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[Assistant] The last person Byron would have taken with him is Christians faithful. In fact, he took a Cambridge pal and fellow rouet, John Cab Hobhouse.


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[Assistant] Now epic in scale, Charles Harold's pilgrimage is in essence an exercise in pose or image, image of the poet, image of the traveler, who is of course the poet.


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[Assistant] Now that image, which we associate specifically with Byron, came to be called the Byronic Hero. And one of those elements mentioned earlier,


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[Assistant] From his, from his earliest verse onwards, in fact, his ennui. World wearin'.


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[Assistant] There's a quotation of a Byron which for me sums up much of what I've called the Byronic pose. No more, oh never more on me.


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[Assistant] The freshness of the heart can fall like dew.


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[Assistant] He was 28 years old when he voiced this sad valediction for the pleasures of life. His heart was dead.


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[Assistant] Well, misanthropy is another element in this, this Byronic pose. A misanthropy which expresses itself in a desire for solitude, a rejection of the world, a contempt for the world. He writes, uhm, in Charles Howell's Pilgrimage.


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[Assistant] There is pleasure in the pathless woods. There is a rapture on the lonely shore. There is society when none intrudes by the deep sea and music in its roar.


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[Assistant] I love not man the less, but nature more. From these are interviews in which I steal from all I may be or have been before to mingle with the universe and feel what I can ne'er express, yet cannot all conceal.


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[Assistant] Very fine stuff, but if you look at it carefully, it's not always easy to work out what's being meant here.


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[Assistant] Now in fact, Byron, in spite of his pose of happy solitude here, Byron was indefatigably social. No man was lesser hermit in his habits, and there's much scene painting of a tremendous but rather factitious kind in, in child, child Harold's pilgrimage. Like the famous apostrophe to the sea, it's among Byron's most famous and


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[Assistant] In some sense, most sort of, uh, I don't know, sneer at that, uhm, mode of writing.


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[Assistant] Roll on, thou deep and dark ocean, roll! Ten thousand fleets sweep o'er thee in vain. Man marks the earth with ruin, his control stops with the shore upon the watery plain.


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[Assistant] The wrecks are all thy deed, nor doth remain a shadow of man's ravage save his own, when for a moment, like a drop of rain, he sinks into thy depths with bubbling groan, without a grave, unknelled, uncoffined, and unknown.


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[Assistant] It sounds magnificent but it's like meringue. Once you've consumed it, there's nothing there.


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[Assistant] Uhm, you'll notice too instantly, by the way, Byron's use of what's called enjambement. That's so you don't stop at the end of the line, you run on, which creates a kind of, a wonderful fluidity in his verse. No man, I think, is better than Byron in handling tempo, pace, of, of, of, of his, his kind of poetic instrument.


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[Assistant] As is often the case with early barona, if you pick yourself up from the sheer impact of the verse, as I say, it's not easy to see what of any importance is being said or constructed by this verbal magniloquence.


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[Assistant] Even if nothing is being said, it doesn't matter. It's the poetic voice, the poetic stance, the poeticizing which creates the effect and persuades one that something very, very significant has been uttered with a power which one could never aspire to oneself but with which one cannot but concur.


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[Assistant] Now, historically, in terms of literary history, that is, what Byron achieved with this poem, Child Harold's Pilgrimage, was, as I suggested earlier, a huge enlargement of perspective.


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[Assistant] English literature became a widescreen large canvas thing. Parameters changed.


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[Assistant] Childe Harold is a European poem. It's not too much to term it world literature.


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[Assistant] And more significantly, it looks forward to the post-Napoleonic era, Britain's century, and the liberation of the traveller, the British traveller, to wander the globe.


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[Assistant] Byron's publisher, John Murray, he happens to be my publisher as well, was the principal publisher of travel books at this period. I should say by the way that my John Murray is John Murray the 6th, whereas his was John Murray the 1st. Byron...


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[Assistant] Did not, of course, invent the style and technique of child Harold. Few poets, with the exception of William Blake, are that original.


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[Assistant] There are many borrowed feathers in his poetry. Like others of his generation,


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[Assistant] The great romantic poets, as we call them, Coleridge, Wordsworth, Keats. Byron returned to two great literary sources, Milton and Spencer.


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[Assistant] From Milton, more specifically Milton's Satan, the perpetual exile, rebel and misanthrope, evil, be thou my good.


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[Assistant] Byron took many of the constituents of the aforesaid Byronic hero. And from Spencer, like Keats, we'll be looking at in a moment, he borrowed diction and stanza form. The materials of his verse, as we may say.


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[Assistant] Now, the opening of, of Child Harold Pilgrimman.


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[Assistant] The opening of Childe Harold Pilgrimage indicates the Spencerian depth of Byron with crystal clarity. This is the opening.


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[Assistant] Willome in Albion's Isle there dwelt a youth, Who nay in virtuous ways did take delight, But spent his days in riot most uncouth, And vexed with mirth the drowsy ear of


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[Assistant] Now that, I mean, if you met those lines wandering wild in Arabia...


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[Assistant] As Coleridge once said of Wordsworth's poetry, you would shout, Byron!


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[Assistant] Now, John Murray, who is the most fashionable publisher in London, needless to say, published the first two cantos of Childe Harold in March 1812. Byron, as he famously said, woke up the next morning and found himself famous. It was a bestseller. And it's hard to convey the sensation this volume of poetry provoked.


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[Assistant] The verse blockbuster is a contradiction in terms in our day. Verse doesn't sell quite that way. Now, it wasn't just that Charles Harold was popular. Other poets appreciated that it was, that other poets, you know, were popular. Uhm.


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[Assistant] Walter Scott, who'd to that point been the best-selling writer in the English language, realized that in fact Byron had outdone him. Byron had beaten him. He, Walter Scott, gave up writing long poetry on the spot. Up in the lakes, Wordsworth and Coleridge grumbled and were sarcastic. But nonetheless,


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[Assistant] They realized that something big and something important had happened in English poetry. Now, two more cantos of Childe Harold followed. And they consolidated Byron's success and they continued to build the Byronic mystique to make him more and more of a celebrity.


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[Assistant] On his return to England in fame, Byron made a stab at respectability, taking up his seat in the House of Lords and making some powerful anti-establishment speeches. But his private life, his private life was irredeemably scandalous. There were notorious affairs.


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[Assistant] That was, with Lady Caroline Lamb was particularly notorious when besotted with him, she stalked him, threatened suicide, and spurned, she, she black guarded him, black guarded him as a sodomite. Which indeed he was.


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[Assistant] Even more dangerously, there was an incestuous relationship with his married half-sister Augusta, and he probably fathered a child by her. Now, fame entails spotlights. The world was fascinated by Byron's loves, lusts, and misdoings. He married in 1815, disastrously.


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[Assistant] And in 1816, he found himself with the poet Shelley and his new 18 year old paramour, Mary Wollstonecraft Godwin, the author of Frankenstein, of which we've been speaking. There was a...


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[Assistant] A new woman in Byron's life, Claire Claremont, she too bore him a child.


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[Assistant] Byron's life hence forward, after 1860 and 1817, would be that of an exile. Exile and active involvement in the wars for freedom around the Mediterranean.


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[Assistant] He, he didn't make any possibility of return easier by writing such poems as The Vision of Judgment on the Death of King George III. It, it's a satire on a feeble effusion by the then poet laureate Robert Sousy, a Lakelander.


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[Assistant] Byron particularly detested him. And Byron called his satire on Saudi also the vision of judgement.


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[Assistant] Uhm, and it piously imagines the dead king going straight from his state funeral to the pearly gates. At least that's what Southey did, it was pious. And Saint Peter throws open the gates.


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[Assistant] Byron's take in his vision, it's the same scenario. His King George also goes to heaven, but it's a very, very different, very different reception that the King gets there. The King of course was old and mad.


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[Assistant] But there are some very bitter reflections on monarchy and on the British establishment generally in the vision of judgement. I'll just quote a bit of it.


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[Assistant] Who flocks to swell or seize the show, Who cared about the corpse? The funeral made the attraction, And the black the woe, Their throb not there a thought Which pierced the pall.


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[Assistant] Of his innumerable mistresses, the Countess Guiccioli. And she promptly left her husband for the irresistible English Lord.


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[Assistant] He had, it pleased Byron to conceive, been hounded out of England by straight-laced, blue-nosed English morality. They couldn't abide a sexual libertarian, a free man in his private life like Lord Byron.


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[Assistant] And this would be the theme of his great new verse narrative Don Juan.


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[Assistant] Now the subject matter is legendary, folkloric. The Spaniard is the great lover, the seducer of women, and so adept in his seductions that none of the other sex can resist him. But Byron, hilariously, turns a legend on its head. In his version, it is the woman who victimized Ewan. That's how he pronounced it, by the way.


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[Assistant] Joan is an innocent young lad whom the ladies simply will never leave alone.


