Podcasts about doth god

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

A new MP3 sermon from Resurrection Baptist Church is now available on SermonAudio with the following details: Title: Doth God Care For Oxen? Take heed to what you eat! Speaker: Mike Berzins Broadcaster: Resurrection Baptist Church Event: Midweek Service Date: 7/3/2024 Bible: Isaiah 30; Ezekiel 34 Length: 18 min.

A new MP3 sermon from Resurrection Baptist Church is now available on SermonAudio with the following details: Title: Doth God Care For Oxen? Take heed to what you eat! Speaker: Mike Berzins Broadcaster: Resurrection Baptist Church Event: Midweek Service Date: 7/3/2024 Bible: Isaiah 30; Ezekiel 34 Length: 18 min.

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When I consider how my light is spent By John Milton 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 hide   Lodged with me useless, though my Soul more bentTo serve therewith my Maker, and present   My 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 need   Either man's work or his own gifts; who best   Bear his mild yoke, they serve him best. His stateIs Kingly. Thousands at his bidding speed   And post o'er Land and Ocean without rest:   They also serve who only stand and wait.”

Bible Study – Job Class Six: Job 8:1-11:1; 11:1-42:22  From the Orthodox Study Bible.  JOB 8: [Bildad's nonsense] TO THE EARS OF BILDAD, JOB'S SECOND RESPONDENT, a man even less tolerant than Eliphaz, the foregoing lament seems to be an attack on the justice of God and the entire moral order. Unlike Eliphaz, however, Bildad is able to make no argument on the basis of his own personal experience. He is obliged to argue, rather, solely from the moral tradition, which he does not understand very well. Indeed, Bildad treats the moral structure of the world in a nearly impersonal way. To the mind of Bildad, the effects of sin follow automatically, as the inevitable effects of a sufficient cause. The presence of the effect, that is, implies the presence of the cause. If Eliphaz's argument had been too personal, bordering on the purely subjective, the argument of Bildad may be called too objective, bordering on the purely mechanical. In the mind of Bildad the principle of retributive justice functions nearly as a law of nature, or what the religions of India call the Law of Karma. Both Eliphaz and Job show signs of knowing God personally, but we discern nothing of this in Bildad. Between Bildad and Job, therefore, there is even less of a meeting of minds than there was between Eliphaz and Job. We should remember, on the other hand, that Job himself has never raised the abstract question of the divine justice; he has shown no interest, so far, in the problems of theodicy. Up to this point in the story, Job has been concerned only with his own problems, and his lament has been entirely personal, not theoretical. Bildad, for his part, does not demonstrate even the limited compassion of Eliphaz. We note, for example, his comments about Job's now perished children. In the light of Job's own concern for the moral wellbeing of those children early in the book (1:5), there is an especially cruel irony in Bildad's speculation on their moral state: “If your sons have sinned against [God], He has cast them away for their transgression” (8:4). What a dreadful thing to say to a man who loved his sons as Job did! Like Eliphaz before him, Bildad urges Job to repent (8:5–7), for such, he says, is the teaching of traditional morality (8:8–10). Clearly, Bildad is unfamiliar with the God worshipped by Job, the God portrayed in the opening chapters of this book. Bildad knows nothing of a personal God who puts man to the test through the trial of his faith. Bildad's divinity is, on the contrary, a nearly mechanistic adjudicator who functions entirely as a moral arbiter of human behavior, not a loving, redemptive God who shapes man's destiny through His personal interest and intervention. Nonetheless, in his comments about Job's final lot Bildad speaks with an unintended irony, because in fact Job's latter end will surpass his beginning (8:7), and “God will not cast away the blameless” (8:20—tam; cf. 1:1, 8; 2:3). On our first reading of the story, we do not know this yet, of course, because we do not know, on our first reading, how the story will end (for example 42:12). So many comments made by Job's friends, including these by Bildad in this chapter, are full of ironic, nearly prophetic meaning, which will become clear only at the story's end, so the reader does not perceive this meaning on his first trip through the book. As Edgar Allen Poe argued in his review of Bleak House by Charles Dickens, the truly great stories cannot be understood on a single reading, because the entire narrative must be known before the deeper significance of the individual episodes can become manifest. As Poe remarked, we do not understand any great story well until our second reading of it. This insight is preeminently helpful in the case of the Book of Job. JOB 11 [Zophar's nonsense] WE NOW COME TO THE FIRST SPEECH OF ZOPHAR, Job's most strident critic, a man who can appeal to neither personal religious experience (as did Eliphaz) nor inherited moral tradition (as did Bildad). Possessed of neither resource, Zophar's contribution is what we may call “third-hand.” He bases his criticism on his own theory of wisdom. Although he treats his theory as self-evidently true, we recognize it as only a personal bias. Moreover, Zophar seems to identify his own personal perception of wisdom as the wisdom of God Himself. Whereas Bildad had endeavored to defend the divine justice, Zophar tries to glorify “divine” wisdom in Job's case. If it is difficult to see justice verified in Job's sufferings, however, it is even harder to see wisdom verified by those sufferings. Like the two earlier speakers, Zophar calls on Job to repent in order to regain the divine favor. (This is a rather common misunderstanding that claims, “If things aren't going well for you, you should go figure out how you have offended God, because He is obviously displeased with you.”) Zophar also resorts to sarcasm. Although this particular rhetorical form is perfectly legitimate in some circumstances (and the prophets, beginning with Elijah, use it often), sarcasm becomes merely an instrument of cruelty when directed at someone who is suffering incomprehensible pain. In the present case, Job suffers in an extreme way, pushed to the very limits of his endurance. It is such a one that Zophar has the vile temerity to call a “man full of talk” (11:2), a liar (11:3), a vain man (11:11–12), and wicked (11:14, 20). The final two verses (19–20) contain an implied warning against the “death wish” to which Job has several times given voice. This very sentiment, Zophar says, stands as evidence of Job's wickedness. The author of the Book of Job surely understands this extended criticism by Zophar as an exercise in irony. Though the context of his speech proves the speaker himself insensitive and nearly irrational in his personal cruelty, there is an undeniable eloquence in his description of the divine wisdom (11:7–9) and his assertion of the moral quality of human existence (11:10–12). Moreover, those very rewards that Zophar promises to Job in the event of his repentance (11:13–18) do, in fact, fall into Job's life at the end of the book. In this story of Job, men are not divided into those who have wisdom and those who don't. In the Book of Job no one is really wise. There is no real wise man, as there is in, say, the Book of Proverbs. While wisdom is ever present in the plot of the story, no character in the story has a clear grasp of it. True wisdom will not stand manifest until God, near the end of the narrative, speaks for Himself. Even then God will not disclose to Job the particulars of His dealings with him throughout the story. From St. Gregory the Great Ver. 3. Doth God pervert judgment? Or doth the Almighty pervert justice? xxxvi. 59. These things blessed Job had neither in speaking denied, nor yet was ignorant of them in holding his tongue. But all bold persons, as we have said, speak with big words even well known truths, that in telling of them they may appear to be learned. They scorn to hold their peace in a spirit of modesty, lest they should be thought to be silent from ignorance. But it is to be known that they then extol the rectitude of God's justice, when security from ill uplifts themselves in joy, while blows are dealt to other men; when they see themselves enjoying prosperity in their affairs, and others harassed with adversity. For whilst they do wickedly, and yet believe themselves righteous, the benefit of prosperity attending them, they imagine to be due to their own merits; and they infer that God does not visit unjustly, in proportion as upon themselves, as being righteous, no cloud of misfortune falls. But if the power of correction from above touches their life but in the least degree, being struck they directly break loose against the policy of the Divine inquest, which a little while before, unharmed, they made much of in expressing admiration of it, and they deny that judgment to be just, which is at odds with their own ways; they canvass the equity of God's dealings, they fly out in words of contradiction, and being chastened because they have done wrong, they do worse. Hence it is well spoken by the Psalmist against the confession of the sinner, He will confess to Thee, when Thou doest well to him. Ps. 49:18. For the voice of confession is disregarded, when it is shaped by the joyfulness of prosperity. But that confession alone possesses merit of much weight, which the force of pain has no power to part from the truth of the rule of right, and which adversity, the test of the heart, sharpens out even to the sentence of the lips. Therefore it is no wonder that Bildad commends the justice of God, in that he experiences no hurt therefrom. 60. Now whereas we have said that the friends of blessed Job bear the likeness of heretics, it is well for us to point out briefly, how the words of Bildad accord with the wheedling ways of heretics. For whilst in their own idea they see the Holy Church corrected with temporal visitations, they swell the bolder in the bigness of their perverted preaching, and putting forward the righteousness of the Divine probation, they maintain that they prosper by virtue of their merits; but they avouch that she is rewarded with deserved chastisements, and thereupon without delay they seek by beguiling words a way to steal upon her, in the midst of her sorrows, and they strike a blow at the lives of some, by making the deaths of others a reproach, as if those were now visited with deserved death, who refused to hold worthy opinions concerning God. We have heard what Job, his wife, and his three friends have to say.  They cycle through similar things several times.  Next week, we will briefly see what a new speaker, Elihuh has to say and spend most of the class – the last one before Great Lent – to look at God's conversation with Job.  During Great Lent, we will work through chapters of Tito Coriander's Way of Ascetics.     Scriptural review  Mentioned historically as Jobab in Genesis (4), Joshua (1), and 1 Chronicles (5) Ezekial 14:20. Though Noah, Daniel, and Job were in it, as I live, saith the Lord God, they shall deliver neither son nor daughter; they shall but deliver their own souls by their righteousness.  