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[Assistant] Maria, Maria. Katie, Katie. Sato, Sato. Marie, Marie. Teresa Lopez, Teresa Lopez. Marc LeBlanc, Marc LeBlanc.


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[Assistant] It was about two years after Hurricane Katrina that I first saw the Louisiana flood maps.


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[Assistant] These flood maps are used to show land loss in the past and land loss that is to come. On this particular day at a community meeting, these maps were used to explain how a 30-foot tidal surge that accompanied Hurricane Katrina could flood communities like mine in South Louisiana,


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[Assistant] And in an instant, my life changed for the second time in two years.


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[Assistant] The graphic showed massive land loss in South Louisiana and an encroaching sea. But more specifically, the graphic showed the disappearance of my community and many other communities before the end of the century. I wasn't alone at the front of the room. I was standing there with other members of South Louisiana's communities, black, native, poor,


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[Assistant] We thought we were just bound by temporary disaster recovery.


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[Assistant] But we found that we were now bound by the impossible task of ensuring that our communities would not be erased by sea level rise due to climate change.


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[Assistant] I just assumed that it would be there, as it had been for thousands of years. I was wrong.


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[Assistant] To understand what was happening to my community, I had to talk to other communities around the globe. I started in south Louisiana with the United Homa Nation.


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[Assistant] I talked to youth advocates in Shishmaref, Alaska. I talked to fisherwomen in coastal Vietnam, justice fighters in Fiji.


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[Assistant] New generations of leaders in the ancient cultures of the tourist straits.


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[Assistant] Communities that had been here for thousands of years were suffering the same fate, and we were all contemplating how we would survive the next 50.


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[Assistant] In the next, by the end of the next century, it's predicted that more than 180 million people will be displaced due to climate change.


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[Assistant] And in South Louisiana, those who can afford to do so are already moving.


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[Assistant] They're moving because South Louisiana is losing land at one of the fastest rates on the planet. Disappearance is what my Bayou community has in common with other coastal communities. Erasure is what communities around the globe are fighting as we get real about the impacts of climate change.


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[Assistant] I spent the last 14 years advocating on behalf of communities that have been directly impacted by the climate crisis.


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[Assistant] And they're also trying to balance mass displacement of people with an influx of others who see opportunity in starting anew.


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[Assistant] When they leave, when they're displaced by climate disaster, even when they don't cross international borders.


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[Assistant] These terms, these misused terms that are meant to identify the other, the victim, the person who's not supposed to be here,


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[Assistant] These terms are barriers to economic recovery.


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[Assistant] It also matters how we treat people who are crossing borders.


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[Assistant] We should care about how people who are crossing borders today to seek refuge and safety are being treated.


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[Assistant] If for no other reason than it might be you or someone you love who needs to exercise their human right to migrate in the nearby future.


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[Assistant] We must start preparing for global migration today. It's a reality now.


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[Assistant] Our cities and our communities are not prepared. In fact, our economic system and our social systems are only prepared to make profit off of people who migrate.


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[Assistant] This will cause rounds of climate gentrification.


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[Assistant] And it will also penalize the movement of people, usually through exploited labor and usually through criminalization.


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[Assistant] Climate gentrification that happens in anticipation of sea level rise is what we're seeing in places like Miami.


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[Assistant] Where communities that were kept from the waterfront are now being ...


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[Assistant] Priced out of the high ground where they were placed originally as people move away from the coast. These folks are being moved, forced to relocate away from the social and economic systems that they need to survive.


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[Assistant] Climate gentrification also happens in the aftermath of climate disaster.


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[Assistant] When massive amounts of people leave a location for an indefinite amount of time, we see others come in.


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[Assistant] We also see climate gentrification happen when damaged homes are now green-built.


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[Assistant] But now have a higher value, generally outside of the reach of black and brown and poor people who want to return home.


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[Assistant] The price difference in rents or the ownership of a house is the difference between being able to practice your right, your human right, to return home as a community


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[Assistant] Or be forced to resettle somewhere else, less climate-resilient, less expensive and alone.


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[Assistant] The climate crisis is a much larger conversation than reducing CO2 emissions. And it is a much different conversation than just extreme weather.


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[Assistant] And climate migration is just one small part, but it's going to have ripple effects in both coastal cities and cities in the interior. So what do we do? I have a few ideas. First,


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[Assistant] We must reframe our understanding of the problem. Climate change is not the problem.


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[Assistant] Climate change is the most horrible symptom of an economic system that has been built for a few to extract every precious value out of this planet and its people.


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[Assistant] From our natural resources to the fruits of our human labor, this system has created this crisis.


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[Assistant] We must have the courage to admit we've taken too much.


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[Assistant] We cannot close our eyes to the fact that the entire world is paying a price for the privilege and comfort of just a few people on the planet.


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[Assistant] It's time for us to make society-wide changes to a system that incentivizes consumption to the point of global imbalance.


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[Assistant] Our social, political and economic systems of extraction must be transformed into systems that regenerate the earth and advance human liberty globally.


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[Assistant] It is arrogance to think that technology will save us.


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[Assistant] It is ego to think that we can continue this unjust and extractive approach to living on this planet and survive.


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[Assistant] To survive this next phase of our human existence, we will need to restructure our social and economic systems to develop our collective resilience.


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[Assistant] The social restructuring must be toward restoration and repair of the earth and the communities that have been extracted from, criminalized and targeted for generations.


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[Assistant] These are the front lines. This is where we start.


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[Assistant] We must establish a new social attitude to see migration as a benefit, a necessity for our global survival, not as a threat to our individual privilege.


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[Assistant] Collective resilience means developing cities that can receive people and provide housing, food, water, health care and the freedom from over-policing for everyone, no matter who they are, no matter where they're from.


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[Assistant] What would it mean if we started to plan for climate migration now?


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[Assistant] Sprawling cities or declining cities could see this as an opportunity to rebuild a social infrastructure rooted in justice and fairness.


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[Assistant] We could actually put money into public hospitals and help them prepare for what is to come through climate migration, including the trauma that comes with loss and relocation.


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[Assistant] We can invest more of our time in justice, but it cannot be for temporary gain. It cannot be to help budget shortfalls. It has to be for long-term change, and it has to be to advance justice. It's already possible, y'all.


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[Assistant] Those students are now productive assets in our community, and this is what our communities, our businesses and our institutions need to get ready for now. The time is now.


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[Assistant] All that will be left is for us to re-indigenize ourselves and to conjure a power of the most ancient kind.


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[Assistant] This necessarily means that we must learn to follow, not tokenize, not exotify, not dismiss the leadership and the traditional knowledge of a particular local place.


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[Assistant] It means that we must commit to standards of ecological equity and climate justice and human rights as the basis, a base standard, a starting point for where our new society is to go.


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[Assistant] All of this requires us to recognize a power greater than ourselves and a life longer than the ones we will live.


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[Assistant] It requires us to believe in the things that we are privileged enough not to have to see. We must honor the rights of nature. We must advance human rights for all.


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[Assistant] We must transform from a disposable, individual society into one that sees our collective, long-term humanity, or else we will not make it.


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[Assistant] It's for us to figure out how to reach a shared liberation together.


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[Assistant] The good news is, we come from powerful people.


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[Assistant] We come from those who have in one way or another survived so far to be us here today. This is reason enough to fight.


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[Assistant] And take it from your South Louisiana friend, those hardest fights are the ones to celebrate.


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[Assistant] This is my offering. Thank you for receiving it. Merci.


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[Assistant] The Earth makes one full 360 degree rotation in 24 hours. This means in one hour, the Earth moves by 15 degrees. Using this information, scientists divided the planet into 24 sections or time zones. Each section or region was about 15 degrees wide and had a specific standard time.


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[Assistant] I'm not ditching this, Lauren.


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[Assistant] We are already in last place. We can't get any questions wrong.


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[Assistant] Will your master be upset if I eat it? Our master said we could give you one.


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[Assistant] It is too delicious and valuable. Let's eat it ourselves.


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[Assistant] We've learned from by trial and error that keeping them in a BOMA environment for those minimum of 4 weeks, 46 weeks.


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[Assistant] Means that they settle down, and not only do they settle down, most importantly, they get used to these boxes.


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[Assistant] We find that if we had to just put the animal straight from the felt into a box like this and transport them to their new destination, they would fight the crate all the way and as a result would injure themselves.


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[Assistant] By the time these rhino are ready to leave here, they get so used to these boxes that they'd probably sleep for almost the entire duration of their journey.


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[Assistant] Hello, Father. I'm sorry I haven't visited you until now. Who are you?


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[Assistant] I married Princess Hundred Flowers thirteen years ago.


