So with that, we come to a close to another amazing summit. And as we say every year, the summit every year gets better and better. And I can't imagine that we've ever had a more esteemed group of panelists and moderators, fireside chats than we did this year. And so thank you all. I'd like to share some of my learnings and tell a story. So I captured five learnings over the course of the day. And I think that you'll appreciate these. The first is that, and I cringe saying this, having grown up in Merck, but Pfizer is the coolest biotech company in the industry. The second is Delios Papadopoulos is a gourmet chef, but the jury is still out on Elio Sahuni. The third is a truism, which is that Sam Waxall cannot be contained. The fourth, I love this, is sometimes you get back from the FDA would make Alan Greenstein. That's one from you, Chris V. Backer. And then you get another, which is the last one, is that if you work in pharma and want to be loved by a dog, and Chris, I have two dogs, so I'm pining for love. The second, more seriously, is a story that takes me back to Majid Jafar, one of our panelists in the rare diseases panel. I met Majid in 2016, January of 2016, in Davos at the World Economic Forum. My first and so far only time at that incredible setting, and it's like speed-nating. People reach out and try to meet with you. And so here was this brilliant oil magnet from UAE who wanted to meet with me. And so we sat down, and he started telling me the story of his daughter that he mentioned today, Alia, who had just been diagnosed with this very rare genetic condition called CDKL5 deficiency, of which there were only tens or maybe hundreds of patients in the world. We had a great conversation, and we've become friends ever since. And the story is that what Majid has done with his wife, Lynn, over the past half decade defines innovation in our industry. They were inspired, saddened, and then inspired by a disease that their daughter had to understand this disease and to find a cure. And so a brilliant engineer, businessman who had inherited a family business, spent half of his time running that business and the other half of his time trying to seek the cure. And what he's done in terms of rallying the world, academics, and industry together in terms of enhancing diagnosis. So today, the disease that we thought was tens or hundreds is now thousands or tens of thousands. And the great progress that he's made in advancing innovation is really an allegory of the world we live in. And then separately, and it brings me to something that we didn't touch on at the level, perhaps that we needed to today, is diversity, equity, and inclusion. And I'll tell a story which I apologize to Majid in advance for telling this, but he started it. And his wife, Lynn, who's a brilliant individual in and of herself is of course not well versed in healthcare, but Majid had started to get to know what healthcare was about. And he told the story explaining what was wrong with Alia, which is that she had a letter missing in one of her genes. And Lynn, you know, perhaps naively said, well, why can't we just replace the letter? And she got mansplained. And then she got mansplained by Majid, she said, well, no, you can't do that. Well, in the end, you actually can do that. You can. And that in the fact may be the cure to diseases like CDKL5 deficiency. And it takes me to this idea of diversity, equity, and inclusion, because great ideas, such as the idea that Lynn have can come from anywhere, anywhere. That's why we need to emphasize diversity and inclusion in everything that we do. And the last comment I'll make relates then to this organization, which if you look back and you look back at our website, you look back at the meetings that we've had up until last year, we've not been diverse. We've been men standing up here talking with other men. Last year we started to change at maybe even more strides, but I have to, and I have to thank you Karun for really standing up as well as the advisory board for taking hold of something that perhaps we should have even before we did. But we're on a learning curve as much as the world is and we're committed in this organization to ensure that when you sign in next year, the people you see on the screen represent the diversity of the populations that we live in. My last comment, then I'll hand it over to Karun or thanks in three buckets. The first I'd like to thank the incredible group of participants, our moderators and our panelists. It was just really remarkable. And the preparation that all of you made and going into today showed in spades. Second, I'd like to thank Karun. Karun is, as Martin I said, once you're in two years in row, you're in for life. Karun is just a force of nature and every year it's Karun's will that makes this happen. And then thirdly and most importantly, I'd like to thank all of you. If you're sitting here over the course of today engaging in this discussion, you have an interest in healthcare.  And that's our theme from end of one to end of a billion. So with that said, Karun, I will thank you once again and hand the mic to you. Copy Andy, I think, what have you said? Thanks for everybody except myself because I can't thank myself. So thanks a lot, we have a, I think if we can go for the full screen, you can see there are a couple of colleagues in the gallery view, you can see all of them, they are there. So thanks here, you know, being with us. But before that, you know, many of you don't know that, you know, background. We had this, our own vendor, what should I mean, see just we got them two weeks back and all these colleagues are joining in from Delhi, Hyderabad and from Jaipur. Different teams are there. I think they did a reasonably good job. You're not able to watch it, but I was on top of them since morning, you know, today, of course, before that also. But I think there's a good learning and they're doing a great job in terms of execution remotely and they've been very flexible in terms of, you know, doing your tech check and everything. Everybody had a scheduling problem and everything, but they were very, you know, like till about two o'clock in the night, they were able to do that.  And yeah, Mike is there, Pratik is there. Where is Pratik? Do we have more? Okay, Pratik is on the next page. Let me see that. Yeah, Pratik is there. I see him, all right. And Dr. Priyanka is there. So thank you so much. I think you had a good job. Hopefully we don't have to do this work next year. We'll do it in person, but if at all we do it, we will get you in. Definitely, I recommend you to all of you. So thank you so much. Now, coming back, I think I've done a lot of work. So I need some rest. So tell us, take over.  I know I believe this strongly. This was the best ever. Even though it wasn't face-to-face. And I should say this. The last time I attended a whole conference from beginning to end, maybe 30 years ago, but I was given the monitor all day-to-day. Great job. Every panel, fantastic. So congratulations. Elias, you have to be short because you overstepped already by 10 minutes. Great job, Elias. Thank you. Go ahead. You're talking about me? Yes, yes, I'm talking to you. Well, I agree with Stelios and I agree with Andy. I think you're a force of nature. I've learned a long time ago that never turn down Karun. It's a lot harder to turn him down than to just accept right away and say, okay, I surrender. And so I surrendered to your requests and all of us did and you achieved an extraordinary result. As always, it's fun to work with you. I think some people had trouble with the background and I did and your team helped me fix it so I'm on your background. But frankly, I think the conference really addressed leading-edge issues and that's what I like about the way this comes together. Andy, as a moderator, I promise once I perfect my couscous cooking, I will invite you. So I'll try to match Stelios in his... We're a good group, we're a group of friends. This is what I like, the fact that we have an open dialogue and I think you're able to attract this as Andy said, the more diverse, more inclusive participant group and moderators as well as contributors, which I think should really be, in my view, an example of what can be done virtually but hopefully next year in person. So that, I'll stop, Karun, and thank you again. Thank you, Les. What do I do? I do the best instructions of my commander-in-chief. So Andy directs me and I go after you or anybody he directs. So you know who's behind me all the time. I was for it.  And frankly, we did it. We brought who you wanted and we organized the things as you wanted. And as I said, guys, don't resist Karun. There's no reason for that. I'm sure all of you agree. Karun will not let you go until you say yes. So just say yes and go. Right? So I have to, Karun, you and Andy were unbelievable today. You're out of time. No, it's okay.  I've been dealing with you on lots of things and it's unbelievable. Andy, you were a superstar today. And all of my, you know, what's really nice is what Elias said about us being friends because it's really fun to adjust and to synergize and to do all sorts of things with people that you respect, that you care about and that are fun as colleagues in an important world. So thank you, Karun. And thank you, Andy. Yeah, appreciate it. So, Lena, you're in Spain and good to have you. You didn't see and I remembered her like, you know, she let bring them and I said, let me find out. You know, she was pretty active on LinkedIn. And here she is. So thanks a lot for being with us. I hope really enjoying this, you know, the weather in Spain. I am and thank you so much for inviting me. You know, even if I live in Spain, I still have all my projects and all my entrepreneurial projects in the States. And it's very exciting to be here and to be still connected to the pharma world, even if I left Novartis so many years. But now, you know, the interest for me here is to not only participate as a scientist, but also as a patient. And that has been my mission right now, which is to push the rare disease understanding and development in biomedical pharma as well, you know, for this community of rare disease, especially for adult rare diseases that have been misagnosed for a long time. So thank you for giving me the chance to continue being linked to this community.  So she's one of those startups. She actually paid for it. And she wanted to pay a registration fee a couple of years back over there. And that's how we connected. And you think I am persistent. She is, I think, two X or three X what I am. And even before this, like, you know, she knows everybody, whether it's Martin McKay or Stelios and others. And it's, you know, I liked it. The email comes to Andy from one of his colleagues that, hey, Karen is going to be participating and she's my ex-colleague. And Andy thought to me that we should have her.  So Karen, welcome back. Thank you so much. May I just say one thing to the, all the former colleagues of Pfizer and everybody else developing drugs. It's really an example of to save one person is to save the whole world. Can we elaborate? So, Karen, from the Talmud, from the Talmud. We can have one on one later. David, thanks for being here. I know it's a busy day for you, David Meeker. Yeah, no, thanks, Karen. So I didn't catch all the conference, but I will say, I think what others have said, there's a tremendous value to having people on panels who have been there multiple times. I think much of our industry and the world we live in are people who pass through and they're sort of 30, 45 minutes talking to somebody or with people you may or may not know well, but there's a depth to this, which comes from having worked together over years. And I think it brings a lot to this conference.  