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[Assistant] 0001 and the last one, maybe I'll squeeze it in here. It's this guy.


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[Assistant] And now we have to add them up. So let's do that over here. So we have one fourth.


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[Assistant] Let's see, then we add an eighth to a fourth, we get three eighths, then we get a half. So let's just put four eighths, five eighths.


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[Assistant] Then we have, uh, five eights plus the 16th. What's that? That's, uh, 11 sixteenths, 12 sixteenths. And the last guy we said, I think was 49 sixty fourths. Yeah.


[User] Please transcribe this text

[Assistant] Ah, now, so we add this again and we have to carry 1, 0, 0.


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[Assistant] And the last we have to carry yet again, so we have 1, 1, 0, 0. And we don't need to do the last one.


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[Assistant] Okay, so now let's put, following our procedure, I'll do it in the same style. So we put K over here and L, so the first


[User] Please transcribe this text

[Assistant] Thing was, so we just numbered these off. One, two, three, four, five, six, seven. We only need to go to seven. And then the lengths, what were the lengths? The lengths were two, three, three, three, four, four, six. So we have two, three, three, three,


[User] Please transcribe this text

[Assistant] Four, four, six. And so we need to take each of these out to the sixth.


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[Assistant] Rather to the, to the LKth place. So the first one needs to go to two places.


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[Assistant] Zero zero, this one, maybe I'll do a slightly different color so you can differentiate that. Zero zero.


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[Assistant] This goes to three places. That's already three, three, four, four, six.


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[Assistant] Okay, so now we have our purported set of code words, and if all has gone according to plan, these ought to be prefix. This set of code words should satisfy the prefix condition. And let's see. So this one's not a prefix of any of those. That's not a prefix of any of those. That's not a prefix of any of those.


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[Assistant] Those, and yes, we are looking good. So this is indeed, does indeed give us a prefix code for those lengths. And, and note that they have the correct lengths, right? This one's two, that was by design that we chose them to have those lengths. Three, three, three, four, four, and six. Okay.


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[Assistant] So we saw at least in these two little examples that this procedure worked. It did give us a prefix code with those lengths.


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[Assistant] But you might wonder, will this always work? I think probably after seeing these, it should be fairly clear to you how you would, you know, do, you know, if you wanted to describe this procedure in general, it should be fairly clear to you how you would go about describing it.


[User] Please transcribe this text

[Assistant] But what might not be so clear is what is whether this always gives you a set of prefix, uh, a code which satisfies the prefix condition. Now, since this video is starting to get a little bit long, I'm going to stop here for this one. And maybe in the next video, I will indicate the reason why this always gives you a prefix code.


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[Assistant] I have heard all about ruby chocolate. I'm desperate to try this ruby chocolate. And the girls are actually going to get to cook with it today. Very jealous.


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[Assistant] Out of the four dishes, the cheesecake to me is the one thing that I desperately would love to try. Oh my god.


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[Assistant] Why do we require anaerobic microorganisms to prepare biogas?


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[Assistant] Biogas is a gas that consists of around 50 to 70 percent methane. This gas is produced from the breakdown of organic and biodegradable matter by microorganisms. Microorganisms can either be aerobic or anaerobic.


[User] Please transcribe this text

[Assistant] However, in the production of biogas anaerobic microorganisms are essential.


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[Assistant] This is because only anaerobic microorganisms produce methane, which is the most essential component of biogas. Aerobic microorganisms do not produce that much methane as they use most of it themselves. Therefore, for the production of biogas anaerobic microorganisms are used.


[User] Please transcribe this text

[Assistant] And it's certainly inspired the four of you because you put up absolutely spectacular dishes to get yourselves into the box seat to try and win that ever elusive pin. Imagine what a game changer that would be.


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[Assistant] What a pleasure it is for us to watch seemingly such a simple...


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[Assistant] We've never seen anybody make pashmiri on the show before. It's a beautiful technique.


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[Assistant] So, the two of you, the rules. Loki, you'll have 75 minutes to cook.


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[Assistant] Alana, because you're the professional, you get a little bit of a disadvantage. You only get 60 minutes.


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[Assistant] Loki, you usually have the choice between two pantries. But today, you have the choice between two ingredients.


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[Assistant] Alana, you also won't know what Loki's chosen until your time starts.


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[Assistant] It's a blind tasting, and of course we'll have no idea who's cooked which dish. Solana, you're off to the storeroom, while Loki chooses his ingredient. Off you go.


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[Assistant] I want more. That's really delicious.


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[Assistant] We tasted two completely different dishes. One all about elegance, and the other all about generosity. Loki, you cooked the? Kingfish. Kingfish with lemon broth, is that right? That's right. Beautiful.


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[Assistant] So Alana, that means you cooked the calamari.


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[Assistant] Alana, as you are our guest, let's score your dish first.


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[Assistant] Attention to detail in terms of the spicing, absolutely de-li-cious.


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[Assistant] Phew, one dwarf said. Working in the mines is hard work. I'm starving.


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[Assistant] The second dwarf said, the third dwarf nodded. And me. The dwarf sat down at the table. Uhm. The fourth dwarf stared at his plate.


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[Assistant] The seven dwarfs looked under furniture. They peeked inside the cupboard.


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[Assistant] Snow White and the Seven Dwarfs. Episode 6, New Friends.


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[Assistant] My name is Dar, the dwarf said. He introduced the other dwarfs. This is Mar.


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[Assistant] Mar asked, Do you have a family? Par asked,


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[Assistant] Zar nodded. She's awful.


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[Assistant] Yarr said. A tear fell from Star's eye. That's the saddest story ever. Snow White, please stay here with us. Snow White smiled. That sounds wonderful.


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[Assistant] We have to be careful, Dar said.


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[Assistant] We'll be back after dark, Dar said. Don't let anyone in. Okay, Snow White promised.


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[Assistant] Snow White smiled. My new friends will be home soon.


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[Assistant] Meanwhile, the queen was standing in front of her mirror. She laughed loudly.


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[Assistant] Now, I'm the most beautiful woman in the kingdom. Right, Mirror?


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[Assistant] Snow White and the Seven Dwarfs. Episode 7, The Coat.


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[Assistant] Dahr waved goodbye to Snow White. Remember, he called, don't let anyone in.


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[Assistant] An old woman was walking by. She pulled a small wagon loaded with chests.


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[Assistant] Snow White remembered Dar's warning. No thank you, she said.


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[Assistant] The woman pulled a fancy coat out of a chest. She stepped toward the house.


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[Assistant] The woman smiled. She held up the coat for Snow White. Snow White put one arm through. She put her other arm through.


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[Assistant] Well, Brendan's a social worker and through the journey so far and being with him, he's just always so calm. He takes everything on such great stride and he's just a logical thinker. We just know he'll do great.


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[Assistant] To start the entree, I start mixing the dough, Huda's peeling the prawns, and Janine's working on the rest of the filling.


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[Assistant] We plate it three per plate with the spring onion garnish in the middle, topped off with some chilli oil and more vinegar.


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[Assistant] My role is to create the seafood bisque sauce that we did in Gordon's pressure test a couple of days ago.


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[Assistant] You get that going. I got really good compliments from the judges in the pressure test on this sauce and I'm really confident about cooking it today.


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[Assistant] Give me ten minutes, alright? Everyone's just running around like headless chooks.


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[Assistant] Mate, just peel prawns. Like a madman.


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[Assistant] It's coming, it's coming, it's coming, it's coming. More or less, we are cooking to order. There's no way of getting in front of service. How long for eight salmon, please? Gordon is screaming at us for salmon. It'll be three minutes. Three minutes.


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[Assistant] We're behind but I think we can pull it back together. Keep cooking it on the skin side.


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[Assistant] The panna cotta is a wobbly, the honeycomb is crisp and fresh, few thyme leaves on top, and it looks spectacular.


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[Assistant] We've just completed service with Gordon Ramsay. I mean, what an experience.


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[Assistant] Alana, Loki, it is now all gas, no breaks, 20 minutes to go. Come on!


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[Assistant] I think the flavour is pretty good, little hint of chilli, and that pasta is nice and tight, it's al dente, it's beautifully made, it's very fine. I think it's more about the panic of putting it together. Yeah.


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[Assistant] This is proper Alamanu, yeaah, for 50 people.


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[Assistant] To not a bad pasta. Who is responsible for that?


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[Assistant] Funny that one, Gina. But you know what? The pasta was perfectly made. And it still had a little bite to it, which we loved.


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[Assistant] There was good, hint of chilli and perfectly cooked prawns. Well done.


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[Assistant] Your dessert, for all the trouble it caused you, was also delicious.


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[Assistant] And the crunch of honeycomb and the softness of figs was a great combination.


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[Assistant] You were way behind the eight ball at the start of the service.


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[Assistant] Your timing was completely out and customers waited. On top of that, your salmon was inconsistently cooked.


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[Assistant] And mine was completely overcooked. And to be honest, that's not good enough. And that's why blue team, you're going into tomorrow's elimination.


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[Assistant] I have sacrificed a lot to come to MasterChef.


