Podcasts about Alexander Pope

2025. május 21., szerda 8-9 óra ALZA: Már túlméretes termékeket is visz házhoz az Alza Az Alza.hu 2016-ban kezdte meg az online értékesítést Magyarországon. A cég töretlen sikerének egyik kulcsfontosságú tényezője az egyedülállóan vásárlóbarát reklamációs és visszaküldési folyamat, valamint a gyors és hatékony panaszkezelés. Hogyan, mióta működik a cseh online kereskedő? Hogyan nőtt ilyen nagyra? Forrás Ákos, az Alza.hu Kft. ügyvezetője, valamint Takács Csaba, az Alza.hu Kft. ügyvezetője ARANYKÖPÉS: “Ha tudni akarod, mit gondol Isten a pénzről, csak nézd meg azokat, akiknek sokat adott belőle.” 1688 – Alexander Pope angol költő, az angol nyelv harmadik legidézettebb írója Shakespeare és Tennyson után († 1744) ADATMÁGNÁS: Adatvezérelt ajánlás - lakásbiztosítás a digitális térben Hogyan vált egy hagyományos, offline világban született biztosítási termék digitális, személyre szabott élménnyé? Ezúttal szó lesz az ügyféligények változásáról, az adatvezérelt megoldások szerepéről, és arról is, hogyan sikerült két év alatt tízszeresére növelni a piaci részesedést. Ducsai Sándor, a Netrisk CTO-ja, valamint Ágoston Gergely, a United Consult cégcsoport CSO-ja GONDOLKODOM: Krausz Ferenc Nobel-díjas fizikus vezetésével új tehetséggondozó program indul Élvonal néven, amelynek célja, hogy Magyarországra vonzza a kiváló kutatókat külföldről, valamint tehetséggondozást nyújtson Háttér: Új tehetséggondozó program indul Krausz Ferenc vezetésével | Nemzeti Innovációs Ügynökség Bódis László innovációért felelős helyettes államtitkár, a Nemzeti Innovációs Ügynökség vezérigazgatója

Um poeta do século 18 fez uma das mais importantes traduções da Ilíada de Homero sem o patrocínio de nobres ou mecenas, mas de assinantes. O Cristo Redentor só existe porque católicos de todo o país tiraram trocados do bolso. E uma banda inglesa bancou, em 1997, uma turnê em outro continente graças a pequenas contribuições de centenas de fãs. Hoje falamos da história, do poder e da psicologia do financiamento coletivo.Quer ajuda o Escuta Essa em seu financiamento? Estamos agora em https://apoia.se/EscutaEssaEste é mais um episódio do Escuta Essa, podcast semanal em que Denis e Danilo trocam histórias de cair o queixo e de explodir os miolos. Todas as quartas-feiras, no seu agregador de podcasts favorito, é a vez de um contar um causo para o outro.Não deixe de enviar os episódios do Escuta Essa para aquela pessoa com quem você também gosta de compartilhar histórias e aproveite para mandar seus comentários e perguntas no Spotify, nas redes sociais , ou no e-mail escutaessa@aded.studio. A gente sempre lê mensagens no final de cada episódio!...NESTE EPISÓDIO-O Clube dos Escuteiros, a campanha de financiamento coletivo do Escuta Essa, está disponível em https://apoia.se/escutaessa-A Companhia Holandesa das Índias Orientais, fundada em 1602, foi uma empresa holandesa que monopolizou o comércio com a Ásia. -No livro “Redentor”, o jornalista Rodrigo Alvarez diz, sobre a ideia da estátua, que: “Muitos padres, historiadores e teólogos dirão que foi o missionário religioso quem teve a visão e a soprou no ouvido da princesa, mas os documentos históricos, examinados com atenção, só nos permitirão atribuir a originalidade da ideia à própria princesa” .-A arquidiocese do Rio de Janeiro afirma, ao contrário do livro de Alvarez, que a ideia da estátua do Cristo Redentor no alto do Corcovado foi do padre francês Pedro Maria Dos.-O Kickstarter tem uma página que preserva os vídeos que promovem suas primeiras campanhas, incluindo o citado “New York Makes a Book”.-O livro “The Invention of Crowdfunding”, de Jeffrey Pelletier, conta como o financiamento coletivo da turnê da banda Marillion, em 1997, “acidentalmente derrubou a indústria da música”. -A enciclopédia de Denis Diderot ganhou tradução da Editora Unesp em 2018, em seis volumes.-O The New York Times aproveito o lançamento de uma nova edição da Ilíada de Alexander Pope para falar da importância da sua tradução para os estudos clássicos em língua inglesa. -O estudo “The Language That Gets People to Give”, de Tanushree Mitra e Eric Gilbert, analisou a linguagem usada por campanhas de sucesso no Kickstarter para tentar entender o que faz as pessoas terem vontade de apoiar um projeto.-O Oxford Reference traz alguns detalhes sobre os Clubes Funerários do Império Romano....AD&D STUDIOA AD&D produz podcasts e vídeos que divertem e respeitam sua inteligência! Acompanhe todos os episódios em aded.studio para não perder nenhuma novidade.

To expect women and men of flesh and blood to live lives of ethical perfection is to expect too much. Lapses in judgment, ignorance, vice, and sin are inescapable parts of the human condition. Each year, on Yom Kippur, the Jewish Day of Atonement, we recite the Al Het prayer, enumerating over 40 sins that we have committed. Sinning is natural, or, as the poet Alexander Pope famously put it, “to err is human, to forgive divine.” And there's a deep truth to that, for while error and vice are natural to the human condition, religion has introduced into the moral landscape the human imitation of God's compassion that releases us, and allows us to release one another, from the crushing burden of guilt and vice. That religious innovation is forgiveness, and it plays a central role in the ethical life of Jews and Christians. A society without forgiveness, in which moral stain can never be wiped away, in which no mechanism for absolution exists, is a society that will grow fearful, fragmented, feeble, and frail. A society that is properly calibrated to the inescapable truths of human sin, and also has an instrument that absolves the sinner and and enable him or her to rejoin society, is resilient. A few years ago, American was bound up in a spate of so-called cancellations in which public figures stood accused of some wrong action, wrong statement, or wrong thought, and were deemed unfit for employment or standing in society. And, in the progressive circles that led these efforts to purify the public arena, no apology would suffice. No cleansing was sufficient to remove the stain: once a bigot, always a bigot. It was around that time that a group of Jewish and Christian theologians began meeting to discuss the idea of forgiveness. Over the course of several years of study, reading, and discussion, a statement emerged. “Forgiveness: A Statement by Jews and Christians” was published in the February 2025 issue of First Things magazine. But of course, something of civilizational significance happened while this group convened, and that was the October 7 Hamas attacks, and the adulation of the attackers by American and European activists. In the face of such evil, could forgiveness be offered? Should it be? What are the limitations on forgiveness and what are the moral obligations on the part of the penitent seeking forgiveness? Two of the statement's signatories, Tikvah's chief education officer Rabbi Mark Gottlieb and the Villanova University professor Anna Moreland, join Mosaic's editor Jonathan Silver to discuss these and related themes.

The life of this week's final Scriblerian, Thomas Parnell, rounds out the picture of the entire Scriblerus club as a fraternity of wildly brilliant men all carrying some great pain or wound. Some of them clearly write out of that wound, while others seem to write in spite of it. Parnell straddles the line, and today's poem is a fine example of his blending of bright energy with a sharp edge. Happy reading.Thomas Parnell (11 September 1679 – 24 October 1718) was an Anglo-Irish poet and clergyman who was a friend of both Alexander Pope and Jonathan Swift.He was born in Dublin, the eldest son of Thomas Parnell (died 1685) of Maryborough, Queen's County (now Portlaoise, County Laois), a prosperous landowner who had been a loyal supporter of Oliver Cromwell during the English Civil War and moved from Congleton, Cheshire to Ireland after the Restoration of Charles II. His mother was Anne Grice of Kilosty, County Tipperary: she also owned property in County Armagh, which she left to Thomas at her death in 1709. His parents married in Dublin in 1674. Thomas was educated at Trinity College, Dublin and collated as Archdeacon of Clogher in 1705. In the last years of the reign of Queen Anne of England he was a popular preacher, but her death put an end to his hope of career advancement. He married Anne (Nancy) Minchin, daughter of Thomas Minchin, who died in 1712, and had three children, two of whom died young. The third child, a girl, is said to have reached a great age. The marriage was a very happy one, and it has been said that Thomas never recovered from Nancy's early death.He spent much of his time in London, where he participated with Pope, Swift and others in the Scriblerus Club, contributing to The Spectator and aiding Pope in his translation of The Iliad. He was also one of the so-called "Graveyard poets": his 'A Night-Piece on Death,' widely considered the first "Graveyard School" poem, was published posthumously in Poems on Several Occasions, collected and edited by Alexander Pope and is thought by some scholars to have been published in December 1721. It is said of his poetry, "it was in keeping with his character, easy and pleasing, enunciating the common places with felicity and grace."-bio via Wikipedia This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Alexander Pope (1688-1744) was notorious for embroiling himself in literary-political controversy–his sharp pen writing scathing checks his 4'6” frame couldn't necessarily cash. Today's poem is selected from his response to a friend who suggested he tone it down. Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Alexander Pope is quoted as having said "A little knowledge (learning) is a dangerous thing." As we continue in our look at the book of Ecclesiastes we see how Solomons eagerness to pursue more Knowledge and wisdom than God had given him led to tragic consequences in his falling into sin. Whilst head knowledge is "Vanity of Vanities": True, Godly knowledge is needed and should be sought in Christ.