That's great. And John Reid, you know, I hope you are feeling comfortable because Martin said, like your rookie, you know, whatever it was, first time. And when we spoke a couple of days back, I said, you don't know much about the platform, but now hopefully you're getting to know a little bit. And we are confident. Thank you. I really enjoyed my rookie debut and getting into the first game here. Didn't score any touchdowns or anything, but it was fun to be on the playing field. Really enjoyed the opportunity to dialogue. I think one of the benefits of a Congress like this, even, you know, even when it's done virtually is that, you know, it helps you realize what a small world it is in which we operate in the biomedical research community. You know, how much we're all driven by the same core purpose of helping patients and elevating the standard of care. And I think Congress is like this, you know, can be a platform for future collaboration, you know, because it's really all about collaboration and creating the synergies from complementary expertise and resources.  Thanks a lot being here and I hope, you know, probably you'll find some more time next year. We don't have to chase you for your appointments. So you'll keep clear your calendar and you know, I know you're busy, but I appreciate you, you're spending time with us. Karun. Thank you. Karun, I can stand here. Did I pronounce it correctly? Yes, you did. Thank you so much for the invite. I caught the last panel. It's so inspiring to hear from the leaders who are, you know, really pushing forward the frontiers of what farmers going to look like in the future. And for those of us that are in smaller companies, and I'll just echo what John said, I think by working together on a lot of the issues, not just drug discovery and drug development, but how biopharma is seen by the world, how we can help the world. I think I understood Karun's comment there about, you know, if we help one patient, that's part of this huge journey to helping all patients. So I'm just very excited to be here and really appreciate you inviting me and I look forward to participating next year. And congrats, really great. No, thanks a lot. Really appreciate Rajiv call from California or Bostonian right now in California. Well, I had to make him wear a jacket today. So yesterday, we were chit-chatting. I'm part of your fan club and so, you know, I'm gonna just add to the enthusiastic support from everyone. So thank you for that. You know, I have a kid from Bombay with a dream to come to America. So it's very inspirational. Thanks to you to connect some of these dots. So... I'm going to say something to your dad. I'd like to do something for Sam. I know where Sam hangs out. I know how to catch him in his favorite location in New York City. We ran into each other the other day and we had fun. Yes. Well, I think Sam's there every evening at about 730 p.m. because I think this is the second time I'm gonna do that. Anyway. Well, all that means is that you and I both went to the same place on those two days. The data management people will tell you that. Awesome. Well, you know, I will also just say, Andy, you're so brilliant and eloquent. Your comment I think was the one that I'm taking away from the whole great conference, the way you said that, you know, today we're making the drugs, but in the future, it's going to be the data-driven information companies and the companies, the 10 largest biopharma companies in the next decade through decades are gonna be very different from what we've seen today. And that really resonates with me and I think that's a very visionary statement. So thanks for everything. Yeah, thanks Rajiv. And still you need to raise this toast, which is pending for last two and a half years. You didn't raise the toast that day. So we'll have it hopefully maybe in November, December when things really improve and we can have it for all the people in the group. Anita. Well, Karun, thank you very much for having me be a part of this extraordinary group of people. I'm obviously the rookie here, but it's just very fortunate. And when I was doing work related to India, Karun was instrumental in making so many introductions and I'll be forever grateful. And I think ever since I've just been part of this group. And so thank you all for having me. I think this is an industry that has a huge impact on people's lives everywhere in the world irrespective of where you are and what socioeconomic class you belong to and the fact that we're all able to contribute in that despite being part of a for-profit sort of organization as most of us are. I think it's a privilege that I'm very glad to be a part of. Well, pleasure having you and I'm glad your colleague Vivek could join. So between two of you, I think Roy was well-represented over here. Daphne, you did a fantastic job. We have been, you know, chatting, but I think you had a lot of depth the way you did it. So congratulations to you, like what you did. So like to hear not about me, we can say something else. Yeah, thank you. And I wasn't sure if you were talking to me or the other Daphne, which is really unusual. There's hardly ever a situation where there's another Daphne. So it was nice to see. Well, I just say that- Sorry, you missed one thing, Daphne. They actually, Mathai is not here. He won't. When the lower third came, it was your name. It was a mistake at the time because you couldn't watch because you were on stage. You had put Daphne Collar at the time. So quickly they had to replace it and Mathai caught it because I couldn't see that because I was on the stage. So he said, they put the wrong one. I said, it's Daphne, yeah, but it's Daphne Collar. So they corrected that data wrong within a few seconds. Yeah, so what I would say is when you first asked me to be part of this conference a year ago, I thought it was just a conference. I didn't realize it was like a community or I don't know if you want to call it a salon, but these calls that we have every few months, it's much more than a conference. It really is. We get together and I hear, I get to hear from some of the great colleagues here about where the industry is headed and all of the discussion. I actually think that part of it for me has been really rewarding and I really appreciate being part of this community and I really enjoyed myself today. So thank you. I thought it was a great conference and I just complimented everyone who participated. It was wonderful. Thank you. I really appreciate your advice and your insights. So thanks a lot over there. We really appreciate what you're doing and in terms of your professional work. So really thanks a lot, I appreciate over there. Bill Chin, you managed very well, Janet. I think it was a real smooth conversation and I got her text messages from her staff. So she's very happy. She wants the copy of the video to be watched. Well, I have just a few thoughts. I'm laughing because we just talked, Andy talked about dogs and one of my dogs just jumped up and licked me. So this is how it goes. So I guess I would have to agree with everyone. I've been involved with this summit for a number of years now and I really think this was the best. And I think there's just so much community, collaborative spirit enough to continue to sort of provide hope that this industry will continue to be fantastic. I just wanna say something about John Reed as a rookie. He did ask a very good question. Appreciate that. And then finally, I wanna say something about you, Karun. I've been trying to fathom why all of us seem to be at your sort of beck and colt. You know, we say Andy's the supreme commander but I say you're the supreme supreme commander. Andy, you agree with that? You're nodding. And you know, what it is, Karun, is it's not just devotion.  And I just must say that that just touches me so much in terms of how you continue to conduct yourself. I think some of us know about your recent loss and, you know, maybe you don't wanna share that but you have a recent loss of your mom and, you know, this is through all this planning and it's just amazing. So I have a tear in my eye and I, you know, I salute you even more for what you do and what you do for all of us. So thank you. Really, thanks.  I lost my sister two weeks back. Oh, you lost your sister, that's right. Yeah. I was just 69 within like 45 days. But, you know, what all of you do in the industry and academics in the research, I think it's so critical, so important.  Because when you see the pain, when you see the suffering, I didn't talk much in the morning about the deli COVID. I was there for a month in April at the peak. And that too, I was, you know, with my mom for about three weeks, you know, two weeks in the ICU and I could see the patients coming in there. It was horrible. Like, you know, the worst thing is when you see that pain and you cannot do anything, you feel helpless because like the hospital can take maybe like Dr. Tren was in the morning from Medanta. Maybe he can take 700, you know, people in his, but he has got 7,000 people turning up. What he can do, we can't help anybody over there. So the death, the misery and like it was pretty terrible. And that's why I think what we do today, it gives you some kind of satisfaction. It's not that, you know, we all met today and some, you know, magic vaccine or a pill will come at the end of the day. But I think all of you have actually seeded ideas, strategies, selflessly, like, you know, whatever is public domain and people will take it forward. Like, you know, results won't come today, but somebody said about the deals, deals are happening. You know, people, some, they talk about it. They're in public domain. Some are not, but when you have the right set of people in the room, things happen. Good ideas emerge over there. But thanks, I really appreciate over there. So Dhaval, you didn't put your virtual background today, I was told. Because I didn't get one, Karun. You had to buy it, you didn't pay for it, or you know, all these sponsors get it. Oh, okay, well, I didn't pay for it. Sorry about that.  