Lesson video

Hello, and welcome to this learning on The Trickery of Love.

So for today, that trusted equipment, your paper and your pen for me, please.

Make sure you've got both of those.

Ensure that you have got your lovely, quiet learning space that you've taken a moment to clear away any distractions you might have.

So when you are ready let's begin.

With looking at the Trickery of Love today, we're going to particularly look at our mechanical Bottom and what will happen with Oberon's plan to get revenge upon the Queen of the Fairies.

So let's begin by starting off with this question.

How can we best describe Bottom? Bottom is the mechanical who is playing Pyramus in the play that they are due to perform for Theseus and Hippolyta.

So can we describe Bottom as an intelligent man? Number two, a wise man? Three, a fool? Or four, a great actor? Have a quick think.

Of course, he is the fool.

He is the fool of the play.

The mechanicals themselves are foolish, ridiculous characters but Bottom is particularly foolish.

He is not intelligent.

He thinks he is.

He's not wise.

He thinks he is.

He thinks he has all the best advice for the play, but he can't even get his words correct.

He gets those muddled.

And he is not a great actor, but once again, he thinks he is.

So he thinks he's intelligent, wise and a great actor, but in actual fact, we can best describe Bottom as a fool.

So, as we have already had in our play, we have a disruption to the narrative.

Our narrative gets interrupted.

It gets interrupted when we change settings to the magical forest.

And once again, Shakespeare disrupts the narrative.

We are focused on our square or rectangle of lovers where they're all suffering from unrequited love because Lysander loves Helena, Hermia loves Lysander, Helena loves Demetrius, Demetrius loves Hermia.

So we as an audience are focused upon the love between our four Athenian lovers.

We're focused on this serious dramatic situation where they are all suffering from unrequited love through Puck's mistake.

But Shakespeare he doesn't let us find out what's going to happen with them.

He switches, he disrupts the narrative and swoops to our mechanicals, our group of ridiculous and comical characters.

So we have our serious narrative of the lovers, which is becoming quite comical because of the way Lysander is so mellow dramatic that he'll run through fire for Helena to declare his love.

But we've now got the true, ridiculous, and comical characters of our mechanicals, but particularly Bottom's character.

So the mechanicals, they have to rehearse their play.

And Bottom has some wise words, because remember, he believes he's intelligent and wise and a great actor.

"Nay you must name his name and half his face "must be seen through the lion's neck.

"And he himself must speak through, "saying thus or to the same defect: "'Ladies' or 'fair ladies I would wish you' "or 'I would request you' "or 'I would entreat you not to fear, "'not to tremble my life for yours.

"'If you think I come hither as a lion, "'it were pity of my life.

"'No, I am no such thing.

"'I am a man as other men are.

' "And there indeed, let him name his name "and tell them plainly he is Snug the joiner." So Bottom has some fabulous advice or so he feels.

Their concern as a group of mechanicals is about the people who will be watching their play will be very, very frightened.

And they'll be frightened because there's a suggestion perhaps that their acting is so good that the audience at Theseus and Hippolta's wedding will not realise that it is not a real lion, that it's just a man in costume.

So the decision is made to adapt the start of the play to address the audience so that they don't get scared that there's a lion, particularly the ladies.

If they see a man dressed up in a lion's costume, they might think it's a real lion.

So this is a, this is comedy value already, isn't it? That the audience watching the play will genuinely believe that there is a real lion on the stage.

So they want to put the ladies' minds at rest.

How gentlemanly of them, how lovely of them.

But even in this speech, he can't get his language right? Or to the same defect.

A defect is a problem with something, a flaw in something.

And he actually means effect.

So he's getting his language muddled at this point as well.

And when he's talking about a defect, something that's wrong with something, it's quite amusing, even more so because he's actually describing their acting accurately.

Their acting is flawed, it has defects, it has problems with it.

So that makes his speech even more humorous because in some ways he doesn't get what he's truly saying.

And Shakespeare's relying on the audience a little bit, our Elizabethan to pick up on the fact that Bottom doesn't see his own mistakes and that the audience will be able to laugh at him further, not just for what he's saying about the lion idea being ridiculous, but the fact that he's actually insulting the mechanicals acting without realising he's actually doing it.

Credibly clever.

And it's quite funny for the audience that they won't believe that this line isn't real.

