualities of Portia or description of Portia.
17:21Yes, yes.
17:22Can we write about the discrimination which she does with Morocco upon her complexion?
17:28So, can we write that?
17:29Oh, what a lovely, what a lovely way of looking at it.
17:32Yes, yes.
17:33Congratulations.
17:34It requires a mature mind.
17:36Yes.
17:36Yes, yes, yes.
17:37There's this little bit of racism in the play.
17:39Yes.
17:40Because Morocco is dark skin.
17:41And she does make a little nasty crack about it.
17:45If you can explain it, always remember when you're taking a stand,
17:49you must explain it with references to the text.
17:53And of course, you'll be appreciated for out of the box thinking.
17:57Because everybody else will talk about pretty, intelligent, and things like that.
18:02So, why is Shakespeare doing that?
18:04He's actually reflecting the attitudes of his age.
18:08Right?
18:08I mean, I don't know.
18:09I'm going to tell you that when I'm talking about your life.
18:12I'm going to tell you that when I'm sitting 6, I'm going to mention it, but love is blind.
18:19And lovers cannot see the pretty follies that themselves commit.
18:24Yes. That is Nerissa who says that when she's on the point of running away with Lorenzo.
18:30And it shows that. It's actually lovers when they are in love, they're totally committed to their love.
18:35So therefore they do a lot of foolish things. They say a lot of foolish things.
18:40Especially this generation being a very practical generation might be laughing at half the things that are said in the
18:46place.
18:47But I expect when you do fall in love, you do say things like that. Isn't it?
18:51See what he says. This ugly treason of mistrust which makes me fear the enjoying of my love.
19:00They may as well be amity. Amity is friendship. Amity and life between snow and fire.
19:08Just as snow and fire cannot live together. Similarly, treason and love.
19:14There can be no deceit in love.
19:18And again, Portia teases him. And you can see the gentle teasing which tells you about the depth of emotion
19:26between the two.
19:27So Portia says, I, but I fear you speak upon the rack where men in force say anything.
19:35When you are being tortured.
19:37You'll say whatever. You'll say, okay, okay, get me out of this torture.
19:40So I'll tell you what you want me to say. She said, you're on the rack, you said.
19:45So that's why you're telling me all these things. To please me and to get out of the situation.
19:51And Bassanya says, promise me life and I'll speak the truth.
19:56For him, life is what here? For him, life is the acceptance of Portia.
20:02The surety of Portia's love.
20:04And there is a good question is waiting for us.
20:07Yes, please.
20:08Shiva from Tamil Nadu.
20:09Shiva, what's your question?
20:11Hello, ma'am.
20:13Hello, good afternoon.
20:13I'm happy to talk to you, ma'am. I'm a teacher.
20:16So I want to ask you one question, ma'am.
20:18Oh, good afternoon from one teacher to another.
20:21Tell her.
20:21Good afternoon.
20:35You know, ma'am, I don't know. I've always found this generation to be remarkably mature.
20:41And if you bring out the literary qualities of your text, you'll find that they participate in it.
20:47And there's no sniggering.
20:48Because they understand.
20:49And you know, they are much more mature than you and I.
20:52I don't know how old you are.
20:53I'm a very old woman.
20:54We are much more...
20:55Yeah, I'm only asking this question.
20:56No, no, no.
20:58They are...
20:59They do not sort of...
21:01You yourself don't show any, you know, any kind of unsurety or embarrassment.
21:07And you'll see they take it very well.
21:09Thank you, Shiva, ma'am.
21:10Thank you so much.
21:11Thank you for the question.
21:12All right.
21:13So here she says, he says, promise me life.
21:17And I'll confess the truth.
21:19But she says, confess and I'll allow you to live.
21:23You see that the joke between the two is still continuing.
21:27And Bassanio says, confess and love is the sum total of my confession.
21:34I want to confess that I love you.
21:37Oh, happy torment.
21:39This is a very enjoyable torment.