I have to say that the way people communicated with each other got along, the panels were really free flowing. And I liked a lot of the back and forth and Andy, of course, always masterful. One of the things that struck me the most today was a little bit of what Janet Woodcock said. I'm not sure how many people picked up on it, but she called out the community trial where some of the groups got together and tried to do something together. For me, the leaders of that group are right here at this table. Andy was a big driver of that, as well as Dave Reese, who with Amgen really sponsored that community trial. I'm lucky to be at the table with these guys because then I was able to work with them to do something, you know, just join them. But it wouldn't have happened without this. This was one of those rare times that I think we as sometimes competitors in industry actually get together and really be friends and do form those collaborations. So I would say that that kind of collaboration is an example of what you have accomplished. Thanks a lot. Thank you. Yeah, first of all, it was a great day. Each panel was really exciting and there were so many insights that came out of each of them. And after coming to this for quite a few years now, I'm really excited about the community and I'm really excited to get together in person later this year or next year as we start to get back to normalcy. And it's really a testament to the effort of a lot of the people that come together in this community that we were able to come up with a vaccine as well as therapeutics and in such a short time, it just validates everything that we do on a daily basis. And Karun, thank you for pulling all of this together. And Andy, it was a great session and thank you for your coaching yesterday or day before whenever we talked. It's just these little things that matter a lot. By the way, that PDF file, it went to everybody. Like it was so like, you know. It was fantastic. Yeah, very simple things, but it helps everybody, you know, basically. Sam, this is your official time to speak. Wow. Well, I appreciate that. I've already said everything I wanted to say. You know, it is, by the way, I don't believe that Andy really meant that he was going to be the CEO of a company only doing work in med tech and data management. He, you know, was sort of being nice. He's still gonna be the head of research of drug discovery. I'm a big believer in drug discovery. And I only believe that data management works when you've got a lot of data and we still haven't gotten all the data we need. So it's a marriage and that marriage will move forward quite nicely.  I told you then you were a super son and it's rare to find people that are that committed to family and are that committed to what we do here and are that committed to lots of things. And that's why you're so unbelievable. I must say that you've had a hard year and yet at the same time you've been doing everything you can to make this move forward. It's very impressive. And Andy, thank you for just spending the time. I know a lot of my colleagues out there, you know, from John to Stelios to Chris and all of you don't have a lot of time and we all make time for this. I think it's great. I think it actually serves a purpose. It makes our brains move in the right direction. Sometimes they just move and they don't always move in ways that are as useful as this makes them. So thank you. You were unbelievable. Thank both of you. Thanks, Sam. I lost my mother on 9th May, early morning, 2.30 in Delhi and 8th May, I think it was about 11.30 in the night, me, Sam and Dr. Trehin were on a Zoom call at that time. Working on something else, which you know, Sam felt that is important to save lives in India. And this was about, I think, 11.312, we finished that call at 12.30 and after two hours, I lost her over there. And if you look at this screen right now, we have colleagues from different faiths over there. So she, we are all Hindu by faith. So I wanted to celebrate her life on that 13 day. So I had a multi-faith service. So I had a Hindu priest, a Sikh priest. I had a Imam, I had, you know, Reverend Bishop from Delhi was there. And then I wanted to get a rabbi, you know. So I didn't know at that time that, you know, Andy could do the same that Kudish, right? The prayer he told me. So of course, you know, Rajiv has bumped into, you know, Sam in New York two times in the same, some exotic or exciting place. So I called Sam, Sam, I needed a rabbi. So here it was Sam. So he, I think it was Neva Steve, right? So he called me and said, Sam, what's the way to do prayers for your mom?  He logged in from New York and then Bishop was from Bangalore and Imam from Mumbai. So this is the other side of Sam. I don't know how much religious he is, but he knows the right people. So when you need a rabbi to do anything, whether it's your wedding or funeral, you can, you know, besides doing a deal making, don't call me about any weddings, by the way. But anything else, it's fine. That's good.  So Chris, I want to give you the last word. You're on mute, Chris. Because he probably has two, three monitors. You know, a lot's been said, I appreciate Bill's comments and also Sam. I mean, I think I would agree that Stelios said, I think this was the best one yet. And despite the fact that you had so many difficulties through the year and we talked a number of times too and our deepest condolences for the loss of your mother and your sister. You know, I think it also came at a really good time because, you know, even the oldest among us have been through a unique life experience the last 18 months. None of us have ever experienced anything like this. And both on a personal level, but also on a professional level because this crisis put healthcare right in the middle of it. It caused everyone to really think about what we have been doing for decades. I think because what we do has so much underlying risk that the actual process of what we do is very conservative. You know, we haven't, you know, why haven't we been doing online, signing up a patients and consenting a patients before? I mean, it made no sense. But, you know, it has always buttoned on this way. We've also been working in silos in a lot of different ways despite some of the collaborative efforts. So it was a great time I think to take stock of saying, you know, we really had to question almost everything that we do and have done on autopilot for many years and try to capitalize on that for the betterment of patients outside of COVID. So I think that was a really good time for us to reflect on that. I thought although the panels had good pace, flowed well, the graphics were great. I would also congratulate you on, we have done a better job of inclusiveness this year. And what struck me is that in so doing, how much tremendous talent that we capture on that way. There's just amazing talent in this industry and that's the real benefit of inclusiveness is that we actually can bring more people from whom we can learn and who bring different thoughts. And, you know, there's always a risk that those of us who've known each other for many years, we think in a particular way, but you know, it's the need for disruption constantly in our business. And I think we need these disruptive forces by constantly having a new flow of talent and bringing new thoughts.  You know, Andy, you're, hopefully you didn't have to travel quite as much to Japan this year, but still, you know, you're sitting on top of a huge machine and you know, we all know too well, the pressures that people like you and John are under in these large, vast corporations and the job never ends and that you find the time to do this. It's not just a time today, but you know, obviously a huge amount of thought has to go into making all of these panels a success. This doesn't just happen by itself. And it's just amazing that you do that. It's a real act of leadership that goes beyond your just your day job. You're really, I couldn't be more proud of you and how you stepped up as a leader in our industry. So congratulations and thank you. Totally agree with you, Stelios, I think, because Andy will again, he's pretty good in giving the, returning the ball. So he's always accessible because I keep telling him the biggest issue is the access because understand people are busy, but you can't chase once, twice, thrice over there. But Andy, if you are to, even on the weekend, like crisis, which will happen, you will always be at a calm and quiet and give you a council over there. And that's where your strength is there that sometimes you take wrong decisions, sometimes you're like really excited about certain things over there, but you can always count on him because he will either text you right to you or call you. He's available. So it's brilliant. But I must tell you something like yesterday night, it was with Stelios, we are exchanging because I want to make sure that like his chat with Pfizer, his dear friend, Albert goes well because like Chris, you said about the corporation. So the big corporation, have this communication colleagues and their VP of corporate affairs and regularity affairs. So they are very like, they try to put it, they understand that they have to do their job over there. And so yesterday CNBC in India, like I knew they're managing it for a long time. So she said, oh, we are doing this because right now I think whatever Pfizer is doing or going to do with India is pretty hot. Until date, Albert has not spoken to anybody in India. But of course he's been done by his staff and colleagues and Asia-Pacific heads, what all. So this was very timely. I think the heads off to Stelios is that he made it look so easy as if Albert just walked in here since last September, he has been talking to him. He agreed on that. And he kept his calendar free for today and he was very, very open. So there's a lot of excitement. But yesterday, so this Shrin Bhan, she is the emerging editor of CNBC in India. So she said, we want to cover this. I said, okay, what do you want to cover? He said, no, we want to do this Albert Blas chat. I said, the man who's doing it is Stelios. So he said, yes, so we want to bring it live. Do it live. I said, okay, you do it. So I just emailed Stelios that they want to do it live. He says, wonderful, go for that. I said, okay, I told her, he's very happy. You can do that. And she was so happy. And then Stelios said, you wanted to announce it. Like it didn't mean that with marketing point of view. So I said, Stelios said, should he announce it? So she was all over. So what they did today, I'm looking at all the tweets which are there on CNBC in India. I didn't even know what they did, but they got the direct feed from our streaming partners. Because as if it was their feed, which is coming in, it's exclusive, they got it. It's called CNBC exclusive with Albert Blas. But it's got it. And every media house, the newspapers, like whatever he said, I think if you Google it today, you'll find out it's on fire. Like, I told the joking day to Stelios that your fireside actually is on fire. All over India is the first time Stelios spoke. And there's a hope. And I can tell you like, ideas that they're feeling that in this second COVID wave, it was pretty brutal. And the next wave, they think it could be harming the children disproportionately. And the only vaccine which is there available is trial is Pfizer vaccine. So there's a hope that whatever this year, next year, they need that otherwise they will be in big trouble. So Stelios, thanks a lot for getting it done. It is not just getting a CEO of a Pfizer, but it was very timely. Because when we discussed last year, within September was not a time we thought it will be in this situation in COVID with the second wave. But it was great. He came, he was very eloquent and he really meant like in the public domain, whatever he could share. So I think that for me was a big take. And of course, the biggest thing was what Andy did. So smooth, very quietly did everything. And I know, so thank you so much. I know it's about 430 raining in Boston in the North Shore. So I could hear the rain over there. So I know you're all in different locations. Enjoy it. We will definitely try to meet. We are hopefully we are all vaccinated and understand. So maybe in November, December, we'll do our private small dinner, start with that thing should be okay. And we'll keep the dialogue on. But thanks a lot, really appreciate the good work, the critical work all of you are doing. See you soon, all of you, really appreciate. Bless you, have all of you. Thank you. Thank you, Ter. Bye, everyone. Bye. Thank you.