In this episode, James Marriott and I discuss who we think are the best twenty English poets. This is not the best poets who wrote in English, but the best British poets (though James snuck Sylvia Plath onto his list…). We did it like that to make it easier, not least so we could base a lot of our discussion on extracts in The Oxford Book of English Verse (Ricks edition). Most of what we read out is from there. We read Wordsworth, Keats, Hardy, Milton, and Pope. We both love Pope! (He should be regarded as one of the very best English poets, like Milton.) There are also readings of Herrick, Bronte, Cowper, and MacNiece. I plan to record the whole of ‘The Eve of St. Agnes' at some point soon.Here are our lists and below is the transcript (which may have more errors than usual, sorry!)HOGod Tier* Shakespeare“if not first, in the very first line”* Chaucer* Spenser* Milton* Wordsworth* Eliot—argue for Pope here, not usually includedSecond Tier* Donne* Herbert* Keats* Dryden* Gawain poet* Tom O'Bedlam poetThird Tier* Yeats* Tennyson* Hopkins* Coleridge* Auden* Shelley* MarvellJMShakespeareTier* ShakespeareTier 1* Chaucer* Milton* WordsworthTier 2* Donne* Eliot* Keats* Tennyson* Spencer* Marvell* PopeTier 3* Yeats* Hopkins* Blake* Coleridge* Auden* Shelley* Thomas Hardy* Larkin* PlathHenry: Today I'm talking to James Marriott, Times columnist, and more importantly, the writer of the Substack Cultural Capital. And we are going to argue about who are the best poets in the English language. James, welcome.James: Thanks very much for having me. I feel I should preface my appearance so that I don't bring your podcast and disrepute saying that I'm maybe here less as an expert of poetry and more as somebody who's willing to have strong and potentially species opinions. I'm more of a lover of poetry than I would claim to be any kind of academic expert, just in case anybody thinks that I'm trying to produce any definitive answer to the question that we're tackling.Henry: Yeah, no, I mean that's the same for me. We're not professors, we're just very opinionated boys. So we have lists.James: We do.Henry: And we're going to debate our lists, but what we do agree is that if we're having a top 20 English poets, Shakespeare is automatically in the God Tier and there's nothing to discuss.James: Yeah, he's in a category of his own. I think the way of, because I guess the plan we've gone for is to rather than to rank them 1, 2, 3, 4, 5, 6, 7 into sort of, what is it, three or four broad categories that we're competing over.Henry: Yes, yes. TiersJames: I think is a more kind of reasonable way to approach it rather than trying to argue exactly why it should be one place above Shelly or I don't know, whatever.Henry: It's also just an excuse to talk about poets.James: Yes.Henry: Good. So then we have a sort of top tier, if not the first, in the very first line as it were, and you've got different people. To me, you've got Chaucer, Milton, and Wordsworth. I would also add Spenser and T.S. Eliot. So what's your problem with Spenser?James: Well, my problem is ignorance in that it's a while since I've read the Fairy Queen, which I did at university. Partly is just that looking back through it now and from what I remember of university, I mean it is not so much that I have anything against Spenser. It's quite how much I have in favour of Milton and Wordsworth and Chaucer, and I'm totally willing to be argued against on this, but I just can't think that Spenser is in quite the same league as lovely as many passages of the Fairy Queen are.Henry: So my case for Spenser is firstly, if you go through something like the Oxford Book of English Verse or some other comparable anthology, he's getting a similar page count to Shakespeare and Milton, he is important in that way. Second, it's not just the fairy queen, there's the Shepherd's Calendar, the sonnets, the wedding poems, and they're all highly accomplished. The Shepherd's Calendar particularly is really, really brilliant work. I think I enjoyed that more as an undergraduate, actually, much as I love the Fairy Queen. And the third thing is that the Fairy Queen is a very, very great epic. I mean, it's a tremendous accomplishment. There were lots of other epics knocking around in the 16th century that nobody wants to read now or I mean, obviously specialists want to read, but if we could persuade a few more people, a few more ordinary readers to pick up the fairy queen, they would love it.James: Yes, and I was rereading before he came on air, the Bower of Bliss episode, which I think is from the second book, which is just a beautifully lush passage, passage of writing. It was really, I mean, you can see why Keats was so much influenced by it. The point about Spenser's breadth is an interesting one because Milton is in my top category below Shakespeare, but I think I'm placing him there pretty much only on the basis of Paradise Lost. I think if we didn't have Paradise Lost, Milton may not even be in this competition at all for me, very little. I know. I don't know if this is a heresy, I've got much less time for Milton's minor works. There's Samuel Johnson pretty much summed up my feelings on Lycidas when he said there was nothing new. Whatever images it can supply are long ago, exhausted, and I do feel there's a certain sort of dryness to Milton's minor stuff. I mean, I can find things like Il Penseroso and L'Allegro pretty enough, but I mean, I think really the central achievement is Paradise Lost, whereas Spenser might be in contention, as you say, from if you didn't have the Fairy Queen, you've got Shepherd's Calendar, and all this other sort of other stuff, but Paradise Lost is just so massive for me.Henry: But if someone just tomorrow came out and said, oh, we found a whole book of minor poetry by Virgil and it's all pretty average, you wouldn't say, oh, well Virgil's less of a great poet.James: No, absolutely, and that's why I've stuck Milton right at the top. It's just sort of interesting how unbelievably good Paradise Lost is and how, in my opinion, how much less inspiring the stuff that comes after it is Samson Agonistes and Paradise Regained I really much pleasure out of at all and how, I mean the early I think slightly dry Milton is unbelievably accomplished, but Samuel Johnson seems to say in that quote is a very accomplished use of ancient slightly worn out tropes, and he's of putting together these old ideas in a brilliant manner and he has this sort of, I mean I guess he's one of your late bloomers. I can't quite remember how old he is when he publishes Paradise Lost.Henry: Oh, he is. Oh, writing it in his fifties. Yeah.James: Yeah, this just extraordinary thing that's totally unlike anything else in English literature and of all the poems that we're going to talk about, I think is the one that has probably given me most pleasure in my life and the one that I probably return to most often if not to read all the way through then to just go over my favourite bits and pieces of it.Henry: A lot of people will think Milton is heavy and full of weird references to the ancient world and learned and biblical and not very readable for want of a better word. Can you talk us out of that? To be one of the great poets, they do have to have some readability, right?James: Yeah, I think so, and it's certainly how I felt. I mean I think it's not a trivial objection to have to Milton. It's certainly how I found him. He was my special author paper at university and I totally didn't get on with him. There was something about his massive brilliance that I felt. I remember feeling like trying to write about Paradise Lost was trying to kind of scratch a huge block of marble with your nails. There's no way to get a handle on it. I just couldn't work out what to get ahold of, and it's only I think later in adulthood maybe reading him under a little less pressure that I've come to really love him. I mean, the thing I would always say to people to look out for in Milton, but it's his most immediate pleasure and the thing that still is what sends shivers done my spine about him is the kind of cosmic scale of Paradise Lost, and it's almost got this sort of sci-fi massiveness to it. One of my very favourite passages, which I may inflict on you, we did agree that we could inflict poetry on one another.Henry: Please, pleaseJames: It's a detail from the first book of Paradise Lost. Milton's talking about Satan's architect in hell Mulciber, and this is a little explanation of who or part of his explanation of who Mulciber is, and he says, Nor was his name unheard or unadoredIn ancient Greece; and in Ausonian landMen called him Mulciber; and how he fellFrom Heaven they fabled, thrown by angry JoveSheer o'er the crystal battlements: from mornTo noon he fell, from noon to dewy eve,A summer's day, and with the setting sunDropt from the zenith, like a falling star,On Lemnos, th' Aegaean isle. Thus they relate,ErringI just think it's the sort of total massiveness of that universe that “from the zenith to like a falling star”. I just can't think of any other poet in English or that I've ever read in any language, frankly, even in translation, who has that sort of scale about it, and I think that's what can most give immediate pleasure. The other thing I love about that passage is this is part of the kind of grandeur of Milton is that you get this extraordinary passage about an angel falling from heaven down to th' Aegean Isle who's then going to go to hell and the little parenthetic remark at the end, the perm just rolls on, thus they relate erring and paradise lost is such this massive grand thing that it can contain this enormous cosmic tragedy as a kind of little parenthetical thing. I also think the crystal battlements are lovely, so wonderful kind of sci-fi detail.Henry: Yes, I think that's right, and I think it's under appreciated that Milton was a hugely important influence on Charles Darwin who was a bit like you always rereading it when he was young, especially on the beagle voyage. He took it with him and quotes it in his letters sometimes, and it is not insignificant the way that paradise loss affects him in terms of when he writes his own epic thinking at this level, thinking at this scale, thinking at the level of the whole universe, how does the whole thing fit together? What's the order behind the little movements of everything? So Milton's reach I think is actually quite far into the culture even beyond the poets.James: That's fascinating. Do you have a particular favourite bit of Paradise Lost?Henry: I do, but I don't have it with me because I disorganised and couldn't find my copy.James: That's fair.Henry: What I want to do is to read one of the sonnets because I do think he's a very, very good sonnet writer, even if I'm going to let the Lycidas thing go, because I'm not going to publicly argue against Samuel Johnson.When I consider how my light is spent,Ere half my days, in this dark world and wide,And that one Talent which is death to hideLodged with me useless, though my Soul more bentTo serve therewith my Maker, and presentMy true account, lest he returning chide;“Doth God exact day-labour, light denied?”I fondly ask. But patience, to preventThat murmur, soon replies, “God doth not needEither man's work or his own gifts; who bestBear his mild yoke, they serve him best. His stateIs Kingly. Thousands at his bidding speedAnd post o'er Land and Ocean without rest:They also serve who only stand and wait.”I think that's great.James: Yeah. Okay. It is good.Henry: Yeah. I think the minor poems are very uneven, but there are lots of gems.James: Yeah, I mean he is a genius. It would be very weird if all the minor poems were s**t, which is not really what I'm trying… I guess I have a sort of slightly austere category too. I just do Chaucer, Milton, Wordsworth, but we are agreed on Wordsworth, aren't we? That he belongs here.Henry: So my feeling is that the story of English poetry is something like Chaucer Spenser, Shakespeare, Milton, Wordsworth, T.S. Eliot create a kind of spine. These are the great innovators. They're writing the major works, they're the most influential. All the cliches are true. Chaucer invented iambic pentameter. Shakespeare didn't single handedly invent modern English, but he did more than all the rest of them put together. Milton is the English Homer. Wordsworth is the English Homer, but of the speech of the ordinary man. All these old things, these are all true and these are all colossal achievements and I don't really feel that we should be picking between them. I think Spenser wrote an epic that stands alongside the works of Shakespeare and Milton in words with T.S. Eliot whose poetry, frankly I do not love in the way that I love some of the other great English writers cannot be denied his position as one of the great inventors.James: Yeah, I completely agree. It's funny, I think, I mean I really do love T.S. Eliot. Someone else had spent a lot of time rereading. I'm not quite sure why he hasn't gone into quite my top category, but I think I had this—Henry: Is it because he didn't like Milton and you're not having it?James: Maybe that's part of it. I think my thought something went more along the lines of if I cut, I don't quite feel like I'm going to put John Donne in the same league as Milton, but then it seems weird to put Eliot above Donne and then I don't know that, I mean there's not a very particularly fleshed out thought, but on Wordsworth, why is Wordsworth there for you? What do you think, what do you think are the perms that make the argument for Wordsworth having his place at the very top?Henry: Well, I think the Lyrical Ballads, Poems in Two Volumes and the Prelude are all of it, aren't they? I'm not a lover of the rest, and I think the preface to the Lyrical Ballads is one of the great works of literary criticism, which is another coin in his jar if you like, but in a funny way, he's much more revolutionary than T.S. Eliot. We think of modernism as the great revolution and the great sort of bringing of all the newness, but modernism relies on Wordsworth so much, relies on the idea that tradition can be subsumed into ordinary voice, ordinary speech, the passage in the Wasteland where he has all of them talking in the bar. Closing time please, closing time please. You can't have that without Wordsworth and—James: I think I completely agree with what you're saying.Henry: Yeah, so I think that's for me is the basis of it that he might be the great innovator of English poetry.James: Yeah, I think you're right because I've got, I mean again, waiting someone out of my depth here, but I can't think of anybody else who had sort of specifically and perhaps even ideologically set out to write a kind of high poetry that sounded like ordinary speech, I guess. I mean, Wordsworth again is somebody who I didn't particularly like at university and I think it's precisely about plainness that can make him initially off-putting. There's a Matthew Arnold quote where he says of Wordsworth something like He has no style. Henry: Such a Matthew Arnold thing to say.James: I mean think it's the beginning of an appreciation, but there's a real blankness to words with I think again can almost mislead you into thinking there's nothing there when you first encounter him. But yeah, I think for me, Tintern Abbey is maybe the best poem in the English language.Henry: Tintern Abbey is great. The Intimations of Immortality Ode is superb. Again, I don't have it with me, but the Poems in Two Volumes. There are so many wonderful things in there. I had a real, when I was an undergraduate, I had read some Wordsworth, but I hadn't really read a lot and I thought of I as you do as the daffodils poet, and so I read Lyrical Ballads and Poems in Two Volumes, and I had one of these electrical conversion moments like, oh, the daffodils, that is nothing. The worst possible thing for Wordsworth is that he's remembered as this daffodils poet. When you read the Intimations of Immortality, do you just think of all the things he could have been remembered for? It's diminishing.James: It's so easy to get into him wrong because the other slightly wrong way in is through, I mean maybe this is a prejudice that isn't widely shared, but the stuff that I've never particularly managed to really enjoy is all the slightly worthy stuff about beggars and deformed people and maimed soldiers. Wandering around on roads in the lake district has always been less appealing to me, and that was maybe why I didn't totally get on with 'em at first, and I mean, there's some bad words with poetry. I was looking up the infamous lines from the form that were mocked even at the time where you know the lines that go, You see a little muddy pond Of water never dry. I've measured it from side to side, 'Tis three feet long and two feet wide, and the sort of plainness condescend into banality at Wordsworth's worst moments, which come more frequently later in his career.Henry: Yes, yes. I'm going to read a little bit of the Intimations ode because I want to share some of this so-called plainness at its best. This is the third section. They're all very short Now, while the birds thus sing a joyous song,And while the young lambs boundAs to the tabor's sound,To me alone there came a thought of grief:A timely utterance gave that thought relief,And I again am strong:The cataracts blow their trumpets from the steep;No more shall grief of mine the season wrong;I hear the Echoes through the mountains throng,The Winds come to me from the fields of sleep,And all the earth is gay;Land and seaGive themselves up to jollity,And with the heart of MayDoth every Beast keep holiday;—Thou Child of Joy,Shout round me, let me hear thy shouts, thou happy Shepherd-boy.And I think it's unthinkable that someone would write like this today. It would be cringe, but we're going to have a new sincerity. It's coming. It's in some ways it's already here and I think Wordsworth will maybe get a different sort of attention when that happens because that's a really high level of writing to be able to do that without it descending into what you just read. In the late Wordsworth there's a lot of that really bad stuff.James: Yeah, I mean the fact that he wrote some of that bad stuff I guess is a sign of quite how carefully the early stuff is treading that knife edge of tripping into banality. Can I read you my favourite bit of Tintern Abbey?Henry: Oh yes. That is one of the great poems.James: Yeah, I just think one of mean I, the most profound poem ever, probably for me. So this is him looking out over the landscape of Tinton Abbey. I mean these are unbelievably famous lines, so I'm sure everybody listening will know them, but they are so good And I have feltA presence that disturbs me with the joyOf elevated thoughts; a sense sublimeOf something far more deeply interfused,Whose dwelling is the light of setting suns,And the round ocean and the living air,And the blue sky, and in the mind of man:A motion and a spirit, that impelsAll thinking things, all objects of all thought,And rolls through all things. Therefore am I stillA lover of the meadows and the woodsAnd mountains; and of all that we beholdFrom this green earth; of all the mighty worldOf eye, and ear,—both what they half create,And what perceive; well pleased to recogniseIn nature and the language of the senseThe anchor of my purest thoughts, the nurse,The guide, the guardian of my heart, and soulOf all my moral being.I mean in a poem, it's just that is mind blowingly good to me?Henry: Yeah. I'm going to look up another section from the Prelude, which used to be in the Oxford Book, but it isn't in the Ricks edition and I don't really know whyJames: He doesn't have much of the Prelude does he?Henry: I don't think he has any…James: Yeah.Henry: So this is from an early section when the young Wordsworth is a young boy and he's going off, I think he's sneaking out at night to row on the lake as you do when you with Wordsworth, and the initial description is of a mountain. She was an elfin pinnace; lustilyI dipped my oars into the silent lake,And, as I rose upon the stroke, my boatWent heaving through the water like a swan;When, from behind that craggy steep till thenThe horizon's bound, a huge peak, black and huge,As if with voluntary power instinct,Upreared its head. I struck and struck again,And growing still in stature the grim shapeTowered up between me and the stars, and still,For so it seemed, with purpose of its ownAnd measured motion like a living thing,Strode after me. With trembling oars I turned,And through the silent water stole my wayBack to the covert of the willow tree;It's so much like that in Wordsworth. It's just,James: Yeah, I mean, yeah, the Prelude is full of things like that. I think that is probably one of the best moments, possibly the best moments of the prelude. But yeah, I mean it's just total genius isn't it?Henry: I think he's very, very important and yeah, much more important than T.S. Eliot who is, I put him in the same category, but I can see why you didn't.James: You do have a little note saying Pope, question mark or something I think, don't you, in the document.Henry: So the six I gave as the spine of English literature and everything, that's an uncontroversial view. I think Pope should be one of those people. I think we should see Pope as being on a level with Milton and Wordsworth, and I think he's got a very mixed reputation, but I think he was just as inventive, just as important. I think you are a Pope fan, just as clever, just as moving, and it baffles me that he's not more commonly regarded as part of this great spine running through the history of English literature and between