So Bottom's advice is that Snug the joiner who plays the lion must reveal part of his face and tell them that he's just the joiner, he's not really a lion.

So this is quite funny for the audience that they are played to be or seen by Bottom as not intelligent enough to work out that this is not a real lion.

Whereas it's actually quite ironic that it's the actors that are lacking in intelligence, not the people watching the play.

And if you think they're actually going to perform for Theseus and Hippolyta and their wedding guests who are highly likely to be much more intelligent than our mechanicals.

So even more amusing, they're forgetting their audience perhaps.

So Bottom is accusing the audience of being ridiculous when in actual fact himself and his mechanicals are actually the ridiculous characters.

So it's even more funny what Bottom is doing, because he doesn't quite realise what he's doing, but the audience are inclined to work it out.

So we've got our playful Puck.

So we have our actors practising their play, practising , rehearsing their play in the forest.

They found a little area to rehearse.

And even more stupidly, they've actually picked a hawthorn bush as their dressing room.

If you know anything about hawthorn bushes, you will know that they are very, very prickly.

So they have actually chosen a prickly, thorny bush as the place to do their costume changes.

So all these little comedy values.

And Puck is witnessing all of this.

And Puck has his opinion, and he talks to the audience about his opinion.

And he says, "What hempen homespuns have we swaggering here, "so near the cradle of the Fairy Queen? "What, a play toward? "I'll be an auditor; an actor too perhaps, if I see cause." So Puck is insulting the actors, he's insulting them saying that they are poor quality and that they're not good actors because he's using this idea of hempen homespuns, the fact that this cheap material, which is not very nice quality, homespuns.

So they're like cheap clothing that is homemade, but homemade really badly.

So he's insulting the quality of their acting by comparing them to clothing.

And the suggestion that they're swaggering, that drunken kind of movement of swain and not having any sense of sophistication about you, swaggering around, not really knowing what they're doing.

He's implied that they're completely unsophisticated.

They're lacking intelligence.

They're not intelligent, wise, good quality actors like they think they are.

And Puck being the playful character that he is, wants to be mischievous.

He wants to play up to this.

He wants to perhaps play some tricks on our mechanicals.

And he says, "I'll be an auditor, "an actor too perhaps if I see cause." So he can transform himself to be a part of the play if he wants to.

So he's going to decide what he's going to do with these silly actors, and how he's going to play a part in that.

So Bottom, our fool.

And he makes some of his first practise lines of the play.

And this is what Puck is witnessing.

He's witnessing Bottom's stupidity.

So he says, "Thisbe, the flowers of odious savours sweet." Quince is like, "Odours, odours." Pyramus, "Odours savours sweet.

"So hath thy breath, my dearest Thisbe dear.

"But hark, a voice! "Stay thou but here a while "and by and by, I will to thee appear." So I'll pause before we read that last Puck line for a moment.

So our first part that's in bold towards the top of your screen, odious, there's confusion here.

He's actually insulted.

If something's odious it's horrible and nasty.

And Quince is like, "Odours, odours," the smell.

So actually Bottom is completely insulting Thisbe who he is supposed to be in love with within the play.

So he's completely changing the meaning of what he's trying to say, therefore, he's completely messing up the play.

So he is clearly a fool at this point.

And he has to be corrected on his lines.

And then Puck says at the end, "A stranger Pyramus than e'er played here." So a stranger pyramids than ever played here.

So if we've got that little apostro' it means a letter's missing.

So Puck, like the audience, knows the play.

So he knows the play Pyramus and Thisbe.

The audience are watching.

Remember the play within a play.

They're watching A Midsummer Night's Dream, but they're watching Pyramus and Thisbe being acted out within A Midsummer Night's Dream.

But our Elizabethan audience, the well-educated folk of the Elizabethan audience will be familiar with the story of Pyramus and Thisbe, by of it.

So they will know whether Bottom is reading the lines correctly, whether he's playing the role correctly.

So then knowledge that they bring to the play makes Bottom look even more foolish because actually the audience know the play better than the character within A Midsummer Night's Dream, playing the lead role.

So Puck's got a trick in mind.

He has got a trick.

And on your screen, you will see an image, in the middle it's Bottom.

Remember he's taking centre stage.

He likes to dominate the scene.

He likes to be having all the attention on him.

But Puck's got a little trick planned.