I want to talk about Floyd County Backpack to School Bash. What we do is we give out over 800 backpacks, a lot of kids, a lot of just school supplies, a lot of things we want to do. It's Friday night, six o'clock at Stonecrest. There's so many people involved. They're going to be getting free medical screens. They're going to be doing free physicals for athletic physicals, you know, and that's hard to come by sometimes when they come in and say, I want to go play sports and you've got a rush to get there. I've been there. I've raised two sons. You know, it's an opportunity to get those kids springboarded into school. And that's what we're trying to do. If you want to come and get your physical, if you want to come and get some stuff done, you know, the screenings, diabetes screening, nutrition, and we've got other things going on there. We'll have fire police there. We'll have our media back there if they're not on the call. So there's a lot of other interesting things. So if you've got a big brother who comes with them, they can get their athletic physical there. But we're not limiting. The only thing limited is the backpacks as to what age groups you have. Everything else, it's open to the public. They're in high school and they need the physical, bring them up. That's just coming Friday at 6 to 9 at the Stonecrest Baseball Fills. They'll be a crowd there, you can't miss it.


Manufacturer's Association of Nigeria, MAN, has called on the federal government to create a more business-friendly environment for businesses to thrive in the country by providing basic infrastructures to enhance productivity and help manufacturers go the long haul. The chairman of TNC Group of a section of the MAN Uche Okafo made the call Legos while speaking with journalists on the sideline of a one-day conference on the future of toiletries and cosmetic sustainability in Nigeria. It was an evening of frank talk among vegish men and women under the umbrella of the manufacturer's association of Nigeria, MAN, as it looked deeply into how the business environment has treated them. The conference, titled Unlocking the Portraits of Sucks, Toiletries and Cosmetics Sustainability in Nigeria, was an avenue created for them not only to wine but also to learn new technological ways of breaking even in the manufacturing business. One issue which featured prominently is that of the African continent of free trade area ACFTA. The key thing we talked about today is about ACFTA. So when the program starts are we going to be able to compete? So we want a situation where regulation, government policies will be very much okay to help us compete favorably with our counterparts all over the world. So that when we produce, when we produce, when we make our products here in Nigeria, we can easily move it out to the world. Francis Onatogu is a senior special assistant to President Mohammad Buhari on public sector matters and the Secretary of the National Action Committee on the African continent of free trade area ACFTA. He assured men that trade will commence soon in the area. On the rules of origin, the rules have been agreed on 88% of products. Now the Council of Ministers have also given authorization for trading to start based on what has been agreed on the rules of origin. So the documentation related to what has been agreed is being finalized and once they are finalized and I'm confident they'll be finalized this year, trade will start. Okafor is happy with the value addition that Nigerian-made products are assuming globally. He is optimistic that in the next 10 years and with the right environment, the industry will contribute greatly to the growth of basic products of Nigeria. When it comes to that niche, we are gradually covering that space. Those of us who enjoy indirect exports, when we get the feedback from these products that have gone all over the world, you find out that it is the same thing. It's given out the same results. And so that is where we want to see our products. That's where we want to see the industry at. In the next 5-10 years, we are competing favorably and when the products get to the final consumer, we'll be able to say yes, we have conveniently transferred quality. We have conveniently transferred value. The African Continental Free Trade Area is aimed at creating a single continent-wide market for goods and services, business and investment to reshape the African economies. From Lagos, love Ikuku Uyiduku. Plus, TV News. Thank you for watching.


I'm really happy to be here to talk about it. I always claim that I'm a little bit nervous.  But today I've actually learned that it's not nervousness. It's excitement, right? I'll talk a little bit more later about the first, the S word at the first one in the title, the non-mentionable word here, which is very close to my heart. So I'll explain why that is important also for us. Direct solar power, the meaning of that is that anything that we can do directly during day time with solar power, which is the most efficient way so you don't have to store NED batteries and stuff like that, we are pumping water doing that. We are now using more and more fridges on direct solar power. This was looking into oxygen provision, and I'm just starting up a project also on air conditioning using direct solar power. So that's also close to heart. But the oxygen, the medical oxygen, it's said to be the world's most used drug. And it's used for many different conditions. And in the developed world, it's always available through a hole in the wall in the hospitals, as you know. Nothing strange. In the low and medium income countries or the world, it's very often not available at all, especially in places like rural Africa. In a campaign on oxygen access now, it's been pointed out that one of the main problems with this is that a lot of children die of severe pneumonia, many of which cases could be actually helped with oxygen access. And UNICEF and World Health Organization estimate that around a million children die of pneumonia every year, a lot of that preventable. So in a way, it's a big failure for medicine access in the world that we are dealing with here. In MSF, we do have oxygen available in projects, at least in hospitals and in emergency interventions, not necessarily in our outreach health centers or in the cars where we transport severely ill patients. The primary way we supply it is through the small oxygen concentrators that you all who have been to a field project know about. Original developed for home use in the developed world, but now very, very good to supply oxygen also in field projects. It's being used, the use has increased exponentially over the last years. And you see ordered out APU means what's ordered annually through Amsterdam Procurement Unit. So this is for one of the five sections in MSF. Even that is increasing exponentially. And so is the cumulative availability of concentrators in the field. So based on that, we estimated that maybe there's around 3,000 of these concentrators running across the movement. The way we run them today, they require constant electricity. That's the way they work, which is no problem in the developed world. In the places we are, it may be a problem. But for us, we normally supply them with electricity from diesel generators. Most of the time, they are run on generator power because the power grids where we are are nonexistent or dysfunctional often. The running cost is relatively high, as you can see here. Concentrator only costs about 1,000 euros to buy, but it can cost up to 3,000 euros per year to run it, only in diesel cost, only in fuel cost. Still, this is not a big problem for MSF, of course. But I do think we should talk a little bit more. And maybe after yesterday's session on global warming, we can talk a little bit more about this issue also. But even more important, I think it is that we talk about what we leave behind when we close projects. What's the possibility to keep running anything afterwards? 3,000 euros per year is probably the total budget for a small rural hospital in somewhere in Africa, or at least close to it. So it's not doable. So this is really the sustainability issues I want to talk about. The last one being social and economical sustainability, the first one being environmental. And I do think we should tackle that better than we do. So the background for the SOX project and the objective you can see there, to find a solution for medical oxygen generation using direct solar power during daytime. And then store the oxygen as gas somehow for nighttime use, which would be an efficient way of doing it. The background for it is that I was tech log logistician in a small rural hospital project in DRC in Congo in 2016. It was my first mission. And having been there, trying to figure out how this was working for two months, the section in Amsterdam decided that it's time to close down the project. And that was, of course, a bit of a shock to us being there and knowing all the needs around. But luckily, there was a very good MOH, Ministry of Health, Hospital Director, who was willing to try and continue operations. But beside the medicine that we were going to donate, he did need a little bit of electricity to be able to run lights, some cold chain facilities. And we pinpointed oxygen supply as very, very important here. There's no way of getting that otherwise. It's extremely remote. So I managed to convince the headquarters through the project, the mission, and then the headquarters in Amsterdam, that we install a small solar power system.  And that's when I started thinking about the oxygen supply, because today normally, as I said, we run them on generator power. It consumes a lot of diesel. Today, in Shawana, it's done with solar power. But one small concentrator required 10 big solar panels and 12 of these 12-volt relatively big and heavy batteries to be operational for 24 hours always. That's expensive. And the problem is that you have to replace the batteries with a certain interval, maybe two to three years, which would cost still 1,000 euros per year to do. So it's still very difficult. It works, but it's still very difficult. The idea was that instead, if we could produce more during daytime and then store it as compressed gas for nighttime use, and what the project wanted to find was the question mark in there. What was the unit that could do this local production and compressed storage of oxygen? And we knew that there were things for it. I had found on the web, but it turned out to be very, very difficult to get it. They are very expensive equipment because they are small series. The ones we knew could not even be delivered in time for this short six-month project because they are very, very small series equipment and also very expensive. So the solution that we came up with for testing was a lower pressure storage, i.e. more bulky storage, i.e. more bulky storage, but easier to achieve. So this is the test phase of the project. OK, there's a P disappearing. Never mind. It says set up at EBC, which is the Espace Bruno Corbe in Brussels, a test center. The power solution is normal solar panels, but slightly differently set up than you're used to. We wanted to get as many hours of production as possible out of it, so we oriented half to the morning sun in the east and half to the evening sun in the west to get a little bit more time for production. Solar panels themselves are relatively inexpensive. So you can sort of over dimension that a bit. And then the production and storage solution delivered by a fantastically innovative and nice little UK company called Diamerica. They already had a storage solution, not packaged like this, but the tanks, the compressor, they had been looking a little bit into solar power, which no other manufacturer in the world, I would say, had done. So they put this together as a prototype, sent it to Brussels, and we could test it and verify that it would actually work. Testing in Brussels has its problems. There is sometimes sunshine, as you see on the picture, but most of