Milton and Wordsworth. If you don't have Pope, I think it's a missing link if you like.James: I mean, I wouldn't maybe go as far as you, I love Pope. Pope was really the first perch I ever loved. I remember finding a little volume of Pope in a box of books. My school library was chucking out, and that was the first book of poetry I read and took seriously. I guess he sort of suffers by the fact that we are seeing all of this through the lens of the romantics. All our taste about Shakespeare and Milton and Spenser has been formed by the romantics and hope's way of writing the Satires. This sort of society poetry I think is just totally doesn't conform to our idea of what poetry should be doing or what poetry is. Is there absolutely or virtually nobody reads Dryden nowadays. It's just not what we think poetry is for that whole Augustine 18th century idea that poetry is for writing epistles to people to explain philosophical concepts to them or to diss your enemies and rivals or to write a kind of Duncia explaining why everyone you know is a moron. That's just really, I guess Byron is the last major, is the only of figure who is in that tradition who would be a popular figure nowadays with things like English bards and scotch reviewers. But that whole idea of poetry I think was really alien to us. And I mean I'm probably formed by that prejudice because I really do love Pope, but I don't love him as much as the other people we've discussed.Henry: I think part of his problem is that he's clever and rational and we want our poems always to be about moods, which may be, I think why George Herbert, who we've both got reasonably high is also quite underrated. He's very clever. He's always think George Herbert's always thinking, and when someone like Shakespeare or Milton is thinking, they do it in such a way that you might not notice and that you might just carry on with the story. And if you do see that they're thinking you can enjoy that as well. Whereas Pope is just explicitly always thinking and maybe lecturing, hectoring, being very grand with you and as you say, calling you an idiot. But there are so many excellent bits of Pope and I just think technically he can sustain a thought or an argument over half a dozen or a dozen lines and keep the rhyme scheme moving and it's never forced, and he never has to do that thing where he puts the words in a stupid order just to make the rhyme work. He's got such an elegance and a balance of composition, which again, as you say, we live under romantic ideals, not classical ones. But that doesn't mean we should be blind to the level of his accomplishment, which is really, really very high. I mean, Samuel Johnson basically thought that Alexander Pope had finished English poetry. We have the end of history. He had the end of English poetry. Pope, he's brought us to the mightiest of the heroic couplers and he's done it. It's all over.James: The other thing about Pope that I think makes us underrate him is that he's very charming. And I think charm is a quality we're not big on is that sort of, but I think some of Pope's charm is so moving. One of my favourite poems of his is, do you know the Epistle to Miss Blount on going into the country? The poem to the young girl who's been having a fashionable season in London then is sent to the boring countryside to stay with an aunt. And it's this, it's not like a romantic love poem, it's not distraught or hectic. It's just a sort of wonderful act of sympathy with this potentially slightly airheaded young girl who's been sent to the countryside, which you'd rather go to operas and plays and flirt with people. And there's a real sort of delicate in it that isn't overblown and isn't dramatic, but is extremely charming. And I think that's again, another quality that perhaps we're prone not to totally appreciate in the 21st century. It's almost the kind of highest form of politeness and sympathyHenry: And the prevailing quality in Pope is wit: “True wit is nature to advantage dressed/ What often was thought, but ne'er so well expressed”. And I think wit can be quite alienating for an audience because it is a kind of superior form of literary art. This is why people don't read as much Swift as he deserves because he's so witty and so scornful that a lot of people will read him and think, well, I don't like you.James: And that point about what oft was thought and ne'er so well expressed again, is a very classical idea. The poet who puts not quite conventional wisdom, but something that's been thought before in the best possible words, really suffers with the romantic idea of originality. The poet has to say something utterly new. Whereas for Pope, the sort of ideas that he express, some of the philosophical ideas are not as profound in original perhaps as words with, but he's very elegant proponent of them.Henry: And we love b******g people in our culture, and I feel like the Dunciad should be more popular because it is just, I can't remember who said this, but someone said it's probably the most under appreciated great poem in English, and that's got to be true. It's full of absolute zingers. There's one moment where he's described the whole crowd of them or all these poets who he considers to be deeply inferior, and it turns out he was right because no one reads them anymore. And you need footnotes to know who they are. I mean, no one cares. And he says, “equal your merits, equal is your din”. This kind of abuse is a really high art, and we ought to love that. We love that on Twitter. And I think things like the Rape of the Lock also could be more popular.James: I love the Rape of the Lock . I mean, I think anybody is not reading Pope and is looking for a way in, I think the Rape of the Lock is the way in, isn't it? Because it's just such a charming, lovely, funny poem.Henry: It is. And probably it suffers because the whole idea of mock heroic now is lost to us. But it's a bit like it's the literary equivalent of people writing a sort of mini epic about someone like Elon Musk or some other very prominent figure in the culture and using lots of heroic imagery from the great epics of Homer and Virgil and from the Bible and all these things, but putting them into a very diminished state. So instead of being grand, it becomes comic. It's like turning a God into a cartoon. And Pope is easily the best writer that we have for that kind of thing. Dryden, but he's the genius on it.James: Yeah, no, he totally is. I guess it's another reason he's under appreciated is that our culture is just much less worshipful of epic than the 18th century culture was. The 18th century was obsessed with trying to write epics and trying to imitate epics. I mean, I think to a lot of Pope's contemporaries, the achievement they might've been expecting people to talk about in 300 years time would be his translations of the Iliad and the Odyssey and the other stuff might've seen more minor in comparison, whereas it's the mock epic that we're remembering him for, which again is perhaps another symptom of our sort of post romantic perspective.Henry: I think this is why Spenser suffers as well, because everything in Spenser is magical. The knights are fairies, not the little fairies that live in buttercups, but big human sized fairies or even bigger than that. And there are magical women and saucers and the whole thing is a sort of hodgepodge of romance and fairy tale and legend and all this stuff. And it's often said, oh, he was old fashioned in his own time. But those things still had a lot of currency in the 16th century. And a lot of those things are in Shakespeare, for example.But to us, that's like a fantasy novel. Now, I love fantasy and I read fantasy, and I think some of it's a very high accomplishment, but to a lot of people, fantasy just means kind of trash. Why am I going to read something with fairies and a wizard? And I think a lot of people just see Spenser and they're like, what is this? This is so weird. They don't realise how Protestant they're being, but they're like, this is so weird.James: And Pope has a little, I mean, the Rape of the Lock even has a little of the same because the rape of the lock has this attendant army of good spirits called selfs and evil spirits called gnomes. I mean, I find that just totally funny and charming. I really love it.Henry: I'm going to read, there's an extract from the Rape of the Lock in the Oxford Book, and I'm going to read a few lines to give people an idea of how he can be at once mocking something but also quite charming about it. It's quite a difficult line to draw. The Rape of the Lock is all about a scandalous incident where a young man took a lock of a lady's hair. Rape doesn't mean what we think it means. It means an offence. And so because he stole a lock of her hair, it'd become obviously this huge problem and everyone's in a flurry. And to sort of calm everyone down, Pope took it so seriously that he made it into a tremendous joke. So here he is describing the sort of dressing table if you like.And now, unveil'd, the Toilet stands display'd,Each silver Vase in mystic order laid.First, rob'd in white, the Nymph intent adores,With head uncover'd, the Cosmetic pow'rs.A heav'nly image in the glass appears,To that she bends, to that her eyes she rears;Th' inferior Priestess, at her altar's side,Trembling begins the sacred rites of Pride.What a way to describe someone putting on their makeup. It's fantastic.James: It's funny. I can continue that because the little passage of Pope I picked to read begins exactly where yours ended. It only gets better as it goes on, I think. So after trembling begins the sacred rites of pride, Unnumber'd treasures ope at once, and hereThe various off'rings of the world appear;From each she nicely culls with curious toil,And decks the Goddess with the glitt'ring spoil.This casket India's glowing gems unlocks,And all Arabia breathes from yonder box.The Tortoise here and Elephant unite,Transformed to combs, the speckled, and the white.Here files of pins extend their shining rows,Puffs, Powders, Patches, Bibles, Billet-doux.It's just so lovely. I love a thing about the tortoise and the elephant unite because you've got a tortoise shell and an ivory comb. And the stuff about India's glowing gems and Arabia breathing from yonder box, I mean that's a, realistic is not quite the word, but that's a reference to Milton because Milton is continually having all the stones of Arabia and India's pearls and things all screwed through paradise lost. Yeah, it's just so lovely, isn't it?Henry: And for someone who's so classical and composed and elegant, there's something very Dickensian about things like the toilet, the tortoise and the elephant here unite, transform to combs. There's something a little bit surreal and the puffs, powders, patches, bibles, it has that sort of slightly hectic, frantic,James: That's sort of Victorian materialism, wealth of material objects,Henry: But also that famous thing that was said of Dickens, that the people are furniture and the furniture's like people. He can bring to life all the little bits and bobs of the ordinary day and turn it into something not quite ridiculous, not quite charming.James: And there is a kind of charm in the fact that it wasn't the sort of thing that poets would necessarily expect to pay attention to the 18th century. I don't think the sort of powders and ointments on a woman's dressing table. And there's something very sort of charming in his condescension to notice or what might've once seemed his condescension to notice those things, to find a new thing to take seriously, which is what poetry or not quite to take seriously, but to pay attention to, which I guess is one of the things that great perch should always be doing.Henry: When Swift, who was Pope's great friend, wrote about this, he wrote a poem called A Beautiful Young Lady Going to Bed, which is not as good, and I would love to claim Swift on our list, but I really can't.James: It's quite a horrible perm as well, that one, isn't it?Henry: It is. But it shows you how other people would treat the idea of the woman in front of her toilet, her mirror. And Swift uses an opportunity, as he said, to “lash the vice” because he hated all this adornment and what he would think of as the fakery of a woman painting herself. And so he talks about Corina pride of Drury Lane, which is obviously an ironic reference to her being a Lady of the Night, coming back and there's no drunken rake with her. Returning at the midnight hour;Four stories climbing to her bow'r;Then, seated on a three-legged chair,Takes off her artificial hair:Now, picking out a crystal eye,She wipes it clean, and lays it by.Her eye-brows from a mouse's hide,Stuck on with art on either side,Pulls off with care, and first displays 'em,Then in a play-book smoothly lays 'em.Now dexterously her plumpers draws,That serve to fill her hollow jaws.And it goes on like this. I mean, line after this is sort of raw doll quality to it, Pope, I think in contrast, it only illuminates him more to see where others are taking this kind of crude, very, very funny and witty, but very crude approach. He's able to really have the classical art of balance.James: Yes. And it's precisely his charm that he can mock it and sympathise and love it at the same time, which I think is just a more sort of complex suite of poetic emotions to have about that thing.Henry: So we want more people to read Pope and to love Pope.James: Yes. Even if I'm not letting him into my top.Henry: You are locking him out of the garden. Now, for the second tier, I want to argue for two anonymous poets. One of the things we did when we were talking about this was we asked chatGPT to see if it could give us a good answer. And if you use o1 or o1 Pro, it gives you a pretty good answer as to who the best poets in English are. But it has to be told that it's forgotten about the anonymous poets. And then it says, oh, that was stupid. There are quite a lot of good anonymous poets in English, but I suspect a lot of us, a lot of non artificial intelligence when thinking about this question overlook the anonymous poets. But I would think the Gawain poet and the Tom O' Bedlam poet deserve to be in here. I don't know what you think about that.James: I'm not competent to provide an opinion. I'm purely here to be educated on the subject of these anonymous poets. Henry: The Gawain poet, he's a mediaeval, assume it's a he, a mediaeval writer, obviously may well not be a man, a mediaeval writer. And he wrote Sir Gawain and The Green Knight, which is, if you haven't read it, you should really read it in translation first, I think because it's written at the same time as Chaucer. But Chaucer was written in a kind of London dialect, which is what became the English we speak. And so you can read quite a lot of Chaucer and the words look pretty similar and sometimes you need the footnotes, but when you read Gawain and The Green Knight, it's in a Northwestern dialect, which very much did not become modern day English. And so it's a bit more baffling, but it is a poem of tremendous imaginative power and weirdness. It's a very compelling story. We have a children's version here written by Selena Hastings who's a very accomplished biographer. And every now and then my son remembers it and he just reads it again and again and again. It's one of the best tales of King Arthur in his knights. And there's a wonderful book by John Burrow. It's a very short book, but that is such a loving piece of criticism that explicates the way in which that poem promotes virtue and all the nightly goodness that you would expect, but also is a very strange and unreal piece of work. And I think it has all the qualities of great poetry, but because it's written in this weird dialect, I remember as an undergraduate thinking, why is this so bloody difficult to read? But it is just marvellous. And I see people on Twitter, the few people who've read it, they read it again and they just say, God, it's so good. And I think there was a film of it a couple of years ago, but we will gloss lightly over that and not encourage you to do the film instead of the book.James: Yeah, you're now triggering a memory that I was at least set to read and perhaps did at least read part of Gawain and the Green Knight at University, but has not stuck to any brain cells at all.Henry: Well, you must try it again and tell me what you think. I mean, I find it easily to be one of the best poems in English.James: Yeah, no, I should. I had a little Chaucer kick recently actually, so maybe I'm prepared to rediscover mediaeval per after years of neglect since my degree,Henry: And it's quite short, which I always think is worth knowing. And then the Tom Bedlam is an anonymous poem from I think the 17th century, and it's one of the mad songs, so it's a bit like the Fool from King Lear. And again, it is a very mysterious, very strange and weird piece of work. Try and find it in and read the first few lines. And I think because it's anonymous, it's got slightly less of a reputation because it can't get picked up with some big name, but it is full of tremendous power. And again, I think it would be sad if it wasn't more well known.From the hag and hungry goblinThat into rags would rend ye,The spirit that stands by the naked manIn the Book of Moons defend ye,That of your five sound sensesYou never be forsaken,Nor wander from your selves with TomAbroad to beg your bacon,While I do sing, Any food, any feeding,Feeding, drink, or clothing;Come dame or maid, be not afraid,Poor Tom will injure nothing.Anyway, so you get the sense of it and it's got many stanzas and it's full of this kind of energy and it's again, very accomplished. It can carry the thought across these long lines and these long stanzas.James: When was it written? I'm aware of only if there's a name in the back of my mind.Henry: Oh, it's from the 17th century. So it's not from such a different time as King Lear, but it's written in the voice of a madman. And again, you think of that as the sort of thing a romantic poet would do. And it's strange to find it almost strange to find it displaced. There were these other mad songs. But I think because it's anonymous, it gets less well known, it gets less attention. It's not part of a bigger body of work, but it's absolutely, I think it's wonderful.James: I shall read it.Henry: So who have you got? Who else? Who are you putting in instead of these two?James: Hang on. So we're down to tier two now.Henry: Tier two.James: Yeah. So my tier two is: Donne, Elliot, Keats, Tennyson. I've put Spenser in tier two, Marvell and Pope, who we've already discussed. I mean, I think Eliot, we've talked about, I mean Donne just speaks for himself and there's probably a case that some people would make to bump him up a tier. Henry: Anybody can read that case in Katherine Rudell's book. We don't need to…James: Yes, exactly. If anybody's punching perhaps in tier two, it's Tennyson who I wasn't totally sure belonged there. Putting Tenon in the same tier as Donne and Spenser and Keets. I wonder if that's a little ambitious. I think that might raise eyebrows because there is a school of thought, which I'm not totally unsympathetic to this. What's the Auden quote about Tennyson? I really like it. I expressed very harshly, but I sort of get what he means. Auden said that Tennyson “had the finest ear perhaps of any English poet who was also undoubtedly the stupidest. There was little that he didn't know. There was little else that he did.” Which is far too harsh. But I mentioned to you earlier that I think was earlier this year, a friend and I had a project where we were going to memorise a perva week was a plan. We ended up basically getting, I think three quarters of the way through.And if there's a criticism of Tennyson that you could make, it's that the word music and the sheer lushness of phrases sometimes becomes its own momentum. And you can end up with these extremely lovely but sometimes slightly empty beautiful phrases, which is what I ended up feeling about Tithonus. And I sort of slightly felt I was memorising this unbelievably beautiful but ever so slightly hollow thing. And that was slightly why the project fell apart, I should say. Of course, they absolutely love Tennyson. He's one of my all time favourite poets, which is why my personal favouritism has bumped him up into that category. But I can see there's a case, and I think to a lot of people, he's just the kind of Victorian establishment gloom man, which is totally unfair, but there's not no case against Tennyson.Henry: Yeah, the common thing is that he has no ideas. I don't know if that's true or not. I'm also, I'm not sure how desperately important it is. It should be possible to be a great poet without ideas being at the centre of your work. If you accept the idea that the essence of poetry is invention, i.e. to say old things in a fantastically new way, then I think he qualifies very well as a great poet.James: Yes..Henry: Well, very well. I think Auden said what he said because he was anxious that it was true of himself.James: Yeah, I mean there's a strong argument that Auden had far too many ideas and the sorts of mad schemes and fantastical theories about history that Auden spent his spare time chasing after is certainly a kind of argument that poets maybe shouldn't have as many ideas, although it's just reading. Seamus Perry's got a very good little book on Tennyson, and the opening chapter is all about arguments about people who have tended to dislike Tennyson. And there are all kinds of embarrassing anecdotes about the elderly Tennyson trying to sort of go around dinner parties saying profound