21:41When my torturer teaches me the answers which will save me.
21:47So he's on the rack.
21:48She's torturing him.
21:50And she's telling him what to say.
21:52So you are teaching me the answers which will deliver me from my situation.
22:00But lead me to my fortune and the caskets.
22:04You know?
22:05And now he can't take it any longer.
22:06Even this little pie play between the two of them cannot take his mind away from the caskets.
22:14So the curtain is drawn.
22:15Probably the caskets were hidden behind the curtain.
22:19And Purshu also gives up.
22:21She doesn't know what to do.
22:23Sorry, I have one call, please.
22:24One call, please.
22:25Sneha Mukherjee from Kolkata.
22:27Sneha.
22:29Hello, ma'am.
22:30I'm Sneha Mukherjee from the center on this call.
22:33Good afternoon.
22:35What's your question, Sneha?
22:37Ma'am, my question is that in our exam, there are three sections.
22:42One from Shotswari, one from Poets and one from Ojibha, many?
22:46Yes.
22:48Ma'am, so we can, can we get him to both the three sections from, in one section?
22:53You mean to Siri, whether you can answer all three questions from one section?
22:58Yes, you can.
22:59Ma'am.
22:59Yes, you can.
23:01Thank you, okay?
23:02All right.
23:03So, let me to my fortune and the caskets.
23:07And Purshu now gives up.
23:09All right?
23:09She's been trying.
23:10Up till now, the first portion has been what?
23:13She's been trying very hard to keep him from the selection of the caskets because otherwise,
23:20you know, she's afraid.
23:23She's not very sure.
23:25At the same time, she cannot actually tell him about the secret of the caskets.
23:32So, her principles forbid her.
23:34And these principles we've seen earlier in the play also when she's compared herself to
23:39Sibylla and to Diana.
23:41So, Portia says, away then.
23:44I'm locked in one of them.
23:47The word locked is very important here.
23:49You know, why locked?
23:51Her portrait is in the correct basket.
23:53Secondly, her future is also locked.
23:56All right?
23:57Her fate is locked in one of the caskets.
23:59All right?
24:00Much as she wants Miss Anio to choose the correct basket, she's not very sure.
24:05All right?
24:06So, she says, I'm locked in one of them.
24:10If you do love me, you will find me out.
24:13And that leads us to, you know, a supposition.
24:18Why does she say, if you do love me?
24:20Because the love will make him make the right choice.
24:24Oh, that's what she believes.
24:26That true love makes you do the right things, not the wrong things.
24:31Okay.
24:31All right.
24:32Whereas, perhaps Morocco and Aragon had come not to love Portia, but to take her as a trophy.
24:39She was a much sought-after heiress.
24:41She was very beautiful.
24:42And Bassanio only had earlier said that many young Jason's adventurers came to win her hand.
24:50So, probably for them, she was a prestige issue.
24:55But Bassanio truly loves her.
24:58All right?
25:00So, away then, I'm locked in one of them.
25:03If you do love me, you will find me out.
25:08All right?
25:09What do you mean by locked, ma'am?
25:10Locked means her photograph or her portrait.
25:13In those days, it would be a portrait.
25:15Was in one of the baskets.
25:18All right?
25:19Away then.
25:20So, she's given up.
25:21She cannot keep him any longer.
25:24And she says, you will find me out.
25:27And the result and the rest.
25:30The others who are there stand all aloof, stand away.
25:35And she does something very important.
25:38She says, let music sound while he makes his choice.
25:43So, in the earlier two choices that you've seen, there was no music.
25:48Yes.
25:49All right?
25:50Is she setting a romantic atmosphere?
25:53Music often reflects our innermost thoughts and feelings.
25:57We'll come to that bit a little later.
26:00All right?
26:01But ma'am, a romantic atmosphere, we don't have a break.
26:04Okay.
26:05Just a short break.
26:09Stay with us.
26:37We'll be right there.
30:09That is very true.