the time not. But we could still verify that this with some adjustments would work. So after the tests doing calculations on this, I put together this table of, in a way, conclusions. Starting at the bottom with the standard solution today, you see that running on generator, not counting the generator cost, because we would have that anyway, probably, is a very low investment, but a very high running cost. Then going to the Shimana solution, slightly higher investment, but a lower running cost. Then the high pressure storage solutions that exist, but are never run on solar power, that are much more expensive, very low running costs, but we couldn't get to test them. And then at the top, you see the low pressure storage solution that we actually tested. And calculating over three years of operation to compare these different solutions, you see that we actually end up at around the same total cost for 10 litres per minute, continuously 24 hours per day. Same order for the standard now, the one on batteries, so it's not a bad solution, we're testing a little bit. And for the low pressure system. So the final recommendations from the project was that to keep developing this, because you need a pipe distribution system for the oxygen to the patients, which is interesting anyway, not to have the concentrators all around the wards, partner with a supplier to solve some remaining issues, perform a field test which could probably even be shop, i.e. delivering to patients. And in combination with that, also hopefully test a high pressure solution. It stopped there because it wasn't mature really in the organisation to take it further and the companies maybe not really mature. I'm still hoping it will go to further development and use in MSF. But in a way, that illustrates that innovation processes are not just a linear process where you will go along and you can plan that, we will do this in six months or a year. So now it's on hold. But to really show you something that has been successful, I will try to, if I have time for a two minute video. Thank you. Introduce you to the doctor in Shawana, this is the doctor Dadi. He's still there. I didn't realise really when I was working with this that this was an innovation project in itself. But we only have less than a handful of running facilities on solar power and this was the first one ever done for a handover in MSF. So please meet doctor Dadi. This is a hospital that was built and also equipped by the without-frontier doctors in Holland since 2006 that they worked here and they left in 2016 towards the month of August. And this hospital has remained in the hands of the government as it is now a structure of the state and under the government as it is now, as all the health structures are done. We are going to start with intensive care. We are here at the level of intensive care and with children who are under oxygen our concentration of oxygen is going well and they have also followed the maintenance with the arrival of the parents here who have seen that the device is still well preserved and it is well maintained too for the child who comes with a problem of breathing or someone who does not have a lot of oxygen saturation. This is our room of the solar system. We are here in the best conditions. They have the light all night. They have the oxygen. We can operate whenever we want because we have the light regularly and all of this works perfectly. It is not like the normal hospitals in Congo? No, there are many hospitals in Congo where we operate with torch lamps. You operate with torch lamps. There is not even this. There is no oxygen concentration but the doctors are confronted with this donor. That is what you have done. Every month, it is a hospital very far away from our country here. Thank you. I am actually still the tech log in Chamwana very remotely and privately. These are the special thanks. Some of these people are actually here today but I did not write the names. Thank you so much.


A quality leader empowers others. My job as a leader is to make sure that everyone on my team, those who report to me, those who are my equals, those who are above me can do the absolute best they can do. And any and everything that I can give them to support them in their work, I feel like that makes me and anyone around me who's aspiring to be a leader, I feel like that makes you a quality leader is making sure that everyone else around you is uplifted and you're giving them the tools and the resources they need to do the absolute best they can do and to learn. Learning is so important.


You have to read the Word, and I'm not just talking about the scripture of the day or the Instagram encouragement of the day. I'm talking about devoting yourself to the Word to such a degree that you know the Bible front to back. Receiving the scripture as a whole, letting it become a part of you, let God's truth permeate your being, let it transform who you are. No excuses, no setting aside of this important practice, total focus and commitment.


Welcome back to NPTEL national program on technology enhanced learning a joint venture of Indian institutes of technology and Indian institute of science. As we all know we are in the series lecture series virtual lectures on literature and language and we are today on the second part of the module on literary journals. Let us recap of what we had done in the introductory lecture and this was more on the journals that literature is supposed to be in and it was a base of classification used for works of art, literature, music or other creative pursuits. We have seen how they had been characterized by a particular style, themes, form or content and genres could be divided into seven areas novel, poetry, drama, autobiography, short story, essay, biography even though we had seen last time that when it first originated in the time of the Greeks we found that Aristotle had based it on four areas. So, last time we had done the most important of the literary journals which was on novel and I hope you enjoyed that and specially the diversity and the variety of forms and the way that we can look at the literary form of novels. Well we have seen that form and content design and representation reconciling narrative as a whole conversing on style this was true of novel as such as fiction as such. Let us come today at the most beautiful of these genres and where we will see that what is poetry about the genre of poems of poetry as such. Let us think for a while what could have been literature without poetic writings. In what it would have been without the works of Homer in Virgil, the Ramayana of Tulsidas, the Quitanjali of Tagore, the Psalms of David, the works of Gibran, Omar Khayyam of Sonnets of Shakespeare, Gethe of Byron, Keats and Shelley and the many others ancient and modern. So let us ask what is poetry as such. Many of you who really try to see what is poetry about I think poetry is living in everyday life.  Why sir Samuel Jensen had said it is much easier to say what it is not. We all know what light is, but it is not easy to tell what it is. So it is something elusive you can say it is something mysterious it is something which touches you at the same time it is there and all of a sudden it is gone. If I read a book and it makes my body so cold no fire ever can warm me I know that is poetry this is from Emily Dickinson one of the most well known poets of American literature. French poet had said prose is walking and poetry is dancing. So it has a form which has aesthetics involved in it, it has performance involved in it, it has something to do with sight perception and John Fowles British novelist he said which I had just told you now we all write poems each of us write poems whether mentally or physically or as we go about our daily duties. But it is simply that poets are the ones who write in words. So difference is that poets they put it into words in verse and let us see whether it is the verse which matters or it is the mind which matters. Let me look at the qualities of poetry as such. Coming from the Greeks the word it originally means poises which means making the question of making itself indicates that there is a sort of artistry involved in it, it is a sort of handicraftsmanship which is involved in it. It is not something which is just an overflow of heightened consciousness of fillings. Therefore, it does imply the aesthetics of language and when we talk of aesthetics we know that it is something to do with form, it has something to do with design, it has something to do with color, it has something to do with texture and therefore, meter and rhyme are what are commonly used to distinguish poetry from prose. When we look into what Valerie had said that prose was walking and poetry is dancing then let us see how poetry and prose differs. Because of the pleasure poetry lies in its relation to music this is one distinction that I think we can really distinguish from a poem from a prose work because there is a deliberate rhythm or there is an unconscious rhythm, there is a movement in when you read a poem because a prose a fiction can also become poetry like we had in Virginia old novels or we had some essays which were poetic forms and therefore, how do we distinguish do we call them poems or do we call them prose. So, it awakens in us a fundamental response to rhythmic repetitions of various kinds. The rhythm can be different, it can be rhythm of words, it can be rhythm of images, it can be rhythm in the setting or in the symbols used. They respond to subtle and delicate rhythmic patterns, so therefore, we find that this movement or this system which is there in poetry it follows part of a rule or you can say a part of a patterning which goes into its different rhythms. So, therefore, it is a special combination of musical and linguistic qualities, so when we look at music, when we listen to music, is not it the tone, the texture, the way it is sung, the content of what it is being shown. The same way in poetry also we have the lyrics, we have the music which is supposed to give its distinctive qualities above all of course, poetry is wonderful, it deals with wonder, it deals with imagination poems often make heavy use of imagery. Therefore, imagery is a part of the quality of how we see a poem and word association. To quickly convey emotions articulate varying states of mind, how often we have seen that this is the state of emotion we have come across and how beautifully the poet has been able to express it. As I said earlier it is experience of a poem is an ineffable mystery, something elusive if it is there and at the same time it goes away. Well, so while we are doing this lectures I want to tell you students being from engineering stream and from the technical stream that when you read literature, when you appreciate literature, you appreciate it is not as a form of the way that it has been expressed, but you try to look into the system which goes into the making of that expression. It is almost like in science, you have a methodology of course, the methodology here is not so strict, but you know that it has a different background of the history of ideas and in this history in this patterning of the ideas how we go back to the past and how we remodel yourself, you find that we are awareness of reading a poem or appreciating literature as such becomes more enjoyable. Well, so Wordsworth the romantic poet he said poetry is the spontaneous over flow of powerful fillings. So, if you have the spontaneous over flow of powerful fillings then that is enough Davindranath Tagore Indian Nobel laureate he said it was the surfete of emotions when you express yourself and Taylor Samuel Taylor Coleridge a romantic poet at time of Wordsworth he wrote in biography literature which was one of the first book essays on critical theory about poetry. He said that he learned from his school master that poetry please note here there is a quotation even that of the loftiest and seemingly that of the wildest ones, hydrologic of his own it has its own logic as