James 5:11. Behold, we count them happy which endure. Ye have heard of the patience of Job, and have seen the end of the Lord; that the Lord is very pitiful, and of tender mercy. Liturgical review Mentioned (through James) at Holy Unction; “You have heard of the patience of Job.” From the Funeral for a Priest Beatitudes: Blessed are they that are persecuted for righteousness' sake, for theirs is the Kingdom of Heaven.   “Why do you lament me bitterly, O men? Why do you murmur in vain?” he that has been translated proclaims unto all. For death is rest for all. Therefore, let us listen to the voice of Job saying, “Death is rest unto man.” But give rest with Thy Saints, O God, unto him whom Thou hast received. Ode Six:   I remind you, O my brethren, my children, and my friends, that you forget me not when you pray to the Lord. I pray, I ask, and I make entreaty, that you remember these words, and weep for me, day and night. As said Job unto his friends, so I say unto you: Sit again and say: Alleluia.   Forsaking all things, we depart, and naked and afflicted we become. For beauty withers like grass, but only we men delude ourselves. Thou wast born naked, O wretched one, and altogether naked shall you stand there. Dream not, O man, in this life, but only groan always with weeping: Alleluia.   If thou, O man, hast been merciful to a man, he shall be merciful there unto thee. And if thou hast been compassionate to any orphan, he shall deliver you there from need. If in this life thou hast covered the naked, there he shall cover thee, and sing the psalm: Alleluia. Triodion Wednesday of Cheesfare Week; Matins Canticle Eight Let us preserve these virtues: the fortitude of Job, the singlemindedness of Jacob, the faith of Abraham, the chastity of Joseph and the courage of David. Saturday of Cheesefare Week; Matins; Canticle Two … a second Job was Benjamin in his constancy … Thursday of Clean Week (and Thursday of the Fifth Week); Great Canon Ode 4 Thou hast heard, O my soul, of Job justified on a dung-hill, but thou hast not imitated his fortitude. In all thine experiences and trials and temptations, thou hast not kept firmly to thy purpose but hast proved inconstant.          Have mercy on me, Oh God, have mercy on me. Once he sat upon a throne, but now he sits upon a dung-hill, naked and covered with sores. Once he was blessed with many children and admired by all, but suddenly he is childless and homeless. Yet he counted the dung-hill as a palace and his sores as pearls.          Have mercy on me, Oh God, have mercy on me. A man of great wealth and righteous, abounding in riches and cattle, clothed in royal dignity, in crown and purple robe, Job became suddenly a beggar, stripped of wealth, glory and kingship.          Have mercy on me, Oh God, have mercy on me. If he who was righteous and blameless above all men did not escape the snares and pits of the deceiver, what wilt thou do, wretched and sin-loving soul, when some sudden misfortune befalls thee?          Have mercy on me, Oh God, have mercy on me. I have defiled my body, I have stained my spirit, and I am all covered with wounds: but as physician, O Christ, heal both body and spirit for me through repentance. Wash, purify and cleanse me, O my Saviour, and make me whiter than snow. Read at Vespers/PSL on Monday of Holy Week: Job 1:1–12. Read at Vespers/PSL on Tuesday of Holy Week: Job 1:13–22. Read at Vespers/PSL on Wednesday of Holy Week: Job 2:1–10. Read at Vespers/Vesperal Liturgy on Thursday of Holy Week: Job 38:1–21; 42:1–5. Read at Vespers on Friday of Holy Week: Job 42:12–17 (LXX ending) --- Job 38  FROM FR. PATRICK REARDON NOW THE LORD HIMSELF WILL SPEAK, for the first time since chapter 2. After all, Job has been asking for God to speak (cf. 13:22; 23:5; 30:20; 31:35), and now he will get a great deal more than he anticipated. With a mere gesture, as it were, God proceeds to brush aside all the theories and pseudoproblems of the preceding chapters. … [Whirlwind, Lord] … At this point, all philosophical discussion comes to an end. There are questions, to be sure, but the questions now come from the Lord. Indeed, we observe in this chapter that God does not answer Job's earlier questions. The Lord does not so much as even notice those questions; He renders them hopelessly irrelevant. He has His own questions to put to Job. The purpose of these questions is not merely to bewilder Job. These questions have to do, rather, with God's providence over all things. The Lord is suggesting to Job that His providence over Job's own life is even more subtle and majestic than these easier questions which God proposes and which Job cannot begin to answer, questions about the construction of the world (verses 4–15), the courses of the heavenly bodies (verses 31–38), the marvels of earth and sea (verses 16–30), and animal life (38:39–39:30). Utterly surrounded by things that he cannot understand, will Job still demand to know mysteries even more mysterious? If the world itself contains creatures that seem improbable and bewildering to the human mind, should not man anticipate that there are even more improbable and bewildering aspects to the subtler forms of the divine providence? God will not be reduced simply to an answer to Job's shallow questions. Indeed, the divine voice from the whirlwind never once deigns even to notice Job's questions. They are implicitly subsumed into a mercy vaster and far richer. Implicit in these questions to Job is the quiet reminder of the Lord's affectionate provision for all His creatures. If God so cares for the birds of the air and the plants of the fields, how much more for Job! 39 - 41. On the Behemoth and the Leviathan Both behemoth and Leviathan are God's household pets, as it were, creatures that He cares for with gentle concern, His very playmates (compare Psalms 104[103]:26). God is pleased with them. Job cannot take the measure of these animals, but the Lord does. What, then, do these considerations say to Job? Well, Job has been treading on some very dangerous ground through some of this book, and it is about time that he manifest a bit more deference before things he does not understand. Behemoth and Leviathan show that the endeavor to transgress the limits of human understanding is not merely futile. There is about it a strong element of danger. A man can be devoured by it. It is remarkable that God's last narrative to Job resembles nothing so much as a fairy tale, or at least that darker part of a fairy tale that deals with dragons. Instead of pleading His case with Job, as Job has often requested, the Lord deals with him as with a child. Job must return to his childhood's sense of awe and wonder, so the Lord tells him a children's story about a couple of unimaginably dangerous dragons. These dragons, nonetheless, are only pets in the hands of God. Job is left simply with the story. It is the Lord's final word in the argument. 42.  Finale THE TRIAL OF JOB IS OVER. This last chapter of this book contains (1) a statement of repentance by Job (verses 1–6), (2) the Lord's reprimand of Eliphaz and his companions (verses 7–8), and (3) a final narrative section, at the end of which Job begins the second half of his life (verses 9–17). The book begins and ends, then, in narrative form. First, one observes in Job's repentance that he arrives at a new state of humility, not from a consideration of his own sins, but by an experience of God's overwhelming power and glory. (Compare Peter in Luke 5:1–8.) When God finally reveals Himself to Job, the revelation is different from anything Job either sought or expected, but clearly he is not disappointed. All through this book, Job has been proclaiming his personal integrity, but now this consideration is not even in the picture; he has forgotten all about any alleged personal integrity. It is no longer pertinent to his relationship to God (verse 6). Job is justified by faith, not by any claims to personal integrity. All that is in the past, and Job leaves it behind. Second, the Lord then turns and deals with the three comforters who have failed so miserably in their task. Presuming to speak for the Almighty, they have fallen woefully short of the glory of God. Consequently, Job is appointed to be the intercessor on their behalf. Ironically, the offering that God prescribes to be made on behalf of the three comforters (verse 8) is identical to that which Job had offered for his children out of fear that they might have cursed God (1:5). The Book of Job both begins and ends, then, with Job and worship and intercession. In just two verses (7–8) the Lord four times speaks of “My servant Job,” exactly as He had spoken of Job to Satan at the beginning of the book. But Job, for his part, must bear no grudge against his friends, and he is blessed by the Lord in the very act of his praying for them (verse 10). Ezekiel, remembering Job's prayer more than his patience, listed him with Noah and Daniel, all three of whom he took to be men endowed with singular powers of intercession before the Most High (Ezekiel 14:14–20). The divine reprimand of Job's counselors also implies that their many accusations against Job were groundless. Indeed, Job had earlier warned them of God's impending anger with them in this matter (13:7–11), and now that warning is proved accurate (verse 7). Also, ironically, whereas Job's friends fail utterly in their efforts to comfort him throughout almost the entire book, they succeed at the end (verse 11). Third, in the closing narrative we learn that Job lives 140 years, exactly twice the normal span of a man's life (cf. Psalm 90[89]:10). Each of his first seven sons and three daughters is replaced at the end of the story, and all of his original livestock is exactly doubled (Job 1:3; 42:12). St. John Chrysostom catches the sense of this final section of Job:   His sufferings were the occasion of great benefit. His substance was doubled, his reward increased, his righteousness enlarged, his crown made more lustrous, his reward more glorious. He lost his children, but he received, not those restored, but others in their place, and even those he still held in assurance unto the Resurrection (Homilies on 2 Timothy 7). ___ Saint Gregory the Great, Morals on the Book of Job, vol. 1 (Oxford; London: John Henry Parker; J. G. F. and J. Rivington, 1844), 83. Robert Charles Hill.  St. John Chrysostom Commentaries on the Sages, Volume One – Commentary on Job.  Holy Cross Orthodox Press. Patrick Henry Reardon, The Trial of Job: Orthodox Christian Reflections on the Book of Job (Chesterton, IN: Ancient Faith Publishing, 2005), 22. Manlio Simonetti and Marco Conti, eds., Job, Ancient Christian Commentary on Scripture (Downers Grove, IL: InterVarsity Press, 2006), 4–5. Orthodox Church, The Lenten Triodion, trans. Kallistos Ware with Mother Mary, The Service Books of the Orthodox Church (South Canaan, PA: St. Tikhon's Seminary Press, 2002), 222. Mother Mary, Metropolitan Kallistos of Diokleia, trans., The Lenten Triodion: Supplementary Texts, The Service Books of the Orthodox Church (South Canaan, PA: St. Tikhon's Seminary Press, 2007), 60. Orthodox Church, The Lenten Triodion, trans. Kallistos Ware with Mother Mary, The Service Books of the Orthodox Church (South Canaan, PA: St. Tikhon's Seminary Press, 2002), 559. St. Tikhon's Monastery, trans., The Great Book of Needs: Expanded and Supplemented, vol. III (South Canaan, PA: St. Tikhon's Seminary Press, 2002), 283.        