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[Assistant] And around this idea, Juin, like Byron, is forced into s- by scandal into exile.


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[Assistant] And around this, as I say, Baran created a long, picaresque plot. One that goes all over the place.


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[Assistant] Don Juan is one of the longest poems of the Romantic Revival. It was unfinished at the time of Byron's death and was probably unfinished-able. And the unfinished-ability...


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[Assistant] Was a subject on which it pleased Byron to be, as he liked to say, quietly facetious. This is what he says.


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[Assistant] I had not quite fixed whether to make my hero end in hell or in an unhappy marriage, not knowing which would be the severest. Lovely kind of joke.


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[Assistant] 17 cantos in length, each canto the length of a small book, Don Joan would be much censored and suppressed by the Victorians who came after her, more moralistic in many ways than the romantics were.


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[Assistant] Byron, although he was loved by 19th century radicals, because of his dying for freedom and his activity as a kind of freedom fighter during his life, Byron, although he was loved by radicals, was a dangerous poet, long archery's death. Now, Don Duhan,


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[Assistant] Is, among its other extraordinary qualities, the wittiest production of the Romantic Revival. As he wrote about the poem to John Murray,


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[Assistant] You asked me for the plan of Donnie Johnny, which is what I called it. I have no plan, I had no plan, but I had or have materials. You're too earnest and eager about a work never intended to be serious. Do you suppose that I could have any intention but to giggle and make giggle?


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[Assistant] He protests too much, but there is a kernel of truth there. And that quality, wit, which was revered by Augustans like Pope, Pope.


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[Assistant] Hadn't been much cultivated by the other great romantics. Their humorlessness was something


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[Assistant] For which Byron constantly chided them. Now let me just finish with one example.


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[Assistant] Uhm, in The Last Cantos, Don Duane, by an incredible series of accidents, is dispatched as ambassador to England.


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[Assistant] It is the occasion of much satire on, on, on Byron's homeland, but also that peculiar kind of rueful rumination, which is, I think, the most engaging aspect of the Byronic persona or mask.


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[Assistant] This is the opening or prolegomenon of the 12th canto. And note what liberties Byron is now taking with the venerable Spencerian stanza, though he keeps the Spencerian stanza. So there is both conservatism and, if you like, novelty in what he's doing.


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[Assistant] Of all the barbarous middle ages, that which is most barbarous is the middle age of man. It is, I really scarce know what.


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[Assistant] Early pretentious, you know, no more or never more on me. The freshness of the heart can fall like dew. And by now it's modulated into something much graver, much, much, much more serious, much more, much more lovely in a way.


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[Assistant] Now, in addition to writing great satires,


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[Assistant] Byron should be remembered, I think, for some of the loveliest lyrics. And they are lyrics, not ballads. Lyrics, songs.


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[Assistant] Which came out of the romantic movement. And I'd like to finish with what I think


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[Assistant] Is, is one of the greatest of those lyrics. One of the most beautiful. And certainly, one of the most anthologized and loved. It's called, So We'll Go No More A Roving.


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[Assistant] For the sword outwears its sheath, and the soul wears out the breast.


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[Assistant] And the heart must pause to breathe, and love itself have rest.


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[Assistant] Though the night was made for loving and the day returns too soon, yet will go no more a roving by the light of the moon. So, wonderfully sort of moving poem. Byron died of a fever while serving with


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[Assistant] Manning with the Greek rebels against the Turkish occupation. He was a strategist as well as a fighter. He died at Misalongi in 1824.


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[Assistant] His body was embalmed and his heart buried under a tree where he died in Greece. His remains were sent to England for burial in Westminster Abbey alongside the great poets and writers of England. But the Abbey refused to accept that.


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[Assistant] The river is frozen solid, he said. That's wonderful news.


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[Assistant] The boys, Murray and Johnny, they really stepped up and took charge of the situation.


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[Assistant] Today we're making this ice cream in a different way from my traditional way that I make ice cream. So I gotta trust what Jess keeps telling me and then I gotta follow the instructions. The ice cream is ready to go.


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[Assistant] No, I won't. My legs will become dirty. Why don't you listen?


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[Assistant] Well, I know all about cavity, but what's this new thing called density?


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[Assistant] And she writes these fan fictions for Simon Snow, who's this like fictional kind of Harry Potter type of book series. And it's one of my favorite books of all time. I just really love Kath's character, and I love the discussion about being a writer like this book, and especially because she's like in a writing class in this book.


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[Assistant] So that also adds to the like element of writing in here. Love it. And then another young adult book that features a character that's in a writing class is Autoboyography by Christina Lauren.


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[Assistant] He's already graduated high school, I'm pretty sure, and he has actually published his own book already. So he's like an established writer. And then in this class, they're going to be required to write a novel before the end of their senior year. And so then we follow this young boy as he's in this class, like writing this novel.


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[Assistant] The first one I want to mention is this book called What If You and Me, because this was such a unique


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[Assistant] It's like one of the cutest romances, by the way. Oh my god, it's just so freaking good. And then earlier this year, I also did read this one, Seven Days in June. This one features Shane and Eva, and both of them are writers in this book.


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[Assistant] Or like maybe she feels like a side character in somebody else's story. And just this whole idea of like not being able to find your voice because you don't feel like a main character in your own life.


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[Assistant] But that's for like a whole other video, you know? That's a whole other video. These are just the thrillers that feature writers in them that I really enjoyed. Whether or not their book is featured in the book as well.


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[Assistant] He tells the plot to this professor and the professor's like, damn, that's a good idea, but also he doesn't want to like tell him that because the student is already like an arrogant asshole, you know? But then, two years later, the student dies and he reads his obituary and he's like,


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[Assistant] We do get chapters from the book that he wrote that's like the book that would sell millions. So we get like kind of a story within a story in this as well. I just thought it was so well done. I thought it was so...


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[Assistant] If screenwriting is interesting to you, I would definitely recommend checking this one out. This one also has some of the most wild


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[Assistant] It's very strange, you know, Stephen King writes a lot of main protagonists that probably remind him a lot of himself. I wonder if there's a reason for that, hmm. Those are all the book recommendations that I have for you today of books that feature writers. I don't know why, this is just something that I really enjoy reading about in books and even in like TV shows, like I love when


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[Assistant] It just inspires me personally to want to write more and I love that. So yeah, let me know your thoughts and let me know if you like these kind of specific book recommendation kind of videos where I pinpoint one thing that I really like in a book and give you a bunch of different recommendations that have that one specific thing. And let me know if there's any kind of specific thing you would like me to do like this in the future.


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[Assistant] That's a lot of black. But considering you're all dressed in black, you seem to be quite buoyant and smiley. That's a great sign. Jess, you're ready for today. What are you hoping for?


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[Assistant] Here's how it's gonna work. Behind us in the cabinets are a wide variety of cuts of meat.


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[Assistant] You'll take it in turns to name individual cuts. If you guess correctly, you stay in the game. However.


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[Assistant] The first four of you to guess incorrectly will go into round two.


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[Assistant] Number three, wow wow wow wow. Lemnick.


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[Assistant] We're all doing so well, but having two people guess incorrectly back to back has really raised the stakes. I think our number 39.


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[Assistant] So, on to round two. What are you doing? Well, you're going to be cooking with one of Curtis's favourite cuts. That's a rib of beef.


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[Assistant] You're gonna put a salad, aren't you, in this kinda kataifi nest? Yeah, and the dressing?


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[Assistant] You wouldn't eat that on your own. That's a dish to share. And I think there's plenty to like about it. It's such a good bit of meat. It's succulent.


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[Assistant] But, nice looking bread, salsa, sauce.


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[Assistant] The flavors on that kind of red salsa, that sauce, and then also on the green chutney, really good, but really sound, lots of flavor, beautifully seasoned, lovely balance of sweet-sour-salt.


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[Assistant] There's no way of sugarcoating this. Today, one of you


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[Assistant] He didn't do a bad job, but it's the little things that make or break every dish that you put up.


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[Assistant] You did an absolutely spectacular job. That means you're safe.


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[Assistant] Jess, great Thai dishes are all about perfect balance.


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[Assistant] Brendan, in a challenge that is all about beef, rare would have been just fine, but yours was barely cooked.


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[Assistant] Urine and sweat contain nitrogenous compounds like urea. Urea reacts with the chlorine present in water, forming chloramines.


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[Assistant] I danced with Bella for the first time as by Mirbis Duchenne filled the room. And her blue eyes locked with mine.


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[Assistant] We took turns singing and forgetting the words. She led, I followed. A waltz step here. A shimmy here.


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[Assistant] Hands on our hearts, our foreheads touching as we communicated through movement and music, making sense through nonsense. Bella is 83 and lives with dementia. The dance gives us a chance to find each other.


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[Assistant] How did I learn to dance with dementia? Because I'm not a dancer and I'm not a doctor. But I played one in the hospital.