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[Assistant] I found her in a forest just as a tiger was about to attack her. I saved her life and chased away the tiger.


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[Assistant] That was very brave. Yes, it was very brave.


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[Assistant] However, that tiger has wanted revenge ever since.


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[Assistant] Some time ago it became a spirit. Now it disguises itself as a monk.


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[Assistant] I don't believe you. I'll prove it.


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[Assistant] Came over to my house and met my dad, a pharmaceutical scientist who had just retired after bringing a drug to market.


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[Assistant] My dad said, uh, you probably wouldn't have heard of it. It's for IPF, idiopathic pulmonary fibrosis.


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[Assistant] Rudy paused for a long time, and then he said,


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[Assistant] Even though it was too late for my dad to save his, he felt that destiny had delivered us this full circle moment.


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[Assistant] In my family, we have a special love for my father's inventions and in particular, we have a reverence for his patents. We have framed patents on the wall in our house.


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[Assistant] And there's a recognition in our family that everything I've been able to do, college, law school, health justice work,


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[Assistant] All of it is because America enabled my father to fulfill his potential as an inventor.


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[Assistant] Last year, I met the director of the US Patent Office for the first time, and I sent my family a selfie from that office in Virginia.


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[Assistant] I got so many emojis back, you would have thought I had met Beyonce.


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[Assistant] But truth be told, I was actually there to talk about a problem. How our outdated patent system is fueling the high cost of medicines and costing lives.


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[Assistant] Today, over two billion people live without access to medicines, and against this global crisis, drug prices are skyrocketing, including in wealthier countries.


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[Assistant] 34 million Americans have lost a family member or a friend in the last five years. Not because the treatment didn't exist, but because they couldn't afford it.


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[Assistant] There are many reasons for this crisis, but one is the outdated patent system that America tries to export to the rest of the world.


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[Assistant] The original intention behind the patent system was to motivate people to invent by rewarding them with a time-limited monopoly.


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[Assistant] Corporations have teams of lawyers and lobbyists whose sole job is to extend patent protection as long as possible. And they've kept the patent office busy.


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[Assistant] It took 155 years for the US Patent Office to issue its first five million patents. It took just 27 years for it to issue the next five million.


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[Assistant] My organization, a team of lawyers and scientists, recently conducted an investigation into the 12 best-selling drugs in America. We found that on average, there are 125 patents filed on each medicine.


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[Assistant] Often for things we've known how to do for decades, like putting two pills into one.


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[Assistant] The higher a patent wall a company builds, the longer they hold onto their monopoly. And with no one to compete with,


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[Assistant] The patent wall is a strategy to block competition.


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[Assistant] Not for the 14 years maximum that America's founders originally envisioned, or the 20 years allowed by law today, but for 40 years or more.


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[Assistant] Meanwhile, prices on these drugs have continued to increase, 68 percent since 2012.


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[Assistant] And people are struggling or even dying because they can't afford the meds. Now I want to be really clear about something.


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[Assistant] What I'm talking about today is whether the system we created to promote progress is actually working as intended. Sure, the pharmaceutical companies are gaming the system.


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[Assistant] But they're gaming it because they can. Because we have failed to adapt this system to meet today's realities. The government is handing out one of the most prized rewards in business. The opportunity to create a product that is protected from competition.


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[Assistant] We can create a modern patent system to meet the needs of a 21st-century society. And to do that, we need to reimagine the patent system to serve the public, not just corporations. So how do we do it? Five reforms. First, we need to stop handing out so many patents.


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[Assistant] Back under the Kennedy administration, in an effort to curb rising drug costs, a congressman from Tennessee proposed an idea. He said, if you want to tweak a drug and you want to get another patent on it,


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[Assistant] The modified version has to be significantly better therapeutically for patients.


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[Assistant] And yet we hand out patents worth billions of dollars for minor changes. It's time to raise the bar. Second,


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[Assistant] We need to change the financial incentives of the patent office. Right now the revenue of the patent office is directly linked to the number of patents that it grants. That's like ...


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[Assistant] Private prisons. Getting paid more to hold more people.


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[Assistant] It naturally leads to more incarceration.


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[Assistant] But imagine if instead, the Patent Office became a dynamic center for citizen learning and ingenuity, staffed not just by technical experts and bureaucrats, but also by great public health storytellers with a passion for science.


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[Assistant] Regular citizens could get accessible information about complex technologies like artificial intelligence or gene editing, enabling us to participate in the policy conversations that directly impact our health and lives.


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[Assistant] Right now in America, after a patent is granted, the public has no legal standing.


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[Assistant] Only those with a commercial interest, usually other drug companies, have that right


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[Assistant] But I've witnessed firsthand how lives can be saved when everyday citizens have the right to go to court.


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[Assistant] Back in 2006 in India, my organization worked with patient advocates to challenge legally unjust HIV drug patents at a time when so many people were dying because medicines were priced out of reach. We were able to bring down the prices of medicines by up to 87 percent.


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[Assistant] That can serve as a public advocate, regularly monitoring the activities of the Patent Office and reporting to Congress.


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[Assistant] If a unit like this had existed, it would have caught, for example, the Silicon Valley company Theranos, before it got so many patents for blood testing and landed a valuation of nine billion dollars, when in reality, there was no invention there at all.


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[Assistant] This kind of accountability is going to become increasingly urgent. In the age of 23 and me important questions are being asked about whether companies can patent and sell


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[Assistant] Our genetic information and our patient data.


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[Assistant] Our information is being used to create the new therapies. And when that moment of diagnosis comes for me and my family,


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[Assistant] Or for you and yours? Are we going to have to crowdfund to save the lives of those we love? That's not the world I want to live in.


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[Assistant] It's such a profound misunderstanding of what's at stake. Because this is not about scientists versus activists or invention versus protection. This is about people.


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[Assistant] Our quest to invent and our right to live.


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[Assistant] My dad and I understand that our ingenuity and our dignity go hand in hand. We are on the same side.


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[Assistant] It is time to reimagine a patent system that reflects that knowing. Thank you.


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[Assistant] One word, a rather antique word nowadays, sums up the literary subject matter of Edmund Spenser. That word is gallantry.


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[Assistant] Now literature has many functions in society. One of the things that makes it so interesting to read and to study and to re-read it.


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[Assistant] Literature, good and bad, can instruct, it can entertain, it can educate. In some circumstances, literature can even corrupt us.


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[Assistant] Exactly which literature is corrupting is much disputed through the centuries. You think of a text, for instance, like Huckleberry Finn. At different times, Huckleberry Finn has been both censored and prescribed. Some generations have to read it. Some generations are forbidden from reading it.


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[Assistant] This has happened ever since Mark Twain published it to the present day. Now which party, the banners or the prescribers, was or is right? It's very hard to say.


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[Assistant] What happens is every generation makes up its own rules on this. Now, if one accepts, and I think one has to accept, that in certain circumstances, at certain times, literary works can corrupt,


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[Assistant] Literature can also do the opposite. It can civilise, or at least it can contribute materially to the civilising process by articulating in complex and subtle ways what it is that holds a society together.


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[Assistant] Literature, to pursue the point, can define with a precision that no other discourse can rival those core values on which a civilization founds itself.


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[Assistant] Which is why I would suggest there's been no great civilization from the Greek to the American, which has not also had a great literature.


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[Assistant] Now those literatures are not mere appendages or byproducts. In a very real way, they make civilization.


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[Assistant] Which brings us by a roundabout route to Edmund Spenser's magnum opus, The Fairy Queen.


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[Assistant] Now arguably, it is the greatest poem composed during the reign of the Virgin Queen, Elizabeth I. There's a lot of competition for that particular title, but I think most people, including myself, would back Spencer.


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[Assistant] The fairy queen is, significantly enough, dedicated, loyally, towards the monarch.


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[Assistant] Who inherited a reformed England, reformed by her father, and who, during her 45 year reign, from 1558 to 1603, transformed a small northern island into a world power. And she did it by the force of the navy largely, but that's another story.


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[Assistant] Now, Spencer was a courtier. He was a soldier. He was a political player for high stakes. And he was also a poet. And arguably, he was the greatest poet after Chaucer and until Shakespeare.


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[Assistant] And the values which formed Spencer's sense of what a civilized society was descended hierarchically from the fount of England's honor, the Queen. Now, I think it's necessary, particularly for American readers, to understand the peculiar nature of the English honor system that I'm referring to. It runs like the arteries in the body


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[Assistant] Through England to this very day. My university chair, for example, is a privy council chair. I'm appointed, not simply by my university and its trustees, but by that committee of high-ranking political figures and dignitaries, the privy or private council who advise the Queen. I'm a professor of the Queen.