severe as that of science mark you and more difficult and it is more because because it is more subtle, it is more complex and dependent and more and more fugitive causes the causes may be symbolic ones it may be different causes which are there which are hidden in the truly great poets he would say there is a reason assignable not only for every word, but for the position of every word. So, this is what Coleridge had said about the writing of poetry and which he had learned from his teacher he found that it has a logic of its own it has its own patterning resting upon so many other concepts which are subtle complex may be dealing with myths may be dealing with sociological concerns anthropological concerns whatever. Now let us look into a very well known critic on poetry by John Stuart Mill he had written his thoughts on poetry and its varieties and he had said that one many of the greatest poems are in the form of fictitious narratives this is what I had told you in the beginning of the lecture right and in almost all good serious fiction there is true poetry. So you have to find that sometimes a paragraph is a poem and therefore you have to understand whether this is a poem or not or this is prose, but there is a radical distinction between the interest felt in a story as such and the interest excited by poetry. So, what is this difference then for the one is derived from incident the other is from the representation of feeling. So, now we come into the core of the lecture the meaning of representation of feeling the meaning of how you represent this poetics of feeling right and therefore this is how we can say that we can illustrate what a poem is well the poet T. S. Eliot another novel laureate American Anglo American poet he suggested that part of the difficulty lies in the fact that there is the technical term verse to go with the term poetry the metrical composition the technical part. So, when we want to understand what a poem is about somewhere we have to be quite familiar with the technical term verse to understand poetry. So, what are these technical terms do you think that it follows a methodology does it have a fit vocabulary yes very true the typical structural elements are the line what is the line about what is the syllabic content about what is the repetition about is it a couplet in two lines is it a stanza in four lines is it a strophe is it the inverse paragraph. So, this forms in which the technical structures structural elements are being shown it distinguishes what this poetry about well again Emily Dickinson she says tell all the truth, but tell it slant you can represent reality, but you do it in the variables in alternate ways and when you do it in different ways then it becomes poetry if you express it in simple ways of course, you can do that too that also becomes poetry, but it is very difficult as Wordsworth had found out and even Hemingway when he had used narrotology a new form of narrating in his fiction we had done that last time. So, let us see what is this distinction between verse and poetry well if we go back to the beginnings of verse it begins goes back to oral literature does not it and which with sophisticated techniques for conserving important material like in the epics we had that especially in Indian literature we had the mantras we had the Vedas which was transmitted from one to the other they followed a metrical system and derived from an early ritual tater which worked explicitly with rushers or emotional flavors those who are familiar with the rushers system in the Indian poetics you will find that there were so many rushers which pertain to the expression of poetry. Therefore, poetry resides in poetic language is not it and because of it ordinary speech may be it is ordinary speech, but it is a logical it is not a logical sequence it may be heightened it may be polished it may be slanted or it may be crafted it may be even inverted. So, these are innumerable techniques other than voice structure which deals with sound again the rhetoric of sound then reputation variation in the coplate stanza metaphor similes you say it and you have it all right it is a wide expense of experimentation well so if we go back into the history of English poetry as such we see that it had stretch from the middle of the 7th century to the present day of course, all poetry came from music right and even from folk art from folk culture everyone used to speak I mean sing when they used to transmit something of the of knowledge system or of a belief or of anything which they wanted to transmit epics have been composed in poetic form to aid memorization we had already done that in ancient societies. Therefore, we see that all the poems evolved from folk songs. So, this is connected with nature connected with land with connected with people and oral epics through alliteration though alliteration is now a subsidiary embellishment in prose and poetry alliteration is again a form of composition in which there is the reputation of the consonant sounds like you have break, break, break it was a formal structural principle in ancient Germanic verses alliteration was a formal structure where almost all the Germanic forms like in be old etcetera we used to have the form of alliteration as a very strong base of poetry well. So, while we are doing this we will do the understanding of poetry in mandrum will be shifting from one to the other we are not following in chronological you know sequence what is the history of poetry as such as it is a lecture on poetry let us also we take in the inverted way the reverted way of looking at poetry right and it is not that I am going to condition you into making you aware of what is poet reacting it has to be your own individual awareness your own individual appreciation one poem which I may like it may be that the response might be very cold from you. So, it varies from subject to subject and later we will be going into that ultimately it is the reader who is the poet right it is not the poet, but the reader the shift is from the reader to the from the poet to the reader it is he how he makes it right. So, let us look because we are talking about music let us see that how this rhythm or the lyric came into being because poetry can be divided into roughly you can say it is the narrative the epic the dramatic all right and you can see that the lyric form is the most popular than the narrative which tells about a story right sometimes we have some of the poems of Robert Frost right and we have the dramatic which takes in many of the of the qualities from the drama as well as poetry which also is there in dramas right we will be discussing that later and when we do that let us first see what is the lyric right and when the lyric derives as we know from the Greeks again singing to the liar which is a musical instrument. So, it is a subjective personal point of view yes and the lyric poem dating from the romantic era does have some thematic antecedents in the ancient Greek and Roman verse it does have that, but yet the lyric poetry of Europe by the pioneers of courtly poetry there were people who had practiced it in Europe in the courts and also outside the courts, but mostly the troubadours they wear the wandering minstrels they used to travel from place to place and they used to compose and perform songs we have something like that in Bengal the bals the balsangit and they are like poems they compose they sing the whole life is based on rhythm began to flourish towards the end of the 11th century and were often imitated in successive centuries. So, we see that in France specially the troubadours how they used to go from place to place singing songs and you know wandering minstrels and they used to be a colorful lot lyric poetry therefore, consist of a poem such as a sonnet or an ode. So, if you want to classify under lyrics what are the ways that the forms come into then we can see that we have the sonnet right and the sonnet is of course, originated in Italy the Petrarchan sonnet it is a poem in 14 lines and the ode which keeps had perfected the pinderic ode and that expresses the thoughts and feelings of the poet. Lyric in European literature of the medieval Auranasa period means a poem written so that it could be said to music whether or not it is and lyric was the dominant poetic idiom in the 17th century when we talk about Elizabethan age as such right and many say said that the whole age sang it was the nest of singing birds. So, it was almost lyrical right and it was poetry which was in the air people thought spoke lived poetry right while we are doing lyrics let us see what are the ways that it is being ornamented right by some metaphorical language when we talk of metaphorical language we talk of rhetoric and figures of speech. So, these are forms of persuasion you can call it you can call it as forms of elaborations of ornamentation right and when we look into the prosodic form of it that the rhetoric depends upon figures of similarity figures on difference figures on assimilation so and so forth and these are tools to enhance your expression. Let us look at simile right which is a figure of speech I am just giving you some small examples it would be too broad to explain it in every general just a general viewpoint right. So, writers specially in a poem you will always come across this metaphorical devices like a simile or a metaphor simile this is the easiest form of metaphor it is a figure of comparison and comparison is always with something which is alike like the son to a little boy or something like that or a lion to a person who is very very you know strong. So, this is the easiest form of metaphor to perceive because in it both the images or ideas being joined are stated and explicitly linked by the word as or like or a similar linking word. Let us take this beautiful poem by Robert Burns in 18th century Scottish poet who was known for his intensity by his racy dialogues right and not racy dialogues by his racy line and what we have is a translation of the Scottish poem and the spelling of love is different in Scottish. Let me see the simile here oh my love is like a red red rose. So, the link is between the comparison between how he compares his love to a red red rose that is newly sprung in June oh my love is like the melody that is sweetly played in tune beautiful isn't it. So, this metaphor is another variety of language that is used by the poet the word is both as a general term for all kinds of poetic thinking and images and ideas and we have direct analogy well we will jump to all the other figures of speech which I have already told you the metonymy the irony alright to the conceit which was a form which was used by the 17th century poets right before the lecture I had told you we are not going to follow any chronology of which age followed which poetic form right we are going to do it at random whatever suits us right. So, let us see another poetic form that had really you know been used in the 17th century by the poets what is the conceit now it is a half-edge comparison we were talking of conceits metaphor and simile just now it is a metaphorical figure of speech, but it is more half-edge it is a comparison between the similar things. So, the comparison with will be not between the sun and a small little boy right, but it will be with things which are completely different a comparison between objects which have little in common with each other. So, as Dr. Johnson had when he talked about the conceit the use of the conceit by the metaphysical poets in the 17th century by the likes of Marvel Dunn and etcetera he said that it was the most heterogeneous ideas were yoked by violence together and it was something which gave a shock to the reader that such dissimilar objects can be brought together in such a forceful way. So, the metaphysical poets of the late 16th century and the 17th century specialized in witty conceits. So, it depended mostly naturally on wit with intelligence in how they are going to put it all together well the pioneer is John