The Pastor's Salary1 Corinthians 9:1-14 (KJV)1 Am I not an apostle? am I not free? have I not seen Jesus Christ our Lord? are not ye my work in the Lord?2 If I be not an apostle unto others, yet doubtless I am to you: for the seal of mine apostleship are ye in the Lord.3 Mine answer to them that do examine me is this,4 Have we not power to eat and to drink?5 Have we not power to lead about a sister, a wife, as well as other apostles, and as the brethren of the Lord, and Cephas?6 Or I only and Barnabas, have not we power to forbear working?7 Who goeth a warfare any time at his own charges? who planteth a vineyard, and eateth not of the fruit thereof? or who feedeth a flock, and eateth not of the milk of the flock?8 Say I these things as a man? or saith not the law the same also?9 For it is written in the law of Moses, Thou shalt not muzzle the mouth of the ox that treadeth out the corn. Doth God take care for oxen?10 Or saith he it altogether for our sakes? For our sakes, no doubt, this is written: that he that ploweth should plow in hope; and that he that thresheth in hope should be partaker of his hope.11 If we have sown unto you spiritual things, is it a great thing if we shall reap your carnal things?12 If others be partakers of this power over you, are not we rather? Nevertheless we have not used this power; but suffer all things, lest we should hinder the gospel of Christ.13 Do ye not know that they which minister about holy things live of the things of the temple? and they which wait at the altar are partakers with the altar?14 Even so hath the Lord ordained that they which preach the gospel should live of the gospel.

Jesus Ministries, Joan Boney  ...    I Corinthians 9  (Paul says)   1 Am I not an apostle? am I not free? have I not seen Jesus Christ our Lord? are not ye my work in the Lord?   2 If I be not an apostle unto others, yet doubtless I am to you: for the seal of mine apostleship are ye in the Lord.   3 Mine answer to them that do examine me is this,   4 Have we not power to eat and to drink?   5 Have we not power to lead about a sister, a wife, as well as other apostles, and as the brethren of the Lord, and Cephas?   6 Or I only and Barnabas, have not we power to forbear working?   7 Who goeth a warfare any time at his own charges? who planteth a vineyard, and eateth not of the fruit thereof? or who feedeth a flock, and eateth not of the milk of the flock?   8 Say I these things as a man? or saith not the law the same also?   9 For it is written in the law of Moses, Thou shalt not muzzle the mouth of the ox that treadeth out the corn. Doth God take care for oxen?   10 Or saith HE it altogether for our sakes? For our sakes, no doubt, this is written: that he that ploweth should plow in hope; and that he that thresheth in hope should be partaker of his hope.   11 If we have sown unto you spiritual things, is it a great thing if we shall reap your carnal things?   12 If others be partakers of this power over you, are not we rather? Nevertheless we have not used this power; but suffer all things, lest we should hinder the gospel of Christ.   13 Do ye not know that they which minister about holy things live of the things of the temple? and they which wait at the altar are partakers with the altar?   14 Even so hath the Lord ordained that they which preach the gospel should live of the gospel.   15 But I have used none of these things: neither have I written these things, that it should be so done unto me: for it were better for me to die, than that any man should make my glorying void.   Paul earned his living as a tentmaker.   Acts 18   After these things Paul departed from Athens, and came to Corinth;   2 And found a certain Jew named Aquila, born in Pontus, lately come from Italy, with his wife Priscilla; (because that Claudius had commanded all Jews to depart from Rome:) and came unto them.   3 And because he was of the same craft, he (Paul) abode with them, and wrought: for by their occupation they were tentmakers.  