and sage-like things and totally putting his foot in it and saying things are completely banal. I should have made a note that this was sort of slightly, again, intensifying my alarm about is there occasionally a tinsely hollowness about Tennyson. I'm now being way too harsh about one of my favourite poets—Henry: I think it depends what you mean by ideas. He is more than just a poet of moods. He gives great expression, deep and strongly felt expression to a whole way of being and a whole way of conceiving of things. And it really was a huge part of why people became interested in the middle ages in the 19th century. I think there's Walter Scott and there's Tennyson who are really leading that work, and that became a dominant cultural force and it became something that meant a lot to people. And whether or not, I don't know whether it's the sort of idea that we're talking about, but I think that sort of thing, I think that qualifies as having ideas and think again, I think he's one of the best writers about the Arthurian legend. Now that work doesn't get into the Oxford Book of English Verse, maybe that's fair. But I think it was very important and I love it. I love it. And I find Tennyson easy to memorise, which is another point in his favour.James: Yeah.Henry: I'm going to read a little bit of Ulysses, which everyone knows the last five or six lines of that poem because it gets put into James Bond films and other such things. I'm going to read it from a little bit from earlier on. I am become a name;For always roaming with a hungry heartMuch have I seen and known; cities of menAnd manners, climates, councils, governments,Myself not least, but honour'd of them all;And drunk delight of battle with my peers,Far on the ringing plains of windy Troy.I am a part of all that I have met;Yet all experience is an arch wherethro'Gleams that untravell'd world, whose margin fadesFor ever and for ever when I move.I think that's amazing. And he can do that. He can do lots and lots and lots of that.James: Yeah, he really can. It's stunning. “Far on the ringing planes of windy Troy” is such an unbelievably evocative phrase.Henry: And that's what I mean. He's got this ability to bring back a sort of a whole mood of history. It's not just personal mood poetry. He can take you into these places and that is in the space of a line. In the space of a line. I think Matthew Arnold said of the last bit of what I just read is that he had this ability in Ulysses to make the lines seem very long and slow and to give them this kind of epic quality that far goes far beyond the actual length of that poem. Ulysses feels like this huge poem that's capturing so much of Homer and it's a few dozen lines.James: Yeah, no, I completely agree. Can I read a little bit of slightly more domestic Tennyson, from In Memoriam, I think his best poem and one of my all time favourite poems and it's got, there are many sort of famous lines on grief and things, but there's little sort of passage of natural description I think quite near the beginning that I've always really loved and I've always just thought was a stunning piece of poetry in terms of its sound and the way that the sound has patented and an unbelievably attentive description natural world, which is kind of the reason that even though I think Keats is a better poet, I do prefer reading Tennyson to Keats, so this is from the beginning of In Memoriam. Calm is the morn without a sound,Calm as to suit a calmer grief,And only thro' the faded leafThe chesnut pattering to the ground:Calm and deep peace on this high wold,And on these dews that drench the furze,And all the silvery gossamersThat twinkle into green and gold:Calm and still light on yon great plainThat sweeps with all its autumn bowers,And crowded farms and lessening towers,To mingle with the bounding main:And I just think that's an amazing piece of writing that takes you from that very close up image that it begins with of the “chestnut patterning to the ground” through the faded leaves of the tree, which is again, a really attentive little bit of natural description. I think anyone can picture the way that a chestnut might fall through the leaves of a chestnut tree, and it's just an amazing thing to notice. And I think the chestnut pattern to the ground does all the kind of wonderful, slightly onomatopoeic, Tennyson stuff so well, but by the end, you're kind of looking out over the English countryside, you've seen dew on the firs, and then you're just looking out across the plane to the sea, and it's this sort of, I just think it's one of those bits of poetry that anybody who stood in a slightly wet and romantic day in the English countryside knows exactly the feeling that he's evoking. And I mean there's no bit of—all of In Memoriam is pretty much that good. That's not a particularly celebrated passage I don't think. It's just wonderful everywhere.Henry: Yes. In Memoriam a bit like the Dunciad—under appreciated relative to its huge merits.James: Yeah, I think it sounds, I mean guess by the end of his life, Tennyson had that reputation as the establishment sage of Victorian England, queen of Victoria's favourite poet, which is a pretty off-putting reputation for to have. And I think In Memoriam is supposed to be this slightly cobwebby, musty masterpiece of Victorian grief. But there was just so much, I mean, gorgeous, beautiful sensuous poetry in it.Henry: Yeah, lots of very intense feelings. No, I agree. I have Tennyson my third tier because I had to have the Gawain poet, but I agree that he's very, very great.James: Yeah, I think the case for third tier is I'm very open to that case for the reasons that I said.Henry: Keats, we both have Keats much higher than Shelly. I think Byron's not on anyone's list because who cares about Byron. Overrated, badly behaved. Terrible jokes. Terrible jokes.James: I think people often think Byron's a better pert without having read an awful lot of the poetry of Byron. But I think anybody who's tried to wade through long swathes of Don Juan or—Henry: My God,James: Childe Harold, has amazing, amazing, beautiful moments. But yeah, there's an awful lot of stuff that you don't enjoy. I think.Henry: So to make the case for Keats, I want to talk about The Eve of St. Agnes, which I don't know about you, but I love The Eve of St. Agnes. I go back to it all the time. I find it absolutely electric.James: I'm going to say that Keats is a poet, which is kind of weird for somebody is sent to us and obviously beautiful as Keats. I sort of feel like I admire more than I love. I get why he's brilliant. It's very hard not to see why he's brilliant, but he's someone I would very rarely sit down and read for fun and somebody got an awful lot of feeling or excitement out of, but that's clearly a me problem, not a Keats problem.Henry: When I was a teenager, I knew so much Keats by heart. I knew the whole of the Ode to a Nightingale. I mean, I was absolutely steeped in it morning, noon and night. I couldn't get over it. And now I don't know if I could get back to that point. He was a very young poet and he writes in a very young way. But I'm going to read—The Eve of St. Agnes is great. It's a narrative poem, which I think is a good way to get into this stuff because the story is fantastic. And he had read Spenser, he was part of this kind of the beginning of this mediaeval revival. And he's very interested in going back to those old images, those old stories. And this is the bit, I think everything we're reading is from the Oxford Book of English Verse, so that if people at home want to read along they can.This is when the heroine of the poem is Madeline is making her escape basically. And I think this is very, very exciting. Her falt'ring hand upon the balustrade,Old Angela was feeling for the stair,When Madeline, St. Agnes' charmed maid,Rose, like a mission'd spirit, unaware:With silver taper's light, and pious care,She turn'd, and down the aged gossip ledTo a safe level matting. Now prepare,Young Porphyro, for gazing on that bed;She comes, she comes again, like ring-dove fray'd and fled.Out went the taper as she hurried in;Its little smoke, in pallid moonshine, died:She clos'd the door, she panted, all akinTo spirits of the air, and visions wide:No uttered syllable, or, woe betide!But to her heart, her heart was voluble,Paining with eloquence her balmy side;As though a tongueless nightingale should swellHer throat in vain, and die, heart-stifled, in her dell.A casement high and triple-arch'd there was,All garlanded with carven imag'riesOf fruits, and flowers, and bunches of knot-grass,And diamonded with panes of quaint device,Innumerable of stains and splendid dyes,As are the tiger-moth's deep-damask'd wings;And in the midst, 'mong thousand heraldries,And twilight saints, and dim emblazonings,A shielded scutcheon blush'd with blood of queens and kings.I mean, so much atmosphere, so much tension, so many wonderful images just coming one after the other. The rapidity of it, the tumbling nature of it. And people often quote the Ode to autumn, which has a lot of that.James: I have to say, I found that totally enchanting. And perhaps my problem is that I need you to read it all to me. You can make an audio book that I can listen to.Henry: I honestly, I actually might read the whole of the E and put it out as audio on Substack becauseJames: I would actually listen to that.Henry: I love it so much. And I feel like it gets, when we talk about Keats, we talk about, On First Looking into Chapman's Homer and Bright Star and La Belle Dame Sans Merci, and these are great, great poems and they're poems that we do at school Ode to a Nightingale because I think The Great Gatsby has a big debt to Ode to a Nightingale, doesn't it? And obviously everyone quotes the Ode to Autumn. I mean, as far as I can tell, the 1st of October every year is the whole world sharing the first stands of the Ode to Autumn.James: Yeah. He may be one of the people who suffers from over familiarity perhaps. And I think also because it sounds so much what poetry is supposed to sound like, because so much of our idea of poetry derives from Keats. Maybe that's something I've slightly need to get past a little bit.Henry: But if you can get into the complete works, there are many, the bit I just read is I think quite representative.James: I loved it. I thought it was completely beautiful and I would never have thought to ever, I probably can't have read that poem for years. I wouldn't have thought to read it. Since university, I don't thinkHenry: He's one of those people. All of my copies of him are sort of frayed and the spines are breaking, but the book is wearing out. I should just commit it to memory and be done. But somehow I love going back to it. So Keats is very high in my estimation, and we've both put him higher than Shelly and Coleridge.James: Yeah.Henry: Tell me why. Because those would typically, I think, be considered the superior poets.James: Do you think Shelly? I think Keats would be considered the superior poetHenry: To Shelly?James: Certainly, yes. I think to Shelly and Coleridge, that's where current fashion would place them. I mean, I have to say Coleridge is one of my all time favourite poets. In terms of people who had just every so often think, I'd love to read a poem, I'd love to read Frost at Midnight. I'd love to read the Aeolian Harp. I'd love to read This Lime Tree Bower, My Prison. I'd love to read Kubla Khan. Outside Milton, Coleridge is probably the person that I read most, but I think, I guess there's a case that Coleridge's output is pretty slight. What his reputation rest on is The Rime of the Ancient Mariner, Kubla Khan, the conversation poems, which a lot of people think are kind of plagiarised Wordsworth, at least in their style and tone, and then maybe not much else. Does anybody particularly read Cristabel and get much out of it nowadays? Dejection an Ode people like: it's never done an awful lot for me, so I sort of, in my personal Pantheon Coleridge is at the top and he's such an immensely sympathetic personality as well and such a curious person. But I think he's a little slight, and there's probably nothing in Coleridge that can match that gorgeous passage of Keats that you read. I think.Henry: Yeah, that's probably true. He's got more ideas, I guess. I don't think it matters that he's slight. Robert Frost said something about his ambition had been to lodge five or six poems in the English language, and if he'd done that, he would've achieved greatness. And obviously Frost very much did do that and is probably the most quotable and well-known poet. But I think Coleridge easily meets those criteria with the poems you described. And if all we had was the Rime of the Ancient Mariner, I would think it to be like Tom O' Bedlam, like the Elegy in a Country Churchyard, one of those great, great, great poems that on its own terms, deserves to be on this list.James: Yeah, and I guess another point in his favour is a great poet is they're all pretty unalike. I think if given Rime of the Ancient Mariner, a conversation poem and Kubla Khan and said, guess whether these are three separate poets or the same guy, you would say, oh, there's a totally different poems. They're three different people. One's a kind of creepy gothic horror ballad. Another one is a philosophical reflection. Another is the sort of Mad Opium dream. I mean, Kubla Khan is just without a doubt, one of the top handful of purposes in English language, I think.Henry: Oh yeah, yeah. And it has that quality of the Elegy in a Country Churchyard that so many of the lines are so quotable in the sense that they could be, in the case of the Elegy in a Country Churchyard, a lot of novels did get their titles from it. I think it was James Lees Milne. Every volume of his diaries, which there are obviously quite a few, had its title from Kubla Khan. Ancient as the Hills and so on. It's one of those poems. It just provides us with so much wonderful language in the space of what a page.James: Sort of goes all over the place. Romantic chasms, Abyssinian made with dulcimer, icy pleasure dome with caves of ice. It just such a—it's so mysterious. I mean, there's nothing else remotely like it at all in English literature that I can think of, and its kind strangeness and virtuosity. I really love that poem.Henry: Now, should we say a word for Shelly? Because everyone knows Ozymandias, which is one of those internet poems that goes around a lot, but I don't know how well known the rest of his body of work is beyond that. I fell in love with him when I read a very short lyric called “To—” Music, when soft voices die,Vibrates in the memory—Odours, when sweet violets sicken,Live within the sense they quicken.Rose leaves, when the rose is dead,Are heaped for the belovèd's bed;And so thy thoughts, when thou art gone,Love itself shall slumber on.I found that to be one of those poems that was once read and immediately memorised. But he has this very, again, broad body of work. He can write about philosophical ideas, he can write about moods, he can write narrative. He wrote Julian and Maddalo, which is a dialogue poem about visiting a madman and taking sympathy with him and asking the question, who's really mad here? Very Swiftian question. He can write about the sublime in Mont Blanc. I mean, he has got huge intellectual power along with the beauty. He's what people want Tennyson to be, I guess.James: Yeah. Or what people think Byron might be. I think Shelly is great. I don't quite get that Byron is so much more famous. Shelly has just a dramatic and, well, maybe not quite just as, but an incredibly dramatic and exciting life to go along with it,Henry: I think some of the short lyrics from Byron have got much more purchase in day-to-day life, like She Walks in Beauty.James: Yeah. I think you have to maybe get Shelly a little more length, don't you? I mean, even there's something like Ode to the West Wind is you have to take the whole thing to love it, perhaps.Henry: Yes. And again, I think he's a bit like George Herbert. He's always thinking you really have to pay attention and think with him. Whereas Byron has got lots of lines you can copy out and give to a girl that you like on the bus or something.James: Yes. No, that's true.Henry: I don't mean that in quite as rude a way as it sounds. I do think that's a good thing. But Shelly's, I think, much more of a thinker, and I agree with you Childe Harold and so forth. It's all crashing bore. I might to try it again, but awful.James: I don't want move past Coledridge without inflicting little Coledridge on you. Can I?Henry: Oh, yes. No, sorry. We didn't read Coledridge, right?James: Are just, I mean, what to read from Coledridge? I mean, I could read the whole of Kubla Khan, but that would be maybe a bit boring. I mean, again, these are pretty famous and obvious lines from Frost at Midnight, which is Coledridge sitting up late at night in his cottage with his baby in its cradle, and he sort of addressing it and thinking about it. And I just think these lines are so, well, everything we've said about Coledridge, philosophical, thoughtful, beautiful, in a sort of totally knockout, undeniable way. So it goes, he's talking to his young son, I think. My babe so beautiful! it thrills my heartWith tender gladness, thus to look at thee,And think that thou shalt learn far other lore,And in far other scenes! For I was rearedIn the great city, pent 'mid cloisters dim,And saw nought lovely but the sky and stars.But thou, my babe! shalt wander like a breezeBy lakes and sandy shores, beneath the cragsOf ancient mountain, and beneath the clouds,Which image in their bulk both lakes and shoresAnd mountain crags: so shalt thou see and hearThe lovely shapes and sounds intelligibleOf that eternal language, which thy GodUtters, who from eternity doth teachHimself in all, and all things in himself.Which is just—what aren't those lines of poetry doing? And with such kind of confidence, the way you get from talking to your baby and its cradle about what kind of upbringing you hope it will have to those flashes of, I mean quite Wordsworthian beauty, and then the sort of philosophical tone at the end. It's just such a stunning, lovely poem. Yeah, I love it.Henry: Now we both got Yeats and Hopkins. And Hopkins I think is really, really a tremendous poet, but neither of us has put Browning, which a lot of other people maybe would. Can we have a go at Browning for a minute? Can we leave him in shreds? James: Oh God. I mean, you're going to be a better advocate of Browning than I am. I've never—Henry: Don't advocate for him. No, no, no.James: We we're sticking him out.Henry: We're sticking him.James: I wonder if I even feel qualified to do that. I mean, I read quite a bit of Browning at university, found it hard to get on with sometimes. I think I found a little affected and pretentious about him and a little kind of needlessly difficult in a sort of off-puttingly Victorian way. But then I was reading, I reviewed a couple of years ago, John Carey has an excellent introduction to English poetry. I think it's called A Little History of Poetry in which he described Browning's incredibly long poem, The Ring in the Book as one of the all time wonders of verbal art. This thing is, I think it's like 700 or 800 pages long poem in the Penguin edition, which has always given me pause for thought and made me think that I've dismissed Browning out of hand because if John Carey's telling me that, then I must be wrong.But I think I have had very little pleasure out of Browning, and I mean by the end of the 19th century, there was a bit of a sort of Victorian cult of Browning, which I think was influential. And people liked him because he was a living celebrity who'd been anointed as a great poet, and people liked to go and worship at his feet and stuff. I do kind of wonder whether he's lasted, I don't think many people read him for pleasure, and I wonder if that maybe tells its own story. What's your case against Browning?Henry: No, much the same. I think he's very accomplished and very, he probably, he deserves a place on the list, but I can't enjoy him and I don't really know why. But to me, he's very clever and very good, but as you say, a bit dull.James: Yeah, I totally agree. I'm willing. It must be our failing, I'm sure. Yeah, no, I'm sure. I'm willing to believe they're all, if this podcast is listened to by scholars of Victorian poetry, they're cringing and holding their head in their hands at this—Henry: They've turned off already. Well, if you read The Ring and the Book, you can come back on and tell us about it.James: Oh God, yeah. I mean, in about 20 years time.Henry: I think we both have Auden, but you said something you said, “does Auden have an edge of fraudulence?”James: Yeah, I mean, again, I feel like I'm being really rude about a lot of poets that I really love. I don't really know why doesn't think, realising that people consider to be a little bit weak makes you appreciate their best stuff even more I guess. I mean, it's hard to make that argument without reading a bit of Auden. I wonder what bit gets it across. I haven't gotten any ready. What would you say about Auden?Henry: I love Auden. I think he was the best poet of the 20th century maybe. I mean, I have to sort of begrudgingly accept T.S. Eliot beside, I think he can do everything from, he can do songs, light lyrics, comic verse, he can do occasional poetry, obituaries. He was a political poet. He wrote in every form, I think almost literally that might be true. Every type of stanza, different lines. He was just structurally remarkable. I suspect he'll end up a bit like Pope once the culture has tur