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[Assistant] And seeing Gordon Ramsay right in front of me now, is paid off.


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[Assistant] The choice of ingredients in the box. There's no spices for me to work with.


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[Assistant] It's a weird combination. What am I going to do with that? I'm feeling so nervous.


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[Assistant] Alder, how you doing? Hopefully the cauliflowers are cooked beautifully. It's almost like an Indian bakoda or a small doughnut. That's gonna be my secret weapon today.


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[Assistant] Uh, I'm making a classic, uh, lamb rack and beer battered cauliflower and a reduction of lamb and beer.


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[Assistant] To make the sauce, I put the offcuts of lamb into a small pot to render the fats out of the lamb and add some beer and let them cook together.


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[Assistant] My rack of lamp is done, I'm keeping it aside to rest.


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[Assistant] If you can be a winner on this challenge, it's an express ticket to Unity. I would love to be in the top five to be tasted by Gordon. And if I can win.


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[Assistant] I've cooked a roast lamb with beer-battered cauliflower and a reduction of lamb and beer.


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[Assistant] It's crazy having Gordon Ramsay in the kitchen. I'm petrified of him. I'm just gonna try and cook my best now so he doesn't yell at me.


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[Assistant] I made a chicken, a fried chicken burger with a herb mayo and a slaw. Uhm, I'll also do uhm, some chips with it.


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[Assistant] Today I'm making a crispy fried chicken burger with a chilli mayo and a crunchy slaw. I'm also doing duck fat potatoes on the side.


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[Assistant] I'm tasting my finished chicken. Oh my god, that's yum! Ah! The chicken's perfect!


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[Assistant] What did you cook? A deer fried chicken burger with some mayo, a coleslaw and a light pickle on top and duck bat potatoes.


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[Assistant] The way I got this pen is because the inspiration from my son. And I want to do the appropriate thing that he can learn from me.


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[Assistant] I'm not gonna go with my brain. I wanna go with my heart.


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[Assistant] It's not about the pin or winning or losing. It's about believing in myself and whatever it is, I want to stand high and I want to make it.


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[Assistant] I'm not using my PIN today because I want to go through the pressure and learn. I haven't been in that situation before.


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[Assistant] Looking at the dish, you gotta bring every element together. It's not just roast chicken, it's vegetables and also the consummate. It's a complex dish with a lot of technique. It's gonna be out of my comfort zone.


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[Assistant] It's taking time to break down the chicken, but I'm feeling confident.


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[Assistant] I feel that I made the right decision of not using the pin. I want to put myself in the pressure.


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[Assistant] I'm trying to relax and say, let's do step by step.


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[Assistant] But I need to put care to every individual ingredients.


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[Assistant] I'm making small mistakes and the pressure is getting to me. I put the veggies too early so I'm trying to fix that up. Get that charred grill brownish on the skin and then add the vegetables.


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[Assistant] I'm trying to not look into other people's place because that would even pressurize more. My only focus is to finish the recipe.


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[Assistant] You want to respect the vegetables. It's a Michelin star dish.


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[Assistant] I'm plating up my chicken and vegetables. I had to rush.


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[Assistant] But from seeing inside the jug, there's little left, enough to pour over 30 mils. I still have some consummate to serve the judges.


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[Assistant] I'm worried because I've been making mistakes throughout and I'm not too sure if I've done enough to stay in this competition. I could be the first person in MasterChef to go home with my immunity pin.


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[Assistant] I wanted to be a role model for my son. I want him to know that he should never run away from problems. Whatever happens, I had to back myself to feel that even if I fall, I have to fall. I have to believe in myself. This is the time I wanted to test myself and prove myself that I can do it.


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[Assistant] What's your name? I'm Lucky. Lucky, I'm Thor. Nice to meet you.


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[Assistant] Peppered chicken, caramelized onion, potatoes, rasam, yogurt stew.


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[Assistant] Wow. Put that in your mouth. Give it a second or two and it just goes BANG.


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[Assistant] Be true to yourself. Love each other. Sell food with love.


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[Assistant] Situated where we are historically, at the beginning of the 21st century,


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[Assistant] We have the best part of a millennium and a half's worth of English poetry to read and enjoy and to select from.


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[Assistant] That's 1500 years worth of verse. We're very lucky. Shakespeare, for instance, had nowhere near as much. Now,


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[Assistant] Reviewing and looking over that vast treasure trove of poetry,


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[Assistant] Which period or school qualifies as the greatest? What, what, if one's being, as it were, evaluative about it, which in fact is the highest achievement in verse,


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[Assistant] Across all, all those centuries, where would we find the highest peak, the everest of poetic achievement?


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[Assistant] Now, my guess is, if you took a survey among poetry lovers and scholars, and most of all among poets,


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[Assistant] The vote would go to the so-called metaphysicals.


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[Assistant] In some ways, the worst thing about them is that name. It doesn't say very much and it hangs around their necks like Coleridge's Albatross. Now, who were the metaphysicals? Well...


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[Assistant] There were a school of poets, a group of poets, writing in the early and the mid 17th century, from about 1620 to say 1650. Now, the metaphysicals


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[Assistant] Work circulated in manuscript form among an educated elite.


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[Assistant] It was a lot of very clever people writing for very clever people and they didn't put their work in into


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[Assistant] In fact, this is one of the problems. It would be very hard to know when some of these poems were written because they exist in any number of kind of manuscript versions, some of which are very different from each other.


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[Assistant] But in fact we don't have, as it were, an easy way of putting a publication date on it. There's no, as it were, sort of record written into these works as to when they were composed and indeed when they were made generally available.


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[Assistant] It was, as I say, a highly cultivated branch of literature for the highly cultivated.


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[Assistant] You had to be able to write, in a sense, to qualify as a reader. That's to say, the kind of poets we're talking about as metaphysicals would exchange their work among themselves, and they respected each other. They probably didn't respect what Samuel Johnson, Dr. Johnson, would have called the common reader.


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[Assistant] Now these poets were familiar with and adept in foreign styles.


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[Assistant] They were, they were all deeply learned. Above all, they were witty. You remember with Ben Johnson the importance of the notion of wit. Now, wit.


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[Assistant] Which means any number of things but we can as it were sort of paraphrase it as smartness or cleverness. Wit is the essence of the metaphysical project. This in fact was, if you like, their fatal Cleopatra for which they would think the world well lost. Now,


[User] Please transcribe this text

[Assistant] These poets, the metaphysicals, cultivated a particular form of wit, which they called the conceit. Now,


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[Assistant] What that meant was a daring idea or concept. The words are linked concept and conceit.


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[Assistant] That's to say, they like to do things which have never been done before, never been thought before. They valued originality, uniqueness, and sometimes far-fetchedness.


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[Assistant] Now, some of these conceits are so daring that, that, you know, they, they almost in fact defy the imagination.


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[Assistant] Let's say one would never think of them, if you locked someone in a room for a million years and said come up with the basic conceit in the next poem which I'll be talking to which is called The Flee by John Donne. They would never, they'd be there a million years later without having hit on what that mind


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[Assistant] She hasn't yet succumbed physically to his addresses.


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[Assistant] So in a sense, he's not just, as it were, writing a poem, he's wooing her. It's a love poem.


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[Assistant] In the sense that it, that obviously sort of records a strong emotion, but it also has an ulterior motive.


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[Assistant] That ulterior motive, not to put too fine a point on it, is he wants to get her into bed.


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[Assistant] Now, this woman to whom the, this young lady, this


[User] Please transcribe this text

[Assistant] Beautiful young lady, we assume, to whom the poem is addressed, is a virgin. And she's steadily resisting the poet's urgent and wittily seductive request that she remain a virgin no longer. He's, as it were, using


[User] Please transcribe this text

[Assistant] Now it's not clear whether or not, you know, John Donne originally sent this poem to a young lady or whether in fact he just wrote it to show off to his, as it were, equally cultivated and clever friends.


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[Assistant] You know, that in fact is a secondary consideration. This in fact is the central part of the poem, the Flea.


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[Assistant] Mark but this flea, and he points to, picks off the flea. Now usually when you do that, it's with a kind of shudder of disgust, but this is not what John Donner is, is, is going to do. And Mark in this,


[User] Please transcribe this text

[Assistant] As Mark in the Flea, How little that which thou deniest me is.


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[Assistant] You know, just, you won't let me sleep with you, but look at this flea and just think about what a small thing that is.


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[Assistant] It sucked me first, and now sucks thee.


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[Assistant] And in this flea are two blood-smingled bee.


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[Assistant] Thou knowest that this cannot be said, a sin, nor shame, nor loss of maidenhead.


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[Assistant] Yet this enjoys before it woo, and pampered swells with one blood made of two. And this, alas, is more than we would do. You have to imagine the person just squeezing the flea and the blood spurting out. And whose blood is it? It's her blood, and it's his blood.


[User] Please transcribe this text

[Assistant] The flea has, has, has in fact sucked on, on both, both their bodies. And their fluids are conjoined. Their bodily fluids have come together. It is a flesh of my flesh sacrament. That's highly blasphemous, of course.