1 Corinthians 9:1-12 1 Am I not an apostle? am I not free? have I not seen Jesus Christ our Lord? are not ye my work in the Lord?2 If I be not an apostle unto others, yet doubtless I am to you: for the seal of mine apostleship are ye in the Lord.3 Mine answer to them that do examine me is this,4 Have we not power to eat and to drink?5 Have we not power to lead about a sister, a wife, as well as other apostles, and as the brethren of the Lord, and Cephas?6 Or I only and Barnabas, have not we power to forbear working?7 Who goeth a warfare any time at his own charges? who planteth a vineyard, and eateth not of the fruit thereof? or who feedeth a flock, and eateth not of the milk of the flock?8 Say I these things as a man? or saith not the law the same also?9 For it is written in the law of Moses, Thou shalt not muzzle the mouth of the ox that treadeth out the corn. Doth God take care for oxen?10 Or saith he it altogether for our sakes? For our sakes, no doubt, this is written: that he that ploweth should plow in hope; and that he that thresheth in hope should be partaker of his hope.11 If we have sown unto you spiritual things, is it a great thing if we shall reap your carnal things?12 If others be partakers of this power over you, are not we rather? Nevertheless we have not used this power; but suffer all things, lest we should hinder the gospel of Christ.Power To Change Ministry Rev. Alvin Lewis Powertochangeministry@gmail.Com Powertochangeministry.org 973-583-7482

On The Literary Life podcast today, our hosts Angelina, Cindy and Thomas sit down for a chat with twin sisters Addison and Ella Hornstra. Together they have been given a literary home education, and this fall they will continue that journey at New College Franklin. Angelina introduces the Hornstra ladies and she and Thomas tell a little bit about having them as students. Cindy also shares how she met the Hornstra family. Then they dig into the girls' reading journeys from the beginning of their learning to read all the way to their current reading lives. Some of the topics that come up in this conversation are: reading content beyond your understanding, owning your reading life, the problem with using the wrong approach to literature, the dangers of modern education for uniquely gifted students, the power of just reading well, and so much more. Come explore, with seasoned moms, the things that stand the test of time in our homeschools at this year's Literary Life Back to School Online Conference. In addition to our hosts, Donna-Jean Breckenridge and a panel of home educating parents and their adult children, will be bringing encouragement and insight to help you on your homeschool journey. This year's conference will be live online on August 2-5, with recordings available for those who cannot join live. Commonplace Quotes: It is bad to spend too many hours over either a microscope or telescope or in gazing fixedly at some one distance range. The eyes need change of focus, and so does the imagination. There has been in modern Europe a shocking riot in misuse of the imagination. The remedy is to learn to use it. But the same kind of people who would like to bandage a child's eyes lest it should learn to squint like to bandage the imagination lest it should wear itself out by squinting. Mary Everest Boole Away from the immense, cloistered in our own concepts, we may scorn and revile everything. But standing between earth and sky, we are silenced by the sight. Abraham Heschel In nature, the bird who gets up earliest catches the most worms, but in book collecting, the prizes fall to birds who know worms when they see them. Michael Sadlier The madman, of all men, lives most in a world of his own. E. J. Oliver Symbols are the nature speech of the soul, a language older and more universal than words. Edmund Spenser Sonnet XIX: On His Blindness by John Milton 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 hide Lodged with me useless, though my Soul more bent To serve therewith my Maker, and present My true account, lest he returning chide; “Doth God exact day-labour, light denied?” I fondly ask. But patience, to prevent That murmur, soon replies, “God doth not need Either man's work or his own gifts; who best Bear his mild yoke, they serve him best. His state Is Kingly. Thousands at his bidding speed And post o'er Land and Ocean without rest: They also serve who only stand and wait.” Books Mentioned: The Philosophy and Fun of Algebra by Mary Everest Boole Thunder in the Soul by Abraham Heschel A Gentle Madness by Nicholas Basbanes Coventry Patmore by E. J. Oliver The Tenant of Wildfell Hall by Anne Brontë Agnes Grey by Anne Brontë Beatrix Potter Mistmantle Chronicles by M. I. McAllister Redwall Series by Brian Jacques Poppy Series by Avi The Trumpet of the Swan by E. B. White Ralph Mouse Series by Beverley Cleary The Cat of Bubastes by G. A. Henty In Freedom's Cause by G. A. Henty Anna Karenina by Leo Tolstoy Les Miserables by Victor Hugo Gene Stratton Porter The Chronicles of Prydain Series by Lloyd Alexander Kidnapped by Robert Louis Stevenson Treasure Island by Robert Louis Stevenson Phantastes by George MacDonald The Man Who Was Thursday by G. K. Chesterton 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 https://www.facebook.com/ANGStanford/ Find Cindy at morningtimeformoms.com, on Instagram @cindyordoamoris and on Facebook at https://www.facebook.com/cindyrollins.net/. 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

A new MP3 sermon from Shenandoah Valley Reformed Presbyterian is now available on SermonAudio with the following details: Title: WSC Q85: What doth God require of us, that we may escape his wrath & curse due to us? Subtitle: Westminster Shorter Catechism Speaker: Rev. Adam Brink Broadcaster: Shenandoah Valley Reformed Presbyterian Event: Sunday Service Date: 7/23/2023 Bible: Acts 20:17-21; 1 Timothy 4:13-16 Length: 41 min.

A new MP3 sermon from Shenandoah Valley Reformed Presbyterian is now available on SermonAudio with the following details: Title: WSC Q85: What doth God require of us, that we may escape his wrath & curse due to us? Subtitle: Westminster Shorter Catechism Speaker: Rev. Adam Brink Broadcaster: Shenandoah Valley Reformed Presbyterian Event: Sunday Service Date: 7/23/2023 Bible: Acts 20:17-21; 1 Timothy 4:13-16 Length: 41 min.

A new MP3 sermon from Shenandoah Valley Reformed Presbyterian is now available on SermonAudio with the following details: Title: WSC Q85: What doth God require of us, that we may escape his wrath & curse due to us? Subtitle: Westminster Shorter Catechism Speaker: Rev. Adam Brink Broadcaster: Shenandoah Valley Reformed Presbyterian Event: Sunday Service Date: 7/23/2023 Bible: Acts 20:17-21; 1 Timothy 4:13-16 Length: 41 min.