He is going to turn Bottom into something else.

And he's actually going to turn Bottom into a donkey.

So he's going to turn Bottom into a donkey.

His head particularly, okay? Not his whole body.

He's still going to have the bottom half of a man.

So he's going to just have the donkey's head.

So he's actually turning him into an ass.

Ass being another word for a donkey.

So he's going to turn Bottom's head into a donkey's head and therefore Bottom will look a little bit like the image you have on your screen.

So he will have a donkey's head.

So Puck's going to make, play a trick on Bottom to make him look ridiculous.

And what's quite clever about this comedy value is the fact that Bottom is a fool, he's a bit of an idiot, and therefore he could be described as an ass.

And Puck is actually choosing to turn him into an ass.

So the way Bottom has been presented so far as a foolish idiot, probably one of the best animals to suit him is an ass because that's how he's acting like a fool.

So Thisbe says, "O, as true as truest horse, "that yet would never tyre." Look what happens next.

"Enter Puck and Bottom with an ass's head.

So a true as truest horse.

What are the chances of Thisbe talking about a horse and then Bottom entering with an ass's head? An ass is another word for a donkey.

A donkey belongs to the family of horses.

So this would make the audience raw with laughter because Thisbe has just mentioned the idea of a horse and then all of a sudden Bottom enters with an ass's head.

Pyramus who is Bottom remember, says, "If I were fair, Thisbe, I were only thine." If I were beautiful and fair, I were only thine.

Bottom doesn't have a clue he's got an ass's head.

He has exited the stage at the end of his scene.

Puck has played his trick, transformed his head into an ass's head and he's come back in not knowing what his head actually looks like.

And then he makes a joke about being fair, about being beautiful and having beauty.

Again, the audience are going to raw with laughter.

This is the height of Shakespearian comedy.

Bottom, the fool, looking even more foolish than he did before.

Quince goes on to say, "O monstrous! O strange! We're haunted.

"Pray, masters, fly, masters! Help!" They don't know what on earth has happened.

They don't know what on earth has happened at this point.

Bottom has disappeared off the stage and come back on with a head of an ass.

So we've got irony here.

The idea of Thisbe mentioning a horse and then Bottom appearing with an ass's head.

And as I said to you before, which is the funniest part of this whole scene is the fact that Bottom the fool has physically been made into what he always acted like an ass, an idiot, a fool.

So he's actually been turned into the animal that he's acted most like since we first met him in the play.

And Quince is completely fooled by Puck.

He's absolutely terrified that this donkey headed thing, animal, person, whatever it looks like has come into the scene and he's terrified.

He thinks he's a monster.

We know that it is Bottom that's coming back in.

Quince terrified.

So let's look at a new term then, dramatic irony.

This is hugely important when studying plays, and massively important when we look at Shakespeare.

So dramatic irony, it's in a situation when the audience understands more than the characters, creating suspense or humour.

So particularly when we're looking at Bottom's character in the Trickery of Love, we are looking most at the humorous side of dramatic irony.

When we know as an audience and we know and understand more than the characters, so it leaves us being able to laugh at the characters even more.

So let's look at that in an example sentence.

So Shakespeare uses dramatic irony when the audience knows that Puck has given Bottom an ass's head, but he does not realise which creates humour.

So he's walking around, acting the play like normal, completely unaware that he has an ass's head.

So the audience know what Puck has done.

They know that Puck has planned a trick, they know he's played a trick and therefore it's humorous for us, it creates that sense of humour.

So we've introduced you to the term dramatic irony.

Let's see if we can work out another example of dramatic irony.

So let's have a look.

Number one, Hermia loves Lysander.

Is that dramatic irony? Number two Egeus tells his daughter that she must marry Demetrius.

Is that dramatic irony? Number three, Puck has placed the love potion on Lysander.

Is that dramatic irony? Or number four, Demetrius does not love Helena.

Is that dramatic irony? So remember dramatic irony is in a situation where the audience understands more than the characters, and that creates a sense of suspense or humour.

So have a think, dramatic irony, audience knows more than the characters.

Excellent work if you said number three, Puck has placed the love potion on Lysander, exactly right.

We know that the love potion is on Lysander, but when Lysander declares his love for Helena, she doesn't have a clue.

We know that technically he hasn't stopped loving Hermia, he's just got the love potion on him, which makes him believe that he's in love with Helena.