30:11So, William Shakespeare himself said the same thing.
30:13And here you can see music is the food of love.
30:16And she says, let music sound.
30:19And she has a purpose for it.
30:21There's a deeper purpose which we will look at when we go a little ahead.
30:25Let music sound, let music sound while he doth make his choice.
30:30Remember, there was no music for Morocco, there was no music for Aragon, alright?
30:35We'll find out why.
30:37We'll find out why.
30:38Then, if he loses, he makes a swan-like end.
30:42Many of you have come across the term, swan song.
30:46It comes from the belief that the swan, just before it dies, it drowns, it sings its sweetest song.
30:55So, that's why, so that's why very often we use the word swan song, the last performance of an actor.
31:01We say it was his swan song, alright?
31:04Or the last text of a writer, we call it his swan song.
31:09So, he makes a swan-like end, fading in music, you know?
31:15Fading from where?
31:17Fading from her life, alright?
31:19That the comparison may stand more proper, that the comparison is more accurate, she says.
31:26And see the depth of a love for him already.
31:29My eyes shall be the stream.
31:31She will be crying.
31:33So, my eyes will be the stream and a watery deathbed for him.
31:38That he'll drown in the tears of my eyes.
31:42He may win.
31:44And then, so there's hope.
31:46There's still hope, alright?
31:48She's not negative.
31:50What is music then?
31:56Then music is like the flourish, the triumphant sound.
32:01When, she says, two subjects bow to a new crowned monarch.
32:08So, it will be triumphant.
32:10He's won his love.
32:10So, there is a certain sense of triumph, of achievement.
32:14Alright?
32:15Such is it.
32:17And she gives another example.
32:18As the dulcet sound.
32:20Do you see the language of Shakespeare?
32:22How beautifully he chooses his words.
32:25The sweet, melodious sounds at the break of day, at dawn, that creep into the dreaming bridegroom's ear.
32:35Alright?
32:36And call him to his marriage.
32:38So, either it will be as triumphant as the flourish of trumpets which greet a newly crowned monarch.
32:46Or, it will be as sweet and as monologous.
32:50Not or, it will be and as sweet and as welcoming as the sweet music that heralds a bridegroom to
32:58his wedding day.
32:59With your due permission, ma'am.
33:01Our student is waiting over the phone.
33:03Yes, yes.
33:03Adreja Dash from Dhanabad.
33:05Adreja, what's your question?
33:09Good afternoon, ma'am.
33:10Good afternoon.
33:12Ma'am, my question was telling you four-marked questions of a teacher.
33:19How did four-marked questions and how many children are feeling in this?
33:24See, the four-marked question is actually, we say, the personal interpretation, personal response.
33:32Very often, it's called the me question.
33:34Because it asks you to evaluate, give a point of view.
33:39Alright?
33:40So, you have to understand the question.
33:43For example, if you ask, what do we see?
33:45What do we notice about Portia from the sea?
33:48Or, as ma'am, very lovely, in a very lovely manner, she said, is Portia discriminatory?
33:54Then you'll have to give those points.
33:56Alright?
33:57Roughly, it will be four points.
33:59But that might not be the case.
34:01It will be your personal point of view.
34:04You must remember that.
34:05Which is why I'll come to it later on,
34:07where you have to study your text so very thoroughly.
34:12Exactly.
34:12Alright?
34:13Very important.
34:14Very important.
34:15May I go back to the text?
34:16Okay.
34:17So, the creep into, and what kind of a bright group?
34:20The dreaming bright group.
34:21He's dreaming about his wedding day and calls him to his marriage.
34:27And as she's saying that, remember, Shakespeare's plays were meant to be acted.
34:33Today's sorrows of sorrows, we are reading his plays.
34:37So, you've got to imagine the whole scene is taking place in front of your eyes.
34:41And Basaginu starts walking towards the casket and she says, now he goes with no less presence.
34:48He's a handsome man.