9:1 Am I not an apostle? am I not free? have I not seen Jesus Christ our Lord? are not ye my work in the Lord? 9:2 If I be not an apostle unto others, yet doubtless I am to you: for the seal of mine apostleship are ye in the Lord. 9:3 Mine answer to them that do examine me is this, 9:4 Have we not power to eat and to drink? 9:5 Have we not power to lead about a sister, a wife, as well as other apostles, and as the brethren of the Lord, and Cephas? 9:6 Or I only and Barnabas, have not we power to forbear working? 9:7 Who goeth a warfare any time at his own charges? who planteth a vineyard, and eateth not of the fruit thereof? or who feedeth a flock, and eateth not of the milk of the flock? 9:8 Say I these things as a man? or saith not the law the same also? 9:9 For it is written in the law of Moses, Thou shalt not muzzle the mouth of the ox that treadeth out the corn. Doth God take care for oxen? 9:10 Or saith he it altogether for our sakes? For our sakes, no doubt, this is written: that he that ploweth should plow in hope; and that he that thresheth in hope should be partaker of his hope. 9:11 If we have sown unto you spiritual things, is it a great thing if we shall reap your carnal things? 9:12 If others be partakers of this power over you, are not we rather? Nevertheless we have not used this power; but suffer all things, lest we should hinder the gospel of Christ. 9:13 Do ye not know that they which minister about holy things live of the things of the temple? and they which wait at the altar are partakers with the altar? 9:14 Even so hath the Lord ordained that they which preach the gospel should live of the gospel. 9:15 But I have used none of these things: neither have I written these things, that it should be so done unto me: for it were better for me to die, than that any man should make my glorying void. 9:16 For though I preach the gospel, I have nothing to glory of: for necessity is laid upon me; yea, woe is unto me, if I preach not the gospel! 9:17 For if I do this thing willingly, I have a reward: but if against my will, a dispensation of the gospel is committed unto me. 9:18 What is my reward then? Verily that, when I preach the gospel, I may make the gospel of Christ without charge, that I abuse not my power in the gospel. 9:19 For though I be free from all men, yet have I made myself servant unto all, that I might gain the more. 9:20 And unto the Jews I became as a Jew, that I might gain the Jews; to them that are under the law, as under the law, that I might gain them that are under the law; 9:21 To them that are without law, as without law, (being not without law to God, but under the law to Christ,) that I might gain them that are without law. 9:22 To the weak became I as weak, that I might gain the weak: I am made all things to all men, that I might by all means save some. 9:23 And this I do for the gospel's sake, that I might be partaker thereof with you. 9:24 Know ye not that they which run in a race run all, but one receiveth the prize? So run, that ye may obtain. 9:25 And every man that striveth for the mastery is temperate in all things. Now they do it to obtain a corruptible crown; but we an incorruptible. 9:26 I therefore so run, not as uncertainly; so fight I, not as one that beateth the air: 9:27 But I keep under my body, and bring it into subjection: lest that by any means, when I have preached to others, I myself should be a castaway.

9:1 Am I not an apostle? am I not free? have I not seen Jesus Christ our Lord? are not ye my work in the Lord? 9:2 If I be not an apostle unto others, yet doubtless I am to you: for the seal of mine apostleship are ye in the Lord. 9:3 Mine answer to them that do examine me is this, 9:4 Have we not power to eat and to drink? 9:5 Have we not power to lead about a sister, a wife, as well as other apostles, and as the brethren of the Lord, and Cephas? 9:6 Or I only and Barnabas, have not we power to forbear working? 9:7 Who goeth a warfare any time at his own charges? who planteth a vineyard, and eateth not of the fruit thereof? or who feedeth a flock, and eateth not of the milk of the flock? 9:8 Say I these things as a man? or saith not the law the same also? 9:9 For it is written in the law of Moses, Thou shalt not muzzle the mouth of the ox that treadeth out the corn. Doth God take care for oxen? 9:10 Or saith he it altogether for our sakes? For our sakes, no doubt, this is written: that he that ploweth should plow in hope; and that he that thresheth in hope should be partaker of his hope. 9:11 If we have sown unto you spiritual things, is it a great thing if we shall reap your carnal things? 9:12 If others be partakers of this power over you, are not we rather? Nevertheless we have not used this power; but suffer all things, lest we should hinder the gospel of Christ. 9:13 Do ye not know that they which minister about holy things live of the things of the temple? and they which wait at the altar are partakers with the altar? 9:14 Even so hath the Lord ordained that they which preach the gospel should live of the gospel. 9:15 But I have used none of these things: neither have I written these things, that it should be so done unto me: for it were better for me to die, than that any man should make my glorying void. 9:16 For though I preach the gospel, I have nothing to glory of: for necessity is laid upon me; yea, woe is unto me, if I preach not the gospel! 9:17 For if I do this thing willingly, I have a reward: but if against my will, a dispensation of the gospel is committed unto me. 9:18 What is my reward then? Verily that, when I preach the gospel, I may make the gospel of Christ without charge, that I abuse not my power in the gospel. 9:19 For though I be free from all men, yet have I made myself servant unto all, that I might gain the more. 9:20 And unto the Jews I became as a Jew, that I might gain the Jews; to them that are under the law, as under the law, that I might gain them that are under the law; 9:21 To them that are without law, as without law, (being not without law to God, but under the law to Christ,) that I might gain them that are without law. 9:22 To the weak became I as weak, that I might gain the weak: I am made all things to all men, that I might by all means save some. 9:23 And this I do for the gospel's sake, that I might be partaker thereof with you. 9:24 Know ye not that they which run in a race run all, but one receiveth the prize? So run, that ye may obtain. 9:25 And every man that striveth for the mastery is temperate in all things. Now they do it to obtain a corruptible crown; but we an incorruptible. 9:26 I therefore so run, not as uncertainly; so fight I, not as one that beateth the air: 9:27 But I keep under my body, and bring it into subjection: lest that by any means, when I have preached to others, I myself should be a castaway.

9:1 Am I not an apostle? am I not free? have I not seen Jesus Christ our Lord? are not ye my work in the Lord? 9:2 If I be not an apostle unto others, yet doubtless I am to you: for the seal of mine apostleship are ye in the Lord. 9:3 Mine answer to them that do examine me is this, 9:4 Have we not power to eat and to drink? 9:5 Have we not power to lead about a sister, a wife, as well as other apostles, and as the brethren of the Lord, and Cephas? 9:6 Or I only and Barnabas, have not we power to forbear working? 9:7 Who goeth a warfare any time at his own charges? who planteth a vineyard, and eateth not of the fruit thereof? or who feedeth a flock, and eateth not of the milk of the flock? 9:8 Say I these things as a man? or saith not the law the same also? 9:9 For it is written in the law of Moses, Thou shalt not muzzle the mouth of the ox that treadeth out the corn. Doth God take care for oxen? 9:10 Or saith he it altogether for our sakes? For our sakes, no doubt, this is written: that he that ploweth should plow in hope; and that he that thresheth in hope should be partaker of his hope. 9:11 If we have sown unto you spiritual things, is it a great thing if we shall reap your carnal things? 9:12 If others be partakers of this power over you, are not we rather? Nevertheless we have not used this power; but suffer all things, lest we should hinder the gospel of Christ. 9:13 Do ye not know that they which minister about holy things live of the things of the temple? and they which wait at the altar are partakers with the altar? 9:14 Even so hath the Lord ordained that they which preach the gospel should live of the gospel. 9:15 But I have used none of these things: neither have I written these things, that it should be so done unto me: for it were better for me to die, than that any man should make my glorying void. 9:16 For though I preach the gospel, I have nothing to glory of: for necessity is laid upon me; yea, woe is unto me, if I preach not the gospel! 9:17 For if I do this thing willingly, I have a reward: but if against my will, a dispensation of the gospel is committed unto me. 9:18 What is my reward then? Verily that, when I preach the gospel, I may make the gospel of Christ without charge, that I abuse not my power in the gospel. 9:19 For though I be free from all men, yet have I made myself servant unto all, that I might gain the more. 9:20 And unto the Jews I became as a Jew, that I might gain the Jews; to them that are under the law, as under the law, that I might gain them that are under the law; 9:21 To them that are without law, as without law, (being not without law to God, but under the law to Christ,) that I might gain them that are without law. 9:22 To the weak became I as weak, that I might gain the weak: I am made all things to all men, that I might by all means save some. 9:23 And this I do for the gospel's sake, that I might be partaker thereof with you. 9:24 Know ye not that they which run in a race run all, but one receiveth the prize? So run, that ye may obtain. 9:25 And every man that striveth for the mastery is temperate in all things. Now they do it to obtain a corruptible crown; but we an incorruptible. 9:26 I therefore so run, not as uncertainly; so fight I, not as one that beateth the air: 9:27 But I keep under my body, and bring it into subjection: lest that by any means, when I have preached to others, I myself should be a castaway.