Number one's not dramatic irony because loads of characters in the play know that Hermia loves Lysander.

It's not, wasn't hidden at the start of the play in ancient Athens, Theseus, Egeus, Demetrius, Helena, they all know.

Number two, Egeus tells his daughter she must marry Demetrius.

That wasn't a secret, that wasn't something only the audience knew.

He went to Theseus and openly said it.

And number four, Demetrius does not love Helena.

Now he's never hidden that fact, has he? He's always made it very, very clear.

Although not everybody's witnessed the argument that they've had, everybody knows that he doesn't love Helena and that he loves Hermia and wants to marry Hermia.

So that's not something only the audience knows, loads of the characters know that as well.

So that's not special information.

But the love potion on number three certainly is.

So let's look at this example of dramatic irony further then.

So Puck has placed the love potion on Lysander.

Let's work out why that's dramatic irony so we really understand the concept.

So what do the characters know? Helena cannot understand why Lysander suddenly loves her.

That's the character perspective.

The audience perspective, the audience knows it is because he is under the influence of the love potion.

So we can see really clearly when we break it down that the audience knows more than the characters.

The audience knows that Lysander is under the love potion, Helena does not.

So it causes confusion for Helena because she doesn't understand what we do.

So Shakespeare's use of dramatic irony creates humour.

Bottom comes into the scene and people have run away from him, haven't they? The mechanicals have runaway, they're scared.

Quince said he was monstrous, he was frightened of him.

And Bottom says, which makes it even more humorous.

"What do you see? "You see an ass-head of your own, do you?" He also says, "I see their knavery.

"This is to make an ass of me, to frighten me if they could.

"But I will not stir from this place, do what they can.

"I will walk up and down here and I will sing "that they shall hear I am not afraid." So what Bottom has done at this point is he has used the term ass against himself to make himself look even more foolish.

He still doesn't know he has got the head of an ass.

So he said, "What do you see? "You see an ass-head of your own, do you?" Do you see that you have an ass head? Irony, he's the one with the head of an ass.

And then he says, "I see their knavery, their playfulness, "what they're doing to me, "the unkindness of what they're doing.

"This is to make an ass of me.

"They're doing it to make me look like an ass." Whereas in actual fact, he physically is one.

This is again another example of Shakespeare's comedy at its finest, dramatic irony.

We know that Bottom has the head of an ass, he doesn't know.

It creates humour, it creates comedy for the audience.

We're going to roar with laughter at Bottom, because he's even keeps saying the word ass completely oblivious that he has an ass's head himself.

And we have one of our oh-no shocking moments coming.

We know that Puck has played a trick on Bottom.

We know that we've, he's given him the head of an ass.

Take yourselves back for a moment to Oberon.

Oberon had a little plan.

He wanted to use the love potion.

He wanted to use the love potion on Titania.

He wanted to use the love potion on his queen.

He wanted her to madly dote, and he specifically mentioned about the idea of the live creature.

And multiple times he mentioned animals when he said who he wanted Titania to fall in love with.

So in terms of our oh-no moment, we as an audience are going to have probably a hint of a clue to say the least of what is going to happen next.

So we have another comic plot running at this point.

So, Titania, she was sleeping, she's waking up.

She says, "What angel wakes me from my flowery bed? She's waking up.

We know if she's waking up, she's had the love potion put on her by Oberon, and we can see who she's going to see first of all.

And she says, "What angel wakes me from my flowery bed?" Bottom is going around singing with a head of an ass.

And remember back to what Oberon said, it's on your screen.

"The juice of it on sleeping eyelids laid "will make man or woman madly dote "upon the next live creature that it sees." Who is to Titania going to fall in love with? Say it to your screen now.

Excellent, of course we can see it happening.

And we can see that she's going to fall in love with Bottom the fool.

She even says, "What angel wakes me from my flowery bed?" How ironic, I don't think we would put Bottom and an angel in the same category.

Bottom the fool, Bottom the ass.

And she's not only going to see Bottom, she's also going to hear his singing.

And I put it too that Bottom's singing is as good as his acting.

So that gives you a little bit of a clue.

Bottom's singing is as good as his acting.

So Titania is completely and utterly under the influence of the love potion and Oberon has got his wish.

She has fallen in love with an animal.