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[Assistant] England, even today, looks up to the throne to define the set of moral values which ultimately determine standards of acceptable conduct. Senior law officers are called Queen's Councils, QCs. The Prime Minister is the monarch's first minister. She, he, he's answerable to the Queen primarily, not to Parliament.


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[Assistant] Now this honor system, which had been modified over the centuries, was at its most dynamic during the reign of Elizabeth I. And it is this system which received its finest literary celebration in the Fairy Queen.


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[Assistant] Spencer's written a great poem, but it is also a manual of courtesy, of good manners, and a literary gesture of devotion to the court.


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[Assistant] Court, of course, is shorthand for those courtiers privileged to be close or privy to the monarch. The word itself means those who bow or make themselves short physically in the presence of regal greatness.


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[Assistant] Let me, for the purpose of illustration of the point I'm making here, read the title page of the Fairy Queen without you as well. And this is as it was first published, uh, for the England publisher William Ponsonby.


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[Assistant] The fairy queen, disposed into twelve books, fashioning twelve moral virtues. To the most high, mighty and magnificent empress, renowned for piety, virtue and all-gracious government, Elizabeth.


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[Assistant] By the grace of God, Queen of England, France, and Ireland, and of Virginia. Virginia. Defender of the faith and her most humble servant.


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[Assistant] Now, let's stop at this title page for a moment and...


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[Assistant] Just, let's move from that to the creator behind the poem with a brief outline of Edmund Spenser's life.


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[Assistant] Now, he was not, once you begin by saying, a professional writer. No one will be able to claim that description until many years later. Let's say, someone who lived by his pen.


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[Assistant] In fact his pen was very important but it was not his main source of income in life and not his main, as it were, sort of ambition in life to be a writer.


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[Assistant] Although Spencer's work was printed by Ponsonby, he wrote principally for the admiration of a coterie. His coterie.


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[Assistant] Personally, Spencer was sufficiently noble himself not to need noble patrons or paymasters. He was born in, in 1552, we're not quite sure of the date, the son of a prosperous clothmaker.


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[Assistant] Now young Edmund was educated in London at the merchant Taylor's school. It was a guild establishment and you'll notice the word Taylor or clothmaker. And he went on to be educated at Pembroke College, Cambridge. Now as a young man,


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[Assistant] Spencer went then to Ireland, which at the time in the 16th century was a downtrodden English colonial possession. He doesn't mention it very, very so prominently in his dedication, but it was like Virginia.


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[Assistant] And he went there as, as an assistant to one of that provinces governors. And he did his official work in Ireland efficiently and promotions followed.


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[Assistant] It was not, we should be aware, paperwork that Spencer did. He was instrumental, like other governors of English colonies.


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[Assistant] And possessions in the ruthless putting down of sedition and rebellion. He believed, like most of his class, in savage colonial discipline, martial law, with none of the rights for the Irish that English citizens enjoyed.


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[Assistant] Now, Spencer outlined his authoritarian views in pamphlets which did him no harm at court, although they may make us, and certainly the Irish, love him less. Now,


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[Assistant] He did his work well, as I say, and as a reward for his services to the English Queen, Spencer was given an Irish estate. He was given a chunk of Ireland.


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[Assistant] And so Walter Raleigh was a fellow colonial governor. We know Walter Raleigh as a great explorer, also as a poet, but he too in fact had his kind of properties in Ireland.


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[Assistant] And like Raleigh, Spencer hoped to figure in the top echelons of the Royal Court back in England. And it was with this in mind that he conceived The Fairy Queen. It was, it was a poem which would advance his career.


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[Assistant] Now, he was only partially successful in this ambition. The poem won him a small pension, but not the great favors he craved and had aimed at. And disappointment is the flavor of Spencer's subsequent, sadly short life.


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[Assistant] His castle was burned down by Irish rebels in 1598. He may have lost his wife and children in that attack, we don't know, but he certainly lost his status in the colony.


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[Assistant] And in 1599 he moved back to London where he died in distressed circumstances, aged a mere 46. But already his reputation as a poet was huge.


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[Assistant] He'd been writing on the side and that was doing well for him. And it was arranged on his death for his coffin to be carried by six other poets. And they threw pens and quills and scraps of poetry into his grave with many tears.


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[Assistant] It was a wonderful death, but it indicated that he died a great poet, even in fact if he died an unsuccessful politician.


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[Assistant] Now Spencer's tomb is situated next to that of Geoffrey Chaucer in Westminster Abbey. He is one of the fathers of English literature and is a fitting resting place for him.


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[Assistant] The subject of the fairy queen is less the queen herself, who never appears, than the England she ruled over. And the epic was initially intended to run to twelve books, but it only managed six. And like the Canterbury Tales, there's a magnificent incompleteness about the fairy queen.


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[Assistant] The half-work, the half-fairy queen which we have addresses itself to six great virtues which are anatomised in six books. All of them, literally book-length, arranged in twelve cantos per book, made up of rhymed stanzas, let's say, verses.


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[Assistant] They came to be called Spenserian stanzas and were much imitated in subsequent literature. And you'll hear one presently. Twelve is an apostolic number. And numerology underlies this work. It's like an inner frame.


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[Assistant] Now, the virtues which Spencer anatomized are, you know, to catalog them. In book one, holiness. In book two, temperance. In book three, chastity. In book four, friendship. In book five, justice. And in book six, courtesy. And we don't know what the other six would be, but you can fill in the gaps quite easily.


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[Assistant] Now these moral virtues are embodied or incarnated in a band of knightly heroes. And the overall genre is that of Arthurian epic.


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[Assistant] One gathers from the dedicatory letter to his fellow courtier and Irish comrade Raleigh, King Arthur was to be introduced at the climax as the epitome of all twelve of the virtues. It was a poem which was designed as homage to kingship and queenship.


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[Assistant] The knights in the poem, uh, as written, are five men and one woman, uhm, all in armor, on horses, on quests to set the world to rights. The woman knight, Britomart, in the third book of the Fairy Queen, is like the Virgin Queen herself, the embodiment of militant chastity.


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[Assistant] Now, knights are, to put it at its simplest, warriors with values other than merely slaughtering their adversaries.


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[Assistant] Beowulf, for example, is not a knight. Attila the Hun's horsemen were not knights, but fearsome fighters. Galahad, on the other hand, was a knight, because, as the poet Tennyson put it, he was not merely invincible in battle, but pure in heart. And the two are indivisible. My lance is strong because my heart is pure.


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[Assistant] The knight's battles are battles for virtue as well as for victory. They fight in good cause, or they intend to. And, as Spencer likes to point out, life is often too complex for even the best intention, purest-hearted knight. It gets very difficult to be a knight.


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[Assistant] Now, the code of knightliness is still with us. Officers in the British army, for example, hold their rank by virtue of the Queen's commission. I, at one period of my life, was a soldier of the Queen, as well as a professor of the Queen. That's another story altogether.


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[Assistant] Now, another great writer of this period, Mallory, in the mot d'Arthur, celebrated the Arthurian company of Knights of the Round Table. They'd been revisited right the way down to the musical Camelot and the mythology surrounding the court, so to call it, of President John F. Kennedy.


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[Assistant] Let's move on to sample what I've been talking about abstractly. The following is the opening of book one of The Fairy Queen. And if you're not familiar with Spencer's idiosyncratic technique, it will, I think, strike your ear as very strange indeed. But let me quote it.


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[Assistant] A gentle knight with pricking on the plain, A clad in mighty arms and silver shield, Wherein old dints of deep wounds did remain, The cruel marks of many a bloody field, Yet arms till that time did he never wield, His angry steed did chide his foaming bit, As much disdaining to the curb to yield.


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[Assistant] Full yolly night, he seemed, and fair to sit, as one for nightly jousts and fierce encounters.


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[Assistant] A bloody cross, a red cross on his chest, which we're told is a dear remembrance of his dying lord, for whose sweet sake he wore that glorious band. This, remember, is the book which will be devoted to holiness, which in fact is the first, as Spencer sees it, of the great virtues. Now the opening image is


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[Assistant] Largely thanks to Spencer and Mallory, stereotypical. A knight is galloping across the plain, looking for dragons to slay and maidens to rescue. And gentle means not soft in manner, but as in Chaucer, high-born of the gentility.


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[Assistant] This knight, at this point he's called Red Cross, which you remember is the basic constituent in the British national flag, as well as of Christianity, is a knight-errant. He's wandering, wandering through the world with the intention of writing wrong. He's a crusader.


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[Assistant] Here's we gather from his violent charging about, only newly knighted, the bitters between his teeth.