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[Assistant] And a red nose. You know the old adage, laughter is the best medicine?


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[Assistant] I hear that a lot. Now, at the same time, there are studies to support it, but right now, I'd like to take you behind the nose and go beyond the laughter and share a few things that I've seen skating through ICUs in my Heelys, size 11.


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[Assistant] My mentor was conducting clown rounds in the hospital when he was approached by a nurse. They needed to put a tube up the kid's nose. The kid didn't want to do it, so rather than hold the kid down, they asked my colleague if he could help. So the clown asked for a second tube and shoved it up his own nose. Kind of like this. Oh, please, don't do this at home.


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[Assistant] Grabbed his own tube and promptly stuck it up his own nose. Kind of like this.


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[Assistant] The clowns, the nurse and the patient discovered a creative solution for their situation together. And guess what? There's research to back this up. Randomized controlled trials in Israel and Italy


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[Assistant] Show that medical clowns can be as effective as tranquilizers, with no side effects. In 2004, I started conducting my own clown rounds at the Memorial Sloan Kettering Cancer Center in New York City.


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[Assistant] Fan the deck so he can pick, but as soon as the nurse approaches with the needle to flush the port, he starts screaming and cussing like no six-year-old I'd ever heard in my life. So we say, hey, uh, should we come back later? He stops, mouth open.


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[Assistant] So we start playing a song. My colleague on recorder, me on whoopee cushion.


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[Assistant] The nurse approaches with the needle and it happens again, this torrent of four-letter words.


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[Assistant] It went from playing and laughing to screaming and crying back and forth until the procedure was complete. For the first time, I experienced this odd duality of joy and suffering.


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[Assistant] But not for the last time. See, when we're there, we're not there merely to distract or make anyone feel better, per se. The medical clowns work moment by moment to create connections between the clowns, the nurse, the parent and the child. This provides a source of power or control for the child while supporting the staff with their work.


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[Assistant] I've spent over a decade bringing joy and delight to the bedsides of terminally ill children in the top hospitals in New York City. And you know what I've learned? Everyone's hurting.


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[Assistant] Staff, family, patients. The patients in the hospital, because they're hurting. The family's hurting as they navigate uncertainty, grief and the financial burdens of care. The staff is hurting, only it's more than burnout. More and more health care workers are reporting feeling overworked and overextended.


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[Assistant] Now, I'm not so naive as to suggest that the solution is to send in the clowns.


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[Assistant] Argentina has passed laws requiring the presence of medical clowns in public hospitals at their largest province. And this work affects more than the patients. It makes things better for the whole health care team.


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[Assistant] One of my favorite games to play in the hospital is elevator music. I love elevators because they're a place where paths cross, different worlds meet, it's intimate, uncomfortably quiet, and just begging for a little playful disruption. The doors close, and the girl from Ipanema starts playing on ham and organ.


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[Assistant] Because I keep a portable speaker hidden in my pocket.


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[Assistant] So for those used to using the silent sterile elevator, it's a moment of surprise. Folks have permission to acknowledge or not this disruption.


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[Assistant] The game grows with every stop, because as soon as the elevator stops, the music stops, new passengers get on, and the current passengers get to witness the new passengers, uh, their surprise as they hear the elevator music for the first time. You experience the shift.


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[Assistant] Of, uh, of adults standing silently, strangers in an elevator.


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[Assistant] Research conducted in Brazil, Australia, Canada and Germany confirm that the artistic interventions of medical clowns improve the work environment for the staff beyond the elevator and support their work-administering care.


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[Assistant] Promising research in the US indicates that arts programming in the hospital can improve the work environment, leading to increased job satisfaction and better quality of care. My work has taught me how to actually be present. How to breathe in the room with a person in pain.


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[Assistant] How to connect and build trust no matter the age, ability or illness.


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[Assistant] And how medical clowning is an excellent way of using the arts to put the care back in health care. Thanks.


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[Assistant] The Wind in the Willows Episode 31 Dinner at Mole's House


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[Assistant] Rat. Set a frying pan on the stove.


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[Assistant] Mo, put the sausage in the pan.


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[Assistant] How did you get such a nice place? Ask Rat.


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[Assistant] Well, you know what they say. Said rat? One person's trash.


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[Assistant] Rat's cheerfulness made Mole smile.


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[Assistant] The fresh South Australian seafood, the crayfish is just gorgeous. The colour of it, the quality is second to none.


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[Assistant] I've kept it really simple with a crayfish pettuccine and I think it looks really good on the plate. I really hope the judges want a taste today.


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[Assistant] To make the beef koftabors, I start by finely dicing some onions, lots of onions, and a few bunches of parsley. Done.


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[Assistant] Huda's taking the reins on the spice mix. She's got in there allspice, nutmeg, ground ginger and ground cumin.


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[Assistant] Both of us are going to start rolling out these kofta balls, so we save time and get them done quick. Okay, let's get into this. Okay, the small pink pong balls, yes ma'am.


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[Assistant] Tonight we've decided to do beef koftabors with a Greek salad and flatbread and a milk set custard with berry compote.


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[Assistant] We're gonna oven bake the balls, so we'll just get the trays filled up with as many as we can get. I'm sure it's not traditionally cooked on a tray in the oven.


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[Assistant] Hoodah's working on the custard. She's whisking away like a mad woman. So I've gotta crack on with this salad for the kofta balls.


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[Assistant] I'm running out of time and I've gotta just cut these veggies up. I don't mind if they're a bit bigger.


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[Assistant] All of a sudden our lines dried up. We've got no one left. We've still got 45 minutes and plenty of food here.


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[Assistant] We've made so much food tonight. I just hope we haven't sacrificed quality for quantity.


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[Assistant] And it doesn't seem to be working too well. So we're gonna need a plan B, and we better think of something quick.


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[Assistant] So we've got to think there's a lot of pressure cooking for hundreds of people. I don't want to run out, suffer the flatbreads. I'm using about four kilos of flour.


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[Assistant] Great work. Keep pushing.


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[Assistant] My biggest concern is that if those koftaballs are cooked for too long, they could be really dry because they're not sitting in a sauce. We're gonna have to watch them like a whole.


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[Assistant] We've got the koftaballs in the oven. We need to move on to our sweet dish, which is a spiced milkset custard with a berry compote. Raspberries, blueberries, sugar.


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[Assistant] And uh, at the end, a tiny bit of rose water. Just for my signature.


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[Assistant] I've lost track of the time and I'm worried about these coughable. They're looking a little overcooked. What do you reckon? I don't know. This is not good. Ben and I could be in a lot of trouble.


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[Assistant] I'm worried about these kofta balls. I've lost track of the time and they're looking a little overcooked.


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[Assistant] Now, some authors give their names to adjectives for its describer.


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[Assistant] A whole area of poetry. Keatsian is one such adjective, which we use for poetry which is like Keats. But what does that mean?


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[Assistant] I want to begin with a selection of what one might call Keats' theanisms, quotations from him, which express the essence of his project. Keats, for instance, wrote


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[Assistant] Poet wouldn't write, he laid down the law that poetry should surprise by a fine excess and not by singularity. Elsewhere.


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[Assistant] You speak of Lord Byron and me. There is this great difference between us. He describes what he sees. I describe what I imagine. Mine is the hardest task.


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[Assistant] Said Keats, I wish to live with you forever.


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[Assistant] And then, finally, what I think is the ultra-Keytian statement.


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[Assistant] If poetry comes not as naturally as a leaf to a tree, it had better not come at all.


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[Assistant] Those as the preacher would say are our text for today.


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[Assistant] First however, terminology. Specifically that key word which hovers over all the writing in this period and our thinking about it.


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[Assistant] The term romantic, as used in literary history, is many-edged.


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[Assistant] Its most neutral usage is as a period term. That is to say, we apply it, loosely speaking, to all literature produced between the 1790s and the first reform bill of 1832. Any literature, irrespective of genre, content, or intent.


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[Assistant] So even Jane Austen, Primus Austen, is bracketed along with a wild man of the movement such as William Blake. Because they happened at the same period. As long as the shoe fits the chronolog- as long as the foot fits the chronological shoe, it's romantic.


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[Assistant] Now, the term romantic, as we instinctively infer, has deeper, muddier roots. It links etymologically the root meaning of the word with romance.


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[Assistant] The romance is by definition an antique form of literature.


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[Assistant] The most famous example of romance is those legends clustered around the Knights of the Round Table or Robin Hood, which have been recycled in literature originally by oral literature, but then in print from Malory to Tennyson and beyond.


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[Assistant] Now this old literature element in the term romantic is an active ingredient and one which we need to be aware of if we're to use the term accurately or at all usefully. One of the great projects of the romantic movement


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[Assistant] Uh, as we've seen with Coleridge and Wordsworth, was to leapfrog back over the neoclassicism of the Augustans, Pope Dryden Johnson, with their gaudy and inane phraseology and slavish mimicry of alien, Greco-Roman models.