So as a result of the love potion, which characters now madly dote on someone? And notice I've said as a result of the love potion, not generally; as a result of the love potion, which characters now madly dote on someone? Is it Lysander and Helena? Lysander and Titania? Oberon and Titania or Demetrius and Titania? Have a think.

Excellent work if you said Lysander and Titania.

So Puck has put the love potion on Lysander's sleeping eyelids by mistake.

And Oberon has put the love potion on Titania.

So they are both madly doting on someone as a result of the love potion.

Lysander is madly doting upon Helena and Titania is madly doting upon an ass, otherwise known as the fool, which is Bottom.

So Titania loves Bottom the ass.

And she says, "I pray thee, gentle mortal, sing again.

"Mine ear is much enamor'd of thy note.

"So is mine eye enthralled to thy shape.

"And thy fair virtue's force perforce doth move me "on the first view, to say, to swear, I love thee." So she has fallen in love completely with an ass.

And it's irony that she says gentle, mortal, this idea that she sees him, this human, the idea of mortal being a human and that's how she sees him.

She wants him to sing again and I've said that Bottom's singing is as good as his acting we know his acting's pretty rubbish to say the least, his singing's not good either.

But for her, she says, "Mine ear is much enamor'd of thy note." She absolutely adores and loves his singing.

She thinks it's beautiful.

Her eye is enthralled to thy shape.

She thinks that his shape, his physical being is beautiful.

We know he has the head of an ass.

And she says that moves her, that moves her, that makes her feel something so powerful, because remember she's under the love potion, madly dote, on the first view, to say, to swear, I love thee.

So the first time I'm setting eyes upon you I swear I love you.

She is completely in love.

Oberon has got his wish.

He is humiliating Titania.

He's making her look foolish because remember she has the boy that he wants for himself.

And Bottom's reaction, he says, "Methinks, mistress, "you should have little reason for that.

"And yet to say the truth, "reason and love keep little company together nowadays.

"The more the pity that some honest neighbours "will not make them friends." So Bottom actually says, "You have little reason for that," but he accepts it at the same time.

So he does say you have little reason to think that of me, but he's willing to accept it quite quickly because he's a bit of a fool.

And what he does say though is quite significant.

He says, "Truth, reason and love "keep little company together nowadays." So the idea of truth, thinking things through and using reason and logic and love, he's saying those things don't come together.

They don't keep company nowadays.

So the idea of being in love and that being logical and making sense, which is reason and that being something that's truthful and true, is very, very rare.

And he says the more the pity, he wants truth, reason, and love to be friends, to be honest neighbours that actually work together.

So Bottom, his opinion is that love and reason should be friends, but this is a hard concept, but it's really important to the play as well, is that Shakespeare through his depiction of the love potion through this presentation of Titania and Bottom and our web of four lovers, here's suggesting to this, that love and reason is impossible.

That love is not something that is logical.

Love is not something that makes sense.

It's not something which we can control and think clearly about.

It's something that's uncontrollable, it's an uncontrollable force.

And that's a huge concept to understand, but it's real extended thinking.

So Titania loves Bottom, the ass.

And another comment she makes, which shows that love and reason and logic doesn't make sense in this situation at all.

She says to Bottom, "Thou art," you are, "as wise as thou art beautiful." You are as wise as you are beautiful.

How ironic, the comedy value that is here again is huge.

This ridiculous nature of what's actually going on.

She says that he is wise.

We know that actually Bottom is the complete opposite of wise.

His words are not wise, we don't learn from them.

He just thinks we should.

And beautiful.

He's still walking around with a head of an ass, not beautiful, but she believes that he is because she is madly doting upon him due to the love potion.

So the question I pose to you now is how has Shakespeare used dramatic irony with Titania and Bottom? And what I've given you now is the opening of a paragraph.

We're going to read this through together, and then I'm going to give you a chance to pause the video with some key tips and sentence starters for you to produce your own response to this.

So let's read an opening together so we know how to start.

Shakespeare has used dramatic irony with Titania and Bottom to create humour for the audience.

A chance to show off their dramatic irony and why Shakespeare's using it, big ticks.

The audience will find it funny when Titania says to Bottom, "Thou art as wise as thou art beautiful." Both Titania and Bottom and not aware that Titania is under the influence of the LP, say it to your screen now.