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[Assistant] Now, in fact, this knight will later be identified as St. George, the patron saint of England. And it will finally be the dragon whom he conquers in England, which will in fact, as it were, bring civilization to the country. The dragon in fact represents paganism quite clearly.


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[Assistant] I think just in terms of listening one can enjoy the music and the cunning poetic style, but we must get...


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[Assistant] We must move beyond that to get the full value and understand the techniques that this poet is using, because in fact these techniques are passed on to other poets. He, sort of Spencer to some extent is making poetry, not just a poem. He's a major innovator, a refiner of techniques, and he comes at things from odd angles sometimes. First of all, consider that word in the title, theory.


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[Assistant] Now, Spencer's, we'll quickly appreciate, is not the cozy fairyland of Peter Pan. It's a dangerous realm of magic. A free literary zone where the poet's imagination is free to create an alternative universe. It's like science fiction in a way.


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[Assistant] Spencer's Fairy is also terrifying. It's a, it's an awful place sometimes. Uhm, it's, it's terrifying and, and as threatening as anything imagined by Stephen King, who, who's Dark Tower Saga, by the way, is a direct, uh, descendant of Ed, Ed, Edmund Spencer's work.


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[Assistant] And closing in, even on that first stanza, we should note the striking poetic devices which the poet employs. Now,


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[Assistant] Generally speaking, there are, in my judgement, three major literary devices which, when you've mastered them, will equip you to make sense of most of the great works of English literature. They're the three big wrenches, if you like, in the reader's literary toolbox. And they are allegory, irony, and last but not least, ambiguity.


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[Assistant] Allegory, at its simplest, is saying something by means of saying something quite different, in a dimension beyond the literal. A very simple form of allegory is the simile, or the one-to-one comparison. For example, my love is like a red, red rose.


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[Assistant] In point of fact, my love isn't at all like a garden plant. She doesn't have petals, leaves, or roots sunk in the dirt. I don't stick her in a vase full of cold water. But for the purpose of literary appreciation, we can handle that doublethink, even if a, you know, a Martian might find it tricky. That's allegory.


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[Assistant] Allegory goes beyond simile into systematic parallelism, uh, in keeping with, you know, the horticultural theme. Think of that scene, if you know it, in Richard II, Shakespeare's great meditation on kingship. Two gardeners come onto the scene.


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[Assistant] Go thou, and like an executioner, cut off the heads of too fast growing sprays that look too lofty in our commonwealth. All must be even in our government.


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[Assistant] You that employed, I will go root away the noisome weeds, which without profit suck the soil's fertility from wholesome flowers.


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[Assistant] Obviously, on one level, they're talking about gardens, but,


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[Assistant] At another level they're talking about a more important thing, that is, how do you run a country? And just as you prune plants, you take their heads off, you know, when they, when they become rebellious, so you have sometimes to kill people, in fact, who rebel against the, the state, who rebel against the kingship.


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[Assistant] This is what happens under bad kings and bad gardeners. The two are to some extent parallel. And allegorism, uh, allegory creates that parallelism in a very creative way.


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[Assistant] Now, irony to move on to the next of these devices is again duplicitous or doubly meaningful in its literary operation.


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[Assistant] It is, at its simplest, saying one thing and meaning its opposite or something quite different. Let me give an example from the most accomplished of literary ironists, Jonathan Swift.


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[Assistant] In 1729, Swift, who was then a clergyman, resident in Ireland, penned a savage satire on English maladministration of the province. He called his pamphlet a modest proposal. And it purports to be written by an economist, confronted by the contradiction that one, the Irish peasantry were currently starving,


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[Assistant] Two, they were producing children. Lots of children. Now to the economist's mind,


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[Assistant] Unclouded by any sentiment. The solution is easy. Let them eat babies. This is the philanthropic and the rational policy. Moreover, it might also be, be good eating. This is what the, this is what Swift's, uhm, uh, economist says.


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[Assistant] I've been assured by a knowing American acquaintance that a young healthy child well-nourished is, at a year, a most delicious nourishing and wholesome food, whether stewed, roasted, baked, or boiled. And I make no doubt that it will equally serve in a fricassee or ragu.


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[Assistant] So it goes on, uh, for the whole length of the pamphlet, him arguing that, uh, the best way to solve Ireland's problems, uh, is, uh, cannibalism.


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[Assistant] And in his modest proposal, he was being ironic, saying one thing and meaning another. That's what literature very often does, and we have to be aware of it. Now the third of the terms that I mentioned, ambiguity, is a device by which you say two or more things simultaneously.


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[Assistant] Now, in many varieties of human discourse, we aim strenuously to disambiguate. No one, for example, wants an ambiguous legal contract. Look out, we say to someone, sticking their head out of a train window. They do look out and get their head knocked off by a tunnel wall. Now, of course what we meant by look out was look in. That's ambiguity.


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[Assistant] Now, literature has a quite different priority from law. It loves ambiguity. It loads its discourse with ambiguity. Polyvalence, as it's sometimes called. Take, for example, the famously ambiguous line from Shakespeare's Sonnet 129. The expense of spirit in a waste of shame.


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[Assistant] It means the squalid expenditure of one's talents and abilities to no good end. It means that on the surface, that's what it means. But supposing with, not, with the ear, not the eye, you hear a waste of shame.


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[Assistant] The line then has a sly double meaning or double entendre. Spirit can mean liquid. Waste can mean garbage, but also a part of the body.


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[Assistant] But to the waste do the gods inherit, says Leah, everything below is Satan's. Expense means expenditure, but also the act of propelling or pushing as an expending effort. It's a synonym for ejaculation, the expense of spirit and the waste of shame.


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[Assistant] In short, while lovefully talking abstractly about degradation, the sonnet also conveys a subversive sexual image. The sexual act with an unworthy partner.


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[Assistant] The line, we may say, is ambiguous, and much the richer for it. Now, we'll encounter allegory, irony, and ambiguity many times on our journey through English literature, but with Spencer, it is allegory, which is paramount.


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[Assistant] Uh, let's talk a bit about Spencerian allegory. Spencerian allegory.


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[Assistant] Focus, if you would, on the portraiture of Red Cross, which I read out a few minutes ago. The cross on his chest symbolises, obviously, Christianity. He's a Christian knight. He will, in point of fact, end by divesting himself of his armour and taking on amongst humble robes, having, that is, slain his dragon. But why red?


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[Assistant] Because it is by the blood of Christ that he is redeemed, as are we.


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[Assistant] The other knights in this Vensyrian troop have glistening new armor. But Red Cross's armor is battered. It's beaten. It has deep sort of dints, dents on it.


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[Assistant] Wherein old dints of deep wounds did remain, says Spencer of his armor. Now why is that? The metal is battered and dented because the great battles of Christianity have been fought for us by our forefathers, assuming we're Christian. But so too with all the great religions.


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[Assistant] We did not have to suffer persecution, martyrdom or deprivation or crucifixion to assert our faith. Those before us did it for us. The armor we inherit and that protects us has been worn in blood spattered battle by our victorious predecessors and their victory was hard won.


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[Assistant] Did we, like Lydgate, burn at the stake so that we could read the Bible in English? No, he did, and he did it for us.


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[Assistant] The personal virtue which the Christian must cultivate is humility.


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[Assistant] Hence the stress in the opening passage on Red Cross as being solemn sad.


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[Assistant] For the Christian, the principal adversary is one's self, one's pride. The enemy is inside. And this will be the recurrent theme in Red Cross's subsequent career in arms. It is himself, Red Cross, whom he is combating.


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[Assistant] He will almost come to grief as we read on in the House of Pride and in combat with the giant Orgoglio, which is Italian for pride.


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[Assistant] The guiding principle of his quest is singleness, or unity, which is embodied in his patroness, Una. His most seductive enemy is her lookalike, Duesa, or duplicity.


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[Assistant] That's to say, there is one religious truth. It's very hard to find and hold it, but it is just, it is very single. It is, it is unified. Now, in the opening episode of Book One,


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[Assistant] Red Cross thinks he has found his great enemy, the dragon, already. He looks inside the Cave of Error, and inside that Cave of Error, he finds, in fact, uh,


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[Assistant] But full of fire and greedy hardement, the youthful knight could not for aught be stayed, but forth into the darksome hole at the cave he went, and looked in. His glittering armour made a little gloaming light, much like a shade, by which he saw the ugly monster plain, half like a serpent, horribly displayed.


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[Assistant] But the other half did woman's shape retain, most loathsome, filthy, foul, and full of vile disdain.


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[Assistant] Now, obviously, this in fact is kind of not the real dragon, and I think Spencer is also hinting that sex may be a problem for, uh, uh, for the holy person. That's to say, it's half, half monster and half woman.