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[Assistant] And reconnect poetry with the primal energies of literature. National literature, ideally. The ballad, for example.


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[Assistant] Now this romantic revivalism produced a kind of pastiche or cod antiquity at its worst, but a new transfusion of real vitality when it really worked.


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[Assistant] Now, sometimes back, we may say, is the royal road to the literary future, and so it was with the great romantic poets. Now,


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[Assistant] Let's look now at just one such retro-literary experiment by the poet who's the subject of this lecture, John Keats.


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[Assistant] The poem I have in mind is called La Belle Dame Sans Merci. Uh, the French means the beautiful woman who has no mercy.


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[Assistant] Who's ruthless. The poem was composed in 1818.


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[Assistant] And it was conceived in appropriately romantic circumstances in a Devon coastal town, Tainmouth, an area which contained some of the most beautiful landscape in Britain. Hardy country, as we'll later discover.


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[Assistant] And as Hardy with his Wessex Tales stressed, it was a landscape alive with medieval associations.


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[Assistant] Legend has it that Keats' La Belle Dame, a poem which centers on what looks like an after death experience, was the 23 year old Keats' last major poem. He was already terminally ill with TB. It's a legend, but one which is appropriate.


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[Assistant] Consumption, by the way, had already carried off his beloved brother Tom, which may explain a cast of melancholy over the poem.


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[Assistant] When he wrote this ballad, Keats was the age of an average graduating college student, but he'd already compiled a body of work which would secure his place in the annals of English literature alongside Wordsworth, Pope, Milton, and even Shakespeare.


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[Assistant] He was one of the marvelous boys of the romantic movement, along with Chatterton, who also mocked up popular pseudo-medieval verse. Now, such boys...


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[Assistant] Did not live long. Chatterton killed himself after being accused of forging his poems, which he was foolish enough to claim were authentic.


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[Assistant] Keats' premature decease was from natural causes, but imminent death from the ailment popularly called the poet's disease, because as Keats himself noted, it sharpened the senses to an almost unbearable level, that gave the poet a poignant awareness of the simultaneous beauty and transience of things.


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[Assistant] Even the most ordinary of natural objects, the flowers of the fields for example, which like, like him, like Keats were short lived things.


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[Assistant] Like poor Falstaff, though I do not babble, I think of Greenfield. I muse with the greatest affection on every flower I have known from my infancy. Their shapes and colours are as new to me as if I had just created them with a superhuman fancy.


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[Assistant] It is because they are connected with the most thoughtless and the happiest moments of our lives. I have seen foreign flowers and hothouses of the most beautiful nature, but I do not care a straw for them. The simple flowers of our spring are what I want to see again. And lastly with


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[Assistant] You'll see far too few springs in his short life.


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[Assistant] Well, enough digression. Here is a poem which I've been pointing towards, La Belle Dame Sans Merci. It opens ballad style with the anonymous poet who's been miraculously transported back to medieval England.


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[Assistant] And this, this poet inquires of a disoriented knight who has evidently lost any sense of his quest. He just, he seems to be sort of completely, as well, out of it. This is how the poem goes.


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[Assistant] Oh, what can ail thee, knight at arms, alone and palely loitering? The sedge has withered from the lake, and no birds sing.


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[Assistant] I see a lily on thy brow with anguish moist and fever dew, And on thy cheeks a fading rose, fast withereth too. This is the answer.


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[Assistant] I met a lady in the Meads, full beautiful, a fairy's child. Her hair was long, her foot was light, and her eyes were wild. I made a garland for her head, and bracelets too, and fragrant zone. She looked at me as she did love, and made sweet moan.


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[Assistant] I set her on my pacing steed, and nothing else saw all day long, for sidelong would she bend and sing a fairy's song.


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[Assistant] She found me roots of relish sweet and honey wild and manna dew, and sure in language strange she said, I love thee true.


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[Assistant] She took me to her elfin grot, and there she wept and sighed full sore.


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[Assistant] And there I shut her wild, wild eyes with kisses for.


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[Assistant] And there she lulled me asleep, and there I dreamed our woe betide, the latest dream I ever dreamed on the cold hillside. I saw pale kings and princes, two pale warriors, death-pale were they all. They cried, la belle dame sans merci hath the enthrall.


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[Assistant] Beautiful poem, but I repeat, what does it mean? Or should we even ask that question? Why not let the poem, with all its mysterious suggestiveness, remain like a melody in our head? Why did it mean anything at all? Why dismantle it? We murder to dissect.


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[Assistant] So, said Wordsworth, when we come to poetry and try to uncover its meanings, we should simply accept it. Nonetheless, wired as we are as readers and critics and students, we must have meaning.


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[Assistant] Clearly the action described here by the Forlorn Knight combines two of Keats' great themes, death and beauty.


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[Assistant] The poem is clearly too erotic. The Belle Dame is literally a femme fatale, the deadly woman. To love her is to offer your neck to the vampire's kiss. Now is Keats meditating on his own love life, which we know to have been fraught and unhappy?


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[Assistant] Anyway, pastiche is the word which comes to mind reading this poem. It is written as homage to Spencer in a consciously and anachronistically archaic style.


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[Assistant] In 1818, the Industrial Revolution was in full swing, a new...


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[Assistant] Glistening and smokey worlds were emerging. Steam engines and railroads were just a few years off.


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[Assistant] And 1818 was also a rational world governed by sensible, utilitarian principles. What a, what a knight's errand, loitering around a lake doing here. Is it nostalgia? Is it a desire to escape a present which was hurtling too fast into modernity? Possibly.


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[Assistant] There is, I think, another more subtle aspect to this poem. Why is fairy land so horrible, and yet, once one is exiled from it, so longed for? In Spencer's Fairy Queen, you'll recall the poet creates an alien realm of fairy, in which he can allegorize the moral virtues.


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[Assistant] Now Keats, I think, is doing something more elusive, but along the same Spencerian lines.


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[Assistant] His land of Faerie, and it obtrudes again in his famous Ode to a Nightingale at the end of his narrative poem, The Eve of St. Agnes. His Faerie land is an imaginary place in which the unconscious, the irrational, can be probed and examined.


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[Assistant] What the poem is asking is the relationship between love and the urge to self-destruction.


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[Assistant] Why do men and women let themselves fall in love knowing that it will mean certain suffering? What is the psychic cost of love?


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[Assistant] Put in terms of a moral conundrum, would Romeo and Juliet have been happier, more fulfilled, if they'd never met each other, and both gone to live out their three score and ten as ordinary people rather than great lovers? How much is great love worth? Is it worth your life?


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[Assistant] Life, Keats's poem intimates, and the great experiences of life, are mysteries to which we'll never know the answers. And the only thing we can be sure about is that there is beauty in the world. And as Keats said elsewhere, truth is beauty, beauty truth, that is all ye need.


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[Assistant] To know on earth and all you need to know. That is all you know on earth and all you need to know.


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[Assistant] Well, we do not have to agree. Indeed, as Keats also said, we hate all poetry, all art that has a palpable design on us that wants to make us agree with it. We don't have to agree. The poet never lieth, said Keats, because he nothing affirmeth.


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[Assistant] He's not a prophet, he's not a sage, he's not a philosopher, he's a poet.


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[Assistant] But it is the power of poems, like La Belle Dame, which impresses. Reading that poem for me is like putting one's finger into a live electrical socket. One feels something very strong, even though it might be hard to describe it.


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[Assistant] Now I began this lecture by turning over the word romantic and looking at its various meanings.


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[Assistant] The most common usage, that which is normal in conversation for instance, is glamorous.


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[Assistant] Glamour, etymologically, is rooted in the old word for magic, but that's another story. Tom Cruise, we may say, is a romantic hero. Now we don't mean by that that he has anything in common with a romantic poet, John Keats.


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[Assistant] Conventionally, the R is capitalized when the word romantic is used in literary description.


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[Assistant] Nonetheless, the romantic poet were romantic figures in the conventional conversational Tom Cruise-ian sense of the word.


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[Assistant] They were personally glamorous in a way that Pope and Johnson, their great literary anti-types, were not.


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[Assistant] They were unromantic to a virtue, these Augustans, as they thought.


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[Assistant] As, as in fact the romantics thought, they were, they were unromantic to a fault.


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[Assistant] Think of the young revolutionary Wordsworth, prepared to fight with the sans-culottists on the barricades of Paris. The opium addicted genius Coleridge, the mad bad Lord Byron and his colleague in the League of Incestors was called Percy Bish Shelley.


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[Assistant] But arguably, the most romantic of the romantics is our present subject, John Keats. He came from nowhere. With none of the birth privileges of, say, Byron and Shelley, two poets had been born into the purple and privilege of English life.


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[Assistant] Keats flared brilliantly and died at a time of life long before most poets have even got their juvenile apprentice works onto paper, let alone into print or into immortality.