34:50So, as he goes, he makes an impact.
34:52But much more love than young Al-Qaedus.
34:57Al-Qaedus is another name for Hercules.
35:01All right?
35:02And you will remember, where in the play is there?
35:06Remember Hercules?
35:06There is a reference.
35:07Morocco compares himself to Hercules because when he had entered, he said, in Al-Qaedus and
35:13his page, Lychus, play a game of dice.
35:16Hercules was considered to be the most strong person.
35:20There is another call.
35:21Yes.
35:22Shabtuk Mondon.
35:25Shabtuk?
35:25Yes, ma'am.
35:27What's your question?
35:28Shabtuk?
35:29No, my question is, what way did Oshia act as a romantic heroine in this scene?
35:35In this scene?
35:36Good afternoon, Shabtuk.
35:39Romantic heroine, isn't the whole scene imbued with love?
35:42Yes.
35:42What more love do you require in this scene?
35:44All right?
35:45She's hopelessly in love with Basaginu.
35:48She desperately tries to keep him from the choice of the casket, knowing that she has to
35:53abide by her father's will.
35:54She comes perilously close to the point of disobeying her father.
35:59So, all this shows her, and that the romantic language in which she talks about Basaginu.
36:05All that indicates that she is, you know, a romantic heroine.
36:10So, I hope you're answered.
36:12So, Al-Qaedus, there's a reference to Hercules.
36:16One of the deeds of Hercules, which is that he had saved the princess of Troy, Hesuin, from
36:26the sea monster to which she had been offered as a tribute when the sea monster was destroying
36:33Troy.
36:33This is one of the deeds.
36:34He's had 12 deeds.
36:36One of the deeds.
36:37She compares him to Hercules.
36:39And let's see the comparison.
36:41That young Al-Qaedus, when he did redeem, save, the virgin tribute, the virginal young
36:49girl, Hesuin, paid by howling Troy.
36:53Troy must have cried a lot.
36:55Yes.
36:55Yes, because the princess was being offered to the sea monster.
37:01I stand for the sacrifice.
37:03Very important thing.
37:05She is the sacrificial lamb here because if he chooses incorrectly, her entire life is
37:12going to be destroyed.
37:14She'll be sacrificed on the altar of marriage.
37:17So, I stand for sacrifice.
37:20The rest, she refers to her women.
37:25The ladies, remember, she's an heiress.
37:28So, she'll have a lot of women waiting on her.
37:29And they are the Dardanian wives, referring to the women of Troy.
37:35The illusion is continuing to the women of Troy, who with blurred visages, with tear-drained
37:42eyes, came to view the result of this exploit, the encounter.
37:48And she doesn't say, go, Bassanio.
37:51She says, go, Hercules.
37:54All right?
37:55Live thou, I live.
37:57Is he going to die?
37:58No.
37:59But, not being able to choose the right casket would be equal to death.
38:06Live thou, I live.
38:08With much more dismay, she says.
38:12I view the fight than you make the frame.
38:16So, her fear, her trepidation is much greater than that of Bassanio.
38:25Because she loves him.
38:28And she doesn't want to marry anybody else.
38:32And yet she has to abide by her father's decision.
38:35All right?
38:36Her father's will, the will of a living father, a daughter, has been restrained.
38:40All right, there is another question.
38:41Yes.
38:42Venkatesh, from Andhra Pradesh.
38:44Venkatesh.
38:46Good afternoon.
38:47Good afternoon.
38:49I have a question that's how.
38:52What does the Tantanio know?
38:54He will feel depressed about his hips or he will be happy with his person now?
39:00Would you repeat it again?
39:02I haven't understood.
39:04And Tony would be depressed about his ships or?
39:08He will feel happy about Bassanio's choice.
39:13He doesn't know about it as yet.
39:15All right?
39:16Bassanio has gone to Belmont.
39:17Remember?
39:18They didn't have SMSs and WhatsApp in those days.
39:21All right?