[User] Please transcribe this text

[Assistant] Christ's blood, the mark of redemption is daringly alluded to here, and in the same context.


[User] Please transcribe this text

[Assistant] The breaking of the virginal hymen. That's to say, he's talking about, you know, let me sleep with you, and obviously, you're a virgin, there may be some blood around, but nonetheless, just think of this flea, I mean, it's not a big deal for a flea, I mean, flea just takes blood and mixes blood, why should we bother so much?


[User] Please transcribe this text

[Assistant] And so, the sucking flea has joined the lovers as a minister might join them in the holy union of marriage.


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[Assistant] Now of course, Dunn is thinking more of the joys of the wedding bed. And it's fornication that he has in mind. This is not a proposal of marriage. Uh, it's in fact, as I say, as it were, a kind of, rather kind of, uh, intense, um, seductive move that he's making.


[User] Please transcribe this text

[Assistant] Now the poem is riddled with parody. And it's full of all sorts of sort of...


[User] Please transcribe this text

[Assistant] Very, very, very heterogeneous, strange ideas which are being jammed together. And it's so far-fetched in its wittiness as to verge on the surreal.


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[Assistant] Yet, one knows, of course, that the poem is designed not just to impress, but probably to seduce. These are arguments which he may have used, even though he may not have originally formulated them in poetic language.


[User] Please transcribe this text

[Assistant] One assumes that in fact that there was a flea, an actual flea, and it did move between the two bodies, and he did actually, as it were, comment on it.


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[Assistant] It could also be, as I say, that it's a kind of circuitous apology for the, the flea-ridden squalor of the environs in which the poet is carrying out his act of seduction. You know, some sort of, some sort of cheap lodging house or something like that. Some flea-ridden, some flea-pit, as we say.


[User] Please transcribe this text

[Assistant] The important thing is the bed is not far away. You know, fleas like beds. And, and so does the, the young lover John Dunn.


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[Assistant] Don's early metaphysical poetry is saturated in sexuality. Let me quote another one.


[User] Please transcribe this text

[Assistant] Incidentally, the metaphysicals loved short poems, and hereafter the short lyric poem becomes a dominant mode in English poetry. That's to say, you can have great poetry in short measure. This in fact is, I think, one of the metaphysical's great bequests to poets that come afterwards.


[User] Please transcribe this text

[Assistant] But this next poem I want to look at is another poem which finds the poet in bed.


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[Assistant] Uh, as I say, beds are for anything but sleeping as far as John Donne's concerned. Having had what he was denied in the previous poem about the flea, a night of love. He is satiated. And he's woken up after a night's love alongside the woman that he's spent the night with. Uhm, it is not, uh, one need hardly say Mrs. Donne. This is the poem.


[User] Please transcribe this text

[Assistant] Busy old fool, unruly son, why dost thou thus through windows and through curtains call on us?


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[Assistant] Two things here. First of all, he uses the word thou instead of you, which is informal and almost contemptuous. We've dropped that now. We just use you whether or not it's someone we know very well or someone we don't know at all. Unlike Spanish, for instance, which has three forms of


[User] Please transcribe this text

[Assistant] of a dress, or French which, German which have two, we only have the one. But here in fact, he's actually talking to the sun, and remember the sun.


[User] Please transcribe this text

[Assistant] Divine status in most mythology, he's talking to it as if it was, as it were, sort of, uh, the person who's emptying his chamber pot.


[User] Please transcribe this text

[Assistant] Why dust thou through windows and through curtains? Call on us now. There is a long tradition of English verse, which in fact actually hails the dawn as a beautiful moment of the day. But Dunn is, they're called Obards, but Dunn is turning that convention on its head. He said, you know, dawn, what the?


[User] Please transcribe this text

[Assistant] I don't, I don't want dawn, I want the night to carry on. He wants more, more sort of uh, acts of love in the dark.


[User] Please transcribe this text

[Assistant] Must to thy motions lovers' seasons run? Saucy pedantic wretch. He's still apostrophizing or talking to something.


[User] Please transcribe this text

[Assistant] Go chide late school boys and sour apprentices. Go tell court huntsmen that the king will ride. Call country ants to harvest offices. Love all alike, no season knows, nor climb. Nor hours, days, months, which are the rags of time.


[User] Please transcribe this text

[Assistant] So he's saying that love doesn't have to, as it were, obey the movements of the clock and the movements of the sun through the heavens, the hours of the day.


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[Assistant] But he's now thinking about time, and the poem is becoming metaphysical. Metaphysical means, as it were, sort of, you know, thinking philosophically.


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[Assistant] And so, from that original waking up, his eyes ungum themselves, and he's angry, and oh god is it morning already. He's now beginning to see his brain is taking over, his intellect, and the poem is becoming both witty and at the same time extremely complicated in its intellectual movement.


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[Assistant] Thy beams, still talking to the sun, so reverent and strong, why shouldst thou think?


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[Assistant] I could eclipse and cloud them with a wink, but that I would not lose her sight so long, I could actually sort of, I could actually sort of get rid of the sun, except I really want to look at her, and I want her to look at me.


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[Assistant] Which in fact is a hyperbole and in fact clearly a conceited remark.


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[Assistant] If her eyes have not blinded thine, look, and tomorrow, late tell me, whether both the Indians of Spice and mine be where thou ledst them, or lie here with me. He stutters down to compliment the woman.


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[Assistant] He's, she's woken up as well and he's sort of turning to her and giving her that kind of little compliment which will make her presumably more accessible to what he wants from her which in fact is what he's been having all night but he wants more of it.


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[Assistant] Ask for those kings whom thy source yesterday, and thou shalt hear all here in one bed lay. He's saying to this woman, you've, you're in fact, you're richer than all the riches of the Orient. What woman could resist that, particularly as he says it?


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[Assistant] And then he goes on and now he's actually, his mind is taking over in a quite sort of riotous way. I mean, he's having what you might call a kind of creative brainstorm.


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[Assistant] She's all states and all princes I. Nothing else is. It's called solipsism. If you're in love, somehow the rest of the universe sometimes gets closed out. You know, all that matters is the person that you're with and the person you love.


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[Assistant] Princes do but play us. Compared to this, all honors mimic all wealth alchemy.


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[Assistant] Thou, son, art half as happy as we, in that the world's contracted thus. Thine age asks ease, and since thy duties be to warm the world, that's done in warming us. Shine here to us, and thou art everywhere. This bed thy center is, these walls thy sphere.


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[Assistant] Now of course on one level it's just pure egomania. What he's saying is, you know, that we're the whole world.


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[Assistant] The important thing is, is that that in fact expresses for me anyway a truth about love. That love is a very kind of introverted,


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[Assistant] Very kind of, in some way, manic state.


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[Assistant] The Don is addressing the sun in that first stanza as an irate household that might curse an alarm clock.


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[Assistant] Which has woken him up too early. But then by a kind of intellectual glide, the poem has become a work of supreme lover's compliment. The poet and his paramour have become heavenly bodies, equivalent in cosmic significance to the sun, moon and earth. And then of course it becomes even more.


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[Assistant] A kind of, a reflection on, on, on in fact what one might call perception.


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[Assistant] And the poem moves by a series of conceits from a comic lowlife scenario through hyperbole, through overstatement and fantastic exaggeration to something extraordinarily stimulating intellectually and it's carried us along with it. Now, or has it?


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[Assistant] Uhm, there's one problem in that it is extremely complicated. In the last lecture, I said, you know, that the 17th century was much better at understanding things through the ear.


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[Assistant] Uh, then we are. Partly because, as I said, they had to sit every Sunday and listen to long, very often rhetorical sermons. And, you know, they became used to it. Their ears were much more practiced than ours are. We, I think, in my experience, teaching and reading metaphysical poetry, we have to actually wrestle with the words on the page. So that's one problem. But there's another problem. Not everyone.


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[Assistant] Like the far-fetched conceits of metaphysical poetry. Or indeed the naughty sexuality. That's to say the impropriety offended some people. Um, censorship in fact is a very real sort of fact in the 17th century. I've mentioned several times the


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[Assistant] The rise of Puritanism, and the Puritans hated this kind of, this kind of poetry, which they called libertine poetry. It was a poetry of immorality.


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[Assistant] But there's another objection. Dr. Johnson will be visiting in more length in a later lecture with his neo-classical prejudices, dislike this metaphysical poetry in which, as he pontificated in the grand Johnsonian way,


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[Assistant] And the term is important in Johnson's criticism. This was indecorous. It offended decorum.


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[Assistant] Uh, his notion was that poetry should be, as it were, sort of, it should follow rules. It should actually sort of, it should move in certain grooves. And of course, what happens in metaphysical poetry, as we saw in that poem, is that there are no grooves. It's jumping all over the place, like the flea itself.


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[Assistant] Now, Johnson of course was writing, as we'll see, a few decades later.


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[Assistant] And it is a fact of literary life that few generations value the verse of their immediate predecessors. There's a kind of rise and fall thing. And so to some extent they were out of fashion when Johnson was writing, but nonetheless.