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[Assistant] He was born in 1795. His father was the manager of a London livery stable. A gas station owner would be the equivalent profession in modern life. Keats was born and brought up in London.


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[Assistant] And the fact that he was, that he didn't come from the other classes, led to his being called the Cockney poet.


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[Assistant] This was an insult which was thrown at him through his short life by more privileged, crustier critics when he began making a name for himself.


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[Assistant] Now Cockneys, as you probably know, are Londoners born within the sound of bow bells, which is the most central church tower in the capital.


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[Assistant] Keats had through life a cockney accent. Junkets, was his nickname among his friends. Junkets. Said aloud and one gets a sense of what his accent was like.


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[Assistant] If I do, for instance, the first stanza of La Belle Dame in Cockney, you'll get some idea of what people were sneering at.


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[Assistant] Young John had an unsettled domestic life after the death of his father in a horse accident in 1804.


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[Assistant] Uhm, his mother remarried, very unsuccessfully, there were constantly recurring money problems, and much flitting from lodgings to lodgings in a desperate attempt to remain poor but decent. Now, little detail is known of young John Keats' early life, other than that he must, as later events make clear,


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[Assistant] He must have had an extraordinary native ability. A mind that could not be dulled even by hardship, chronic sickness and poverty.


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[Assistant] At 1815 he was entered as a student in Guy's Hospital with a view to a career in medicine or as an apothecary.


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[Assistant] It was a humble trade, it wasn't a profession at this period. Human doctors were less valued in fact than horse doctors.


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[Assistant] Keats began writing poetry in his teens and breakthrough came in 1816 when he had a poem accepted by the radical editor Lee Hunt for his magazine, Hunt's Magazine, The Examiner.


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[Assistant] Hunt was himself a poet and a cultivated man of letters, and he recognized talent when he saw it, and he set himself up as, as young John Keats's patron.


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[Assistant] The connection with Hunt associated Keats with political radicals, which would lead to unremitting and wounding attacks from the conservative quarter, which is very powerful at this time.


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[Assistant] The British establishment was terrified that the same thing would happen to them as it happened to their class in, in revolutionary France. They'd had their heads cut off.


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[Assistant] The attacks on Keats because of this connection with the radicals were...


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[Assistant] These attacks were ferocious and personal. Ad hominem, as the phrase is, they were directed to the man, not the man's achievement.


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[Assistant] So much so that legend has it that Keats' life was actually cut short by a particularly savage notice of his first volume of verse. It came out in Blackwood's magazine in August 18. August 1818.


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[Assistant] The, the, the, the attack was a broadside against what was called the, the Cockney School of Poetry, but Keats was the principal target. This is how that snooty, snooty review opens.


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[Assistant] Uhm, incidentally it should be said that the Blackwoods review was a, an Edinburgh organ.


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[Assistant] He's really sort of out of his, out of his class if he, if he thinks for a moment that he, the son of a


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[Assistant] A stable keeper, uh, could possibly be a poet.


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[Assistant] When it comes to high poetry, we understand only that the highly educated people like this reviewer need apply and not jumped up commoners.


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[Assistant] Now, it's a sneering prejudice, and alas, it's often encountered to this day in class-ridden England. Class is still there.


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[Assistant] Byron was amused by the thought that John, Byron of course he was lordly, uhm, he could give as good as he got in this kind of exchange, but Byron was amused by the thought that John Keats had been so mortally affected by a mirror view that it killed him.


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[Assistant] It was the TB bacillus, not a poisonous review which killed Keats. But there is, as usual, a grain of truth in the legend.


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[Assistant] He was abnormally sensitive to criticism on class grounds. Because, for one thing, his own class origins were so unprepossessing, so low, as they would say in the 19th century. Dickens would run into the same prejudice and after him Thomas Hardy as well.


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[Assistant] There's no question that his background may keep inordinately sensitive and vulnerable.


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[Assistant] It's not something we're aware of necessarily when we read his work, but he and his contemporaries were aware of it to a morbid degree in Keats' own case.


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[Assistant] One of the themes which recurs over and again in our survey of 19th century literature is how many of the very greatest writers, Dickens, Brontë, Hardy, effectively taught themselves.


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[Assistant] Now, one of the secular bibles of the 19th century was Samuel Smiles' manual self-help.


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[Assistant] One of Mrs. Thatcher's most admired books, unsurprisingly perhaps. Keats belongs to this literary company of those who educated themselves by self-help, not privileged educational systems.


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[Assistant] Take, for example, one of his greatest poems, which records the wonderful experience of discovering for himself and by himself the classics of literature. The kind of thing which was classroom stuff at Eaton or Oxbridge. Keats's poem is called On First Looking into Chapman's Homer.


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[Assistant] Uhm, Chapman was one of the early translators of the Greek poet.


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[Assistant] Much have I traveled in the realms of gold, And many goodly states and kingdoms seen, Round many western islands have I been Which bards and fealty to Apollo hold.


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[Assistant] Off to one wide expanse had I been told that deep-browed Homer ruled at his demean.


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[Assistant] Yet did I never breathe its pure serene, Till I heard Chapman speak out loud and bold.


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[Assistant] Then felt I like some watcher of the skies, when a new planet swims into his ken, or like Stout Cortes, when with eagle eyes he stared at the Pacific, and all his men looked at each other with a wild surmise, silent upon a peak in Darien.


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[Assistant] It's a touching and impressive 14-line sonnet and we can even forgive the gross historical error, Cortes never stared at the Pacific.


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[Assistant] Keats, uhm, left medicine without a pang. He would never have been a good doctor. He was too sensitive apart from anything else.


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[Assistant] His first volume, which contains the poem I just quoted, was published in 1817. It proved a highly controversial volume. Why? Not because it was lacking in obvious literary quality, but because it was doing something new. And at the same time, something ostentatiously the opposite of new.


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[Assistant] Keats was carving out a new style by going back to Spencer, and less directly to Milton. Loading, as he said, every rift with awe. Reconnecting with the mother load of English poetry.


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[Assistant] But we should be aware that Teacher's Project was a long way away from Wordsworth's Man Speaking to Men.


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[Assistant] What Keats offered was a poet engaging with a company of great English poets. His literary peers, not his readers.


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[Assistant] That was, as he felt, the company he wished to keep as a poet.


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[Assistant] The crucial element in this engagement or reconnection was diction. The words which one would only ever discover in poetry.


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[Assistant] For him, poetic diction was the currency of poetry.


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[Assistant] The language of poetry, said Hugh Walpole, is never the language of the age.


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[Assistant] Keats had early premonitions that his time on earth was limited.


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[Assistant] Consequently, if he was to join the pantheon of poets, to be numbered, as he said, among the great forever, there would be no time allowed him for a long apprenticeship. Of the kind, for instance, that Milton had laid down in his poet's poem, Lysidas, and himself, in fact, uh, imposed on himself before he embarked on his great work.


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[Assistant] Consumption was wreaking havoc with Keats' lungs as it had with all the Keats.


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[Assistant] Boys. He saw brothers die in front of him. He lived in a world, as he said, where youth grows specter thin and dies. And he wrote his greatest poetry, spectrally thin and dying himself.


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[Assistant] And parenthetically, one may note that the mysteriously symbolic Belle Dame Sans Merci can be allegorized as, as, as Madame Tuberculosis. Just the lily on the brow.


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[Assistant] It could well be seen as a hallucination in the last stages of that disease.


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[Assistant] Keats embarked too early perhaps on grand epic ventures, Endymion, Hyperion.


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[Assistant] Naturally, those of the opposing political party, sons of privilege, all of them, who would be blessed with long lives, most of them, scoffed at such pretension from a cockneyed scribbler.


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[Assistant] He would never have been to university and had even less Latin and Greek than Shakespeare.


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[Assistant] If kids have been educated, we may feel it. It might well have cramped his style.


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[Assistant] Those tens waters, uh, which run through his poetry, his cockney heritage.


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[Assistant] But might not have run so pure had the dons of Oxbridge, you know, got to him and smudged him with their ink. Education might perhaps have cramped that extraordinarily individual genius. We shall never know. Such questions are unanswerable. But Keats, after death,


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[Assistant] Had the last laugh. He has lasted, his critics have not. And there are frustrating gaps in


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[Assistant] Our biographical knowledge of teachers' life. This has the perverse advantage, I think, of throwing us back onto the poems. There are no distractions.


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[Assistant] He may have contracted venereal disease, exacerbating a natural tendency to melancholy. There was an amor foo, a wild love for Fanny Braun about which we yearn to know more.


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[Assistant] Then the few references which we have in his letters and some exquisite but uninformative love poems.


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[Assistant] There were small inheritances and donations from friends which kept the wolf from the door and the pen on the page. And there was the Annus Mirabilis, the wonderful year 1819, in which, dying, he produced his very greatest work.