The complete audiobook is available for purchase at Audible.com: https://n9.cl/ew8v3h The Lyrical Poems of Alexander Pope Narrated by Evan and Marie Blackmore Alexander Pope was the most influential and most admired writer of his time, famous for satirical and reflective poems such as The Rape of the Lock and the Essay on Man. His lyrical poems are tantalizingly few in number but predictably high in quality, with all the beauty of sound and incisiveness of sense familiar from his other works. Contents: 01-02: Ode on Solitude 03-04: Ode on St. Cecilia's Day 05-08: Two Choruses to Brutus 09-11: The Heathen and the Christian to their Souls 12-14: Messiah

The panel reads Alexander Pope's "Messiah," based upon Virgil's Fourth Eclogue and the biblical Book of Isaiah, with a discussion of its formal qualities, its Late Augustan/pre-Romantic historical context, and its fusion of Classical and Hebraic imagery.Continue reading

Merriam-Webster's Word of the Day for December 22, 2024 is: ambient • AM-bee-unt • adjective In technical use, ambient describes things—such as air quality or light in a room—that exist or are present on all sides. Ambient is also used to describe electronic music that is quiet and relaxing, with melodies that repeat many times. // The chemicals must be kept at an ambient temperature of 70°F. See the entry > Examples: “Many New Yorkers revel in the city's ambient rumble—the thump of a bass echoing between buildings, the slap of domino tiles on a card table, the growl of off-road bikes rushing down the block.” — Yessenia Funes, Curbed, 11 Aug. 2023 Did you know? Biologists explore the effects of ambient light on plants; acoustics experts try to control ambient sound; and meteorologists monitor the temperature of ambient air. All this can make ambient seem like a technical term, but when it first saw light of day, that all-encompassing adjective was as likely to be used in poetry as in science, as when Alexander Pope wrote of a mountain “whose tow'ring summit ambient clouds conceal'd.” Both poets and scientists use ambient today to describe things that surround—that is, exist on all sides of—someone or something. And by “all” we mean all. One would not likely describe someone sitting in the middle of their lawn as being amid “ambient grass,” for example. Ambient, which comes from the Latin verb ambīre meaning “to surround, encircle, or embrace,” most often describes things—such as noise or humidity—that are all around someone, from top to bottom.

Or Sinister Smurfs, Guffawstrengthtraining Seen, Al Pontiff, Charlatan John.

Alexander Pope observed in his poem “An Essay on Man” that “hope springs eternal in the human heart.” This sentiment is as relevant today as

In this episode, I review the pathological and clinical dimensions of migraine, the most common disabling neurological disorder. I tried to capture migraine's diverse disabling recurrent symptoms, from its risk factors, triggers and prodrome to the aura, the headache, and multiple heightened sensitivities.To illustrate the lived experience of migraine, its classical manifestations, and its curious variants, I refer to such vivid patient memoirs as those of Monica Nelson titled Mere Sense, and Abby Reed titled The Color of Pain. I also cited Oliver Sacks classical book titled 'Migraine'.I also flavour the podcast with historical migraine patient anecdotes, such as those of Ann Conway, the enlightenment writer who was treated by the great physicians William Harvey and Thomas Willis, of Annie, who was treated with an astounding number of therapies by the famous Queen Square neurologist William Gowers, and of Alexander Pope who treated his migraines in a most unconventional way.In this regard, I relied on Migraine: A History, Katherine Foxhall's magnificent historical account of the medieval ideas and treatments of the disorder, and Soul Made Flesh, Carl Zimmer's exhilarating biography of Thomas Willis.The podcast also explores and the evolution of migraine's acute and preventative treatments, and how a better understanding of its pathology is leading to treatments such as those that influence the CGRP pathway.

fWotD Episode 2729: Umbriel Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Thursday, 24 October 2024 is Umbriel.Umbriel () is the third-largest moon of Uranus. It was discovered on October 24, 1851, by William Lassell at the same time as neighboring moon Ariel. It was named after a character in Alexander Pope's 1712 poem The Rape of the Lock. Umbriel consists mainly of ice with a substantial fraction of rock, and may be differentiated into a rocky core and an icy mantle. The surface is the darkest among Uranian moons, and appears to have been shaped primarily by impacts, but the presence of canyons suggests early internal processes, and the moon may have undergone an early endogenically driven resurfacing event that obliterated its older surface.Covered by numerous impact craters reaching 210 km (130 mi) in diameter, Umbriel is the second-most heavily cratered satellite of Uranus after Oberon. The most prominent surface feature is a ring of bright material on the floor of Wunda crater. This moon, like all regular moons of Uranus, probably formed from an accretion disk that surrounded the planet just after its formation. Umbriel has been studied up close only once, by the spacecraft Voyager 2 in January 1986. It took several images of Umbriel, which allowed mapping of about 40% of the moon's surface.This recording reflects the Wikipedia text as of 00:30 UTC on Wednesday, 6 November 2024.For the full current version of the article, see Umbriel on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm long-form Gregory.

Today's crossword was filled with amusing and tricky clues, like 46D, "Charms strike the sight, but _______ wins the soul": Alexander Pope, MERIT; and a nice combo, 7D, Branching point, NODE, and 8D, Branching point?, TREE (ha!). But these are just a few of the stellar clues in today's crossword, even better ones lie within, so download today's podcast for even more enlightenment. And -- bonus! -- in that same download you will be able to discover who won our latest JAMCOTWA™ (Jean And Mike Crossword Of The Week Award).Show note imagery: NUUK, Greenland's capitalWe love feedback! Send us a text...Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

Send us a textDetails of Eliza Haywood's life may be murky today, but in the early 18th century, she was a literary force—writing plays and bestselling novels, editing periodicals, and ruffling the feathers of male contemporaries like Alexander Pope. Academic Kelly J. Plante joins us this week to discuss Haywood's anonymous wartime writing for The Female Spectator, the first periodical written by and for women, as well as her 1751 novel, The History of Miss Betsy Thoughtless.Mentioned in this episode:Kelly J. Plante's recent scholarship on Eliza Haywood in Early Modern Women: An Interdisciplinary JournalEliza Haywood: Love in Excess Fantomina The History of Miss Betsy ThoughtlessThe Female Spectator: Book 14, Letter 1The ParrotEpistles for the LadiesSamuel Richardson: Pamela; or Virtue Rewarded Clarissa; or the History of a Young LadyDaniel Defoe: Robinson CrusoeAlexander Pope:The DunciadHenry Fielding:The History of Tom JonesFrances BurneyJane AustenThe Sound of Music's “Sixteen Going on Seventeen”“The Things We Do For Love” by 10ccLost Ladies of Lit Episode No. 49 on Aphra BehnSupport the showFor episodes and show notes, visit: LostLadiesofLit.comDiscuss episodes on our Facebook Forum. Follow us on instagram @lostladiesoflit. Follow Kim on twitter @kaskew. Sign up for our newsletter: LostLadiesofLit.com Email us: Contact — Lost Ladies of Lit Podcast

What makes normal people do terrible things? Are there really bad apples — or just bad barrels? And how should you deal with a nefarious next-door neighbor? SOURCES:Jonathan Haidt, professor of ethical leadership at New York University's Stern School of Business.Christina Maslach, professor of psychology at the University of California, Berkeley.Stanley Milgram, 20th century professor of psychology at Yale University.Edward R. Murrow, 20th century American broadcast journalist and war correspondent.Alexander Pope, 17-18th century English poet.Adrian Raine, professor of criminology, psychiatry, and psychology at the University of Pennsylvania.Oskar Schindler, 20th century German businessman.Philip Zimbardo, professor emeritus of psychology at Stanford University. RESOURCES:"Mental Illness and Violence: Debunking Myths, Addressing Realities," by Tori DeAngelis (Monitor on Psychology, 2021)."How 'Evil' Became a Conservative Buzzword," by Emma Green (The Atlantic, 2017)."The Double-Edged Sword: Does Biomechanism Increase or Decrease Judges' Sentencing of Psychopaths?" by Lisa G. Aspinwall, Teneille R. Brown, and James Tabery (Science, 2012)."The Psychology of Evil," by Philip Zimbardo (TED Talk, 2008).The Lucifer Effect: Understanding How Good People Turn Evil, by Philip Zimbardo (2007)."When Morality Opposes Justice: Conservatives Have Moral Intuitions that Liberals may not Recognize," by Jonathan Haidt and Jesse Graham (Social Justice Research, 2007)."Abu Ghraib Whistleblower Speaks Out," by Michele Norris (All Things Considered, 2006).Obedience to Authority: An Experimental View, by Stanley Milgram (1974). EXTRAS:"Does Free Will Exist, and Does It Matter?" by No Stupid Questions (2024)."Are You Suffering From Burnout?" by No Stupid Questions (2023).Lolita, by Vladimir Nabokov (1955)."Essay on Man, Epistle II," poem by Alexander Pope (1733).