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[Assistant] The religious teaching, which is the light from his glistering armour, gives him a little illumination, but not enough. And what happens thereafter is, error catches him in his toils, vomiting books and papers.


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[Assistant] Red Cross can only escape when he ceases to become entangled, and it's Una who gives him the necessary advice. She tells him, add faith unto your force and be not faint. Strangle her, else she sure will strangle thee.


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[Assistant] What Spencer is saying here, allegorically, is you cannot reason with error. You must stop your ears and rely on faith. Best of all, as the lady originally advised him, never go near the cave of error at all. But Red Cross, we remember, is young.


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[Assistant] When we first meet him in that first stanza, he's pricking, madly spurring his horse. It's only when having lived, learned and become older, wiser and wearier that he can meet and overcome his dragon, which as I say is partly himself.


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[Assistant] We are baptized Christians, but we only become Christians in our maturity, if we're lucky.


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[Assistant] What Red Cross has to learn in his early episode in the Cave of Error is that once you engage, once you engage with error on a rational level, you're lost. You must not go into the cave. Avoid it entirely, Una advises, and she's right. Rely on faith, not reason.


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[Assistant] Now, a very different line is followed in the fifth book of the Fairy Queen, On Justice. In Articles' legalistic world, subtle logic, chopping and rational discussion, and weighing up of alternatives is essential.


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[Assistant] Where religious faith is concerned, you must be single-minded. You have, as it were, to close your ears and go straight ahead.


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[Assistant] It is the first foundational virtue, the rock on which all the other virtues depend, which is why it's the first book in the poem.


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[Assistant] Now, uhm, in parenthesis, my favourite of the books is the sixth, Calador, which is directed by the virtue of courtesy. Uhm, I believe that courtesy had a particular place in Spencer's heart and in the England of his time. But in fact, it is a rather late virtue.


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[Assistant] Now, there's another feature of Spencer's work which is critically important in the evolution of English literature, namely what's called poetic diction. No one ever actually spoke in the way that Spencer writes, at least not seriously.


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[Assistant] Spencer established the principle that the language of poetry is never or never quite the language of ordinary people. It is elevated or beautifully antique or latinate.


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[Assistant] Now, there are recurrent moves through the long history of English literature to return poetry to the language of everyday men and women.


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[Assistant] Notably Wordsworth, who we'll be looking at later, uh, who tried to make poetry which would be like men speaking to men. But these corrective initiatives never succeed. Poetry retains its own special language, its own poetic diction.


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[Assistant] And in the process, poetry subtly revitalizes our language, purifying the language of our tribe as another poet.


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[Assistant] Poets like Spencer remake the English language for their own purposes, creating a distinct idiom.


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[Assistant] Spencer's personal tendency, like that of Sir Philip Sidney, is towards ornamentation. He loads every writ with awe, as his great disciple John Keats put it.


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[Assistant] There's a wonderful description of the bar of bliss, for instance, which tempts another knight, Gion. He embodies temperance, and bliss is a great sort of temptation for him.


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[Assistant] So passeth in the passing of a day Of mortal life the leaf, the bud, the flower, They more doth flourish after first decay That erst was sought to deck both bed and bar Of many a lady and many a paramour.


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[Assistant] What Spencer is doing in this particular bar of listening is recycling the poetic truisms of mutability, vegetation and decay.


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[Assistant] Uh, but it's very wrong in, in that book for Gion to, uh, who, as I say, sort of, uh, allegorizes, uh, as it were, self-restraint. To surrender, uh, the night, uh, we learn from that book requires self-control, discipline.


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[Assistant] Spencer makes the temptation of despair in the face of mutability almost irresistible by the richness of his language, but it must be resisted.


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[Assistant] So poetic diction is used by Spencer and is one of the great sort of


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[Assistant] The quests which he leaves are other, other, other, other poets who follow him.


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[Assistant] The Spencerian line, its richness, its poetic artificiality, its high diction, runs right the way through the body of subsequent English fiction like a golden vein.


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[Assistant] The Romantic Revival, notably the poetry of Keats, could never have happened without Edmund Spencer. Other writers create works. Spencer created a whole field of literary endeavour. He mapped out poetry, we may say, for others to follow.


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[Assistant] 500 years of poets to follow, which is why it's worth going back and revisiting the Fairy Queen, one of the really great monuments of English literature.


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[Assistant] I don't miss you, said Wukong. You told Master to use the tight headband spell. I should take out my iron bar and clobber you.


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[Assistant] Just tell the monster that you're friends with me, the Monkey King. He'll be scared and leave all of you alone.


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[Assistant] The next day, after work, we just went to the beach. Far away from anything, everything. Just Christopher and me.


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[Assistant] Get an A on a history test or whatever.


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[Assistant] It's a puzzle measuring just three inches by three inches on each side, made up of multiple colors that you twist and turn and try to get to a solid color on each side.


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[Assistant] This little cube is the gift sensation of 1981.


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[Assistant] Don't expect to solve it easily, although we did encounter one math professor at USF who took just 30 minutes on his.


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[Assistant] This is as far as I've gotten on mine. As you can see, I still have a long way to go. This is Jim Finnerty reporting for KJSF in Richmond.


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[Assistant] Can you believe it? After last week in WA, it's a great feeling to be back in Melbourne, being back in the Myshcheff kitchen again. Here we go. Go on this way.


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[Assistant] My heart bursts with admiration for your strength, honesty, generosity, and your fighting spirit.


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[Assistant] My partner Georgia wrote me the letter. I can hear her voice when I'm reading it.


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[Assistant] The ingredient I've chosen for you is the one thing I compete with for your heart. Coffee. Big, big love always, Georgia. This letter will definitely get me through today.


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[Assistant] And then putting my parsnips in that and reducing it down until I create a nice sauce and the parsnips are really soft. I want to get as much coffee as possible.


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[Assistant] You happy with this? Love this. Uh, so I'm doing, I'm doing braised parsnips in coffee, and I'm gonna get some beetroots, do some crunchy elements of that, and then do a smoked onion puree.


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[Assistant] I'm loving this cook. I'm smiling because at the back of my mind I'm just thanking Georgia for choosing coffee. I mean...


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[Assistant] My dish is coffee braised parsnips, smoked onion puree, pickled beetroots, and a coffee demi-glace.


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[Assistant] Gonna smoke this. Even though this is a vegetarian dish there's no reason why I can't use techniques that you would use to cook a steak or cook any other meat. So I'm smoking the onions with wood chips.


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[Assistant] I'm taking the parsnips out of the pan. They're soft, the knife.


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[Assistant] I've done parsnips with smoked onions and beetroots. Uh, with some coffee stock. Do you want to dress it? Yeah, please.


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[Assistant] I can't believe that George said he'd serve this in one of his restaurants. That's a compliment and a half that the quality of his food is the best and some of the best in Australia.


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[Assistant] This edition's been on my mind for quite some time, I've been wanting to make for a while, so I'm really excited to be able to pull it out today and I hope I do it justice.


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[Assistant] I'm gonna be cooking cauliflower in different ways. Charred on a hibachi grill. There's gonna be some blanched and also some pickled.


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[Assistant] I'm using hibachi because it creates that wonderful toasty element, a bit of smoke.


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[Assistant] Some of them I've taken way too far and are looking a bit dark but they don't seem too bad so I'm gonna use some of them but also discard some as well.


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[Assistant] This is the last opportunity to be up in the gantry with Larissa, so there's a lot of pressure to make this perfect.


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[Assistant] Top 5 of Season 11, uh, of MasterChef. I can't, I, it's, it's a wonderful feeling.


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[Assistant] The Wood Wolf Star is a wolf spirit who lives in heaven.


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[Assistant] He escaped thirteen days ago, and I've been looking all over for him.


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[Assistant] Yes, let's go. I'll help you catch the Wood Wolf Star.


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[Assistant] WoodWolfStar! Come up here at once!


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[Assistant] Dear Larissa, we are so incredibly proud of all that you have achieved and the sheer determination that has brought you this far.


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[Assistant] Living with my parents my whole life, I've never lived outside of home and leaving that all behind has been really, really hard. We miss coming home to the smell of your baking and leaving the dinner table feeling overindulgent from one of your meals. One of the first ingredients we thought of choosing for you was lemon. Not only because we know how much you love it,


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[Assistant] But also because it was a way to bring a little of home to you. Love always, mum and dad.


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[Assistant] After reading the letter, it's definitely given me that extra push to see how proud they are of me and see how much they know I love food. Just tells me that I should be pushing as hard as I can.


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[Assistant] My dad loves to eat black olives with lemon juice with a bit of bread. And that's kind of given me inspiration to pair lemons and black olives in a dessert.