39:22So, how would Bassanio inform him?
39:24It would take a long time for the message to go to Antonio.
39:26So, he is, we don't know.
39:29He is upset about his ships.
39:31What you can say is that he doesn't blame Bassanio for it.
39:35Isn't it?
39:36Whenever happens to us, anything that happens to us, we blame others.
39:40He could have told Bassanio, see, because of you I'm in this difficult situation.
39:43He doesn't say that.
39:47So, with much more dismay, I view the fight.
39:51Then you make us the fray.
39:53Fray.
39:54Again, the fight.
39:55It's a fight for love.
39:57All right?
39:59There is music.
40:00So, she is in love with Bassanio.
40:02There is music while Bassanio commends.
40:05He reads the caskets.
40:07All right?
40:08And as he is reading the caskets, the inscriptions on the three caskets, there is a song played.
40:15And the song, now Shakespeare's plays would have music.
40:20Remember, the male characters were young men.
40:24The female characters were also very young boys whose voices had not broken.
40:30And music formed a very important part of his plays.
40:35And they used to be sung by these young boys.
40:37Now, the audience would only know that these were actually young boys dressed as girls, as ladies.
40:43All right?
40:44But why is music being sounded?
40:46Is it because it's a romantic play?
40:48Or can we read a little more into the music?
40:52All right?
40:53Let us look at what he says.
40:54Tell me where is fancy bread, attraction bread.
40:59Fancy is attraction.
41:00So, I look at you, I get attracted.
41:03Oh, is it through my eyes or in the head?
41:05All right?
41:06Is it in the heart or in the head?
41:09All right?
41:10How is it born?
41:11How is it nourished?
41:13Reply, reply.
41:16It is engendered in the eyes, he says.
41:21That this love, this attraction, it's when I see you, isn't it?
41:26And then we get attracted to somebody.
41:28It is engendered in the eyes.
41:31And as we keep looking at the person, that love for the person grows with gazing fed.
41:38And then fancy dies in the cradle when it lies.
41:44And then at some times, you notice love dies.
41:47How?
41:48Because then you don't want to look at that person any longer.
41:51So, everything is the eyes.
41:53All right?
41:54With your due comment.
41:54Yes, ma'am.
41:56Yes, ma'am.
41:56Another call.
41:58Gossiya Sikandar from Kolhata.
42:00Gossiya.
42:01Yes, ma'am.
42:02Good afternoon, everyone.
42:03Good afternoon.
42:05I want to ask that if a reference is given about a Spanio and a character sketch is being
42:12asked, then you should write according to the whole play or according to the headphones
42:17only.
42:18That will be instructed, you will be instructed in the question itself.
42:23The question will always, generally, the question refers to the lines quoted or the
42:28scene from which the lines are taken.
42:31I hope you answered.
42:32So, it's engendered in the eyes with gazing fed and fancy dies in the cradle where it lies.
42:41So, let us all ring fancy's Nell.
42:45Nell is death bell.
42:46I'll begin it.
42:48Ding dong bell.
42:49Ding dong bell.
42:51Now, what is this song telling us about?
42:55It's talking about attraction.
42:58Yes.
42:58All right?
42:58And very often, we are swayed by an attraction and then the attraction dies.
43:05All right?
43:06That person also, we might be very attracted by, have you noticed, your generation, your
43:10heroes keep changing.
43:12Your film heroes keep changing.
43:14Today, you're attracted to hero A. Tomorrow, it's to hero B. The day after.
43:18Hero C. Why?
43:19Because you're very charmed by his good looks, his six-pack, eight-pack, his rippling muscles,
43:25the way he can dance and fight.
43:26And then tomorrow, you find somebody better.
43:28So, then your eyes don't find that hero attractive any longer.
43:33In sport, you're sending a small message to Bassanio.
43:38Don't be sweet by your eyes.
43:41Remember, when Mishrako chose the golden casket, what was said?
43:46All that glitters is not gold.