“When force of circumstance upsets your equanimity lose no time in recovering your self-control, and do not remain out of tune longer than you can help. Habitual recurrence to the harmony will increase your mastery of it.” – Marcus Aurelius   In This Episode, We Get Stoic About:   Self-control is not a static state.  We all mess up from time to time. We skip a workout. We hit the snooze button. We lose our temper. We overindulge food or drink. To err, as the Alexander Pope poem reminds us, is human.      But while it is our nature to err on occasion, it is also within us to correct the course when we do.   We talk about the importance of showing up again on today's podcast!   Resources + Links:   Connect with Kristofor | www.kristoforhealey.com Connect with Kristofor on Instagram | @team_healey Subscribe to The Stoic Responder on Substack | https://thestoicresponder.substack.com Subscribe to The Stoic Responder on YouTube | The Stoic Responder Buy your copy of In Valor: 365 Stoic Meditations for First Responders, here! Buy your copy of Indispensable: A Tactical Plan for the Modern Man, here! Book Kristofor for a speaking event, here!   Sponsor Discounts:    Friend of the show Dan Hickman (@danieljasonhickman on Instagram) hosts the Competitive Edge Podcast and is a father, entrepreneur and hybrid athlete. As a MyZone Ambassador, Dan is offering The Stoic Responder Podcast listeners $60 off of a MyZone heart rate monitor using discount code TMZUS001-51445-60. If you aren't using a heart rate monitor to train, you're missing out on critical data. Through accurate heart rate tracking and real-time feedback, all effort counts.   Takeaways:   Self-control is essential for maintaining balance in life. Recognizing when we are off track is crucial for improvement. Habitual recurrence to harmony increases mastery over self-control. It's natural to err, but we must correct our course quickly. Journaling helps in assessing our daily actions and behaviors. We should not let setbacks become the new normal. Discipline is required to get back on track after falling off. Recommitting to positive habits is a sign of strength. Philosophy should be practiced daily for it to be effective.   Until Next Time…out of role! 

Daily QuotePleasures are ever in our hands or eyes,And when in act they cease,In prospect rise. (Alexander Pope)Poem of the DayIn Heraclitus' RiverWisława SzymborskaBeauty of Words秋丰子恺

Daily QuoteHe who rides and keeps the beaten track studies the fences chiefly. (Alexander Pope)Poem of the DayGoing and Stayingby Thomas HardyBeauty of WordsThe Last Night of the WorldRay Bradbury

Daily QuoteHe who rides and keeps the beaten track studies the fences chiefly. (Alexander Pope)Poem of the DayThe Best Time of the DayRaymond CarverBeauty of WordsOf Fortuneby Francis Bacon

All seems infected that th' infected spy, As all looks yellow to the jaundiced eye. —Alexander Pope

Daily QuoteHe who rides and keeps the beaten track studies the fences chiefly. (Alexander Pope)Poem of the DayOn a Faded VioletP.B. ShelleyBeauty of WordsLoveRalph Waldo Emerson

Send Me A Roguish Text Message“A harmless bit of blasphemy and dressing up" from the chairman of the very FIRST Hell Fire Club - Philip Duke of Wharton.He should support the establishment, but instead he makes fun of it.Discover the debauched history of - arguably- England's very first Hellfire Club. What is 'Holy Ghost Pie'?Who gives a bear cub as a gift?Why did Alexander Pope hate him so much?Why did the government shut him down?All of these controversial questions will be answered in episode 44 of Rogues Gallery Uncovered - The podcast of bad behaviour in period costume An eccentric member of British Aristocracy, he was one of the most colourful figures in 18th century history. Friends with Jacobites, scorned by Whigs and secretly greeted by Freemasons, the scandal filed life of this hard drinking libertine was short but full of incident. If you are a fan of British political history, drunken misbehaviour , cooking and blasphemy, you'll enjoy this episode. Thanks for listening. Stay Roguish!Email: simon@roguesgalleryonline.com Visit the website and become a 'Rogue with Benefits' Find me on X, Facebook, Instagram

Does knowing a lot of facts about the historical past – say, of early America – make us feel closer to it? Or is something else required? How can we–as my guest puts it, “appreciate a bit better what it felt like to be alive then. Naturally,” he continues  “we can't teach emotions to any who weren't alive to experience them how Pearl Harbor felt in real time – let alone Fort Sumter or Lincoln‘s assassination – is not transmissible. The historian can only do so much.“ But how to convey not merely the intellectual weight but the emotional burdens that humans once carried–and that we might no longer understand? My guest Andrew Burstein has done what he can to credibly bring early America closer to us in his new book Longing for Connection: Entangled Memories, and Emotional Loss in Early America. It is a work of history that is intricately plotted, connecting personalities and themes in a sort of great circular panopticon of early America, in which the reader sits at the orbital center of continual swirl and movement.   Andrew Burstein is the Charles Phelps Manship Emeritus Professor in the Department of History at Louisiana State University. Longing for Connection is the latest member of a large-and hopefully happy- family of books.   For Further Investigation You really should read some Alexander Pope. Find more about him, and some of his poems here. Poor Edward Everett. No one ever reads his Gettysburg address.  Some of the more closely related members of the Burstein family of books, many of them mentioned in the conversation, listed in order of publication: The Inner Jefferson: Portrait of a Grieving Optimist; Sentimental Democracy: The Evolution of America's Romantic Self-Image; The Original Knickerbocker: The Life of Washington Irving; and Lincoln Dreamt He Died: The Midnight Visions of Remarkable Americans from Colonial Times to Freud For an intro to cultural history, you should listen to Episode 32 Past episodes with a connection to this one are Episode 163: The First Martyr of the American Revolution; and Episode 344: Founding Scoundrels

Daily QuoteA little learning is a dangerous thing. (Alexander Pope)Poem of the DayThe Return of the RiversRichard BrautiganBeauty of Words囚绿记陆蠡

Daily QuoteA little learning is a dangerous thing. (Alexander Pope)Poem of the Day苦昼短李贺Beauty of WordsAn apology for idlersRobert Lewis Stevenson

Learn more about Michael Wenderoth, Executive Coach: www.changwenderoth.comSHOW NOTES:In this engaging episode of 97% Effective, host Michael Wenderoth sits down with Stefania 'Stef' Mancini, GM and VP of Product at Intuit Canada's Consumer Business. Stef shares why she left a fulfilling career in marketing and advertising, and the transformative steps she took at Intuit that enabled her and her team to achieve three years of unprecedented double-digit growth. We discuss how to take big risks; how to get people excited – even when you miss the mark; and the art of blending authenticity with corporate politics. Stef's got advice for how women can lean in without losing their humanity, more than a few sports analogies -- and even some dark humor, sharing the wisdom gained when she thought about work on her death bed (it's not what you think).Stef had a stellar career – but still wanted to do moreKeys to finding the missing link between where she wanted to be and could be – and where she actually was“Sitting in stagnation [for me] was worse than failure”How Stef pursued and landed her job at Intuit (they move fast!)How Stef was able to build important relationships -- despite not meeting anyone in corporate or on her team in person for her first 18 monthsHow Stef reconciled the dissonance of wanting to be be authentic and direct with “playing politics”Old Stef vs new Stef: how she went from pushing to be right -- to understand what success looks like for someone elseGoing about getting a mentor and sponsor (and the difference between the two)Getting a sponsor: luck of the draw or can you land one without a magical first connection?“Be a racehorse that can deliver”: the building block of being somone that top people will sponsorThe benefits of checking in with no reason, using Slack to let people know you notice themGolf, baseball, formula one, and sports: what Stef means when she says “take big swings”“Take big risks fearlessly”: How Stef took a risk and strong stand that was unpopularPutting Canada on the map: Using a failure to unlock new insights and change the paradigm of what the company could doStef's view on how women can navigate challenges: “Don't just walk away” but think about if changing your approach might yield a different response“If the idea of failure is not the thing that stops you, then everything is an experiment.”The impact of stage 4 cancerOn her deathbed, Stef DID think about work (and how that provided clarity)Delivery is important, but how to package that up in a meaningful wayHow to get people excited, even when you miss the markPeople want to support others – and work for others – that are driving change and making good things happenExecutive Presence: how to bring energy and what most people are afraid to doHow to pronounce Stefania? The hilarious story you will never forgetLightning round! Stef on what non-Canadians need to know about Canada; the next luminary she WILL meet; where to eat in Toronto; and what English lit we should all readWhy it is critical that more women have a seat at the table, as AI shapes the next revolution BIO AND LINKS:Stefania Mancini is General Manager for Intuit Consumer Group Canada, overseeing all product, marketing and revenue generating activities for TurboTax and Credit Karma in Canada. Intuit Consumer Group Canada provides AI enabled technology solutions and professional expert services to help over 5 million Canadians power prosperity. Prior to joining Intuit Consumer Group Canada, Stefania spent two decades in leadership roles at Klick Health, Say Media, Rogers Media, BMO Financial Group and AGF Funds Inc. She holds her degree in English literature and history from the University of Toronto. Stef is a Stage IV cancer survivor and has an amazing blended family, four children, with her husband Anthony.Intuit Canada: https://www.intuit.com/ca/Stef on LinkedIn: https://www.linkedin.com/in/stefaniamancini/Stef featured on Women of Influence: https://tinyurl.com/3ryda7wsStef named as Intuit Canada GM: https://strategyonline.ca/2023/05/18/in-brief-intuits-head-marketer-now-its-gm/Radical Candor concept: https://a.co/d/dXkgspDShe recommends you read Alexander Pope: https://www.poetryfoundation.org/poets/alexander-popeMichael's book, Get Promoted: https://tinyurl.com/453txk74Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Nobody hated better than Alexander Pope. Despite his reputation as the quintessentially refined versifier of the early 18th century, he was also a class A, ultra-pure, surreal, visionary mega-hater, and The Dunciad is his monument to the hate he felt for almost all the other writers of his time. Written over fifteen years of burning fury, Pope's mock-epic tells the story of the Empire of Dullness and its lineage of terrible writers, the Dunces. Unlike other satires featured in this series so far, it makes no effort to hide the identities of its targets. Clare and Colin provide an ABC for understanding this vast and knotty fulmination, and explore the feverish, backstabbing and politically turbulent world in which it was created.This is an extract from the episode. To listen in full, and to all our other Close Readings series, sign up:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsColin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford.Get in touch: podcasts@lrb.co.uk Hosted on Acast. See acast.com/privacy for more information.

On this week's episode of The Literary Life Podcast, Angelina and Thomas continue their series of discussions on Anne Brontë's novel Agnes Grey. They open the conversation about this novel with some thoughts on the differences between Agnes Grey and Jane Eyre and Anne and Charlotte Brontë. Angelina poses the question as to whether this novel crosses the line into didacticism or if it stays within the purpose of the story and the art. In discussing the education of Agnes' charges in these chapters, Angelina has a chance to expand upon the upbringing of Victorian young women. She and Thomas discuss the position of the curate and Agnes' spiritual seriousness, as well as the characters of Weston and Hatfield as foils for each other. Thomas closes out the conversation with a question as to whether Agnes Grey is as memorable a character as Jane Eyre or Catherine Earnshaw and why that is. Check out the schedule for the podcast's summer episodes on our Upcoming Events page. In July, Dr. Jason Baxter will be teaching a class titled “Dostoyevsky's Icon: Brothers Karamazov, The Christian Past, and The Modern World”, and you can sign up for that or any of the HHL Summer Classes here. Sign up for the newsletter at HouseofHumaneLetters.com to stay in the know about all the exciting new things we have coming up! Commonplace Quotes: In wit, as nature, what affects our hearts/ Is not the exactness of peculiar parts;/ ‘Tis not a lip, or eye, we beauty call,/ But the joint force and full result of all. Alexander Pope, from “An Essay on Criticism” In any case, it is Charlotte Brontë who enters Victorian literature. The shortest way of stating her strong contribution is, I think, this: that she reached the highest romance through the lowest realism. She did not set out with Amadis of Gaul in a forest or with Mr. Pickwick in a comic club. She set out with herself, with her own dingy clothes and accidental ugliness, and flat, coarse, provincial household; and forcibly fused all such muddy materials into a spirited fairy-tale. G. K. Chesterton, The Victorian Age in Literature My Heart Leaps Up By William Wordsworth My heart leaps up when I beholdA Rainbow in the sky:So was it when my life began;So is it now I am a man;So be it when I shall grow old,Or let me die!The Child is father of the man;And I wish my days to beBound each to each by natural piety. Book List: Ten Novels and Their Authors by W. Somerset Maugham 1984 by George Orwell The Jungle by Upton Sinclair Charlotte Mason Hugh Walpole George Eliot Wuthering Heights by Emily Brontë Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: You can find Angelina and Thomas at HouseofHumaneLetters.com, on Instagram @angelinastanford, and on Facebook at www.facebook.com/ANGStanford/ Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let's get the book talk going! http://bit.ly/literarylifeFB

Daily QuoteMan, like the generous vine, supported lives; the strength he gains is from the embrace he gives. (Alexander Pope)Poem of the Day长歌行Beauty of WordsThe Tomb of KeatsOscar Wilde

Saturday, March 6, 2021 "Am I supposed to brag about what a great introvert I am?" Mark De Leon comes back to enact revenge for that whole Top Dog debacle and also brings three (strangely heavy on the N-word) movies that make him tick. As usual, apologies regarding any ignorant Wasatch Front-based perspectives. 0:00 -- Intro (Mark is back, future Kiss Your Franchise Goodbye business)9:38 -- To Kill a Mockingbird47:33 -- Blazing Saddles1.14:32 -- Eternal Sunshine of the Spotless Mind1.53:50 -- Awards and rankings2.37:13 -- Future business2:45:22 -- Outro and outtakesHey! Be sure to watch Brainstorm, The Crow, and The Imaginarium of Doctor Parnassus for next time! Hey! Leave us a voicemail at (801) 896-4542!Hey! Hear Mark on the Kiss Your Franchise Goodbye podcast!Hey! Hear the Unspooled podcast about To Kill a Mockingbird!Hey! Hear the (mostly negative) Filmspotting podcast about To Kill a Mockingbird!Hey! See the "Daddicus Finch" Simpsons episode (season 30, episode 9)!Hey! Witness the berries and cream lad!Hey! See John Tesh lurching around on Conan (not Letterman apparently)!Hey! Absorb that one Alexander Pope poem!Hey! There's no way I'm sharing with Kaitlin (about :25 in)!Hey! Hear "Brianstorm" by Arctic Monkeys!Hey! Hear the cowbell in "Hold Me" by Fleetwood Mac!Hey! Subscribe in iTunes!Hey! Check out the Facebook page and vote on the next category!Hey! Check out Jon's YM&T Letterboxd list!Hey! Check out Roy's YM&T Letterboxd list!Hey! Email us at yoursminetheirspodcast@gmail.com! Send new topics! Send new theme songs!