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[Assistant] Uhm, Johnson does have a point. There is a kind of an extravagance in metaphorical poetry which can offend.


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[Assistant] But despite Johnsonian and quasi-Johnsonian objections, and they recur, uh, every few decades,


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[Assistant] Despite this, as the centuries drew on, the reputation of the metaphysicals rose. They, they were regarded as more and more significant.


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[Assistant] Not just in themselves, but in the influence they had on successive poets.


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[Assistant] It was T.S. Eliot, the greatest poet of the 20th century.


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[Assistant] A poet like Dunn, Eliot argued, had what he called an undissociated sensibility, and this was very important in poetry. For the metaphysicals, there was no such thing as a poetic subject. You could write about a flea as well as you could write about the dawn, and you could write about them very differently from ways in which they'd been traditionally regarded.


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[Assistant] And there's no such thing as a subject beneath the dignity of poetry. There's no such thing as poetic diction, a special way of writing, and unpoetic diction. Everything with grist to the metaphysical mill. All experience, all human experience could be put into the poetic mix.


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[Assistant] Now, you know for instance in the poem about the sun rising, how the move is made from waking up late in a tussled bed with a woman who is clearly not the poet's wife, and the poet then modulates into imagery of the spheres, which is derived quite clearly from the Aristotelian view of the universe. The poet in fact is a very learned man.


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[Assistant] Erotic love and astronomy, these are subjects which are not normally brought together.


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[Assistant] They yoked, as Johnson would say, violently, but very effectively, other people would say, in that poem.


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[Assistant] As in the flea, the theology and verminous infestation are similarly yoked together, whether by violence or not.


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[Assistant] In this metaphysical poetry, no fences keeping one area of human life from other areas. Everything, as I say, can come together, can be transmuted and refined into high poetry. This in fact is what


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[Assistant] Eliot saw as the great feature of, and indeed the valuable feature for him of metaphysical poetry.


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[Assistant] Dunn's poetry is marked by a restless intellectual energy that constantly borders on the violent. As Johnson noted, Johnson hated violence, incidentally. He couldn't stand the end of King Lear, for instance. He just preferred endings which were happy.


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[Assistant] Now, even in later life, when he was now a respectable married Dean of St. Paul's,


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[Assistant] Uh, you know, he put, he, at that point in his life he was very embarrassed by his early love and satirical poetry, and he, and he tried to suppress it. But his sacred verse, he went on writing poetry even though he was, by this point in his life in the 1620s, late 1620s, a senior church man.


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[Assistant] He went on writing poetry, but his sacred verse, which in fact is holy verse, his holy sonnets particularly, are marked by a breathtaking pugnacity, violence one could say, of intellectual argument. As for example, when in the most famous of the holy sonnets, he takes on death mano a mano in his great sonnet, death be not proud. Let me read that out to you.


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[Assistant] Death be not proud that some have called thee mighty and dreadful, for thou art not so.


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[Assistant] For those whom thou thinkest thou dost overthrow, unity uses the word thou again, but this time contemptuously.


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[Assistant] Die not, poor death, nor yet canst thou kill me.


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[Assistant] From rest and sleep, which but thy pictures be, Much pleasure, then from thee much more must flow, And soon as our best men with thee do go, Rest of their bones and souls delivery.


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[Assistant] Thou art slave to fate, chance, kings, and desperate men, And dust with poison, war, and sickness dwell, And poppy or charms can make us sleep as well, And better than thy stroke. Why swells thou then? One short sleep past, we wake eternally, And death shall be no more. Death thou shalt die.


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[Assistant] He personifies death and then, you know, goes 15 rounds with him and ends up with death on the, on the canvas floor knocked out. Now, the idea of death dying is a magnificently clinching conceit, as in the catalogue of abuse that precedes it. You're not so big, death. Who's frightened of you?


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[Assistant] Death, that black shadow of a medieval life in literature, is erased in this poem.


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[Assistant] So that is John Donne. Now there are other masters of metaphysical verse.


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[Assistant] George Herbert, who is I think a poet of, a metaphysical poet of almost equal stature,


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[Assistant] Unlike Dunn, he was another churchman, though in fact he was a humble pastor working in a parish. Uhm, he, he wasn't, uh, like Dunn in, in the great cathedral of London.


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[Assistant] Herbert is less pugnacious. He's less prone to, to wave his fist in the face of the great adversaries of the Christian universe.


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[Assistant] Herbert's poetry, by contrast, is marked by a simplicity which works by economy and deceptive subtlety. It is, however, no less complex and no less clever in its conception, in its conceitedness, than Dumb.


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[Assistant] Consider, uh, the poem which I'm going to read out from his great structured collection of verse the temple. It's a wonderful sort of, uh, collection. What he does is he lays out in architectural form, uh, the church. It's an early example of, uhm,


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[Assistant] of, uh, concrete poetry. Uhm, and all the poems in it correlate with an architectural feature of the church.


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[Assistant] But the poem which I want to look at is called Virtue.


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[Assistant] And like the Holy Sonnet, we've just been considering, it too addresses death.


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[Assistant] But less in a spirit of aggressive confrontation, so much as a submissive, as it were, a submission to the facts, the universal facts of vegetation and decay. Everything that lives must die, but that can be seen really as


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[Assistant] Positive as well as a negative thing. This is the poem. It's very beautiful and it requires, I think, a much quieter recitation. Much less aggressive recitation than done.


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[Assistant] Sweet day, again it's another apostrophe. Sweet day, so cool, so calm, so bright. The bridle of the earth and sky, the dew shall weep thy fall tonight, for thou must die. I love that line, the dew shall weep thy fall tonight.


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[Assistant] Sweet Rose, whose hue, angry and brave, bids the rash gazer wipe his eye, Thy root is ever in its grave, and thou must die.


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[Assistant] Sweet spring, full of sweet days and roses, a box where sweets compacted lie. My music shows ye have your closers, and all must die. And then the last affirmative stanza.


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[Assistant] In the above example, for instance, from Herbert, the word bridal means a horse's bridal, something which, like a leather strap, holds the earth and sky together, and it means bridal in the sense of marriage union. Virtue, too. Remember, in The Fairy Queen, there's a catalogue of virtues.


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[Assistant] What Herbert is doing here is playing with the, with the, with the Latin root of virtue, which means strength. And he's, he's saying, you know, what in fact is the strength in the world? What holds the world together, even though the world is forever falling apart by the facts of mutability? That flowers die, things decay. What holds it together? Virtue, the strength.


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[Assistant] That again, the word is being played on and many meanings are being brought into play. The metaphysicals love this kind of thing.


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[Assistant] Now, the gentleness of this metaphysical poem of Herbert's is lyricism and carpe diem, gathie roses while you may theme, is suddenly over set in that powerful last stanza, only a sweet and virtuous soul like season timber never gives, but though the whole world turned to coal, then chiefly lives.


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[Assistant] Herbert was enough of a naturalist. Pastors, in fact, were very great scientists in the 17th and 18th century.


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[Assistant] Six days a week, all they didn't have an awful lot to do. Herbert was enough of a naturalist, enough of a kind of amateur scientist to know that coal is carbonized wood, purified by extreme heat. And what happens with that is that the destruction makes for something which is stronger.


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[Assistant] That in fact is allegorizing suffering in the human context. What he's saying is that the more you suffer, the more unhappy you are, that the richer your life will be, the stronger you'll be, the more virtuous you'll be, in the sense you'll be able to, as it were, to live a good life.


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[Assistant] Now, no poetry has been more erotic and simultaneously intellectual adventurous than the metaphysicals. And I want just to finish very briefly with Andrew Marble's poem to his coy mistress. It's another love poem, another poem of seduction. The lady is coy, not in the sense of being shy.


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[Assistant] And she's not really yet his mistress. He wants to make her his mistress, but she isn't yet.


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[Assistant] Marvel, once in this poem, quite bluntly, is the pleasure of fornication with an understandably reluctant woman of his own class. A woman who's capable of understanding complex and witty verse. Why do we know that? Because he talks about how she's going, when she dies, she's going to be buried in a very kind of elaborate, uh, very elaborate


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[Assistant] Um, uh, burial place, tomb. This is in fact is the, uh, to his coy mistress. This in fact is to his coy mistress, one of the most famous poems of the metaphysical movement. It begins,


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[Assistant] He says, you know, but then he goes on to say, we don't really have time. And then this wonderful peroration at the end.


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[Assistant] But at my back I always hear Time's winged chariot hurrying near, And yonder all before us lie Deserts of vast eternity.


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[Assistant] Thy beauty shall no more be found, nor in thy marble vaults shall sound my echoing song. Then worm shall try that long-preserved virginity. Most horribly erotic similes that, that, uh, that I know of in poetry.


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[Assistant] And your quaint honour turned to dust and into ashes all my lust. The graves a fine and private place, but none, I think, do there embrace.


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[Assistant] And so, what Marvel is saying here is that, uh, you know, as, as, as Don was saying, you know, jump into bed with me.