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[Assistant] I probably save frames and fresh olives and lemons in olive oil.


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[Assistant] So make lemon parfait, I, with some egg yolks, pour in some hot sugar syrup into that, add in my lemon juice.


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[Assistant] And fold in some cream. I pull that mixture into my molds and put that straight into the glass chiller.


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[Assistant] In my head, I feel like lemons and black cloves would make sense. Obviously, I've only seen this flavor combination in a savory context, so I'm definitely taking a major risk, but I'm gonna make sure it's gonna work.


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[Assistant] I've never had a black olive dessert in my life. I'm hoping the judges don't think I'm crazy, but they just think I'm crazy. Let's just, let's just see what they say.


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[Assistant] One minute to go, I've got my lemon parfait in the freezer, my poppy seed cream is done, and now it's time to bake those black olive madeleines so that they're fresh for the judges.


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[Assistant] He's gonna think that I'm crazy putting olives in my dessert, uhm, and I think that's what's gonna wow him, is that I'm gonna be able to pull off this flavor combination.


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[Assistant] To assemble my dish, I'm being very conscious of the plating. It needs to be beautiful. I place my parfait in the center of the plate.


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[Assistant] I do a spoonful of the poppy seed cream on top of the parfait. I place one of those melons right on top of the parfait and then I spoon the lemon with the black olives around the parfait and let that olive oil drip onto the plate.


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[Assistant] It just looks absolutely beautiful, and I think I've taken a risk by pairing lemons and black olives into a dessert, but I'm really confident with the flavor combination.


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[Assistant] I am putting flavors in there that don't really make sense in a dessert. That could be my downfall.


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[Assistant] Lemon parfait, black olive madeleine, poppy seed cream, and fresh lemons and olives in olive oil.


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[Assistant] Are you gonna cook some pasta now, at least? Ah, if you don't have much time.


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[Assistant] Chapter five. My son is born. Next morning, Darnley came to see me. He was afraid. What's the matter, husband? I said. Why are you crying?


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[Assistant] He hates me. I'm afraid they're going to kill me. And you too. Think of our child, Mary. Here, inside you.


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[Assistant] He took me in his arms again I was very angry.


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[Assistant] I am sorry, James, that this man was your father. He was a stupid boy, not a man.


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[Assistant] He was tall and strong and beautiful, but he could never think like a man or a king.


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[Assistant] They, they want our child, Mary. They don't want us. They're going to put you in prison. They don't want you to be queen. They want your child to be king or queen. I, I don't know what they want to do with me.


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[Assistant] Perhaps they want you to be king too. Without me. I said quietly.


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[Assistant] Then you can do what they say. Like a little boy.


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[Assistant] Perhaps, Mary. They said that yesterday.


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[Assistant] We can run away, I said. We can leave Edinburgh quickly and quietly before Ruthven and his men stop us.


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[Assistant] Be quiet for a minute. I want to think.


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[Assistant] I walked up and down for two or three minutes. Then I said, Henry, go back to these men. Tell them, no, Mary, please. I can't. I'm afraid of them.


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[Assistant] Listen to me, Henry. And try to be a man. Go and tell them I'm ill. Because of the child. Say I'm not angry with them. Tell them anything. Lie to them. Then tonight, bring some men and horses here. Behind the castle.


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[Assistant] He went and did it. All day, I waited in my rooms and listened. Then, at one o'clock in the morning, Darnley and I went quietly down the stairs behind the castle.


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[Assistant] Some of my friends were there, with horses for us. Quickly, we rode away into the night. That was a very bad night. It was dark and cold. I was ill, and Darnley was afraid. Come on, he said. Ride faster, woman. You're too slow. But I was pregnant.


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[Assistant] And it was cold and dark. We rode for five hours in the rain. I can't, Henry, I said. I'm ill. Think of the baby. I don't want it to die.


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[Assistant] I'm sorry, but it is true. Your father said things like that, James.


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[Assistant] Then he rode away in front of me, into the dark.


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[Assistant] I rode slowly behind with my good woman, Bess Kerl.


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[Assistant] In the morning, we arrived at Dunbar Castle. Darnley slept, and I wrote letters to my friends. Next day, Lord Bothwell came to help me. I liked him. He was a good, strong man.


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[Assistant] Lord Ruthven died, and some of his friends ran away, but the Earl of Moray stayed.


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[Assistant] All that summer, I ruled the country and waited for the baby.


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[Assistant] My husband stayed outside my rooms. I did not want to see him. No. No one did. Perhaps he drank with his friends. I don't know.


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[Assistant] And then, on the 19th of June, in a small room in Edinburgh Castle, my baby was born.


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[Assistant] It took a long time, but at last you were in my arms. James, my son, I asked your father to come in. My Lord Henry, I said, this is our baby. Look at him, my Lord. Take him in your arms. He is your son.


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[Assistant] But your father did not love me, James. Very often, after you were born, he slept with other women. I know that because he talked to everyone about it. I think he wanted people to know.


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[Assistant] And I am sorry, but I do not think he loved you, James. When I took you to church and gave you your name, he did not come. He wasn't interested.


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[Assistant] But because of him, David Riccio was dead. I could never forget that. Never.


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[Assistant] Unfortunately George can't be with us today.


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[Assistant] But let's just put it out there straight away. Things are getting serious.


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[Assistant] By the end of today, we will have our top five for 2019.


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[Assistant] Those three are already there, that's why they're giggling up on the gantry.


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[Assistant] The question is, which of you will be joining them today?


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[Assistant] But let's not sugarcoat it. Today is going to be very tough indeed.


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[Assistant] Uuuh. Come hither, children. Have a closer look, because it is beautiful.


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[Assistant] If you get the depth of the biscuit and the dacquoise wrong, it's going to throw the whole dessert out of whack. You're just not going to be able to get that layer, for example, of the mousse to the right depth on the top. So that build is going to be absolutely crucial. It's a bit of a spiritual experience in the MasterChef kitchen.


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[Assistant] Sorry, you're allowed a final moment of enjoyment. Eat it Tim. One more. Because you need the energy. Let's be honest. It's gonna be a big day. Whatever happens, what we wanna see is three desserts that are gonna be almost impossible to split. You're good enough to do it. Alright, step back.


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[Assistant] Now listen up, it's all about energy at this point. 30 minutes down already, you should have done the base. Your liquid centre should be in the freezer and you should be working on your coconut dacquoise. So come on, let's move it.


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[Assistant] It's all about efficiency. Knowing where you're going, knowing the recipe. That's what's gonna win this challenge. And you've got three hours to do it. Come on!


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[Assistant] We always say this, Nicole, maybe in front right now, but give it an hour and it could completely turn around. Definitely.


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[Assistant] Remember, you have to vacuum pack those gels 10 to 15 times to remove the air bubbles, yeah? That's a lot of vacuum packing. Allow enough time. 25 minutes to go! Come on. Come on everyone, let's go.


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[Assistant] Properly amped up, Ashley Palmer-Watts. We're very impressed. But what I'm most pleased about, and you've got to be pretty proud of them, is that they seem to just keep on top of the recipe. All three of them.


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[Assistant] Looks good, doesn't it? That's pretty good. Right. The moment of truth.


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[Assistant] Yeah, I mean the thing that stands out for me is just texture. It's very smooth. You know, the mousse, the ganache, the sorbet, it's all beautifully balanced. I think she's done a beautiful job.


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[Assistant] This is the kind of cooking that we want to see in finals week. Perfect timing from Nicole. And she set the bar very high for the other two.


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[Assistant] We don't know what it looks like inside. It could be absolute perfection.


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[Assistant] It's interesting, isn't it? The chocolate ganache, that is much more front and center for me.


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[Assistant] What are you most worried about in that dish? I mean, is there a chance that maybe something's not quite right?


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[Assistant] Tim Bone, the moment of truth and you won't get to see what's inside. We do.


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[Assistant] Wow, what a massive challenge and an interesting tasting.


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[Assistant] I think one of the very few times all three dishes were as close to the original.


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[Assistant] Ashley, thank you for bringing us such a beautiful dessert. A dessert that's certainly challenged them. Did you have a good day?


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[Assistant] Yeah, lots of techniques on show, yeah? Yeah. Really good.


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[Assistant] Well, that was the good stuff. Now we'll get down to business.


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[Assistant] On one of the dishes, Ashley felt the biscuit was hard. And the raspberry gel was missing. Anushka, we are so sorry, but I'm afraid that's why you're going home.


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[Assistant] To deliver dishes worthy of the title. You wouldn't expect any better in a great restaurant.