Dunn I think you will look up John Dunn after this lecture and you will enjoy the way that he had really written poetry of course, later he wrote the Holy Sonnet but the beginnings of his poetry career was with his love poems which are really beautiful. Well John Dunn 1572 16th century his works are noted for the strong central style includes Sonnet's love poetry religious poems all the like it was because of the vibrancy of language and inventiveness of metaphor right. Elliot who was a poet himself modern poet himself as well as a critic he said that poetry English poetry should have stuffed with John Dunn and then with that only we could have taken the strands because it was something so beautiful that he had brought in. And this features along with his frequent dramatic or everyday speech rhythms how he experimented with everyday speech rhythms ok. So, when we are talking of everyday speech rhythms we are talking of rhythm as such aren't we and when we are talking of that we will see that when we are going into modern poetry as such into free verses such into images poetry as such we will find that this question of the colloquial speech being transmitted to modern poetry becomes very very significant right. So, Dunn style is characterized by abrupt openings and various paradoxes based on figures of speech of difference ironies and dislocation everything is different, but he wants to put it together right. Just note this opening of the sun rising busy old fool unruly sun he almost rebukes the sun why does thou does through windows and through curtains call on us and again in another poem air and angels twice or tries had I loved thee before I knew thy face or name ok. These are poems the beginnings which shocks you into awareness then again talking of paradox you will find here how he uses the scintillating use of Elizabethan circle imagery scientific being students of science and engineering you will see how this type of conceits have been developed right. He says the use he uses this how the two centric spheres of the Tormick universe and he argues and gives the proof by analogy in the most famous conceit of the two legs of a compass. If they I am just giving an extract of the whole poem right the whole poem is much longer if they be true they are to show us stiff twin compasses or two how he described the lady love and his beloved. Thy soul the fixed foot makes no sure to move but dot if the other do and though it in the centre sit yet when the other far dot roam it leans and herkins after it and grows erect as that comes home. So, what do you find it ideas of two scientific the concedes have been yoked together to give an impression which shocks the people the other into awareness. Again the same poet had written in his holy sonnets that famous sonnet that be not proud again an extract from it that be not proud though some have called the mighty and dreadful for doword not.  Therefore, we find how from this sonnet divine sonnets we can go again skip to the form of the sonnet yes from the metaphysical poets to the form of the sonnets which was as I told you they were quite age old right. They are 14 line lyric poems again forms under the genre of poetry traditionally written in Iambic pentameter and if you talk about Iambic pentameter this is this are verse three quadrants and a final couplet three quadrants in is quadrants is four lines and a final couplet couplet is two lines. So, we have a rhyme scheme of A B A B which is following the rhyme scheme C D C D E F E F different different rhyme scheme in each quadrain of four line each and then with a rhyming couplet. So, this was a almost a closed form of metrical form of poetry writing which was very popular during the Italian renasa and it was again brought to England and when we talk of poetic forms therefore, we see that mostly in the past we do have a many forms which are called closed forms and when we come into the moderns we have the open form. The meaning of closed form in poetry and open form in poetry is just that basically closed form it pertains to rules to a structure which is laid down by that form. Open form is that you have the freedom to have whatever you write about right. So, you do not have a definite rhyme scheme you do not have a metrical form or you can employ yourself in a free verse in whatever way you have right. So, Shakespeare's sonnets right we are now coming to William Shakespeare in the 17th, 16th centuries are a collection of 154 sonnets most of us know Shakespeare as a dramatist do not we Hamlet, Othello, King Lear, Midsomer's Night Dream is it not, but he is known mostly for his collection of 154 sonnets. Famous sonnets beautiful sonnets dealing with themes such as the passage of time, love, beauty and mortality first published in 1601 right. Yeah I will just give you an example of this sonnet 116 right. Let me note to the marriage of true minds admit impediments this the whole 150 sonnets divided into may be addressed to his lady love, may be addressed to his rival poet, may be addressed to a dark lady right. Many say that the sonnets are that autobiographical expression of his own life right here the sonnet has been remodeled the Petrarchan sonnet has been remodeled in the form in which Shakespeare you know really was was free wheat and this is a beautiful sonnet by Shakespeare. Let me note to the marriage of true minds admit impediments love is not love which alters when it alteration finds or bends with the remover to remove. So, when you read this the entire sonnet what do you get? You get here not only imagery, nature and lyricism and so much of pathos at the same time of imagination. When we talk of Shakespeare sonnet we come again jump into the Victorian era right. From the 17th century we are coming to the to the almost 19th century beginning of 19th century right Elizabeth Barrett Browning wife of Robert Browning her sonnets of the Portuguese were well known it became so proverbial it became so impassioned that it has become some type the emblem representation of every love poem that is famous for. So, this is from sonnets from the Portuguese one of the sonnets. How do I love thee? Let me count the ways I love thee to the depth and breadth and height my soul can reach when filling out of sight for the ends of being an idle grace. I love thee to the level of every day's most quiet need by sun and candlelight. I love thee freely as men strive for right I love thee purely as they turn from praise. So, we find that in this sonnet many people have said that the passionate rendering of love no one has been able to equal that of Elizabeth Barrett well. So, coming now to another text let us see how we look at poetry. M. S. Abraham's The Mirror and the Lamp it is a very well known book in published in 1953 when he talked about romantic theory and the critical tradition and it has been one of the most influential studies in the fields of poetics and theory. He patterns poetry into four coordinates in a patterned model for understanding the whole complex of literary theory and the distinction between the four coordinates right yeah it did not come out yeah universe audience artist and work and he serves to outline the historical evolution of art theory. So, we find that there are these four coordinates where we have the universe we have the artist we have the work and we have the audience and it serves to outline the historical evolution of art theory as such. So, somewhat oversimplified the four political systems means that therefore, because the mirror when you look at the mirror it is sums of reflection it is a form of mimesis or it is a form of imitation which Aristotle had already laid out that all art is a representation of imitation or mimesis. So, this mimetic mimetic means imitation theories are all oriented towards the universe how nature is how man is how phenomena is whereas, the expressive theories are author oriented where you look at yourself when we look considered a title of Abraham's book the mirror and the lamp. So, you see the difference between the mirror which is an imitation a reflection of the world or representation of the world and when we look at the lamp which gives its own light which projects its own perception of the universe right. So, these four big poetics that exist next to each other are the symbolic or the romantic which is the expressive then the realistic is the mimetic almost snapshot imitation of reality and the classicist which is the pragmatic poetics are visualized as vertical pillars in relation to which individual poets are located right. So, the sieves in addition to the mimetic-pragmatic expressive and objective theory do are we being happy with this division no. We will see that the sieves will go to more realistic more classicistic more romantic more symbolic theories to make a distinction between two traditional categories in European poetry the symbolic and the romantic. Now, let us see as Abraham's had seen for the romantic poets that is specially the poets of the romantic era in the 19th century Wordsworth, Kate, Shelley, Byron, Coleridge etcetera we have that the artist of poet does not imitate or passively reflect reality they do not do that that is an inert restrictive art, but the romantic poet he expresses the vision of his mind which sets light upon the world. So, he gives his own idea of how he looks at the world. So, he compared to views of the artist today images of the mirror and the lamp right and this is how we had already discussed that for the romantic artist the poet's mind is like a lamp illuminating a greater spiritual reality maybe there are levels of consciousness levels of perceptions which go into the making of the poem right. So, I will just illustrate from a poem by William Bake who was a pre romantic just before Wordsworth around the beginning of the end of the 18th century and the beginning of 19th century and he was the most important aspect in him was for the first time we have a painter who is also a poet. So, he experimented with the visual language as well as with the verbal language later we will be doing some of this experiment in German poetry and we will see that this is become a sort of interchange between two forms of expression and representation right. Most of you must be familiar with William Bake's famous poem the lamp I am just giving you excerpts from it right not the whole poem little lamp who made the does down know who made the this is from songs of innocence gave the life and with defeat I think this is almost a compulsory poem in almost all school curriculum then we have in reverse we have the other poem the tiger this is from songs of experience by William Blake tiger, tiger burning bright in the forest of the night what immortal hand or eye could frame that fearful symmetry you find that there is as much wonder at the lamp whom who is a creation gentle creation of God at as that of the tiger. So, you find the entire meaning of perception of the visual perception of form takes on different expressions does not it yes going to the romantics again when you read Lucy poems I think most of you are familiar with the Fadils right which is a very well known poem of Wordsworth then he had this Lucy poems about five in order which he wrote around the 19th century beginning of 19th century and he this was a famous poem where he sought to write unaffected English it was pure English that he tried to English language which would be close to the ordinary speech of the unadulterated mind not something which is obeying or artificial or something which is of superfluities. So, there was this experiment with form as well as with language as well as with matter this was one of the first Lucy poems she dwelt among the untrodden ways beside the springs of dove a maid whom there were none to praise and very few to love all throughout while we are doing all these poems going through different genres of poetry as well of different ages of the poetic experiment you must have noted that every poem that we have dealt with had something which was remarkable