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[Assistant] Uhm, and there's that wonderful notion nonetheless of the metaphysical dimension. Time is our enemy. Time.


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[Assistant] The winged chariot at your back and in front of you deserts of vast eternity. The poem teeters on the brink of vulgarity but doesn't quite topple.


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[Assistant] And like Herbert's virtue, you know, Marvel was in fact no rural clergyman or dean of St Paul's, but a man of the world who was a diplomat.


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[Assistant] To his coin mistress is another version of the Carpe Diem, shorter the days of life theme.


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[Assistant] But it had a wittily subversive motive. It's not coyness, but virtue, for instance, which makes the woman hesitant. That quality which, which, uh, which Herbert was celebrating. The poet, however, wouldn't allow that thought. It might prevent, it might prevent him from getting what he wants, which is her body.


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[Assistant] Now, metaphysical poetry isn't all love poetry, nor is it short lyric poetry. There are longer works, Dunn's satires, then his anniversaries, Marvel's complicatedly long poem on Appleton House.


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[Assistant] And I would say that Marvell's Horatian Ode on Cromwell's Return from Ireland is the best political poem in the language. But the enduring quality of the school, and its bequest to subsequent schools of English poetry, right the way through to T.S. Eliot and beyond,


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[Assistant] Is it's go for broke, linguistic and conceptual daring. And it's reckless yoking.


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[Assistant] I think probably it would get my vote as well as DS Eliot's.


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[Assistant] There isn't much to do I think I'll write poems by the fire


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[Assistant] Maybe he would come for tea, asked Mole. He's very shy, said Rat. He will visit when he's ready.


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[Assistant] Badger wouldn't like that, said Rat.


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[Assistant] Anyway, we can't go, Mole. Rat explained. Badger lives in the wild wood.


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[Assistant] Yes, but it's a long way, said Rat, and the weather is much too cold.


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[Assistant] But now there's someone more beautiful.


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[Assistant] I mean, listen, I don't know if you need me to tell you because as far as I'm concerned, no one does brunch like the Aussies.


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[Assistant] I think nothing must be overwhelmingly heavy, but you can go on the robust side. You want to feel that you can sort of have a bit of one dish and then move on another. I mean, I can do all day brunch. I can go from brunch to brinner.


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[Assistant] Well, I don't know what Aldo does in his real life, but I think he's got a very good sense of what people want to eat. And I think he's organized it quite well. The idea of smoked salmon in a bun, people love that.


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[Assistant] The parfait, putting complex in, if it tastes good, that's fantastic. I love the idea of the eggplant. I think there are people who would love to eat that and thinking they're going for the healthy option, so that's fine.


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[Assistant] Try not to feel low. Really sleep well, and very important here, sweet dreams.


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[Assistant] We have two mixers going and we are trying to move as fast as we can. Because two and a half hours is not a lot of time to make the dough, let it rise and then cook the buns as well.


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[Assistant] My kids love when I make burgers. I feel excited. I feel very excited and determined.


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[Assistant] I'm thinking how am I going to feed all of that in 75 minutes?


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[Assistant] I know that it's going to be hard to pull it off, but I'm determined to put up a really good dish.


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[Assistant] Once the buns have doubled in size, I sprinkle some sesame and nigella seeds on top and pop them in the oven. And keep my fingers crossed.


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[Assistant] I am so happy my bread worked out. It's incredible. It's beautiful, soft.


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[Assistant] It's a lamb burger with eggplant relish, oven roasted potatoes and homemade tandoor bun.


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[Assistant] Let's go, let's go, let's go. Sixty seconds Chloe, Michelle, Ben. You don't mess up. Earth to Ben. Oh, cut myself. Who will make it to the finish line? You did something today.


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[Assistant] Some good steely looks, we love that. Welcome back to the MasterChef kitchen and Gordon. Glad to be back, thank you. If there's one thing you can be guaranteed of, when you see Gordon Ramsay in front of you, dressed in chef whites, you know it's going to be an exciting day.


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[Assistant] Michelle, Chloe and Ben, let's get one thing right. Pressure's healthy. For the two that make it through this. What an advantage.


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[Assistant] Over everybody on the balcony, handling pressure this early in the competition. To become Australia's next master chef, you need to handle pressure. So the earlier you get in that zone, the better.


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[Assistant] Today you're going to be executing a dish that I started 20 years ago. This year sees the celebration of restaurant Gordon Ramsay.


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[Assistant] Twenty years. I can't think of a more fitting challenge to celebrate MasterChef. Ten year anniversary and my twentieth year.


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[Assistant] Served with a stunning shellfish bisque. Wow.


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[Assistant] Sat on a bed of delicious spinach, finished with a lemon vinaigrette.


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[Assistant] Right. All three of you. Behind your benches. Let's go.


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[Assistant] Right, Michelle, Chloe, Ben, the best of luck to all three of you. May the best two talented amateur cooks survive.


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[Assistant] Right, let's go. First off, pans on. Shellfish stock onto the boil. All of you, get a spoon.


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[Assistant] And now we're gonna make the pasta. Take the finer salt and season the flour. Flour into the bowl.


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[Assistant] Touch of olive oil into the yolks. We're gonna season and lightly whisk.


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[Assistant] Now, check your mix. It should come together nice and doughy. This is crucial, guys.


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[Assistant] Now lightly flour the hands and work that pasta. Now use your thumbs and the base of the hand.


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[Assistant] Michelle, we're gonna start again, okay? Okay. Yeah. Let's go. Let's go. We can't have blood in the pasta, it's not a beetroot ravioli.


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[Assistant] Michelle, quick recap. Two, seven, five. Two whole eggs, three egg yolks.


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[Assistant] I said we're making a mirepoix. So don't fanny around, find icing, we don't need it. Olive oil into the pan.


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[Assistant] Anybody listening? Yes, Jordan. Thank you. Yeah, come on, guys. Marin, trained and out. Keep the stock boiling.


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[Assistant] Michelle, mirepoix, carrots, shallots, garlic, fennel. Let's go. Now from there, take your marron. Twist the tail. Come on. Very carefully, take out your meat. Literally, out into the bowl.


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[Assistant] Take the end off, put your finger in, and literally just slide the claw out. Look at that.


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[Assistant] You gotta stay focused though buddy, you've got a long way to go, huh? Chloe, we can't slow down now.


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[Assistant] Take the perno, and deglaze the pan with the perno. Brilliant. Flambé. Beautiful.


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[Assistant] Now, we're going with our chicken stock and our veal stock to give the bisque some body. Chicken stock in.


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[Assistant] And the veal stock in. To really make this a rich bisque. Good.


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[Assistant] Take your marron, okay? Slice them in half.


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[Assistant] Take out the center in terms of the sac. Get rid of that. We know what the sac is, right? I do not want to eat that crunchy sac. And then dice the marron. Dice them up. Yes, chef. Let's go, guys.


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[Assistant] We only want one slap. Pressure is so high at this stage. Through and scalp. That's skin.


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[Assistant] We're gonna start the filling of the ravioli. Take the mixer from the freezer, Michelle. Watch your fingers on the blade. Salmon goes in.


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[Assistant] What we're making now is a sea trout mousse to bring the ravioli together. Act like a chef now. Come on Michelle.


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[Assistant] There's so many technical elements. Derval, fragrant, goes brilliantly well with that marron. I'm so happy Michelle's caught up.


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[Assistant] Love the fact you're one handed. They're all doing so well. Nice squeeze of fresh lemon juice into the marron. One beautiful spoon of mousse. Blend the mousse.


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[Assistant] It's time to taste that magical shellfish bisque. Get a sieve. Put the pan onto the stove and start getting that in there. Ooh. Just think of that pot of magic underneath that sieve. Take that bisque down to a glass. That is a super reduction. Look at mine. A glass. The most expensive sauce in Australia tonight.


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[Assistant] Michelle, Chloe, Ben, well done. You're doing a great job, all three of you. Now!


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[Assistant] For the most exciting part. Clear your benches.


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[Assistant] Because you do not want a mess inside your pasta.


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[Assistant] You ready? Yes Gordon. Let's go. Remember, someone's going home. And it doesn't want to be you. Oh boy. Now we can make some magic.


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[Assistant] Now, we start rolling. Let's go, let's go, let's go.


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[Assistant] Here's the magic. I wanna see your faces through there. I wanna see that transparency.


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[Assistant] Go on, start cutting these circles out, guys. We're gonna make three. Okay?


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[Assistant] Place the marron into the centre of the pasta. Literally. And just brush around the outside.


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[Assistant] Lift it up. Twelve o'clock. Over.


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[Assistant] And in, and up into your hands. You knit that together.


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[Assistant] The pasta's so thin you can see the mound running through the top of the pasta. Let's go, let's go, let's go. Gotta be quick, because here's where we get all the air out.


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[Assistant] Well done Chloe, good job. You guys are doing a great job. We cooked three beauties for one stunner.


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[Assistant] And Kukul3, pick the best one, you three, yeah?


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[Assistant] You hold the lip, you put them in, and you spin them round.