If we could undergo a procedure that would erase the painful memories from our lives, would we do it? That seems to be the question of Eternal Sunshine of the Spotless Mind (2004) until we realize that we're asking the wrong question. The real question this film asks is why wouldn't such a procedure ever work? Join us for a conversation about Michel Gondry's mind-bending film that is a completely different experience when you're 20 versus when you're 40. Go ahead and give it a listen–then visit Lacuna so you can listen again for the first time. If the passage from Alexander Pope's Eloisa to Abelard reminded you of Pope's talent, you may be interested in this quality collection of his verse. You may also want to check out this collection of essays about the film. Follow us on X or Letterboxd–and let us know what you'd like us to watch! Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

If we could undergo a procedure that would erase the painful memories from our lives, would we do it? That seems to be the question of Eternal Sunshine of the Spotless Mind (2004) until we realize that we're asking the wrong question. The real question this film asks is why wouldn't such a procedure ever work? Join us for a conversation about Michel Gondry's mind-bending film that is a completely different experience when you're 20 versus when you're 40. Go ahead and give it a listen–then visit Lacuna so you can listen again for the first time. If the passage from Alexander Pope's Eloisa to Abelard reminded you of Pope's talent, you may be interested in this quality collection of his verse. You may also want to check out this collection of essays about the film. Follow us on X or Letterboxd–and let us know what you'd like us to watch! Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices

If we could undergo a procedure that would erase the painful memories from our lives, would we do it? That seems to be the question of Eternal Sunshine of the Spotless Mind (2004) until we realize that we're asking the wrong question. The real question this film asks is why wouldn't such a procedure ever work? Join us for a conversation about Michel Gondry's mind-bending film that is a completely different experience when you're 20 versus when you're 40. Go ahead and give it a listen–then visit Lacuna so you can listen again for the first time. If the passage from Alexander Pope's Eloisa to Abelard reminded you of Pope's talent, you may be interested in this quality collection of his verse. You may also want to check out this collection of essays about the film. Follow us on X or Letterboxd–and let us know what you'd like us to watch! Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Daily QuoteThe lights and shades, whose well-accorded strife gives all the strength and color of our life. (Alexander Pope)Poem of the Day木兰花令•拟古决绝词纳兰性德Beauty of WordsMr. Know-All (1)W.S. Maugham

Today's poem (from an oft-maligned poet) makes frequent appearances in poetry anthologies for children, but hides a satisfying subtlety.Colley Cibber (6 November 1671 – 11 December 1757) was an English actor-manager, playwright and Poet Laureate. His colourful memoir An Apology for the Life of Colley Cibber (1740) describes his life in a personal, anecdotal and even rambling style. He wrote 25 plays for his own company at Drury Lane, half of which were adapted from various sources, which led Robert Lowe and Alexander Pope, among others, to criticise his "miserable mutilation" of "crucified Molière [and] hapless Shakespeare".He regarded himself as first and foremost an actor and had great popular success in comical fop parts, while as a tragic actor he was persistent but much ridiculed. Cibber's brash, extroverted personality did not sit well with his contemporaries, and he was frequently accused of tasteless theatrical productions, shady business methods, and a social and political opportunism that was thought to have gained him the laureateship over far better poets. He rose to ignominious fame when he became the chief target, the head Dunce, of Alexander Pope's satirical poem The Dunciad.Cibber's poetical work was derided in his time and has been remembered only for being poor. His importance in British theatre history rests on his being one of the first in a long line of actor-managers, on the interest of two of his comedies as documents of evolving early 18th-century taste and ideology, and on the value of his autobiography as a historical source. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

In this episode of High Theory, Jonathan Kramnick talks about Close Reading. Contrary to the name, it is less a form of slow or focused reading than an immersive practice of writing. The classic methodology of New Criticism has become, in Kramnick's estimation, the shared foundation of literary studies in the university. Our conversation was inspired by Jonathan's new book, Criticism and Truth: On Method in Literary Studies (Chicago, 2023). In the book he aims to “present a view of literary criticism as it is practiced across the academy in order to defend its standing as a contribution to knowledge” (vii). His defense of this foundational critical method joins a slate of recent metacritical books on the discipline of literary study, and the state of the humanities today. Jonathan Kramnick is the Maynard Mack Professor of English at Yale University. His research and teaching are in eighteenth-century literature and philosophy, foundations of literary theory and criticism, and interdisciplinary approaches to the arts. His prior publications include Paper Minds: Literature and the Ecology of Consciousness (Chicago, 2018), Actions and Objects from Hobbes to Richardson (Stanford, 2010), and Making the English Canon: Print Capitalism and the Cultural Past, 1700-1770 (Cambridge, 1999). His current book project on Alexander Pope, William Cowper, and the poetics of designed environments is titled Earthworks: Two Before Romanticism. He is also director of the Lewis Walpole Library and the editor (with Steven Pincus) of the Lewis Walpole Series in Eighteenth-Century Culture and History for Yale University Press. The image accompanying this episode was drawn by Saronik Bosu in 2024. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode of High Theory, Jonathan Kramnick talks about Close Reading. Contrary to the name, it is less a form of slow or focused reading than an immersive practice of writing. The classic methodology of New Criticism has become, in Kramnick's estimation, the shared foundation of literary studies in the university. Our conversation was inspired by Jonathan's new book, Criticism and Truth: On Method in Literary Studies (Chicago, 2023). In the book he aims to “present a view of literary criticism as it is practiced across the academy in order to defend its standing as a contribution to knowledge” (vii). His defense of this foundational critical method joins a slate of recent metacritical books on the discipline of literary study, and the state of the humanities today. Jonathan Kramnick is the Maynard Mack Professor of English at Yale University. His research and teaching are in eighteenth-century literature and philosophy, foundations of literary theory and criticism, and interdisciplinary approaches to the arts. His prior publications include Paper Minds: Literature and the Ecology of Consciousness (Chicago, 2018), Actions and Objects from Hobbes to Richardson (Stanford, 2010), and Making the English Canon: Print Capitalism and the Cultural Past, 1700-1770 (Cambridge, 1999). His current book project on Alexander Pope, William Cowper, and the poetics of designed environments is titled Earthworks: Two Before Romanticism. He is also director of the Lewis Walpole Library and the editor (with Steven Pincus) of the Lewis Walpole Series in Eighteenth-Century Culture and History for Yale University Press. The image accompanying this episode was drawn by Saronik Bosu in 2024. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of High Theory, Jonathan Kramnick talks about Close Reading. Contrary to the name, it is less a form of slow or focused reading than an immersive practice of writing. The classic methodology of New Criticism has become, in Kramnick's estimation, the shared foundation of literary studies in the university. Our conversation was inspired by Jonathan's new book, Criticism and Truth: On Method in Literary Studies (Chicago, 2023). In the book he aims to “present a view of literary criticism as it is practiced across the academy in order to defend its standing as a contribution to knowledge” (vii). His defense of this foundational critical method joins a slate of recent metacritical books on the discipline of literary study, and the state of the humanities today. Jonathan Kramnick is the Maynard Mack Professor of English at Yale University. His research and teaching are in eighteenth-century literature and philosophy, foundations of literary theory and criticism, and interdisciplinary approaches to the arts. His prior publications include Paper Minds: Literature and the Ecology of Consciousness (Chicago, 2018), Actions and Objects from Hobbes to Richardson (Stanford, 2010), and Making the English Canon: Print Capitalism and the Cultural Past, 1700-1770 (Cambridge, 1999). His current book project on Alexander Pope, William Cowper, and the poetics of designed environments is titled Earthworks: Two Before Romanticism. He is also director of the Lewis Walpole Library and the editor (with Steven Pincus) of the Lewis Walpole Series in Eighteenth-Century Culture and History for Yale University Press. The image accompanying this episode was drawn by Saronik Bosu in 2024. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The Rich Zeoli Show- Hour 2: In his 92-page decision against former President Donald Trump, New York Judge Arthur F. Engoron writes: “The English poet Alexander Pope (1688-1744) first declared, ‘To err is human, to forgive is divine.' Defendants apparently are of a different mind. After some four years of investigation and litigation, the only error (‘inadvertent,' of course) that they acknowledge is the tripling of the size of the Trump Tower Penthouse, which cannot be gainsaid. Their complete lack of contrition and remorse borders on pathological. They are accused only of inflating asset values to make more money. The documents prove this over and over again. This is a venial sin, not a mortal sin. Defendants did not commit murder or arson. They did not rob a bank at gunpoint. Donald Trump is not Bernard Madoff. Yet, defendants are incapable of admitting the error of their ways. Instead, they adopt a ‘See no evil, hear no evil, speak no evil' posture that the evidence belies.” Dr. Victoria Coates— Former Deputy National Security Advisor & the Vice President of the Davis Institute for National Security and Foreign Policy at The Heritage Foundation—joins The Rich Zeoli Show to weigh-in on the power of government being weaponized to target Donald Trump. Dr. Coates notes that for the far-left: “everything is acceptable as long as it's to thwart Trump.” And, according to Russia's Federal Penitentiary Service, Russian opposition leader Aleksei Navalny died on Friday in an arctic penal colony. He was serving a 19-year prison sentence for extremism. Dr. Coates is the author of “David's Sling: A History of Democracy in Ten Works of Art.” You can find her book here: https://www.amazon.com/Davids-Sling-History-Democracy-Works/dp/1594037213

The Rich Zeoli Show- Full Episode (02/16/2024): 3:05pm- Breaking News: New York Judge Arthur F. Engoron found that the former president Donald Trump inflated the value of assets controlled by the Trump Organization in past financial statements. With no jury, Judge Engoron unilaterally chose to fine Trump $354 million and barred him from conducting business in New York for three years. Notably, in 2018, while campaigning to become New York Attorney General, Letitia James vowed to “sue” Trump and routinely spoke of how she would like to see him imprisoned—providing evidence to the defense's legal argument that this civil suit is entirely political. Trump's legal team is expected to appeal the decision. 3:30pm- In an editorial written for National Review last November, former Assistant U.S. Attorney for the Southern District of New York Andrew C. McCarthy wrote of Donald Trump's civil fraud case: “Banks are in the loan business to make money. They are heavily regulated and have shareholders to answer to. If a bunch of them had been collectively bilked out of $168 million, don't you imagine there would have been a lawsuit or ten? It's an amazing thing to watch: Donald Trump, front-runner in the Republican presidential nomination race, is on trial for supposedly inventing wealth that he didn't have; and in order to nail him, elected Democrats [Letitia] James and Arthur Engoron are inventing losses that no one ever suffered.” You can read the full article here: https://www.nationalreview.com/2023/11/elected-dem-ag-and-judge-cook-up-a-fraud-theory-in-trumps-new-york-trial/ 4:05pm- In his 92-page decision against former President Donald Trump, New York Judge Arthur F. Engoron writes: “The English poet Alexander Pope (1688-1744) first declared, ‘To err is human, to forgive is divine.' Defendants apparently are of a different mind. After some four years of investigation and litigation, the only error (‘inadvertent,' of course) that they acknowledge is the tripling of the size of the Trump Tower Penthouse, which cannot be gainsaid. Their complete lack of contrition and remorse borders on pathological. They are accused only of inflating asset values to make more money. The documents prove this over and over again. This is a venial sin, not a mortal sin. Defendants did not commit murder or arson. They did not rob a bank at gunpoint. Donald Trump is not Bernard Madoff. Yet, defendants are incapable of admitting the error of their ways. Instead, they adopt a ‘See no evil, hear no evil, speak no evil' posture that the evidence belies.” 4:30pm- Dr. Victoria Coates— Former Deputy National Security Advisor & the Vice President of the Davis Institute for National Security and Foreign Policy at The Heritage Foundation—joins The Rich Zeoli Show to weigh-in on government, including intelligence agencies, being weaponized to target Donald Trump. Dr. Coates notes that for the left: “everything is acceptable if it means you can somehow thwart Trump.” According to Russia's Federal Penitentiary Service, Russian opposition leader Aleksei Navalny died on Friday in an arctic penal colony. He was serving a 19-year prison sentence for “extremism.” Dr. Coates is the author of “David's Sling: A History of Democracy in Ten Works of Art.” You can find her book here: https://www.amazon.com/Davids-Sling-History-Democracy-Works/dp/1594037213 5:05pm- Responding to New York Judge Arthur F. Engoron's civil fraud trial decision, former President Donald Trump wrote on Truth Social: “A Crooked New York State Judge, working with a totally Corrupt Attorney General who ran on the basis of “I will get Trump,” before knowing anything about me or my company, has just fined me $355 Million based on nothing other than having built a GREAT COMPANY. ELECTION INTERFERENCE. WITCH HUNT.” 5:10pm- In an editorial written for National Review last November, former Assistant U.S. Attorney for the Southern District of New York Andrew C. McCarthy wrote of Donald Trump's civil fraud case: “Banks are in the loan business to make money. They are heavily regulated and have shareholders to answer to. If a bunch of them had been collectively bilked out of $168 million, don't you imagine there would have been a lawsuit or ten? It's an amazing thing to watch: Donald Trump, front-runner in the Republican presidential nomination race, is on trial for supposedly inventing wealth that he didn't have; and in order to nail him, elected Democrats [Letitia] James and Arthur Engoron are inventing losses that no one ever suffered.” You can read the full article here: https://www.nationalreview.com/2023/11/elected-dem-ag-and-judge-cook-up-a-fraud-theory-in-trumps-new-york-trial/ 5:25pm- While appearing on Fox News with Sean Hannity, Harvard Law Professor Alan Dershowitz reacted to testimony in Thursday's hearing to determine whether Fulton County District Attorney Fani Willis should be disqualified from the Georgia election interference case she brought against former President Donald Trump. Dershowitz explained that it is possible that Willis committed perjury. Meanwhile, during a CNN panel, lawyer Jeffrey Toobin said “so what” if Willis and lead prosecutor of the case Nathan Wade had a relationship. 5:40pm- Zack Smith—Legal Fellow and Manager of the Supreme Court and Appellate Advocacy Program in the Edwin Meese III Center for Legal and Judicial Studies at The Heritage Foundation—joins The Rich Zeoli Show to discuss New York Judge Arthur F. Engoron's decision to fine former President Donald Trump $354 million and barring him from conducting business in New York for three years for inflating the value of assets controlled by the Trump Organization in past financial statements. 6:05pm- New York Judge Arthur F. Engoron found that the former president Donald Trump inflated the value of assets controlled by the Trump Organization in past financial statements. With no jury, Judge Engoron unilaterally chose to fine Trump $354 million and barred him from conducting business in New York for three years. Notably, in 2018, while campaigning to become New York Attorney General, Letitia James vowed to “sue” Trump and routinely spoke of how she would like to see him imprisoned—providing evidence to the defense's legal argument that this civil suit is entirely political. Trump's legal team is expected to appeal the decision. Speaking from Palm Beach, Florida, Trump told the press that “the judge is just a corrupt person.” 6:30pm- Thomas Grove and Matthew Luxmoore of The Wall Street Journal write: “Alexei Navalny, a fierce anticorruption campaigner who galvanized Russia's political opposition, died in prison, according to Russian authorities, bringing to an end a life dedicated to fighting the country's descent into authoritarianism under President Vladimir Putin. The cause of his death was still being established, prison authorities said. He collapsed after a walk at his prison colony on Friday after which, they said, he lost consciousness and couldn't be revived. Navalny, who was 47 and had been in jail since 2021, was serving three prison sentences amounting to more than 30 years on charges he and his supporters said were fabricated. He was detained after returning from Germany, where he was recovering from what German doctors said was poisoning with a Soviet-era nerve agent, Novichok. Navalny blamed his poisoning on the Kremlin, which denied involvement in any attempt to harm him.” You can read the full article here: https://www.wsj.com/world/russia/alexei-navalny-dead-prison-putin-critic-d58db496?mod=hp_lead_pos1 6:40pm- The Wall Street Journal Editorial Board writes: “President Biden is trying to strike a contrast with Donald Trump by promising to stick by America's European allies. Perhaps he hasn't heard Vladimir Putin's media organs crowing that his Administration has double-crossed Europe by halting permits for new liquefied natural gas (LNG) export projects. ‘Now it is not Russia, but the United States that wants to bring the Germans to their knees,' gloated the Russian newspaper Pravda after the Energy Department imposed a moratorium on permits for new LNG export projects last month. Pravda argued that Germany will eventually have to return to buying Russian gas because it will have no other choice, and it may be right.” You can read the full editorial here: https://www.wsj.com/articles/biden-lng-exports-ban-russian-media-vladimir-putin-9d31e3a0?mod=opinion_lead_pos4