in it what do you think is that the rhythm is not it rhythm and the composition of words I think this is one of the things that you have to note always the beauty of words when so while we are going into M. H. Abraham's idea of the mirror and the lamp that it can be the mirror it can be the lamp and most often it is the mirror and the lamp together that we see how an expression is poetic expression comes about right. We let us look at influences on poets mostly on English poets right and Harold Blooms the anxiety of influence it is a very well known book right a theory of poetry he argues right that new poems originate mainly from old poems right. So, there cannot be that something which is based on native weight or something which you have taught all of a sudden right and he says that a primary struggle of the young poet is against the old masters and this will be again reiterated by T. S. Eliot in his essay tradition and individual talent right. So, you see the new poet when you see a new poet in the offing that we see him always against the old masters in the prevailing composite scenario of the old masters whether it is a comparison whether it is a influence. So, according to Blooms he says that a poet is the FEB what is he he is the FEB must clear imaginative space for himself through a creative misreading he calls it misreading of the strong poets of the past only strong poets can overcome this anxiety of influence or mis prison he calls it right and lesser rights become derivative laterals and never achieve poetic immortality for themselves. So, a poet who has to be acclimatized, who has to be a familiar it is not that you are a imitator, but then you know about the poetic tradition who has written what and then this misreading of the strong poets of the past and if you are uncooled in this anxiety of influence somehow you will not be able to come out of this anxiety of influence right and only strong poets can overcome this anxiety. So, what does he say now Harold Bloome on this anxiety of influence very interesting easily the struggle between the young poet Defibi and the citizen of poetry as ancient Athenians termed him and his great precursors is more of a psychological a gone where the young poets only weapon against the great is creative mis prison just now I mentioned that a successful misreading of past work allows Defibi room for his own voice to be heard and is spectacularly successful he can do of even the precursor to make us read the precursor in terms of the later poet rather than vice versa right well. So, he covers when we read the book I hope you will read it when you have time covers the last 500 years of western poetry he goes to the influence anxiety of influence right showing a genealogy of giants icons starting from Shakespeare we had just done Shakespeare right as a sonnet form who begat Milton who comes the great epic poet who begat Wordsworth who begat Shelley and kids who begat Browning who begat Yates Irish poet. So, you see that the whole lineology it is working as a sort of genealogy of influence he again traces a similar American line from immersion to Stevens well as Stevens is also treated with tangential reference to figures as diverse as Pindah Homer Virgil Dante Gaethe Wilke and many others from the Germans to the Romans to the Greeks right yeah another book that we will refer to and which will help us in appreciating poetry and our awareness of the patterning of poetry as engineering students. So, let us see what is the system which works when we read a poem and how we interpret a poem last lecture we had done on novel and we have seen that there were so many different methods critical methods in the interpretation of our text right postmodernism structuralism etcetera. But, here specially in poetry we do can apply the same methods here too, but we have seen that the studies have been amazing in the way that all this have been written on the art of representation. So, Client Brooks in the well wrought and he talks about the structure of poetry right that poetic language he says in the first chapter itself that it is the language of paradox we had just seen done haven't we that he had based it on paradox he had based it on irony he had based his structure on dissimilarity same way Client Brooks also gives example from done it is a language in which the connotation play as great a part as the denotations as in science Brooks in his interpretation challenges the conception of done as being an early example of the use of eccentric metaphor he calls it eccentric metaphor anticipating it is an alien right the moderns instead asserting that he is an extreme example of what all good poetry exemplifies namely paradox. Brooks does this by comparing the symbolic imagery of done's verse with that of Shakespeare in Macbeth. So, this imagery that he talks about the symbols that are used in drama of Macbeth to that of the symbolic imagery in done's verse he also gives the application of Keats John Keats romantic poet second generation of romantic poets best known application of this doctrine of dramatic appropriateness in Brooks analysis of Keats owed on a Greshan earned here Keats had written about six oaths and owed on a Greshan he had used this paradox on dissimilarity and I think most of us know that heard melodies are sweet but those unheard are sweeter isn't it truth is beauty beauty truth that is all you know and all you need to know this is something of the immortality of the lute players that he wanted to express the immortality of art and that of inscribed on the ancient way earned well. So, now we come to the last part almost almost the last part of dramatic poetry the regular rhythm form of Shakespeare's blank verse. So, this is most of the blank verse which is almost like colloquial speech and this is the Iambic pentameter is called blank verse. Let us look at the soliloquies of Shakespeare only one from Hamlet I think most of you are familiar with this when he says he talks to himself it is a monologue to be or not to be that is the question whether it is nobler in the mind to suffer the slings and arrows of outrageous fortune or to take up arms against the sea of troubles and by opposing anthem you must have come across this this is from Hamlet and we see that this is a soliloquy which forms as a base of dramatic monologue in Browning later right and even in done we have seen how he had experimented experimented in the 17th century from the soliloquy to the dramatic monologue that is again another form of poetry that is being experimented by poets. So, it is a verse composition right what is a dramatic monologue it does not it is not in a drama like Hamlet's to be or not to be, but it is absolutely separate as a poetic form. Here in a monologue address to the reader or to a presumed listener dramatic monologue in poetry also known as a persona poem shares many characteristics which are with a theatrical monologue everything of the drama it has conflict character persona identity everything you will find in the dramatic monologue. We find the best practitioners in the Victorians Robert Browning Alfred Tennyson's releases this complex relationship is evident in the following excerpt from Robert Browning's My Last Dusses that is My Last Dusses painted on the wall looking as if she were alive this is about the Renasa about a lord how he ultimately murders his wife and about a painting how he talks to an observer about the painting of the last dusses. So, it is a beautiful specimen of the dramatic monologue right all the qualities of the drama use of blank verse is being there now we come to the free verse in the modern's poetry organized to the cadences of speech we are talking of closed form we are talking of open forms right it is free only in a relative sense. So, it is a fixity and flux which is the very life of verse it does not pertain to any rules more to colloquial rhythms of speech sounds words sentences we had talked of Eliot tradition and individual talent he had asserted that tradition is necessary and the poet writing in English may therefore, make his own tradition by using materials from any past period he can, but then he used it and he modifies the past with the present it is not that he imitates right as he had done by using myths so many illusions in the wasteland love song of J. Alfred proof of supposed to be the most modern poem of the age of literature of English literature you just note the title ironic title and such a prosaic title right that itself is a ironic representation of what the poem is going to be here you can see how it begins. Let us go down you and I this is from Eliot's proof of poems when the evening is spread out against the sky like a patient etcherized upon a table you see the imagery it is almost like done right where there is a difference of imagery and very very unlikely imagery has been used here in the abrupt opening well now we will come to the very very close connection between Oriental poetry and that of modern poetry well Ezra found one of the very co poets next to Eliot modern poets in his poem in a station of the metro it is only in two lines the apparition of these faces in the crowd petals on a wet black dow so what do you bow what do you get of it it is a very visual impact two line poem right and he said that what when the sensation came to me it was like a stretch of color as if images had come to me a language in color right this you will be surprised you know has been influenced by the haiku poetry of the Japanese they wear a 17 syllable poem poems and which contains a special season words sometimes it also has many regulations very intricate regulations supposed to be such a short poem of 17 syllables it deals with sound but then the most rules are there the famous frog poem of Basso 10th century Japan old pond leaps flesh a frog this is a famous haiku right and try to understand what this is about so the rules are beautiful all right and very intricate based on riddles myths associations you have to know about so many things to know about this this poem right this poems now we are coming to the last of it the meaning of things in real right and many of you who have known about Reina Maria Rilke 19th century poet modern also one of because of a modernism you find that he experimented with form he experimented with expression especially with painting and sculpture and poetry right and he created object poem his association with painters like Cezanne the impressionist and rather the sculpture French sculpture was proverbial so he concentrated on physical object clarity of physical objects just as a poem should be able to represent that of the of whatever the painter order sculptor is doing famous poem from his thing poems that painter from seeing the boss he is seeing so you can almost feel the physical presence of the object that is being shown the object poems that he called them archaic torso of epilogue again influenced by Roder sculpture. So, in the discussion let us see we have come across so many different forms of poems next time when you read a poem you will be saying that how can poetry be defined is it can it be defined what are the poetic devices to engage readers why is imagery and symbolism as a poetic literary device how have dominant pieces of literature literature been inspired by poets what kinds of comparisons do you use whether metaphor similes what kind of difference does it make when a poem is read aloud this is a big point all right the sound of a poem makes a lot of difference in school before we used to really learn by heart and that is the original way of reading a poem not to be read poems are to be read out loud so that you get the impact of the sound and the rhythm right. So, at the end of it all right every good poem begins as the poets but it ends as the readers does not it thank you references used these are some of the references we have used in the lecture I hope you enjoyed listening to this genre literary genre on poetry next day we will meet talk of another genre in literature thanks