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[Assistant] A lifetime's worth of literature was compressed into those twelve months. And I'll end with just one example from the Annus Mirabilis, one of the most sublime of his


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[Assistant] Almost universally sublime poems of that year, The Ode to Autumn.


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[Assistant] Now, odes are poems whose essence, going back to the classic master of the genre, Pindar, the essence is spontaneity.


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[Assistant] They catch the glimpse of the rainbow as it fleets by.


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[Assistant] They're very, they're spontaneous poems. They actually interact with the moment in ways that other poetic forms don't. And in this ode of Keats, there is the overpowering sense of something supremely rich coming to an end.


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[Assistant] The autumnal reaper is not just a symbol of harvest, but of death as well.


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[Assistant] The crops die that they may be harvested.


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[Assistant] I read just the opening lines with the hope that you'll recall or look up the remainder. It is a, it is a, if one had to have a poll for the most exquisite short poem in English, I think this would be a leading candidate.


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[Assistant] Season of mists and mellow fruitfulness. Close bud and friend of the maturing sun.


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[Assistant] Conspiring with him how to load and bless with fruit the vines that round the thatch eaves run.


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[Assistant] To bend with apples the moss-cottage trees, And fill all fruit with ripeness to the core, To swirl the gourd and plump the hazel shells with a sweet kernel.


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[Assistant] To set budding more, and still more, Later flowers for the bees, Until they think warm days will never cease, For summer has abrimmed their clammy cells.


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[Assistant] Was there ever a finer and more unexpected epithet than clammy? That's not a word which one normally associates with honey, but with less salubrious substances, but Keats forever transforms it. He transmutes it.


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[Assistant] The harvest was in, the mists he was talking about in that poem thickened. And not to be metaphorical, though it's hard not to be metaphorical where Keats is concerned, tuberculosis cut his life short.


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[Assistant] He died aged 25 in Italy. He'd gone there for the sake of his lungs which were long past any possible remedy. I would sooner fail than not be among the greatest said Keats. Is he among them? Yes he most certainly is.


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[Assistant] His poetry, like everything in his life, is eloquent and poignant and


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[Assistant] His last word, his will and testament was very short, very brief. My books I leave to my friends.


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[Assistant] The richest of inheritances that we have from Kate.


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[Assistant] The Tang monk jumped to his feet as the villagers hid behind trees.


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[Assistant] Wukong, Wujing and Bajie pulled out their weapons. A large shell rose from the water.


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[Assistant] Said Bajie. The turtle bowed its head toward Wukong.


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[Assistant] After a little more hesitation, the traveler stepped onto the turtle's shell. The turtle began to paddle.


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[Assistant] Please visit us on your way home! Shouted someone else.


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[Assistant] Called the monk. Soon the turtle was far from shore. Bajie fell asleep. The turtle glanced back at the Tang monk.


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[Assistant] A few hours later, the turtle reached the other side of the river. The traveler stepped onto dry land.


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[Assistant] The road started to go up a mountain, getting steeper and steeper. The pig moaned.


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[Assistant] Wujing shivered. Look! Said the Tang monk, pointing.


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[Assistant] Higher up the mountain was a large monastery.


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[Assistant] Wukong looked at the monastery. A dark mist hung over it.


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[Assistant] Maybe one of us can sneak into the cave and steal that metal ring.


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[Assistant] In terms of the New Zealand team, we may have a bit of a target on our back now.


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[Assistant] But we don't underestimate Jessie and Kat. No. It's really important to us that we look after our New Zealand teams and if we can help out.


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[Assistant] I was never any good at karaoke. I've decided that it was better for me just to jump in.


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[Assistant] That must be my fish. When I realised what I actually had to do I was horrified.


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[Assistant] There's an octopusy. I'm going to walk two k's to eat some fish soup.


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[Assistant] The smell was horrendous. It was making me want to gag. The smell was that bad. What the hell am I doing in a place like this?


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[Assistant] I was devastated. I had to run back and get another octopus and lose the lead that we had.


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[Assistant] I just had to dig it in and that's what I thought about was just getting to colour with the clothes.


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[Assistant] Team man, what's Sal doing? Uh, just making sure we're going to the right spot. Okay, doesn't hurt.


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[Assistant] A couple of the squid were a bit small, so I decided to try and find some of the big ones just to make sure that I had my five kilos.


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[Assistant] What's the name of the restaurant? Taverna Econômica.


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[Assistant] I keep asking myself, why couldn't I have come too sooner?


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[Assistant] And that's the last thing I remember. The rest is a blank.


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[Assistant] Whatever happened, he's alive.


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[Assistant] Because he wants to finish what he started. He wants to reclaim his birthright and rule over the planet with Jenova at his side.


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[Assistant] That night, five years ago, at the reactor, I saw you lying there.


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[Assistant] And we had in further two first class tickets that we were to offer to another team.


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[Assistant] Will you wait? Ask him if he waits for us.


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[Assistant] Look what I'm doing. Just being a farm boy. I've stacked heights. I've got this.


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[Assistant] We don't want any big logs on there. Use all the little sticks to help. Okay, puppy.


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[Assistant] I love you so much. I've had the most amazing four years, baby. I'd just like to ask you if you'd marry me.


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[Assistant] We probably shouldn't help people as much as we've been helping people. I think if we've got information just keep it a little more to ourselves.


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[Assistant] As an intensive care nurse, I take a lot of pride in my bandaging skills. I don't think it's the worst I've ever done.


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[Assistant] He came off the highway and we were like 10 minutes into suburbia. George? Is this a back way? George? Where are we going? We're going to your house. Yes.


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[Assistant] Georgie, we can't go to your house. We can't, we can't go to your house.


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[Assistant] Now taxi driver, he was going up and around and just doing like these horseshoes and we were ending up in the same spot. The only hope we had was that everyone was in the same boat.


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[Assistant] Tango, I thought we can pump this out. I've got a bit of salsa experience. Ryan can dance. Nah.


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[Assistant] The roads are crazy at the moment. It's gonna take us like 40 minutes to even get to our first location.


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[Assistant] I got into the taxi and I was thinking we'd just signed our death warrant. People will have 40 minutes to learn their tango.


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[Assistant] He's asking us a question? I thought I spoke a little bit of Spanish, but I... Apparently not. Apparently not. It's all a liberal hospital. I picked up he was saying books, hospital, but that's all. Maybe give it to him. Do you want this? No, he doesn't want that.


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[Assistant] Tyson and Sal got it and the way they presented it to the guy was in a way that they didn't want us to see.


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[Assistant] So we get given the clue. It's a beta. And then we get in the car. Quick, quick, quick.


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[Assistant] Poor Georgie, I mean, he gave us everything today. Yeah, I feel sorry for him.


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[Assistant] It sucks being lost, especially when it's due to things you can't really control. I was down.


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[Assistant] Thanks a lot. We saw the boats. We knew we were live.


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[Assistant] What's the wave, bro? A boat comes past, there's massive waves. Shit!


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[Assistant] What do you think?


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[Assistant] This way. Gotta make a detour through a Shinra facility.


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[Assistant] What an adventure to do something like this with my good friend, and we've only got closer.


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[Assistant] Sometime after that, our sisters started to make the Echoke syrup. We didn't discover the properties of the Echoke.


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[Assistant] That was the original people from around here since ancient times. But we then started to make the syrup too.


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[Assistant] All of us here are providing happiness by protecting this animal. And we're also making him happy.


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[Assistant] While you still wanted fugitives, if you stay out of our way, we'll stay out of yours.


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[Assistant] The way this dish is constructed, there's a lot of little intricate pieces on the plate in the past. My presentation hasn't been really great and I've really gotta pick it up today. Tuck in guys. Oh my god.


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[Assistant] It's so important I get this right. The white chocolate base just gives that nice bit of richness to balance out the lemon curd parfait balls.


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[Assistant] I get my white chocolate base out of the blast chiller and put it into a piping bag. If this isn't the right consistency, when I put it into the printer it could just splatter everywhere and look nothing like it's supposed to. It has to be perfect


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[Assistant] I'm really excited to use a 3D printer. It's such an amazing bit of kit. Select a honeycomb setting, press print.


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[Assistant] I've only ever seen 3D printers on the internet, and it's printing food. How good?


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[Assistant] My lovely wife, Caitlin, would be so impressed with me cooking this dish. You know, I cook a lot of desserts, and I think to do this one is a real step up.


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[Assistant] I gently stir the foietine through. I really don't want to break this up too much. It has to have a good crunch element to the dish.


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[Assistant] My caramelized white chocolate base, my lemon curd parfait balls, and my coconut rocher are finished and in the freezer. Now I'm gonna move on to my fennel shots.


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[Assistant] I blanch the fennel fronds in salted water and then get them in an ice bath to stop the cooking process.


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[Assistant] Next, I combine glycerin, cream, and sugar. I bring it almost to the boil, remove it from the heat, and whisk in gelatin.