Excellent work if you said love potion.

But the audience knows.

Think, can we break it down? What do the characters know? What does the audience know? It might be useful to mention Oberon and perhaps Puck at that point, if you think it's relevant, but definitely Oberon.

Titania's words are particularly comical because they are deeply I, that key word that we keep coming back to, and it's come up a lot in this lesson of when the opposite is actually true.

They are I because.

So think what you can say in those gaps.

Have a think, say it to your screen now.

Exactly, if you've said, because they are deeply ironic, they are ironic because, they are ironic because.

So be careful when you use irony and when you use ironic, because it has to fit your sentence accurately.

So that's an example of an, not the only way you can open, but what it does do is it talks about dramatic irony, talks about Shakespeare, talks about humour, uses a quotation and then explains what the characters know in contrast to the audience, and then brings in the term irony at the end or ironic.

So posing that question again.

How has Shakespeare used dramatic irony with Titania and Bottom? I've given you some keywords and phrases on the left side of your screen, and I've given you some possible sentence starters on the right of your screen.

I'd like you to pause your video and complete your paragraphs.

Off you go, please.

Excellent work.

I'm sure you've got some amazing paragraphs.

Just to help you out, we're going to go through what you could have written.

And as we're going through, have your paragraph beside you, you can add down any notes, make any additions, any edits that you might want to do to make that answer a top answer.

So let's read through the slide together.

So Shakespeare has used dramatic irony with Titania and Bottom to create humour for the audience.

The audience will find it funny when Titania says to Bottom, "Thou art as wise as thou art beautiful." Both Titania and Bottom are not aware that Titania is under the influence of the love potion, but the audience knows Oberon wants revenge on Titania for keeping the boy.

Titania's words are particularly comical, because they're deeply ironic.

They are ironic because Bottom is neither beautiful nor wise.

Now, that's a good answer.

That's got lots and lots of detailing.

It it talks about irony.

It talks about dramatic irony.

Particularly it talks about humour, Shakespeare, quotation, and I'm sure your answer has those key qualities in.

If it hasn't, make sure you tweak and add those in because that's the basis of our answer, but we're going to go a little bit further.

Let's have a look at this extension that you could put on your paragraph.

In actual fact, Bottom looks ridiculous because he is physically an ass, and he is not wise because we've already seen how he confuses his words and cannot act.

It is particularly comical that Shakespeare chose an ass because this is how he's always been presented metaphorically, real show off moment.

So we've looked at this idea that Bottom is a fool, he acts like an ass and now he has physically become one.

So he's always had the characteristics of an ass, being foolish, being an idiot.

And we've seen that in his actions as he acts as his role as Pyramus.

And there's an extra sentence on here, or I say extra sentence, sentences.

Our last part in bold.

This is the showcase part of your paragraph, where you can think about what Shakespeare is actually doing.

And this is some really advanced stuff.

Through this depiction of love as a result of the love potion, Shakespeare is perhaps suggesting the irrational nature of love.

Even though their love is based upon a love potion, unbeknown to them, so they don't know about it, they still try to rationalise, make sense of and reason their love just like Lysander does with Hermia and Helena.

So that example of what Shakespeare could actually be doing.

What is the big message that he's trying to give? And that's a real extension to a paragraph.

So this idea of rationalising and reasoning with love.

So excellent work on those paragraphs, and really take the opportunity to edit and add those extra ideas where you could make yours even better.

So dramatic irony in Act Three, Scene Two, Oberon says, and this is quite key to end today.

He says, "I wonder if Titania be awak'd.

"Then what it was that next came in her eye, "which she must dote on in extremity." So think the character Oberon does not know if the love potion has worked on Titania.

And think about what we know as an audience, a perfect example of dramatic irony.

The audience knows she's fallen in love with an ass, actually Oberon has got his wish.

She has fallen in love and she is going to be humiliated and seen as ridiculous as a result of that.

He's got his wish.

The only catch is we know and he doesn't.

Dramatic irony.

So that brings us to the end of today's learning on the Trickery of Love.

I hope you've really enjoyed Shakespeare's comedy at its best.

Well done on your excellent learning achievements today as well, really impressive.

So don't forget to show off, take that quiz, try and aim for that 100% to showcase that learning that you've achieved today.

So from me, thank you very much, well done.

Take care, enjoy the rest of your learning.