église AB Lausanne ; KJV Job 8 Then answered Bildad the Shuhite, and said, How long wilt thou speak these things? and how long shall the words of thy mouth be like a strong wind? Doth God pervert judgment? or doth the Almighty pervert justice? If thy children have sinned against him, and he have cast them away for their transgression; If thou wouldest seek unto God betimes, and make thy supplication to the Almighty; If thou wert pure and upright; surely now he would awake for thee, and make the habitation of thy righteousness prosperous. Though thy beginning was small, yet thy latter end should greatly increase. For inquire, I pray thee, of the former age, and prepare thyself to the search of their fathers: (For we are but of yesterday, and know nothing, because our days upon earth are a shadow:) Shall not they teach thee, and tell thee, and utter words out of their heart? ...

église AB Lausanne ; KJV 1 Corinthians 9 Am I not an apostle? am I not free? have I not seen Jesus Christ our Lord? are not ye my work in the Lord? If I be not an apostle unto others, yet doubtless I am to you: for the seal of mine apostleship are ye in the Lord. Mine answer to them that do examine me is this, Have we not power to eat and to drink? Have we not power to lead about a sister, a wife, as well as other apostles, and as the brethren of the Lord, and Cephas? Or I only and Barnabas, have not we power to forbear working? Who goeth a warfare any time at his own charges? who planteth a vineyard, and eateth not of the fruit thereof? or who feedeth a flock, and eateth not of the milk of the flock? Say I these things as a man? or saith not the law the same also? For it is written in the law of Moses, Thou shalt not muzzle the mouth of the ox that treadeth out the corn. Doth God take care for oxen? Or saith he it altogether for our sakes? For our sakes, no doubt, this is written: that he that ploweth should plow in hope; and that he that thresheth in hope should be partaker of his hope. ...

Michael Sanders preaches on "What Doth God Require?" from Deuteronomy 10:12-22.

1 CORINTHIANS 11:4-5 Every man praying or prophesying, having his head covered, dishonoureth his head. But every woman that prayeth or prophesieth with her head uncovered dishonoureth her head: for that is even all one as if she were shaven. 1 CORINTHIANS 2:9 But as it is written, Eye hath not seen, nor ear heard, neither have entered into the heart of man, the things which God hath prepared for them that love him. 1 CORINTHIANS 3:19 For the wisdom of this world is foolishness with God. For it is written, He taketh the wise in their own craftiness. 1 CORINTHIANS 9:9-10 For it is written in the law of Moses, Thou shalt not muzzle the mouth of the ox that treadeth out the corn. Doth God take care for oxen? Or saith he it altogether for our sakes? For our sakes, no doubt, this is written: that he that ploweth should plow in hope; and that he that thresheth in hope should be partaker of his hope. 1 CORINTHIANS 11:4 Every man praying or prophesying, having his head covered, dishonoureth his head. 1 CORINTHIANS 12:8-10 For to one is given by the Spirit the word of wisdom; to another the word of knowledge by the same Spirit; To another faith by the same Spirit; to another the gifts of healing by the same Spirit; To another the working of miracles; to another prophecy; to another discerning of spirits; to another divers kinds of tongues; to another the interpretation of tongues: 1 CORINTHIANS 13:2 And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith, so that I could remove mountains, and have not charity, I am nothing. 1 CORINTHIANS 13:8-10 Charity never faileth: but whether there be prophecies, they shall fail; whether there be tongues, they shall cease; whether there be knowledge, it shall vanish away. For we know in part, and we prophesy in part. But when that which is perfect is come, then that which is in part shall be done away.

1 CORINTHIANS 11:4-5 Every man praying or prophesying, having his head covered, dishonoureth his head. But every woman that prayeth or prophesieth with her head uncovered dishonoureth her head: for that is even all one as if she were shaven. 1 CORINTHIANS 2:9 But as it is written, Eye hath not seen, nor ear heard, neither have entered into the heart of man, the things which God hath prepared for them that love him. 1 CORINTHIANS 3:19 For the wisdom of this world is foolishness with God. For it is written, He taketh the wise in their own craftiness. 1 CORINTHIANS 9:9-10 For it is written in the law of Moses, Thou shalt not muzzle the mouth of the ox that treadeth out the corn. Doth God take care for oxen? Or saith he it altogether for our sakes? For our sakes, no doubt, this is written: that he that ploweth should plow in hope; and that he that thresheth in hope should be partaker of his hope. 1 CORINTHIANS 11:4 Every man praying or prophesying, having his head covered, dishonoureth his head. 1 CORINTHIANS 12:8-10 For to one is given by the Spirit the word of wisdom; to another the word of knowledge by the same Spirit; To another faith by the same Spirit; to another the gifts of healing by the same Spirit; To another the working of miracles; to another prophecy; to another discerning of spirits; to another divers kinds of tongues; to another the interpretation of tongues: 1 CORINTHIANS 13:2 And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith, so that I could remove mountains, and have not charity, I am nothing. 1 CORINTHIANS 13:8-10 Charity never faileth: but whether there be prophecies, they shall fail; whether there be tongues, they shall cease; whether there be knowledge, it shall vanish away. For we know in part, and we prophesy in part. But when that which is perfect is come, then that which is in part shall be done away.

Hello fellow Dickheads! Join Ben and Kyle for a discussion about shame versus guilt, what it means to be alive during times of immense upheaval and whether Emily Dickinson would make a good sitcom husband. We also discuss using the time and abilities we have available to us by way of both Emily and John Milton. And finally, Kyle delivers on his promise of a Pandora-themed limerick- so stay tuned until the very end. It feels a shame to be Alive — When Men so brave — are dead — One envies the Distinguished Dust — Permitted — such a Head — The Stone — that tells defending Whom This Spartan put away What little of Him we — possessed In Pawn for Liberty — The price is great — Sublimely paid — Do we deserve — a Thing — That lives — like Dollars — must be piled Before we may obtain? Are we that wait — sufficient worth — That such Enormous Pearl As life — dissolved be — for Us — In Battle's — horrid Bowl? It may be — a Renown to live — I think the Men who die — Those unsustained — Saviors — Present Divinity — John Milton's Sonnet 19 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 hide Lodged with me useless, though my Soul more bent To serve therewith my Maker, and present My true account, lest he returning chide; “Doth God exact day-labour, light denied?” I fondly ask. But patience, to prevent That murmur, soon replies, “God doth not need Either man's work or his own gifts; who best Bear his mild yoke, they serve him best. His state Is Kingly. Thousands at his bidding speed And post o'er Land and Ocean without rest: They also serve who only stand and wait.” There was a Greek lass named Pandora Who ripped the lid off her amphora. All hell tumbled out, The world had a huge rout, But we still hold on to hope for 'er.

Wisdom From Psalm 145-146 & Proverbs 6: Seven Things Doth God Hate by Shawn Ozbun

For it is written in the law of Moses, Thou shalt not muzzle the mouth of the ox that treadeth out the corn. Doth God take care for oxen? Or saith he it altogether for our sakes? For our sakes, no doubt, this is written: that he that ploweth should plow in hope; and that he that thresheth in hope should be partaker of his hope. If we have sown unto you spiritual things, is it a great thing if we shall reap your carnal things? If others be partakers of this power over you, are not we rather? Nevertheless we have not used this power; but suffer all things, lest we should hinder the gospel of Christ. Do ye not know that they which minister about holy things live of the things of the temple? and they which wait at the altar are partakers with the altar? Even so hath the Lord ordained that they which preach the gospel should live of the gospel. (1 Corinthians 9:9-14) 161. Would it be wrong to use tithes on church building funds? 176 Well now, here—here's a touchy little thing for the church now. No, correctly tithes is to go to the minister. That's right! In the Bible they had a box they'd set at the door in the Old Testament when the—building. This box was a fund where the people put in there for the repairing…You've read it many times in the Old Testament. They kept up the buildings and things like that…All the repairs on the building was taken care out of that fund. But a tenth of that went—a tenth of the tithings—all the tithings went to their priests, their pastors. Yes, tithings are to go for nothing else. 177 I know people take their tithes and give them to a widow woman. That's wrong. If you've got anything to give the widow woman, give her, but don't give her God's money. That's not yours in the first place. That's God's! 178 If you sent me downtown to get a loaf of bread, and you give me twenty-five cents to get the loaf of bread, and I met somebody on the street wanted it…something else, and I'd give him the twenty-five cents, see, I give them your money. If they asked me for something, let them get it over here in this pocket and give them my money; but this is your money. And a tenth of it is the Lord's. And Levi, the priesthood, lived by the tenth. 179 The tenth is to be a tithing that's to be brought into the storehouse with a promise of God to bless it. And a proof, He said, “If you don't believe it, come and prove Me and see if I won't do it.” See? That's right! 180 The tithings goes into the church for the pastor and so forth like that to live on. And then the—the—the building funds and things like that is a separate fund altogether. Now, that—that is Scriptural. 61-1015m - "Questions And Answers" Rev. William Marrion Branham ---------------------------------------------------------------------------------- Order your own copy of the Family Altar at http://store.bibleway.org Appreciate what we do? Consider supporting us: https://anchor.fm/ten-thousand-worlds/support --- Send in a voice message: https://anchor.fm/ten-thousand-worlds/message Support this podcast: https://anchor.fm/ten-thousand-worlds/support