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[Assistant] And then you just twist the pan here to stop from hitting the bottom. Come on. Come on. Let's go guys.


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[Assistant] Let's go Ben, stay focused. Slave with a bisque. Nice and gently.


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[Assistant] And then those microherbs at the end. And there we have it. I remember early on. Let's go.


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[Assistant] Chloe, well done. Michelle, well done. Thank you. Well done. Good. Well done. How's that hand? Okay.


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[Assistant] I think the reason MasterChef is such a good teacher is just the roller coaster of challenges and emotions. Look at what they've been through the last couple of days. Tough, on the three of them, but I think they did okay. They were honest, you know, involved and


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[Assistant] Look, I mean, there's obviously going to be a difference. I mean, look how long you've been cooking and you're at the top of the game and have been for many, many years. Uhm, and to see somebody that really, you know, has only just started out in the competition, cooks at home.


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[Assistant] And the fact that you're secure, deep down, tucked away to...


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[Assistant] Give somebody else your help, even though you may still be going home. Why?


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[Assistant] Those sheets. So it's rolled beautifully. You can see the lip around the outside. Great technical skill there. Sores needs to be just...


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[Assistant] So I thought the sauce visually looked a little bit too underwhelming, but it actually kicks a punch.


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[Assistant] And that tells me straight away that it's a good dish and he's done a very good job.


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[Assistant] I can give you 25 examples of what I've missed with my 4 kids over the last 10 years and it kills me.


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[Assistant] But you get to a certain level of success in life and there's a price to pay for that. So park that and continue on that journey if you're still here.


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[Assistant] Yeaah, I mean visually, look, plating a little bit messy.


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[Assistant] You know, that, it's not a difficult dish to plate, so it needs that level of finesse. And just a little bit awkwardly shaped.


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[Assistant] But the pasta is absolutely spot on. For me it's all about the thickness. That's the most important. Claw, intact.


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[Assistant] Pasta. Cooked beautifully. Definitely. Sauce is lacking seasoning.


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[Assistant] She played it safe. However, uhm...


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[Assistant] Tonight's not the night to play safe. When someone's going home. Let's get the final dish in. It's gonna be interesting, isn't it?


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[Assistant] Well done, first off. Thank you. I thought you did a great job. You finished 10 seconds behind us, which was not expected.


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[Assistant] And still bounce back five, six, seven minutes behind Chloe and Ben was pretty impressive. But you're a smart girl, so you weren't gonna throw the towel in.


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[Assistant] Absolutely brilliant, and what Gordon said. Because once you'd cut your fingers, we just thought there was no way you were going to do it. So, kudos to you, really.


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[Assistant] You were only ten seconds behind me. So that was great news.


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[Assistant] And we felt that, you know, in the end, that showed.


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[Assistant] Nah. Wait, I'll explain.


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[Assistant] Oh, just listen. When we are asleep, we don't perform any activities. Hence, our heart rate becomes slow when the blood flow is decreased.


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[Assistant] Cambodia is characterized by its natural beauty and rich heritage, and is home to the ancient ruins of the Angkor temples.


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[Assistant] And it is from this World Heritage site that teams embark on the third leg of our race around the world. Daniel and Ryan won the step counter task in the last leg. You were the best.


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[Assistant] John and Murray and Sally and Tyson are on the second bus, arriving in Bangkok at 7pm.


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[Assistant] Ashley and Jared, Kat and Jessie, Aston and Christy, and Carla and Herony are on the last bus, scheduled to arrive in the capital at 7.30pm.


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[Assistant] Emily and Jono, Daniel and Ryan, Sally and Tyson and Jon and Murray are all on the first flight from Bangkok to Krabi, scheduled to arrive at 7.50am.


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[Assistant] Carla and Herony, Aston and Christy, Ashley and Jared, and Kat and Jessie are all on the second flight, scheduled to arrive one hour after the first flight.


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[Assistant] Detour is a choice between two tasks that both team members must perform. The choice here, climb up or drill down. Teams will now travel by traditional long-tail boat to Raleigh Bay.


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[Assistant] In Climb Up, teams must scale these sheer rock faces to retrieve two race flags. Once team members have the flags, they may exchange them for their next clue.


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[Assistant] A U-turn appears at the end of a detour and gives teams the choice of forcing one team to complete both sides of the detour before moving on. Go. Hustle up.


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[Assistant] Only one member of a team can perform a roadblock, and in this task they must dive amongst the local marine life to locate a golden clam, which holds their next clue. It's got to do with government.


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[Assistant] Teams must now travel by longtail boat to Gowpowda.


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[Assistant] This archipelago in the Krabi province of Thailand is the pit stop for the third leg of the race. The last team to check in here may be eliminated.


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[Assistant] Captain Jesse, you guys are team number seven.


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[Assistant] It's never a good feeling when you've got Aston and Christy in front of you. You think to yourself, we must be doing bloody bad. Two flights to Krabi.


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[Assistant] I'm in the zone. Jess and Kat saying, oh, how are your massages guys? And we thought, phew, they don't hate us. Thank God. Cause we stole their cab. I think we picked the right one.


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[Assistant] So when we first ran over to the coconuts, we saw Tyson and Sally drooling away. Hello.


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[Assistant] I need to rest. H was standing there frozen. Jared's making it look like the easiest thing he's ever done in his life. Good job, Jaz.


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[Assistant] Good, awesome, yes! When I was climbing up, I had to redeem myself from that last roadblock, so I had to prove to Jared that I was still Victor.


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[Assistant] But it is still, you know, it's still hard. You have days when you miss them like crazy.


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[Assistant] The Wind in the Willows Episode 21 Waking Up Badger


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[Assistant] Rat and Mole waited for the door to open.


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[Assistant] He held open the door to a cozy kitchen. Sit by the fire, Badger told them. Take off those wet coats, boots too.


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[Assistant] Badger gave them robes and slippers to wear. Now let me get you some dinner. Badger brought them plates of hot food. Soon they were warm and dry. Mole looked at Badger's friendly face.


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[Assistant] Snow White is still alive, and still beautiful.


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[Assistant] I can see the custard and so I know that there'll be eggs. I assume that there's flour for the sponge and then my mouth goes dry. Panic sets in.


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[Assistant] It's our first masterclass and I'm just so excited. I mean, the idea that we're going to be able to learn from Nigella today is just exceptional.


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[Assistant] The cart has a broken wheel, said Rat. I'll go find the horse, said Mole.


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[Assistant] When I was a kid, my uncle lived in Los Angeles and since then I love peanut butter and jam on toast. So today I'm going to make a peanut butter ice cream with mixed berry compote and it will be served in a shoe bun. I really want to get tested today, fingers crossed it will happen.


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[Assistant] My team is making a classic cheese board, where you got the honey, where you got the figs, and where you got the cheese. The mascarpone cheese, this is great.


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[Assistant] I'm really proud of the blue team. Everybody did an amazing job and everything seems together and balanced out. Samira, what did you set out to make?


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[Assistant] It's a bright sunny day. I don't know where we're going, but I'm feeling pumped and excited. Come on!


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[Assistant] I'm excited to be captain, but at the same time I'm nervous about the pressure of having to remember the recipe and bring it back to the team.


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[Assistant] For Reese and I, we decided that I'm gonna focus on main and Reese is gonna focus on dessert. Hello?


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[Assistant] The dish is so beautiful, it's literally Australia on a plate. Lamb, green and gold.


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[Assistant] I learned from watching, but at the same time, it's hard to take in because there's so many things to remember.


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[Assistant] Ghost cheese needs to go on first straight away, okay? That needs to go a few layers in the dehydration, 65 minutes, 45. Red team's gonna cook sous vide lamb that's finished off in the barbecue with zucchinis and dehydrated goat's cheese. And then we also have the lamb. Barf, 55 degrees, we need to get that on straight away. 30 minutes. Is that clear?


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[Assistant] Me and Rhys went out to the Royal Mail Hotel and that was amazing. I got everything down, I remember everything and I'm focused, I just want to get it done.


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[Assistant] Yep, for the mains, Reg team's gonna cook sous vide lamb that's finished off on the barbecue with zucchinis and dehydrated ghost cheeses.


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[Assistant] So, take off the skin, but about that much, because I don't want too much white. We only want, uh, most of the green. The hardest element on this dish is to get the purees right. Robin was emphasised with the green zucchini that it needs to be vibrant and green, and the way it's cooked is key, because you don't want it to go brown. So watch it, because basically we're cooking it.


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[Assistant] So we're cooking lamb in a sous vide and then finished off on a barbecue. So it comes with two purees, the zucchini flower tops and the zucchini skin, so it's really vibrant and green.


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[Assistant] Everyone's working well together. It's still a bit crunchy.


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[Assistant] So you can stir it, cook it longer than you'd be, but have to soften, but don't go brown.


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[Assistant] The atmosphere in the kitchen is really good. All the elements are on the go and they're where they need to be.


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[Assistant] The vibrant yellow zucchini flower puree is looking really good as well.


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[Assistant] I'm not too sure about the yellow zucchini flower puree dotted around. I'm not sure if I have enough.