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[Assistant] Some are difficult men. Some were friends. Some were enemies. But they changed all the time.


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[Assistant] Many people in Scotland said, Bothwell killed Lord Darnley. I heard them outside the castle and in the town, but I never believed it.


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[Assistant] People in Edinburgh sold horrible stories and pictures of Bothwell.


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[Assistant] Lord Bothwell killed your father, James. He was a good friend to me in difficult times. He was a good, strong, clever man. And he worked hard. I liked that. A lot of women liked him, I think.


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[Assistant] Three times that spring, he asked me to marry him. He had a wife, and I could not marry again so soon. I asked him to wait.


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[Assistant] But then, on the 24th of April, I rode out of Edinburgh to the north. I had five or six friends with me.


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[Assistant] Six miles outside the town, Lord Bothwell met us. With an army.


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[Assistant] Why are you here, my lord? I said. He smiled. Because I want to meet you, Mary, he said. I want you to come with me to my castle. He rode next to me, and his men rode between me and my friends.


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[Assistant] I was afraid, and a little excited too. But my lord, you can't do this, I said. I don't want to come with you now.


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[Assistant] But I want you, Mary. He said, Your friends can't stop me. I love you. And I want to marry you. What's wrong with that? I said nothing. What could I say? I liked him. And he had an army. I had only six friends. So, I rode with him


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[Assistant] To his castle in Dunbar and stayed there two weeks. And then he was a strong man and I was only a woman. And I did like him, James. I liked him very much.


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[Assistant] After two weeks in Dunbar, Bothwell and I rode back to Edinburgh. His wife did not want him, and was happy to divorce him.


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[Assistant] So, on the 15th of May, 1567, I married him. He was a good man, James. A much better man than your father. I needed a strong man to help me rule the country.


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[Assistant] But I was wrong. I understand that now.


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[Assistant] All the Scots Lords were afraid of Bothwell. And many of them were his enemies.


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[Assistant] But they had an army, and on the 15th of June, Bothwell and I rode out to fight them.


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[Assistant] We met them at Carberry Hill. It was a hot day and the two big armies stood and looked and waited.


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[Assistant] Their army had a big flag with a picture of your poor, dead father, Darnley, on it.


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[Assistant] Under the picture, there were the words, find my killers, oh god.


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[Assistant] Come on, my lord, I said to Bothwell, our army is better than theirs. Let's fight them.


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[Assistant] Bothwell rode up and down, and talked to his men. But they didn't want to fight. They talked, and looked at the flag, and waited. Then, some of them walked home. At five o'clock that evening, Lord Kirkcaldy rode from his army to talk to us. He said to me,


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[Assistant] My lady, leave your husband and come with us. We don't want men to die.


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[Assistant] And so, because our men didn't want to fight, I went with him.


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[Assistant] It was a very bad day for me. They took me back to Edinburgh. And people in the streets screamed at me. Kill the woman. She sleeps with her husband's killer. We want James to be king. Kill her now.


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[Assistant] happy and afraid and I was pregnant again.


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[Assistant] They took me to Loch Levin Castle and put me in a room like a prison. There I did not eat for two weeks. And Bothwell's children, there were two babies, were born dead. I nearly died too. I was so angry and tired and ill.


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[Assistant] Then, one day after the baby, Lord Lindsay gave me a letter. It said, I, Mary Queen of Scots, give the Kingdom of Scotland to my son, James. From today, James is the new King of Scots. But, because he is a child, the Earl of Moray


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[Assistant] My half-brother can rule the country for him.


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[Assistant] Because I was afraid and tired and ill on the letter. Mary. But it is not important, James. It doesn't change anything. I am Queen of Scots. Not you. That letter changes nothing.


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[Assistant] Bothwell went over the sea and died in a prison in Denmark.


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[Assistant] I was a prisoner in Loughleven for a year.


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[Assistant] I was pleased about that. But Moray didn't listen.


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[Assistant] Lord Douglas and his young son William liked me.


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[Assistant] One day, there was a wedding in the castle.


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[Assistant] William Douglas gave me some old women's clothes. I put the clothes on and walked quietly out of the castle with him. He shut the castle door behind us to keep his father's friends in. Then we got on some horses and rode away through the night. All my friends came back to me.


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[Assistant] Soon I had a big army. Mary is our queen again, people said.


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[Assistant] Give her back her son. You were in Earl Morey's castle, James, so I came to fight him. I rode with my army to Langside near Glasgow and there


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[Assistant] There, James. There, my son. I lost the fight.


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[Assistant] I had many good, strong men in my army. But Earl Morey's men were stronger.


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[Assistant] Many of my men, dumb, ran away. After the fight, I ran away too. I did not want to go. So I rode south to England. Elizabeth wants to help me. I thought, she wrote to Moray and she is a queen like me. I can come back to Scotland with her army.


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[Assistant] Kill Moray and find my baby son James. I am in England, but I am free. I can try again.


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[Assistant] I was wrong about that too. Very wrong.


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[Assistant] These are my companions. We're going to the Western Paradise to get scriptures from Buddha. What's going on?


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[Assistant] The man ruling the Black Rooster Kingdom is not really the king.


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[Assistant] That coin belongs to my father. It's a royal treasure.


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[Assistant] These are my companions. We're going to the Western Paradise to get scriptures from Buddha. What's going on?


[User] Please transcribe this text

[Assistant] The man ruling the Black Rooster Kingdom is not really the king.


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[Assistant] That coin belongs to my father. It's a royal treasure.


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[Assistant] I wish we could bring him back to life. Wukong can bring him back to life.


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[Assistant] That's wonderful, Wukong! Please, bring him back to life right away!


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[Assistant] Well, let's start with looking at a typical basic sorting problem. Say a university has student records. And for every student, there's a certain amount of information. Maybe there's a class number, there's a grade, there's a phone number, maybe an address.


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[Assistant] But in particular, there's a piece of a record called a key, and what we want to do is put the records into order according to the key. That's the sort problem. Rearrange an array of n items into ascending order, uh, according to a defined key, which is part of the item.


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[Assistant] Now our goal is to be able to sort any type of data. So let's look at a couple of client programs.


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[Assistant] First example is to just sort some random real numbers into ascending order.


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[Assistant] So here's a client, uh, that calls, uh, our insertion sort method. Uh, and, uh, all it does is read numbers from standard input, then, uh, into an array A, then calls insertion sort and then prints them out. And you can see on the right that the numbers are printed out in sorted order.


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[Assistant] This seems like an artificial, uh, kind of input, but actually we'll look at an application even in this lecture. And then there are many applications where random inputs, uh, are a fine model.


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[Assistant] Here's maybe a more familiar sort client that sorts strings.


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[Assistant] Uh, and in this case it reads the strings from a file, uh, using our read strings method in our in class, which takes a file as argument. If we take the file name, uh, as the first command line argument, read in an array of strings from that file, separated by blanks.


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[Assistant] Call our insertion sort method again. So insertion.sort is a method that takes an array A as its parameter and it, as its first argument, and it rearranges the strings in that array to be in sorted order.


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[Assistant] So, in this case, words3.txt has a certain number of three-letter words, and this client program will result in those three-letter words being rearranged into alphabetical order.


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[Assistant] Uh, here's another client that we could use, uh, our sort program for, uh, if we achieve the goal of sorting any type of data. In this one, we're gonna sort the file, file names in a given directory. So, uh, again, we use, uh,


[User] Please transcribe this text

[Assistant] The file class, uh, from Java, uh, and we use, uh, we go and use the list files method from that class to get an array that contains all the file names in the given directory.


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[Assistant] And that's an array with file names in it, uh, and insertion sort takes that array as its first argument, and again, uh, sorts them, and then we go ahead and, uh, use, go through them one by one and print them out, and they come out in order of file names.


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[Assistant] So that's three different clients, three completely different types of data. And the first rule of the game that we have to think about is how can we make it so that we can implement one sort program that can be used by these three different clients to implement three different types of data.


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[Assistant] And the way that that happens is a mechanism known as a callback. That's our basic question. How can sort know how to compare data of all these different types without being given any information about the type of an item's key? And the answer is that, uh,


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[Assistant] In Java, there's an implicit mechanism that says that any such array of objects is going to have a compareTo method. Then the sort function calls back the compareTo method associated with the objects in the array whenever it needs to compare two items.


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[Assistant] There's a lot of different ways to implement callbacks and that's programming language specific.


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[Assistant] Different languages have different mechanisms. It's all about the idea of passing functions as arguments to other functions.


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[Assistant] Uh, which is a deep area that gets us into functional programming and thinking all the way back to Turing and Church. Uh, for Java because of the desire to


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[Assistant] It's a little bit of programming language detail, but it's really worthwhile because it allows us to use the sorts that we develop for any type of data in a type safe manner.