Q. 8. How doth God execute his decrees?A. God executeth his decrees in the works of creation and providence.Q. 9. What is the work of creation?A. The work of creation is, God's making all things of nothing, by the word of his power, in the space of six days, and all very good.Q. 10. How did God create man?A. God created man male and female, after his own image, in knowledge, righteousness, and holiness, with dominion over the creatures.

The episode explores Milton's great sonnet spun from the difficulties of middle age and new disappointments. We consider how he pulls consolation from his sense of defeat and near despair. Faced with his coming blindness, he hears the voice of Patience giving him the strength to wait. THE TEXT (https://www.poetryfoundation.org/poems/44750/sonnet-19-when-i-consider-how-my-light-is-spent) John Milton, "When I Consider How My Light is Spent" 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 hide Lodged with me useless, though my Soul more bent To serve therewith my Maker, and present My true account, lest he returning chide; “Doth God exact day-labour, light denied?” I fondly ask. But patience, to prevent That murmur, soon replies, “God doth not need Either man’s work or his own gifts; who best Bear his mild yoke, they serve him best. His state Is Kingly. Thousands at his bidding speed And post o’er Land and Ocean without rest: They also serve who only stand and wait.” https://www.poetryfoundation.org/poets/john-milton

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 hide Lodg'd with me useless, though my soul more bent To serve therewith my Maker, and present My true account, lest he returning chide, "Doth God exact day-labour, light denied?" I fondly ask. But Patience, to prevent That murmur, soon replies: "God doth not need Either man's work or his own gifts: who best Bear his mild yoke, they serve him best. His state Is kingly; thousands at his bidding speed And post o'er land and ocean without rest: They also serve who only stand and wait."

Welcome to Honey In The Rock, your daily dose of inspiration and encouragement. In this episode, we shall be studying Job 22. We shall also listen to a sermon by Reverend William Marrion Branham titled, Here We Have No Continuing City 50-0200. I hope you find it to be a blessing.

Welcome to Honey In The Rock, your daily dose of inspiration and encouragement. In this episode, we shall be studying Job 8. We shall also listen to a sermon by Reverend William Marrion Branham titled, Absolute 62-1230M. I hope you find it to be a blessing.

Bildad asks, Doth God pervert judgment?—Bildad says, Our days upon earth are a shadow, and God will not cast away a perfect man. The post Job 8 appeared first on Sacred Text Daily.

Bildad asks, Doth God pervert judgment?—Bildad says, Our days upon earth are a shadow, and God will not cast away a perfect man. The post Job 8 appeared first on Sacred Text Daily.

Today on The Literary Life, Cindy Rollins and Angelina Stanford are joined by a special guest, Angelina's husband, Thomas Banks! This week's selection for our summer series is Joseph Addison's "The Adventures of a Shilling." This episode is packed with book references, so scroll down for links to the titles mentioned! The conversation today kicks off with an attempt at defining the "essay" form and giving a brief history on its development. Thomas shares a little background information on Joseph Addison and his writing, as well as several other essayists who came before and after Addison. Thomas also talks about why essays are a significant part of his reading life. The conversation also spins off into a discussion of the importance of how we spend our leisure time. Finally, our hosts chat about this week's essay, which gives highlights of England's history from the perspective of a silver coin. Addison's tale is full of humor and satire, as well as layers of social commentary and pathos. Don't forget to register for the Back to School online conference coming up on August 26-29, 2019 so you don't miss out on this awesome opportunity to "repair the ruins" of your own education. Summer of the Short Story: Ep 15: "The Necklace" by Guy de Maupassant Ep 16: "Why I Write" by George Orwell Ep 17: "The Celestial Omnibus" by E. M. Forster Ep 18: "Vulture on War" by Samuel Johnson When I Consider How My Light Is Spent by John Milton 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 hide Lodged with me useless, though my soul more bent To serve therewith my Maker, and present    My true account, lest He returning chide;    "Doth God exact day-labor, light denied?" I fondly ask. But Patience, to prevent That murmur, soon replies, "God doth not need    Either man's work or His own gifts. Who best    Bear His mild yoke, they serve Him best. His state Is kingly: thousands at His bidding speed,    And post o'er land and ocean without rest;    They also serve who only stand and wait." Book List: (Amazon Affiliate Links) Lives of the Poets by Samuel Johnson The Life of Samuel Johnson by James Boswell Dove Descending by Thomas Howard Four Quartets by T. S. Elliot The Essays by Sir Frances Bacon The Essays: A Selection by Michel de Montaigne The Defendant by G. K. Chesterton The Essays of Elia by Charles Lamb Confessions of an English Opium-Eater by Thomas de Quincy Animal Farm and 1984 by George Orwell Leisure: The Basis of Culture by Josef Pieper Cato: A Tragedy by Joseph Addison Gulliver's Travels and The Battle of the Books by Jonathon Swift 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: Find Angelina at  https://angelinastanford.com and on Facebook at https://www.facebook.com/ANGStanford/ Find Cindy at https://cindyrollins.net and on Facebook at https://www.facebook.com/cindyrollins.net/ Jump into our private Facebook group, The Literary Life Discussion Group, and let’s get the book talk going! http://bit.ly/literarylifeFB

Daily Devotions from Charles Spurgeon, read by Doug Smith.  To read the entire book online, visit spurgeon.org.  For more information about the program, visit brotherdougsmith.wordpress.com. June 5 Is There a Difference? But against any of the children of Israel shall not a dog move his tongue, against man or beast: that ye may know how that the Lord doth put a difference between the Egyptians and Israel. (Exodus 11:7)  What! Has God power over the tongues of dogs! Can he keep ours from barking? Yes, it is even so. He can prevent an Egyptian dog from worrying one of the lambs of Israel's flock. Doth God silence dogs, and doggish ones among men, and the great dog at hell's gate? Then let us move on our way without fear. If He lets dogs move their tongues, yet He can stop their teeth. They may make a dreadful noise and still do us no real harm. Yet, how sweet is quiet! How delightful to move about among enemies and perceive that God maketh them to be at peace with us! Like Daniel in the den of lions we are unhurt amid destroyers. Oh, that today this word of the Lord to Israel might be true to me! Does the dog worry me? I will tell my Lord about him. Lord, he does not care for my pleadings; do Thou speak the word of power, and he must lie down. Give me peace, O my God, and let me see Thy hand so distinctly in it that I may most clearly perceive the difference which Thy grace has made between me and the ungodly!