43:49All right?
43:50And it's one of the sayings which has now come into our everyday speech.
43:55Don't be mistaken by outward show.
43:58What had Arragan been told?
44:01Arragan had also been told that you have to be wise both in judgment and in action.
44:08All right?
44:10So, Arragan also has told very often, gilded tombs have worms.
44:15All right?
44:16So, don't be, you know, and silver has to be tested seven times.
44:21It has to go through fire seven times before you know that it is pure silver.
44:27There is another cause.
44:28Yes.
44:30From Jammu, what's the name?
44:35Bhumi.
44:36Yes.
44:36Bhumi from Jammu.
44:38Who it is?
44:38What's your question?
44:40My question is that if it comes in exam that in which portrait portrait portrait of Portia
44:54will be there, so what will you write?
44:57You don't know which class are you in?
44:59Obviously, child, you know, I know, the readers know, because the gold and silver has been eliminated.
45:06All right?
45:07The audience doesn't know.
45:09Everyone in the audience, we can't expect them to have read the play.
45:12All Shakespeare in audiences also wouldn't know.
45:16So, it is in the lead casket and that question would only come afterwards, isn't it?
45:20Which casket does Masaniya choose?
45:23So, as I was saying, let me go back to what we were saying, that it is bred, all the
45:29silver
45:30is also tried to test seven times.
45:32So, the wisdom that we use when we choose, we've got to think seven times before we choose.
45:41Yes.
45:42Yes.
45:42Yes.
45:42Speak slow if you speak love.
45:44Yes.
45:45So, this is it.
45:46And this is the basic difference that we find between Aragon, Morocco and Basaniya.
45:54Aragon is arrogant as his name tells us, isn't it?
45:58Yes.
45:58Morocco comes in, now, which girl here would like any young man who's come to profess his
46:03love for him, her, telling her, oh, I've done this and I've done this and I've got an
46:08MBA and I've got an IIT degree.
46:11You see, he's showing off too much.
46:13All right?
46:13Why would he show off so much?
46:15Yes.
46:15Isn't it?
46:16Yes.
46:16So, we've had these two.
46:18Whereas, Basaniya hasn't said anything like that.
46:21He's only told her, I love you.
46:22And I want to make the choice because I want to be sure of my choice of the caskets.
46:28So, there is probably a hint in that song.
46:31Yes.
46:32Okay.
46:32Then, ma'am, why does Persia say away then?
46:36Why locked, ma'am?
46:37She's locked.
46:38I'm locked in one of them.
46:40Her locked, that word locked is a very important word.
46:43Her portrait is in the right casket.
46:46Also, her future is locked in that casket.
46:48Her destiny, her fate is locked in that particular casket.
46:53And it will take the right person to unlock that destiny.
46:57Very much like Sleeping Beauty.
46:59Isn't it?
47:00Sleeping Beauty also was waiting for the right prince to come.
47:04Okay?
47:04Isn't it?
47:05So, Persia's fate is also sleeping.
47:07It's waiting.
47:08It's waiting for the right man.
47:10And see, Nerissa, sorry, had told her, her maid had told her, Jessica had told her that
47:16her father had been an intelligent man, an old man, at the moment of the deaths, have
47:23strange inspirations.
47:25So, her father had created the lottery of the caskets with this inspiration in mind,
47:31that the person who will choose the right casket will be the person who Persia loves
47:39and also will be the correct person for Persia.
47:43And that's exactly what happens, isn't it?
47:45Because Persia finds herself falling in love with Bassano.
47:48Now, you and I know as the audience and a very mature audience today, we've had a fill
47:53of plays and movies, so we know what's going to happen next, isn't it?
47:56That Shakespeare's audience was perhaps a simpler audience.
47:59They didn't have that many forms of entertainment.
48:01So, we know that Bassano is going to be the other call.
48:05Mayun, from Corner Talk.
48:07Mayun?
48:09Mayun?