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[Assistant] So we already looked at some clients. This is the example of the client program that sorts the files in a given directory by file name. So it just calls our sort method with an array of some type of object as first argument.


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[Assistant] Now built into Java is the so-called comparable interface.


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[Assistant] Uh, in all the comparable interfaces is a specification that, uh, a type, a data type, uh, that implements comparable will have a compare to method. Uh, and it's generic, will be compared to against a certain type of item.


[User] Please transcribe this text

[Assistant] Now, when we, uh, implement objects that are to be sorted, uh, we'll implement the comparable method. That's up in the, uh, top, uh, class file implements comparable files.


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[Assistant] And since sorting is an operation that's used in so many situations, many of the standard Java types that you would expect to involve sorts will implement Comparable. And all that means is that


[User] Please transcribe this text

[Assistant] That datatype has an instance method that will implement the compareTo method. It'll compare this object against the object given as argument.


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[Assistant] And, uh, depending on some complicated test, it'll return minus one meaning less, plus one meaning greater, or zero meaning equal.


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[Assistant] Now that compareTo method is really all that the sort implementation needs.


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[Assistant] First it says that it's going to take as argument an array of type comparable. So that means the objects in the array are going to implement the comparable interface or that they'll have a compare to method.


[User] Please transcribe this text

[Assistant] And then the sort code can just use that compareTo method, uh, invoked on an instance of the object like an entry in the array, uh, and as argument another instance in the ar-, object like another entry in the array to test whether the first is less than the second, uh, as in this example.


[User] Please transcribe this text

[Assistant] That's handled by the comparable interface, uh, and, uh, a different, uh, comparable array, uh, will be sorted in the same way. They'll eventually, because of the interface mechanism, be a call back to the actual compare to code that goes with the type of object being sorted.


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[Assistant] Now there's a few rules in there, natural rules, but they're worth talking about and paying attention to, that the compare-to method has to implement.


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[Assistant] In a so-called total order. And all that saying is really that it must be possible to put items in order in a sort.


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[Assistant] Uh, so there's three, uh, properties. Uh, first one says that, uh, if v is less than or equal to w and w is less than or equal to v, then the only way for that to be true is if they're equal.


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[Assistant] And then there's transitivity. V is less than W, W is less than X, then V must be less than or equal to X. And totality is that either V is less than or equal to W or W is less than or equal to V, or both, uh, they're equal.


[User] Please transcribe this text

[Assistant] Uh, and there's plenty of, uh, natural, uh, total orders, uh, in the types of data that we normally want to consider for sort keys, uh, like integers or natural numbers or real numbers or, uh, alphabetical order for strings, chronological order for dates or times and so forth.


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[Assistant] I'm sorry, v is less than w, w is less than or equal to x, then you don't necessarily know that v is less than or equal to x.


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[Assistant] If this object is greater than the object given as argument. Uh, if the types are incompatible or if either one is null, uh, compare two should throw an exception.


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[Assistant] Now again, many of Java's standard types, uh, for numbers and dates and files and so forth, uh, implement compared to by convention.


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[Assistant] Uh, now if we're going to implement our own type, then we have to go ahead and implement the comparable interface according to these rules. And usually that's fairly straightforward.


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[Assistant] So here's an example, it's a simplified version of the date class that's implemented within Java, just to show the idea of implementing Comparable.


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[Assistant] So after the class declaration, we write implements comparable, uh, and then we fill in the generic with the same type because we're only going to compare dates to other dates.


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[Assistant] In this implementation, the date class has three instance variables, the month, the day, and the year. And the constructor fills those in from the arguments as you can see.


[User] Please transcribe this text

[Assistant] So now if you want to compare two different dates, then the first thing to do is to check if this year is less than that year and where that is the year given, the date given in the argument.


[User] Please transcribe this text

[Assistant] Uh, if that's true, then it's less return minus one. And if it's the years greater, return plus one. Otherwise, the year, years must be equal, so we have to look at the months to do the compare, and so forth, down to do the days. Only if they're all equal do we return zero.


[User] Please transcribe this text

[Assistant] So that's an example of an implementation of Comparable by implementing the compareTo method to put dates in order as you might expect.


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[Assistant] So the Java language helps us with this comparable mechanism so that we can sort data of any type.


[User] Please transcribe this text

[Assistant] But when we come to implement sorting algorithms, uh, we're actually even gonna hide that, uh,


[User] Please transcribe this text

[Assistant] So we're going to use a method less that takes, uh, two comparable, uh, objects as arguments, uh, and it just returns v dot compared to w less than zero.


[User] Please transcribe this text

[Assistant] Uh, and then the other thing that we do when we sort, uh, items that are in an array is to, uh, swap or exchange, uh, the item at a given index i with the one at a given index j.


[User] Please transcribe this text

[Assistant] Uh, and that's, uh, every programmer's first introduction to assignment statements. Uh, we save A of I in a variable swap, uh, put A of J in A of I, uh, and then put swap back in A of J.


[User] Please transcribe this text

[Assistant] So now our sort methods to refer to data will just use these, uh, two static methods.


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[Assistant] And there's a good reason for that. Uh, here's an example. Suppose we want to test if an array is sorted. So this is a static method that is supposed to return true if the array is sorted and false if it's not.


[User] Please transcribe this text

[Assistant] And all it does is just go through the array, uh, from one to the length of the array, and test if each item is less than the one before it. If you have an item that's less than the one before it, then it's not sorted or returned false.


[User] Please transcribe this text

[Assistant] If you get all the way through the array without that happening, then you say the array is true.


[User] Please transcribe this text

[Assistant] That's pretty simple code. The question is, if you have a sorting algorithm that passes that test, uh, are you sure that it correctly sorted the array? Well, the answer to that question is,


[User] Please transcribe this text

[Assistant] If you have a sort method that can store any values in an array, it could, for example, store zeros in every array entry. That method would, uh, pass this test, uh, but it didn't really correctly sort the array because it overwrote all the values.


[User] Please transcribe this text

[Assistant] So we use lesson exchange to be sure that we can test that our methods work with a method like this.


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[Assistant] The Tang monk groaned. Wukong, should we keep going or not?


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[Assistant] For Simon, Nicole, Tessa and Tim, remaining focused has never been more important. Just be careful with that. Bring it on. But as the pressure takes over, You know what, don't take risk today. cracks will appear. Come on, move it. That will send one contestant home.


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[Assistant] Next time, between them and their grand finale.


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[Assistant] To replicate this recipe, we'll test them beyond limits.


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[Assistant] Ultimate Perfect Touches! One minute to go!


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[Assistant] A phenomenon that captivated a nation.


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[Assistant] The biggest and most famous guest in MasterChef history worldwide.


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[Assistant] Which of these amazing dishes looks amazing?


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[Assistant] Will earn their makers a spot in the class of 2018.


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[Assistant] Delicious. But as it comes down to the wire. Absolutely loved it. A shock announcement. You're cooking again. That will leave two contestants speechless.


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[Assistant] And one last thing, for the very first time ever,


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[Assistant] We're going to be tasting right here, inside the MasterChef kitchen.


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[Assistant] From this moment on only bring us optimism and determination. We want you to surprise us.


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[Assistant] But most of all, the most important thing is surprise yourselves. Because one of you will be the next MasterChef. Think about that.


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[Assistant] What's your name? My name's Craig. Craig, how are you? I'm George.


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[Assistant] It's such a nervous place to be. You just need more.


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[Assistant] That there is a true reflection of modern Australian cooking. So it's not just a little yes from me. It's a massive yes from me. That is awesome. Awesome.


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[Assistant] But, there's a few competing flavours in there. That's sort of a clashing. We want you to cook again and get an apron. Yeah? You got it?


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[Assistant] It's a yes from Fragrance.


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[Assistant] We have been on this, like, massive tour of the world with, I mean, the Indian, the Mexican, but true representations.


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[Assistant] Very proud, very proud. She's doing a great job. She's doing what she loves best. We always look forward to her baking.


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[Assistant] What's your name? Huda. Nice to meet you. So tell us.


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[Assistant] Ooh. Beautiful. Beautiful. Fantastic. Boys, calm down.


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[Assistant] Did you just ask that? After ten years of tasting together, can you double dip?


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[Assistant] That is super delicious and for me it's a super yes.


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[Assistant] What's your name? Aldo. Aldo. Fantastic. What's the dish?


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[Assistant] The dish looks really beautiful boys, you should come and have a look. My concern is that octopus.


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[Assistant] It's one of those ingredients that either people get it right or they definitely get it wrong.