====================================================SUSCRIBETEhttps://www.youtube.com/channel/UCNpffyr-7_zP1x1lS89ByaQ?sub_confirmation=1=======================================================================VIRTUOSADevoción Matutina Para Mujeres 2024Narrado por: Sirley DelgadilloDesde: Bucaramanga, Colombia===================|| www.drministries.org ||===================18 DE FEBREROPASAR ALTO LA OFENSA«Quien pasa por alto la ofensa, crea lazos de amor; quien insiste en ella, aleja al amigo» (Proverbios 17:9).Jesús fue amigo de los discípulos, a los que él mismo eligió (eso es lo maravilloso de las amistades son la familia que tú eliges), y también tuvo más amigos. Leemos en Juan 11: 5 que amaba a Marta, a María y a Lázaro, y sabemos que este amor en la Biblia es la amistad. Jesús fue amigo de fariseos, publicanos y pecadores, gente con la que nadie quería relacionarse. ¿Cómo se puede ser amigo de personas tan dispares? Solo si la amistad se basa en dos pilares: respetar al otro y no juzgarlo. Respetar significa aceptarlo tal como es; y si vas a juzgarlo, será en el sentido de pensar lo mejor de esa persona. Todo otro tipo de juicio de valor es enemigo de la amistad.Cuando Judas se acercó a Jesús para traicionarlo con un beso, Jesús le dijo: «Amigo, ¿a qué vienes?» (Mat. 26: 50). «¡¿Amigo?!» ¿Jesús llamó «amigo» a la persona que lo iba a traicionar y en el momento en que lo estaba traicionando? Con esa actitud nos enseña otro pilar de la amistad: el perdón. Una amiga no tiene en cuenta nuestros errores cometidos por ignorancia (caso de Judas, que creía que estaba acelerando el reino del Mesías); por temor (caso de Pedro, que lo negó tres veces por miedo a ser arrestado); o errores con conocimiento de causa, pero de los que nos arrepentimos (caso del apóstol Pablo). Por eso, por lo crucial que es el perdón en la amistad, Cristo debe formar parte de ese vínculo. Solo Cristo nos ayuda a perdonar de verdad y para siempre.Job dijo: «Un hombre desesperado debería tener el apoyo de sus amigos, aun cuando hubiera pecado contra el Todopoderoso» (Job 6: 14, PDT). Él tuvo una experiencia desagradable con sus amigos cuando estaba atravesando la mayor crisis de su vida; y aquí nos transmite, por haberlo aprendido en carne propia, un concepto maravilloso sobre la amistad. En palabras modernas: eres mi amiga si puedo acudir a ti con lo que sea, sabiendo que no me vas a juzgar ni condenar; sabiendo que me vas a escuchar y, si está en tu mano, ayudar. Pero, bajo ninguna circunstancia, me vas a hacer sentir peor de lo que ya me siento.Una amiga debe poder ir a ti con sus miserias e incluso con sus crisis de fe, y ser amada igual o más que antes, porque su valentía generará tu admiración. Errar es humano, nunca tendremos ni seremos amigas perfectas. Por eso aprender a perdonar es crucial.«Errar es humano; perdonar, divino». Alexander Pope. 

In this episode of the SolFul Connections podcast, Stacey Mulholland, who has had a multifaceted career in public service spanning government, community engagement and the non-profit sector, shares her feelings about, brace yourself, typos. Stacey and podcast host Amanda explore why getting it wrong can feel so bad. Why do we love that "gotcha moment" where we catch someone failing? And, how does it feel to be the one caught making an error. As the poet Alexander Pope said, "To err is human." Well, why does being human make us feel so embarrassed? Let's connect! --- Support this podcast: https://podcasters.spotify.com/pod/show/solfulconnections/support

#284"Shiny rocks get me every time."Roundtable2022.10.28It's spooky season! Stephen is SO over it, but he can't escape all the scary stuff happening in this week's episode. We start with a lesson on the necromantic arts of branding and iconography, guided by Mark, a master of these dark magics. After the break, Ellen raises a past topic from the dead in order to explore the ethics of manipulating players' brainnnsssss. Also mentioned: candy corn, houseplants, and—you guessed it—Star Trek.Star Trek: AscendancyBranding & Iconography0:10:10Mark LaCroixMarketingSmash TV - WikipediaThomas Was Alone - Bithell GamesThe Ethics of Engagement0:36:22Ellen Burns-JohnsonGame DesignEgg, Inc. - Auxbrain, Inc.Idle Acorns - Aleros LLCBeReal social mediaA little learning is a dangerous thingDrink deep, or taste not the Pierian spring.This is a line from Alexander Pope's Essay on Criticism (1711). The Pierian spring is a fountain in Pieria, a district round Mount Olympus and the native country of the Muses. You can read the full text for free here on Project Gutenberg.

Although the early part of Robert Browning's creative life was spent in comparative obscurity, he has come to be regarded as one of the most important English poets of the Victorian period. His dramatic monologues and the psycho-historical epic The Ring and the Book (1868-1869), a novel in verse, have established him as a major figure in the history of English poetry. His claim to attention as a children's writer is more modest, resting as it does almost entirely on one poem, “The Pied Piper of Hamelin,” included almost as an afterthought in Bells and Pomegranites. No. III.—Dramatic Lyrics (1842) and evidently never highly regarded by its creator. Nevertheless, “The Pied Piper” moved quickly into the canon of children's literature, where it has remained ever since, receiving the dubious honor (shared by the fairy tales of Hans Christian Andersen and J.M. Barrie's Peter Pan) of appearing almost as frequently in “adapted” versions as in the author's original. His approach to dramatic monologue influenced countless poets for almost a century. Browning was born on May 7, 1812 in Camberwell, a middle-class suburb of London. He was the only son of Robert Browning, a clerk in the Bank of England, and a devoutly religious German-Scotch mother, Sarah Anna Wiedemann Browning. He had a sister, Sarianna, who like her parents was devoted to Browning. While Mrs. Browning's piety and love of music are frequently cited as important influences on the poet's development, his father's scholarly interests and unusual educational practices may have been equally significant. The son of a wealthy banker, Robert Browning the elder had been sent in his youth to make his fortune in the West Indies, but he found the slave economy there so distasteful that he returned, hoping for a career in art and scholarship. A quarrel with his father and the financial necessity it entailed led the elder Browning to relinquish his dreams so as to support himself and his family through his bank clerkship.Browning's father amassed a personal library of some 6,000 volumes, many of them collections of arcane lore and historical anecdotes that the poet plundered for poetic material, including the source of “The Pied Piper.” The younger Browning recalled his father's unorthodox methods of education in his late poem “Development,” published in Asolando: Fancies and Facts (1889). Browning remembers at the age of five asking what his father was reading. To explain the siege of Troy, the elder Browning created a game for the child in which the family pets were assigned roles and furniture was recruited to serve for the besieged city. Later, when the child had incorporated the game into his play with his friends, his father introduced him to Alexander Pope's translation of the Iliad. Browning's appetite for the story having been whetted, he was induced to learn Greek so as to read the original. Much of Browning's education was conducted at home by his father, which accounts for the wide range of unusual information the mature poet brought to his work. His family background was also important for financial reasons; the father whose own artistic and scholarly dreams had been destroyed by financial necessity was more than willing to support his beloved son's efforts. Browning decided as a child that he wanted to be a poet, and he never seriously attempted any other profession. Both his day-to-day needs and the financial cost of publishing his early poetic efforts were willingly supplied by his parents.At the time of his death in 1889, he was one of the most popular poets in England.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Merriam-Webster's Word of the Day for December 30, 2023 is: arduous • AHR-juh-wus • adjective Arduous is an adjective used to describe something that is very difficult or strenuous. // The gorgeous waterfall at the top of the mountain was worth the arduous hike. See the entry > Examples: “And with [hockey player, Patrice] Bergeron now enjoying the retired life after 19 seasons spent with the Bruins, the six-time Selke Trophy winner acknowledged that [Zdeno] Chara has already tried to recruit him for some arduous training.” — Conor Ryan, Boston.com, 21 Nov. 2023 Did you know? Arduous isn't the type of word one expects to hear in a folk song—it's a bit too formal—but strenuous work and difficult journeys are the stuff of many a classic tune. Take “The Wayfaring Stranger,” for an example, a somber song about life's travails performed by everyone from singer and activist Paul Robeson to country star Emmylou Harris: “I know dark clouds will gather o'er me / I know my pathway's rough and steep.” Such a lyric gets at the dual literal/figurative nature of arduous, which comes from the Latin adjective arduus, meaning “high,” “steep,” or “difficult.” For quite a while after appearing in English in the mid-1500s, arduous hewed closely to the figurative “strenuous” or “difficult” sense until poet Alexander Pope invoked steepness when he wrote of “those arduous paths they trod” in his 1711 work “An Essay on Criticism.” To pen such a work at the age of 23, and in heroic couplets no less, must have been an arduous challenge indeed, but like the wayfaring stranger seeking a brighter land, Pope had his eyes on the prize.

This week on The Literary Life Podcast, Angelina Stanford, Cindy Rollins, and Thomas Banks are kick off a new series on The Mind of the Maker by Dorothy L. Sayers. Before discussion the book itself, Angelina gives a little biographical information on Sayers for those who are new to her and her work. They begin talking about the book with the preface and Sayers own purpose in writing it. Cindy shares a little about her first reading of The Mind of the Maker when she was a young newlywed and the impact it made on her. Thomas points out the “laws” Sayers outlines and reads some important quotes from this section. If you are listening to this episode on the day it drops, it's not too late to get in on today's live webinar Can Dante's Inferno Save the World? with Dr. Jason Baxter. You can also purchase the recording any time if you missed the live class. Also coming up from House of Humane Letters on November 16, 2023, Jennifer Rogers' webinar on Tolkien and The Old English Tradition. You can sign up now and save your spot! Episode 9: “Are Women Human” by Dorothy L. Sayers Episodes 5-8 on Gaudy Night Episode 62: The Literary Friendship of Dorothy and Jack Commonplace Quotes: Think not, Mistress, more true dullness lies In Folly's cap, than Wisdom's grave disguise. Alexander Pope, from “The Dunciad” We do not own stories, and when we try to limit them, squeeze the life out of them, lose the love that gave them to us, and fall back into that fatal human flaw–pride, hubris–we are right back to Adam and Eve, who listened to the power of the snake instead of the creativity of God. Madeleine L'Engle, from Bright Evening Star This is the first “little book on religion” I have read for a long time in which every sentence is intelligible and every page advances the argument. C. S. Lewis, in a review of Mind of the Maker Reason Has Moons by Ralph Hodgson Reason has moons, but moons not hers, Lie mirror'd on the sea, Confounding her astronomers, But O! delighting me. Books Mentioned: Walking on Water by Madeleine L'Engle Murder Must Advertise by Dorothy L. Sayers “Learning in Wartime” by C. S. Lewis Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: You can find Angelina and Thomas at HouseofHumaneLetters.com, on Instagram @angelinastanford, and on Facebook at www.facebook.com/ANGStanford/ Find Cindy at morningtimeformoms.com, on Instagram @cindyordoamoris and on Facebook at www.facebook.com/CindyRollinsWriter. Check out Cindy's own Patreon page also! Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let's get the book talk going! http://bit.ly/literarylifeFB

As we come to the end of our brief series on Edmund Crispin's mystery novel, it's time to discuss the puzzle (as it were). Does it work? How does it stack up? And then once that's out of the way, David, Heidi, and Sean dig into what really works in this book, whether it has anything serious to say, why there are so many Alexander Pope references, and much more! Happy listening!This episode is brought to you by our friends at Ekstasis magazine which helps a generation of Christians admire beauty and tune their spiritual and aesthetic affections. Check them out at ekstasismagazine.com!Close Reads is a community-supported endeavor. Please consider becoming a free or paid subscriber which helps us keep making the content you enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit closereads.substack.com/subscribe

“False happiness is like false money... when it is brought to the touch, we find the lightness and alloy, and feel the loss.” - Alexander Pope / sattvic, rajasic and tamasic happiness / false happiness = senses contacting external objects, real happiness = internal nature of the self / what's the use of karma endeavor for temporary happiness / the false premise upon which we build our entire lives SB 6.5.1-12