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[Assistant] Then in a blender, I add the fennel fronds and the cream and blitz it to emulsify and get it into a squeezy bottle.


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[Assistant] It's time to put my phenol shots into the liquid nitrogen. It freezes immediately and turns it into perfect spheres.


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[Assistant] From a ginger snow, I pour in half a cup of the ginger mixture into the liquid nitrogen and start mashing it with a slotted spoon.


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[Assistant] I'm gonna crush it up into little chunks and get it into a blender.


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[Assistant] I've got fennel flowers, fennel fronds, candied ginger cubes, and crisp pearls.


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[Assistant] This dish is so particular, Brendan's plating up was just immaculate.


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[Assistant] I pipe my lemon curd into my white chocolate base. I've got my crisp pearls, my fennel shots, and the rocher discs, and the parfait balls, and my candied ginger cube.


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[Assistant] For my garnish, I've got fennel flowers, fennel fronds, and my ginger snow to finish it off.


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[Assistant] I'm really happy with all the elements. I've managed to do them all, and I couldn't do any more.


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[Assistant] Yeaah, I definitely don't want to go home. This means a lot to me and uhm, I've never had an opportunity like this to be a part of something like MasterChef and it truly is an amazing experience and uhm, I want to take every last bit of it.


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[Assistant] Hey there. What a pleasant surprise.


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[Assistant] It was an absolute pleasure working with you in Midgar. Thank you again!


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[Assistant] Your invaluable intel allowed me to create so much materia.


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[Assistant] Detecting internal monologue. The hell's this weirdo doing here?


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[Assistant] I was created by Professor Hojo, you know. Though your thoughts could be read by any cyborg.


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[Assistant] But, to answer your question, I took a page out of your book and skipped town. Now, the whole world's my laboratory. Speaking of which, I have a favor to ask, if it's not too much trouble. You need more battle intel.


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[Assistant] But yes, though I'd like you to activate some Remnawave towers first.


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[Assistant] They were originally constructed by the Republic of Junon, but were claimed by Shinra after the war. Since which time they've sat idle and untouched, just waiting for SOMEONE to put them to good use. The more towers you activate around the world, the more my processing power will grow.


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[Assistant] As will the area I can survey. I might even be able to construct a communications network independent of Shinra.


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[Assistant] How does that sound? You'd not only be helping me, but yourselves as well.


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[Assistant] Wonderful. I thought you might say something like that. Let's get started then. See that tower? That's your first target.


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[Assistant] Initiating preliminary scan of the grasslands. All ascertain the locations of fiends and natural resources.


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[Assistant] After careful consideration, I have devised a new name for this type of research. I call it... World Intel.


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[Assistant] I hope you'll assist me in gathering relevant data by completing various tasks on your travels. In return, I will use the information you provide to develop new materia, Quid Pro Quo. To summarize, I want us to become research partners. But before that, is there anything you would like to ask?


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[Assistant] With each piece of world intel you collect, you will also provide me with the data I need to develop new materia. What I ultimately produce, however, is for you to decide. I look forward to finding out what we can create together!


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[Assistant] With a special pair of goggles, you can do battle in a virtual arena, regardless of your real world location.


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[Assistant] That's the combat simulator. Or my combat simulator, as Shinra developed the stationary models first. And fret not, it will never be obsolete.


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[Assistant] I'll keep it up to date with Intel from Unique Enemy Encounters.


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[Assistant] I will also endeavor to implement all of the summons once I finish analyzing the myths and legends surrounding them, of course. In fact, after poring over stories from the grasslands, I have finished implementing a new one, the towering colossus known as Titan. Engage him at your leisure. Do you happen to have any questions about world intel and the like?


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[Assistant] These communications towers were built by the Republic of Junon in order to further their understanding of the planet. They scan for all manner of signals, which in turn reveal myriad locations of interest.


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[Assistant] Such as long forgotten ruins and rare natural phenomena. Should you happen to stumble across a tower, please activate it. I must urge you to proceed with caution though. Feral beasts often claim these installations as their territory. Do you happen to have any questions about world intel and the like?


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[Assistant] Simply put, life springs are formed when the life stream breaches the planet's surface. To Shinra, the volume of mako that can be extracted from these springs is insignificant, certainly not worth the expense. But to us, they are a veritable font of knowledge.


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[Assistant] In order to tap these precious reserves, however, you will first need to find them. If you still have questions about World Intel, please ask away.


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[Assistant] While it is normal for creatures to adapt to their environment, sometimes these adaptations make them a threat.


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[Assistant] I would like you to track down and eliminate these creatures and amass data on them in the process. If you still have questions about World Intel, please ask away.


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[Assistant] In certain remote areas, fragments of planetary wisdom have coalesced into crystalline forms.


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[Assistant] One subject is of particular interest to me, that of summons. If you would analyze the crystals in my stead, thus extracting said knowledge from them, I can use it to enhance our materia. If you still have questions about World Intel, please ask away.


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[Assistant] I detected some strange energy signals earlier. My current theory is that they emanate from the remnants of ancient artifacts. But until we investigate, there's simply no telling what the sources might be. And since we have yet to identify them, I have taken the liberty of naming these objects Proto-Relics.


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[Assistant] At any rate, I would be grateful if you could investigate said curiosities and ultimately recover them for study. If you still have questions about World Intel, please ask away.


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[Assistant] In that case, I see no reason not to begin at once. With your activation of this tower, my analysis of the grasslands has already yielded some data. Though hardly substantial, it is enough for me to create materia.


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[Assistant] I wish you all the best in the long journey that lies ahead of you. And remember, you're not in this alone. Should you require assistance, just ask.


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[Assistant] Woo! Nine o'clock. We've got a lot of time to make up and that town is not easy to navigate through.


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[Assistant] Yeah, I thought I thought I'd, yeah, have to spot something or something like that.


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[Assistant] Oh my god. I don't know if I can do this. So I literally sat on the edge for about two seconds and he's like, go. And I'm like, I can't do this.


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[Assistant] Got to the bottom, uhm, quickly unharnessed and ran to you.


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[Assistant] I'll go first. We've chosen the fast forward. And it turned out to be a haircut. Be gentle with me. A fry tuck haircut.


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[Assistant] This is a minor change for Ryan and a massive change for me. Exactly. What if I said, mate, I can't do it now.


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[Assistant] I was trying to think of ways I could get out of it. I was hoping someone was going to come in and be like, we're going to save you. I'm going to save that hair. Goodbye, long hair. You ready for it, Brian?


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[Assistant] This video is sponsored by Squarespace, the all-in-one platform to build a beautiful online presence.


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[Assistant] Hello everyone and welcome to another video. Today I wanted to recommend to you a whole bunch of books to read if you're currently in a reading slump. So these are all books that are under 75,000 words. I almost said 7500 words. Nope, 75,000 words. And they are books that are all quite fast-paced.


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[Assistant] When people are going to die, and so in the early hours of morning, Matteo and Rufus both respectively get their calls from Deathcast informing them that this is the day they're going to die. At the beginning of the book, Matteo and Rufus don't know each other and the whole book is set over the course of one day. They both die at the end is tragic and sad in like a really beautiful, heartwarming,


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[Assistant] It's like a really sharp pain instead of a really dull pain. I don't know if that even makes sense, but regardless, I love this book. I found it really, really engaging, fun. I felt like when I was listening to it, I was going through the story really quickly. There wasn't a spot where the plot dipped at all. I really loved getting to see how this little alternate universe worked and seeing how, like, the effects of Death Cast and a company that


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[Assistant] He's in town for a funeral so it's a pretty sad reason why he's back but he goes back and he sees this pond which is beside his house and he remembers the little girl


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[Assistant] Squarespace is a website builder which allows people to create dynamic, interesting, and beautiful websites with ease. You guys are well and truly familiar by now with the fact that I made my website through Squarespace. I genuinely love my site. I loved building it and I couldn't be happier with how quick and simple it was to put together.


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[Assistant] Squarespace has powerful blogging tools so you can categorize, share, and schedule posts, and also has wonderful analytics features to help you understand the people who are viewing your website.


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[Assistant] If you're looking to make a website, head to squarespace.com for a free trial. And when you're ready to launch, go to squarespace.com slash Kristy Ann Jones to save 10% off your purchase of a website or domain.


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[Assistant] And I very much enjoyed this book. So the premise of the book is that we have our main character whose name is Linus Baker. He lives in a world where the magical


[User] Please transcribe this text

[Assistant] Loved it in so many different ways. And honestly, when I was reading it, I absolutely flew through it. I couldn't put it down. I loved it that much. And so it is a perfect book to read if you're currently in a reading slump, if you're looking for something that's quite cute.


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[Assistant] Guan Yin frowned. It's wrong to hurt people, Wukong. You know that.


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[Assistant] I hurt demons all the time, said Wukong.