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[Assistant] If we didn't replicate the dish exactly, then we could be going to elimination. That's what is really weighing on my mind.


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[Assistant] I think it's replicated as well as I can remember. I think it's all there.


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[Assistant] I'll be honest, it might not look as finessed as his, but I'm sure the flavours are there. I hope it's as close as possible.


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[Assistant] They're beautiful. Look, they're perfect little domes. Service please.


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[Assistant] We just gotta play strategy. You know, one of the greatest things that I think we have in terms of an asset is- We use our prides. And we assess character. You know, for us it's a people gap.


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[Assistant] Travel by tuk tuk to the temple of Angkor Wat and search for your next screw. You are provided with a digital step counter.


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[Assistant] I am going in the right direction in the correct road, alright? I'm actually navigating here. Mothers and son, no matter who they are across the world, they argue over stuff. We need to go to Angkor Wat after? Angkor Wat?


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[Assistant] We had to get there fast. I was proud of mum. She was again pressing on. Might even be quicker than a yog. We were doing a jog.


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[Assistant] It's making me a little bit nervous that I'm the only person who is oven roasting the wings. Currently I'm reducing some sauce for brush on the wings.


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[Assistant] We found two monks. Do you have anything for us? Let's have a look, there might be a clue in here.


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[Assistant] As we were realising that perhaps we weren't going to make it through, we were all about savouring the moment.


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[Assistant] Chapter 4. The police arrived very quickly. There were a lot of them.


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[Assistant] Some of them with cameras went upstairs to Molly's room.


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[Assistant] Two detectives talk to Dr Pratt in the kitchen.


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[Assistant] The family waited in the sitting room. It was a hot day again and the windows were open. The dogs sat quietly at Diane's feet. Nobody talked. Jackie smoked.


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[Assistant] Suddenly the door opened and the two detectives came in.


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[Assistant] I am Detective Inspector Walsh and this is Sergeant Foster. The Inspector did not smile.


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[Assistant] He was a big man in an old black suit and a black hat and coat. He wore a coat because he always felt cold.


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[Assistant] Last night, someone put sleeping tablets in Mrs Clarkson's hot milk. We are going to question everybody and we need a room, please.


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[Assistant] Roger stood up. I'm Roger Clarkson. You can have my father's old office. Come with me. It's along here.


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[Assistant] The office was not a very big room, but there was a table and three or four chairs. Roger opened the window. I would like to talk first to your uncle, Albert King, Inspector Walsh said. He took off his hat and coat and sat down behind the table.


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[Assistant] Of course, said Roger, and left the room.


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[Assistant] Sergeant Foster waited by the door. He was a very tall young man, with black hair and a nice smile. He was not very happy this morning.


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[Assistant] Because he usually played tennis on Sunday mornings.


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[Assistant] He was one of the best players at the Cambridge Tennis Club.


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[Assistant] I'm going to ask some questions, Mr King, the Inspector said.


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[Assistant] Tell me about last night, Inspector Walsh asked quietly.


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[Assistant] You were angry with Mrs Clarkson.


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[Assistant] Albert looked at Inspector Walsh for the first time. Yes, I was. Everyone was angry. Roger was angry.


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[Assistant] Diane wanted money to go to America. Then there's a man called Tom Briggs. He wants half the garden for his farm. Molly.


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[Assistant] He's a rich woman. I need money. Because my wife, Annie, Molly's sister, is very ill. I told Molly this. What happened next? Well, Molly was angry with everyone and went upstairs. We went into the kitchen for coffee. Jackie wanted everyone to go up


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[Assistant] And say good night to Molly. She lives here with Molly. So she wanted Molly to be happy. At first, Roger said no. He was angry and didn't want to see his mother.


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[Assistant] And did you see Molly in her room? Yes. I was tired. And I went upstairs first. I went to Molly's room and asked her for money again. But no. There was no money for her sister.


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[Assistant] Albert stopped and put his hand over his eyes.


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[Assistant] Watched Albert for a minute. Did you hear noises after you went to bed?


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[Assistant] Everyone went into Molly's room to say good night, I think. Later, I heard someone. He or she went downstairs. That was about midnight. Very well, Mr. King. Thank you. You can go now. Albert left the room. Inspector Walsh


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[Assistant] Shall I go to the kitchen? Sergeant Foster asked. Oh no. Later.


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[Assistant] Let's see Jackie Clarkson next.


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[Assistant] Jackie came in and sat down. She looked down at her hands and said nothing.


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[Assistant] We found the empty bottle of your mother's sleeping tablets in Diane's room, the inspector said suddenly. Then he waited.


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[Assistant] Jackie's face did not change, and she said nothing. Tell me, did your mother get her tablets from the shop in the village?


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[Assistant] Yes, my mother usually took a sleeping tablet every night.


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[Assistant] So she needed a lot of tablets. Sometimes she got them from the shop. Sometimes I did. On Thursday I asked Peter Hobbs to get them. He lives in the house across the road.


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[Assistant] Your mother wanted to stay in this house How about you? Did you want to move?


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[Assistant] Jackie looked up for a minute, and then down at her hands again. This is mother's house. I loved my mother. She was good to me.


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[Assistant] Did you see your mother in her room last night? Yes, everyone did. Diane made hot milk and took it to mother. She usually drank a cup of hot milk before she slept.


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[Assistant] Jackie opened her bag and looked for a cigarette. Can I smoke? Of course, this is your house, Inspector Warsh said.


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[Assistant] What did your mother say? He asked again.


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[Assistant] She wanted to go downstairs again. She remembered the dogs. She wanted to get some dinner for them. I went to my room and she went downstairs. What time was this? I don't remember. About midnight, I think.


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[Assistant] And the cup of hot milk? It was on the table, by her bed.


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[Assistant] Did you need your mother's money? No, Inspector. Money is not important to me. There are more important things, Jackie said quietly. Well, your Uncle Albert wanted money. Tom Briggs wanted the garden. You wanted nothing?


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[Assistant] Jackie finished her cigarette and looked up at the inspector. Her eyes were suddenly angry. Don't forget Peter Hobbs. He lost his job because of my mother. He wanted to kill her, you know. And what about Diane? You found the empty bottle in her bag.


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[Assistant] We are going to question everyone, Miss Clarkson.


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[Assistant] Would you like some sandwiches and coffee, Inspector? Ah, yes, please, Inspector Walsh said warmly.


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[Assistant] I would like sandwiches and coffee very much.


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[Assistant] Jackie left the room. Inspector Walsh thought about her. Why was she suddenly angry?


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[Assistant] Journey to the West Chapter 59 Scared Villagers


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[Assistant] The group had spent the morning walking down a long mountain trail.


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[Assistant] As they walked, the travelers started to hear the sound of rushing water. It grew louder and louder.


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[Assistant] Said Wu Jing. The trail went around a hill. A moment later, the travelers saw the river.


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[Assistant] The group walked to the village. The street was deserted.


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[Assistant] Inside they sat down as Chen boiled water for tea.


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[Assistant] Finally the monkey folded his arms and said I have a plan.


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[Assistant] They placed the platform on the ground and then backed away.


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[Assistant] For a moment, everything was quiet. The boys sat alone on the platform. Suddenly a dark cloud approached.


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[Assistant] A fierce looking demon emerged from the cloud. It had sharp teeth. The boy smiled at the demon.


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[Assistant] The person who recited the prayers is bad, said Wukong.


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[Assistant] Just wait a moment, said the monkey. I'll go back down to the ground now. When I raise my iron bar, you can make it rain.


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[Assistant] You had a chance to summon rain, and you obviously can't. Now it's my turn.


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[Assistant] Wukong laughed. Haha! The Tang Mon guessed correctly!


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[Assistant] Let me have the honour of introducing to you George Gordon Byron, the 6th Baron Byron of Rochdale.


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[Assistant] Mad, bad and dangerous to know, as he was called by some during his mad, bad, dangerous lifetime. We'll call him Byron.


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[Assistant] Uhm, I'll affect the introduction with a sample of the mad, bad ones.


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[Assistant] More outrageous utterances. The kinds of thing that, that in fact scandalized his contemporaries.


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[Assistant] While you agree, you are lovers. And when it's over, anything but friends. And this on Britain's Great Neighbour.


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[Assistant] America is a model of force and freedom and moderation.


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[Assistant] With all the coarseness and rudeness of its people. And then talking about himself. I have no consistency, except in politics.


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[Assistant] And that probably arises from my indifference to the subject altogether.


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[Assistant] Now I could go on, but there's enough there to prove the point, I trust. We're in the company of a very superior literary man indeed, Topchop, as he would say. And he doesn't think much we apprehend of us lower than Topchop.


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[Assistant] But, but dammit, the man has genius. Even though, humble plebs that we may be.


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[Assistant] And even though we know that he's perhaps sneering at us in our kind, nonetheless we cannot but pay his due. The man's a snob and he may as he protests and confesses have been demonstrably vicious, but he writes like an angel.