48:09Yes, good afternoon.
48:12Ma'am, if we get a kosher pet, how she will express that she secretly loves Bassano.
48:17That's me, Rai.
48:18While you're opening the tap, can you split the top, not that panel.
48:23I have not understood the last part.
48:25How do you hear properly?
48:27Please repeat.
48:28Sorry?
48:29If we have a kosher pet, how kosher secretly expresses her love on Salino, can we write
48:40she plays a song while Bassano opening her chest?
48:43No, no, no.
48:44There are more points, dear.
48:45I've understood your question.
48:47Why?
48:47She doesn't tell...
48:48Let's write that part.
48:48Of course.
48:49Of course.
48:50Of course.
48:50You can.
48:51But you know, she doesn't love...
48:53That doesn't show her love for him.
48:54It shows that she indirectly gives her man a kind of an indication that don't follow
49:01your eyes.
49:02Because what do we do?
49:03If something like gold, silver and lead are put in front of you, you'll automatically go
49:08for the lead.
49:09I would.
49:10All right?
49:11So that's what she's saying.
49:12Don't be distracted by your fancy.
49:16All right?
49:17May we continue?
49:17Yes, ma'am.
49:19Yes, ma'am.
49:19Please continue.
49:20So now Bassano picks up from there.
49:22Somehow, see?
49:23The felicity of their minds.
49:26That they think along the same lines.
49:29And he says, so may outward shows be least in themselves.
49:34Outward shows.
49:35We show things outwardly.
49:39All of us, don't we?
49:40We see something very glamorous.
49:42We look at a fantastic building.
49:44We say, oh, such wonderful people must be living there.
49:46Look at the glamour of the building.
49:49We go to a store, which is exciting.
49:51We look at a restaurant, which is brilliant.
49:54So outward shows.
49:55Very often you enter and you say, oh, it's not as grand as what we thought it would be.
50:00The world is still deceived by ornament.
50:04It is always deceived by ornamentation.
50:10All right?
50:11And then he goes on to give the three examples.
50:14I'll just do one example.
50:16We don't have time for more.
50:19In law, and it takes a very, very good, relevant, you know, point here.
50:25You know, very often corrupt criminals are let free in our world.
50:29Why?
50:29Because they had a very good lawyer who pleaded the case eloquently, who had a presence in court.
50:36And the lawyer and the criminal who has done a lot of things is let free.
50:40So he says, what free?
50:42So tainted and corrupt, which is wrong.
50:46But it is presented in a gracious voice and it hides the show of evil.
50:52He goes on to give two more examples.
50:54One from religion and one from beauty and courage.
50:59We'll go on to that in another class, perhaps in the future.
51:03So let us look at the kind of questions that you get.
51:06The practice assignment, which I would like you to see.
51:10Now, the extract taken is from the piece that we taught today.
51:16Away then, I'm locked in one of them.
51:19If you do love me, you will find me out.
51:22Narissa and the rest stand all aloof.
51:25Let music sound while it doth make his choice.
51:30Remember to answer to the point.
51:33And these marks are there.
51:35You all have seen them.
51:36They are there in the question paper.
51:38They have been there down the ages.
51:40Where are Portia and Bassanio?
51:42Now, if you only write Belmont, you won't get the marks.
51:45A room in Portia's palace.
51:47If you want to write the casket room, go ahead.
51:50In Portia's palace, in Belmont.
51:53Why are they here?
51:55Bassanio is going to make the choice of the caskets.
51:59Do you see what you have to write?
52:01Very, very clearly before you can get your total marks.
52:06The whole exercise is how to answer.
52:09And answer in complete sentences.
52:11Never in phrases.
52:14Never in phrases.
52:15You must answer.
52:16Remember, it's an English paper.
52:18So, you must answer in complete sentences.
52:22What have been Portia trying to do?
52:24What have Portia been trying to do in the previous lines?
52:27Again, three marks.
52:29All right.