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[Assistant] That's different, said Guan Yin. Demons are evil, and you're doing a good thing when you get rid of them. But you must NOT hurt people.


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[Assistant] You will still help the Tang Monk reach the Western Paradise. He will need your help soon.


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[Assistant] In the meantime, you may stay here with me.


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[Assistant] If you're still looking for volunteers, we'd be more than happy to help.


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[Assistant] Which I'm excited to own a finished copy of, so I do still have my art copy, so I have to decide if I want to keep the art copy or the finished copy. I don't know yet, but one of them I'll be passing on to a friend for sure. I love Grown. This one's like a really good.


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[Assistant] Oh my goodness, this is one of my most anticipated books of the year. I'm pretty sure this is horror. It could be just like a thriller if I'm- I can't remember exactly what genre this falls into, but this is the same author as Mexican Gothic, which is what's making me feel like it's horror.


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[Assistant] From what I heard and from what I understand, I think there's a podcast about this book and there's a recent TV show like documentary on HBO that just came out about this book.


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[Assistant] Welcome to the New World Order.


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[Assistant] I rarely talk to the rank and file. Why not take off your helmet? Cloud Strife.


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[Assistant] That was a first class performance.


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[Assistant] And of course, the arrest and execution of Avalanche.


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[Assistant] None of which, frankly, are of any interest to me whatsoever. I gladly wash my hands of it all.


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[Assistant] Yes, provided you keep your distance from Midgar, that is. No more stirring the proverbial pot.


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[Assistant] So we go free, and you get? Sephiroth, dead. He's an unsavory relic of our past, and I want him gone.


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[Assistant] But in our current state, Shinra lacks the resources to get the job done. So I turn to you.


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[Assistant] It's a deal. You have a lead, I take it. The guys in black robes.


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[Assistant] According to Hojo, they're connected to Sephiroth. Shadows of the man, I believe you call him. Follow them and you'll find him. Right.


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[Assistant] Welcome to Undo Junon, our Sunless Oasis. My name is Rhonda. I'm the mayor and sheriff around these parts.


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[Assistant] A woman who could turn you in. And be a hundred grand richer for it.


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[Assistant] Down here though. We know when to turn a blind eye.


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[Assistant] Not that I saw. Did see some black suits though. Two guys and a girl. Looked pretty tough.


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[Assistant] No, don't even think about it. In case it isn't obvious, upstairs is Shinra turf. And the same goes for the elevator as well.


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[Assistant] Don't ask me what, but the company's got something big planned up there, and security is tight. You start anything, anything at all, and there will be consequences.


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[Assistant] Easy, they're guests of mine. And this one was trying to save your life.


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[Assistant] Another one of my guests. I seem to get a lot of them when the world's on fire.


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[Assistant] Someone lowers and sends it back up, along with the others.


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[Assistant] Now my hand was kind of hovering on the delete button. Right? As you are, as I get my phone, I thought I could just delete this. Or I could do what I think we've all always wanted to do.


[User] Please transcribe this text

[Assistant] So I figured I had to knock it on head, I had to take it to a ridiculous conclusion, so I thought I can cut to the plan. I said, look, Solomon,


[User] Please transcribe this text

[Assistant] Solomon, I'm concerned about security. When we email each other, we need to use a code.


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[Assistant] I knew these were all words they used, right? I said, please call me Kit Kat and all further correspondence.


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[Assistant] Uh, and uh, if you're gonna do this, and I highly recommend you do,


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[Assistant] I need to transfer 45 million dollars out of the country because of my husband Nelson's health condition. Let that sink in.


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[Assistant] And this, uh, and this looks fairly legitimate, this is a letter of authorization, but to be honest, if there's nothing written on it, it's just a shape!


[User] Please transcribe this text

[Assistant] That's the worst health condition you can have, not being alive.


[User] Please transcribe this text

[Assistant] How do you plan to set your team apart from the competition? Are there any special routines you've been practicing? We, uh...


[User] Please transcribe this text

[Assistant] If I point him out, he'll be angry. He could destroy the entire palace. It's true.


[User] Please transcribe this text

[Assistant] He'll be able to see which of you is the real Wukong. And he's powerful enough to destroy the fake one. Of course!


[User] Please transcribe this text

[Assistant] We won't harm you if you're truly sorry for being evil. But right now you're stopping the Tang Monk from continuing his journey. Sun Wukong needs your fan.


[User] Please transcribe this text

[Assistant] You two may return to your cave, but you must stay out of trouble from now on.


[User] Please transcribe this text

[Assistant] It's good that you'll be the one to put out the mountain of flames, Wukong.


[User] Please transcribe this text

[Assistant] You leaped out of the pot, disturbing the fire in his workroom.


[User] Please transcribe this text

[Assistant] A burning ember fell to earth that day and started the fire on the mountain.


[User] Please transcribe this text

[Assistant] What's a stand-up guy like you staying at a dump like this for? I can show you somewhere way better. Place is a sty, right?


[User] Please transcribe this text

[Assistant] Whole building's barely worth a hundred gil, and yet the owner's drowning in debt to keep it open.


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[Assistant] So we've got the uh, stars on the path, so we're getting close.


[User] Please transcribe this text

[Assistant] There's one seven. One eye. We're in a way to write photography. So, I need to pee.


[User] Please transcribe this text

[Assistant] At this stage, we were willing to do anything we could to try and get us to get five minutes or ten minutes on another team. So we've got to make sure that they don't catch us and follow us there. Okay, we're going to go.


[User] Please transcribe this text

[Assistant] Sally smashed hers down quicker than I could eat mine. Hey. And Jared was only about halfway through his. Man, that was so good. How did they do that?


[User] Please transcribe this text

[Assistant] Down there? Yeah. So, I'm sure someone had told him to try and get us to go up those stairs. Yeah, straight past.


[User] Please transcribe this text

[Assistant] It was, it was a sign. Yeah. Uh, I could fight. Thought I saw something. Make out what it said. Go around again guys, we'll go.


[User] Please transcribe this text

[Assistant] Hopefully we can catch the boys. Just keep pushing and all of a sudden, other teams have sort of made a ruck, done a ruck, taken a wrong turn and you're up in sort of, up in the front. I still think we can beat the boys.


[User] Please transcribe this text

[Assistant] For a medieval knight, armor was a vital body covering to block the tip of a sword. But armor is more than the unwieldy metal suit displayed in castle museums. Broadly, it's any protective layer. So we still use armor now, like a motorcycle jacket keeps pavement from your skin.


[User] Please transcribe this text

[Assistant] And other organisms use armor, too, except sometimes their armor doesn't look like anything we'd expect. Sometimes it's fancy scales, and sometimes it's a bunch of viruses. First up, though,


[User] Please transcribe this text

[Assistant] All insects have a hard body covering called the cuticle. It's mostly made of a big old molecule called chitin.


[User] Please transcribe this text

[Assistant] And since ants don't have bones, it's the only rigid structure to anchor their muscles and hold their guts together. The cuticle also serves as armor.


[User] Please transcribe this text

[Assistant] Not unlike night's armor. Those layers of chitin are held together by flexible membranes with elastic proteins, especially in places like knee joints that need to move. And overall, those hardened layers serve as a great first defense against a predator looking for a snack. But some insects take their armor one step further, including leafcutter ants.


[User] Please transcribe this text

[Assistant] If you know anything about leafcutter ants, it's probably that they can hoist nearly 50 times their body weight in leafcuttings to take home to their colony fungus gardens. But the soldier ants in particular


[User] Please transcribe this text

[Assistant] Also have some pretty impressive armor. These are the big-headed ants tasked with things like protecting their colony. And the authors of the study found that these soldiers have a magnesium calcite coating on their cuticles to make them harder.


[User] Please transcribe this text

[Assistant] And tougher. In the soldiers, the mineralized coating accumulates as they mature.


[User] Please transcribe this text

[Assistant] And it overall makes their cuticles more than twice as hard. But here's the thing. There's a trade-off between the strength of the armor


[User] Please transcribe this text

[Assistant] And the difficulty of maneuvering around in it. So why do these ant soldiers need super tough armor?


[User] Please transcribe this text

[Assistant] Even though it may slow them down. Because their job is to fight other ants, and ant wars, often over food resources, are brutal. Battles between leafcutter and army ants can last for days, with rows of soldiers locking limbs. And if an ant overpowers its foe,


[User] Please transcribe this text

[Assistant] It's maybe a little excessive. In a study published in July 2020.


[User] Please transcribe this text

[Assistant] Researchers looked at different species of alligator fish. They used data from CT scanners to measure the amount of material in the fish's body coverings. Basically, they're hard armored plates. Then, they compared that to the size of their internal skeletons. The ratios between the two really varied among species.


[User] Please transcribe this text

[Assistant] But the Atlantic alligatorfish was especially well-armored. Its body covering was ten times larger than its skeleton by volume. It's not clear why these alligatorfish are so armored up.