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[Assistant] And since we're in the literary critical, not the moral business, we can forgive almost everything for that. So, who, you may ask, was this Lord Byron?


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[Assistant] He was born in 1788, during the height of the French Revolution. Lord that he was, and in many of his prejudices, particularly against his countrymen, a true blue Tory to the core, Byron would, of all the Romantic poets, be the most actively revolutionary in his adult life.


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[Assistant] He was the one, the one of this company of romantic poets who would most willingly risk his life. Something that even the most idealistic poets are rarely willing to do.


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[Assistant] He served as a commander in Italy's revolutionary organization, the Carbonari, in its struggle against Austria. And he died shoulder to shoulder with the forces of Greece fighting for that nation's independence from the Turkish imperial oppressor. In that country, Greece is still a national hero.


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[Assistant] Byron inherited the family title very early in life, aged 10.


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[Assistant] And with the title, he inherited a fortune and the right to sit in the country's House of Lords, the Supreme Legislature.


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[Assistant] Now, with all these advantages, K1 handicap for Byron, a clubfoot.


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[Assistant] How much of his later recklessness can be traced back to that shaming disability has been much pondered by biography.


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[Assistant] Or possibly it could have been in the genes, that recklessness. Something he inherited from wild ancestors, such as his father, who was nicknamed Captain Mad Jack Byron.


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[Assistant] And there were other wild men and wild women in the Byron family tree. Whatever the cause.


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[Assistant] Byron overachieved through life. Physically.


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[Assistant] As in hero Leander, he swam the Hellespont to prove in fact that he was physically superior.


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[Assistant] Socially he raised hell, and sexually he womanized and had a covert taste for young boys.


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[Assistant] And he wrote the most scandalous verse of his age, the long epic Don Juan, which is arguably the greatest long narrative poem to come out of the Romantic Revival, but was conceived at the time to be highly scandalous.


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[Assistant] Byron received what was then, and still is now, the standard education of an English gentleman. Even though his earliest years were passed in Scotland.


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[Assistant] In later life he had no time for the place or what he contemptuously called the Scotch as opposed to the Scottish.


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[Assistant] He attended Harrow's school, which with Eton is the best public school, most very private school in England. And he went to Trinity College Cambridge.


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[Assistant] His childhood and adolescence were deformed emotionally by a stormy relationship with his mother, which may, it's been suggested, have formed what would be a cavalier and predatory attitude to the female sex throughout life.


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[Assistant] He was already, while a schoolboy, writing fluent verse. He was a poet who, who threw poetry off with extraordinary spontaneity.


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[Assistant] His earliest collection, Hours of Idleness, identifies in its title an early fascination with what the French call ennui, or boredom. But a boredom, which like words for solitude, is perversely creative.


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[Assistant] Now, that early volume is very poor stuff, but in the light of the career that followed, the hours of idleness, which he was very ill-advised to publish in 1807,


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[Assistant] Ye scenes of my childhood whose loved recollection embitters the present compared with the past, where science first dawned on the powers of reflection and friendships were formed too romantic to last.


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[Assistant] Where fancy yet joys to retrace the resemblance Of comrades in friendship and mischief allied, How welcome to me your near fading remembrance, Which rests in the bosom their hope is denied.


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[Assistant] Again I revisit the hills where we sported, the streams where we swam, and the fields where we fought. The school where, loud warned by the bell, we resorted to poorer the precepts by pedagogues taught.


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[Assistant] Uhm, and so it goes on. It's, it's, it's, it's very substandard stuff, as I say, but you'll note how Byron has retained much of the standard Augustan diction in his verse. That line about science and reflection, for example.


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[Assistant] For example, Wordsworth and Coleridge, Alexander Pope or Dr. Johnson.


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[Assistant] Of the Romantics, Byron retains most loyally a link with the great writers of the 18th century and


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[Assistant] One can, I think, make a connection here with what I referred to earlier as innate conservatism and the reverence for the past which any nobleman with a title going back centuries is likely to have. If I, for example, was the Duke of Sutherland


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[Assistant] There is such a person, by the way. I dare say I would have more reverence for the past than I do as plain Mr. Sutherland.


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[Assistant] Byron's first collection, Hours of Idols, was subjected, like Keats' first volume, of which more later, to the most savage review from Scottish critics in Edinburgh.


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[Assistant] Uh, Edinburgh was then a centre of literary authority, embodied in the formidable quarterly magazine, which is a three-monthly issue, The Edinburgh Review.


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[Assistant] In literature, this altercation was the making of him.


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[Assistant] Shunting his style from lofty pompous attitudinizing to colloquial ad hominem light verse. He came down from Parnassus to fight in Grub Street. He won that fight. Uh, it was the best thing as regards style that could ever have happened to him.


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[Assistant] Byron, of all the 19th century poets, is the most gifted with the conversational tone of voice. Conversational yet contemptuously lordly.


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[Assistant] As someone who's earned a large portion of his bread, I'm talking myself, by reviewing, I can't refrain, even though I feel the byronic lash across my shoulders, from quoting a paragraph from this cross-border counter-attack on Caledonian-Hackerian hatchetry. This is from his attack on Scottish reviewers.


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[Assistant] A man must serve his time to every trade, save censure. Critics all are ready made.


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[Assistant] Take Hackney jokes from Miller, got by rote, with just enough of learning to misquote.


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[Assistant] A mind well skilled to find or forge a fault. A turn for punning. Call it attic salt.


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[Assistant] To Jeffrey Goh, Jeffrey was one of the principal writers for the...


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[Assistant] What gives passages such as this salt and savour life, we may say, is first of all, Byron is right. Much reviewing is phony. Omniscience.


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[Assistant] Omniscience, which is ill-earned, low rhetorical tricks and an unearned loftiness of tone. It is, as I say, phony. It's false. But also, as I say, it's the easy conversational contempt which renders Byron's verse so effective. Critics, I despise them. But not only that, I can write better than they do.


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[Assistant] Even at this early age, Byron was sexually hyperactive and an utter rouet. His tastes were relaxed.


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[Assistant] That's a kind way of putting it. He was bisexual.


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[Assistant] It was a dangerous preference because at that period a man could still be hanged for sodomy. So you had to be discreet about it.


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[Assistant] But it would be sex, Don Juanism, one might say, which would, in terms of public reputation, be his eventual downfall. Although that was still some years in the future.


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[Assistant] In the meantime, there were the responsibilities of a young lord to be fulfilled.


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[Assistant] From 1809 to 1811, Byron went on the Grand Tour, which was then customary for a young gentleman like himself, a young nobleman like himself.


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[Assistant] Already he'd read and come to despise the Lakeland poets we've just been talking about, Wordsworth, Coleridge and Southey. Englishmen who, who huddled around puddles and hillocks in the northwest of their dreary little islands.


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[Assistant] Byron's grand tour took him to the Mediterranean and the Levant, and his wide-ranging sexual tastes were more likely to be satisfied there, and of course the Napoleonic wars had made Europe rather difficult to visit, but in the East he found, as it were, a morality which suited him well.


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[Assistant] Better than it would have suited, I think, the average English tourist.


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[Assistant] Byron was among the most travelled great writer in English literature to date. Now obviously, Chaucer travelled from Italy as Milton, and they both picked up valuable literary skills and contacts there, but no poet.


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[Assistant] No poet that is who ranks among our company of great poets saw as much of the world from early adulthood onwards as did Byron. His life in fact was one long journey.


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[Assistant] Pilgrimage, as he would call it sometimes, it enlarged his view of life, immensely.


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[Assistant] Travel, as the proverb claims, really does broaden the mind. And it broadens the poet's sensibility as well.


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[Assistant] No poet before Byron, I would guess, could, as an Englishman, write such exquisite verses about foreign places as he does, for example, in his Isles of Greece. Remember, he gave down his life for Greece. Let me, let me quote just a couple of lines. As I say, for their beauty alone.


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[Assistant] The Isles of Greece, the Isles of Greece, where burning Sappho loved and sung, he chooses a sexual rebel of course, burning Sappho loved and sung, where grew the arts of war and peace, where Delos rose and Phoebus sprung, eternal summer gilds them yet, but all except their son is set.


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[Assistant] Beautiful as I say, but politically barbed. Greece, as that last line reminds us, is groaning under the Turkish heel. Hence, you know.


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[Assistant] Everything in Greece is set except the sun. The sun still rises but Greece has fallen. He will help it rise again.


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[Assistant] One doesn't feel just that Byron has seen the Isles of Greece. Many tourists have done that and had their banal exultations. One feels that Byron knows them. And even, as we may say with hindsight, loves them so much.


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[Assistant] He's prepared to make them Greek Isles again, to make the sun set on a free Greece. So the political and the aesthetic fuse, perhaps at a subliminal level, but they're there fused in his poetry.


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[Assistant] Now on this grand tour, Byron began to write the poem which would soon make him famous and literature's first great celebrity. It's called Child Harold's Pilgrimage.


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[Assistant] Now it's very, very different, one would hardly say, from Bunyan's pilgrimage. Childe Harold is a tourist, a grand tourist, and by no means a Puritan.