52:30She had been trying to keep Bassanio away from choosing the caskets.
52:38All right.
52:40She had used, and since it's three marks, you'll have to say, she had used a number of arguments.
52:46She had expressed indirectly, hinted at her love for him.
52:51All right.
52:52And the question that was asked by Papiya Ma'am, why does Portia say, away then?
52:59You know, it's sort of her helplessness.
53:02All her arguments that she has used has not helped.
53:05And Bassanio is adamant that he will choose the casket.
53:09And what is meant by, here I'm coming back to Papiya Ma'am, I'm locked in one.
53:15Literally, it means her portrait is in one of the caskets.
53:19Metaphorically, also her fate is in one of the caskets.
53:23She asks for music to play as he makes his choice.
53:27What would music sound if he loses?
53:30And here, you've got to talk about the swan-like end.
53:34All right.
53:34You've got to talk about drowning in her tears.
53:38So, all these very detailed questions.
53:42Which qualities of Portia, this should be four marks, I'm sorry, it's Kamas 3,
53:47of Portia's revealed in her interaction with Bassanio?
53:51Do you admire her?
53:53Why?
53:54Her qualities, her intense love, at the same time, her principled nature,
53:59her ability to, you know, to use a little bit of humor,
54:06her sense of discretion.
54:10All right.
54:11Do you admire her?
54:13And why do you admire her?
54:15This is entirely your point of view.
54:19What we are looking at is, have you understood what we were trying to tell you?
54:25Have you understood the play as a totality?
54:28Have you thought of the play as you read it and as your teacher was presenting it to you?
54:36So, while doing Merchant of Venice, it's very important,
54:40and I often do that and tell my students that,
54:43buy those little stick-ons.
54:45All right.
54:47Then, read the text thoroughly, at least one scene each day.
54:52Now, the tense will ask, are we just coming to Act 3 Scene 2?
54:55Well, you've got your Act 1 to Act 3 Scene 1.
54:59That's quite a bit.
55:00So, just read the scene.
55:03Every night, just before you switch off your bedside lamp,
55:06just take the play and read it.
55:08You'll see, if you read it every day, very soon,
55:10you'll be able to quote from it.
55:13Or, you know, remember all the details.
55:16You know, it'll become second nature to you.
55:18So, understand what each character is saying and why.
55:23All right.
55:24What are their motivations?
55:25Why is Shakespeare's hatred for Antonio?
55:29Sorry, Shylock's hatred for Antonio.
55:31Why doesn't Portia like Morocco?
55:34Why does Arrogant talk in such an arrogant manner?
55:38All right.
55:39So, you've got that.
55:40What does a character feel about another?
55:44I don't know.
55:45Antonio is very condescending towards Shylock.
55:49He looks down on him.
55:50Shylock also hates him.
55:52Lines which have become famous in our language is,
55:56if you prick us, do we not bleed?
55:58All right.
55:59So, Shylock is all done.
56:00Now, we have to wrap up our show.
56:01Yeah.
56:02Please, please.
56:03Just okay.
56:03So, what is a character?
56:05Underline all the allusions.
56:07Remember, I've talked about Hercules.
56:09So, underline them.
56:10Try and understand.
56:12Try and list the traits of each character.
56:15And understand the events in sequence.
56:19If you do that, you've already hit a six.
56:22The ball is in your court.
56:24Yes.
56:24You will be able to do very well.
56:26All the best.
56:27I'm very excited.
56:28I'm going to tell you that the actor and author can tell you.
56:30I'm going to tell you that you've already hit a six.
56:32Lover's ever run before the clock.
56:34Yes.
56:35Yes.
56:35That is true.
56:36And we chose a scene with romance in it.
56:40Thank you so much.
56:41Thank you so much.
56:42Thank you so much.
56:42I think that not only the students,
56:45but our viewers also enriched with your...
56:48Thank you so much.
56:50The nice session.
56:52Thank you so much.
56:55Thank you so much.
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