Have you ever played or heard of the game bigger and better? You start with something small and keep trying to trade for something bigger and better. The bigger, the better. Bob Goff tells the story of one time his son and his son’s friends played this. They all started with something small and went out into the neighborhood. Golf’s son started out with a dime. The first house he went to he said, I’m playing bigger and better and I was wondering if I could trade you this dime for something bigger or better? The man who answered the door yelled to his wife,  Honey we are playing bigger and better! What do we have that we can trade for a dime? They had an air mattress that they were no longer using- so they swapped that… Now that’s pretty great. A large air mattress is pretty big. However, he kept going. He traded the air mattress for a ping pong table. He traded the ping pong table, and made a dozen more trades as he made his way through the neighborhood… When he came home, he drove home in an old pickup truck, that he had traded for!  Goff said, he didn’t need a truck so he gave it to a local church to give away to a person starting over… That trade was the best, because trading the dime up for bigger and better all the way to a pickup was nothing in comparison in trading the pickup for the great sense of joy and love that came from helping someone in need. In this section of Corinthians, Paul talks about money and how we can trade it for something bigger and better. God is always giving us chances to trade up and be part of something bigger and better than ourselves. Money often creates controversy, and it was causing an issue between the Corinthians and Paul. But it’s not what you would expect. It was creating a problem, not because Paul was requesting funds but because he was refusing them. What? Let’s read this passage and figure out what’s going on. Read 1 Corinthians 9:1-14 Intro: Paul hadn’t needed funds from the Corinthians. He had a means of support that he had worked out through tent making with Aquila and Priscilla- and some of Paul’s critics were using this against him. They were saying that he wasn’t the real deal- that he wasn’t even a full time minister- that he couldn’t be a real apostle if he wasn’t doing this full time. Paul responds defending his apostleship and saying that he did deserve to receive material goods, but that he had forsaken that right because he found he could go farther, faster without relying on the financial support of the church and God had given him an alternative means of income in making tents. Paul’s point is that he not any less of an apostle because of this, he has simply chosen to fund his own ministry efforts. Currently in the FWB partnership of churches we have 2 churches that are on the rebound. They were very near the brink of closing. They had large amounts of debt and had lost just about all of their people. In both instances the pastor who came there had been uniquely gifted in that they had great skills for and opportunities in the secular workplace. James Lindsey in Ft Wayne runs a furniture factory. Travis Penn is a an IT guy and run the IT department for the school corporation in North Indy. Both of these men are not less than pastors. We do not look at them any differently except that we admire their willingness to pastor these churches and work regular work weeks at the other job. Because of their skill set and unique calling, the church is able to afford to move forward. Paul’s response to his critics is strange because he starts by saying I deserve to be paid, even though I’m not. Paul was defending his authority as an apostle, but he wasn’t trying to establish a precedent that all church leaders should find other employment. So he builds the case for his apostleship and the support of church leaders. So the first point here in chapter 9 is Material goods should be supplied to church leaders. 4Have we not power (the right) to eat and to drink? 7Who goeth a warfare any time at his own charges? who planteth a vineyard, and eateth not of the fruit thereof? or who feedeth a flock, and eateth not of the milk of the flock? 9For it is written in the law of Moses, Thou shalt not muzzle the mouth of the ox that treadeth out the corn. Doth God take care for oxen? 10Or saith he it altogether for our sakes? For our sakes, no doubt, this is written: that he that ploweth should plow in hope; and that he that thresheth in hope should be partaker of his hope. 13Do ye not know that they which minister about holy things live of the things of the temple? and they which wait at the altar are partakers with the altar? 14Even so hath the Lord ordained that they which preach the gospel should live of the gospel. Verse 9 is a quote of Deuteronomy 25:4 Refers to the practice of an ox dragging a sledge over grain separating the kernels from the stalk. They were not to muzzle the ox so that he could reap benefits from the grain he was treading. Then Paul asks, is God concerned for the ox? Paul is saying, If God is concerned about the ox, I’m sure he’s concerned about people- about the leaders of the church. Paul is saying, if God wants to make sure that the ox who helps harvest the grain gets a share of the fruits of his labor, surely your spiritual leaders and pastors should receive a share in the harvest- the fruits of his labors. In this passage Paul highlights that fact that every church leader is different, every scenario is different. Paul mentions that some of the apostles had wives that they were bringing along with them in ministry. Obviously Peter’s responsibilities were different than Paul’s. Paul had argued that though he didn’t marry, that was well within the rights of a believer. Paul is now arguing that though he doesn’t receive financial support from the church, that is well within the rights of the church leader. The next two points are what I want to get to… Material goods pale in comparison to Spiritual Benefits. 11If we have sown unto you spiritual things, is it a great thing if we shall reap your carnal things? 12aIf others be partakers of this power over you, are not we rather? In verse 11, Paul uses yet another rhetorical question- if we sow unto you spiritual things, is it a big deal that we reap or harvest carnal or material things? In other words, Paul is saying the seeds that we have planted in your lives are producing peace, joy, love, restoration, and purpose. All of these are much greater than what we ask for to support our families and take care of ourselves. Now Paul isn’t calling this a trade. You don’t get the spiritual help because you give financial support. You don’t have to give an offering to receive spiritual benefit. If you call me for counseling and help, I will not discuss payment plans with you first. When you come to the altar, your benefit is not contingent upon the offering. So it isn’t a trade, however, Paul is saying that if we compare what we receive with what we are asked to give, the deal is a pretty good one. However, many people fail to see it this way. For many, because the spiritual benefits are intangible- they can’t bring themselves to give their money which could purchase them tangible things- something that they can hold, or sit on, or ride in, or watch. None of the tangible stuff you have purchased in this life comes close to the value that is in the intangible goods you receive through God’s grace.  We struggle with this. We struggle to give and make an investment in the kingdom of God because we can’t see what we are purchasing. “Faith isn’t a formula or a business deal. In Short there’s nothing on the other side of the equal sign, just Jesus.” - Bob Goff We’ve traded our broken lives for something bigger and better. If we’ve trusted Jesus with our lives and received something far greater- why don’t we trust him to trade our material goods for something bigger and better? My phone is broken. It’s messed up. I can see messages and calls and sometimes I can answer them, but often I can’t. I went to the store to see about getting it fixed. They said, well you’ve got 4 months left on your contract so we’ll let you upgrade, but you have to trade in your phone and since it’s broken, we don’t want it. Well, if it wasn’t broken I wouldn’t need to trade it in… but because it’s broken I do need to trade it in but can’t. When we come to the Lord with our broken and shattered lives, he doesn’t say, “uh, well, I was actually looking to take an exchange on a moderately used life, not a broken one….” When we come to the Lord with our broken and shattered lives, he accepts us, no questions asked. If the Lord is willing to take your broken life- what sense does it make to not trust him with your money? If you are willing to trust God with your very life, why not trust him with your stuff?  Why not trust him with your funds? “You know your trusting God when you trust Him with your money.” - Nieuwhoff. You say, well I’m poor. I hardly have any money. That’s what’s great about the Lord- you don’t have to give a certain amount to qualify- you don’t have to reach some tier of giving- you just need to give.  The Lord calls us to give 10% as a tithe. For some of you, 10% isn’t very much, but it’s still obedience. For some of you, 10% is quite a bit but that means your 90% is still quite a bit. Though our income levels vary, we can all be obedient. Got a small paycheck, you can still be obedient. In fact, Jesus made it clear that the woman who had less to give exercised great faith because she gave out of need, not out of abundance. Though our gifts differ, we can all be part of something bigger and better than us. Then notice what verse 12 says, if others are partakers with you, are not we also? Paul is referring to other church leaders and teachers who had come through that the Corinthians had supported. Paul said, if they are worthy of your support, aren’t we? We established your church and introduced you to the gospel and now we are doing the same thing in another city, doesn’t that qualify as worthy of support? Now think about this in 2 ways. You pay people all of the time. You pay people to work on your car, you pay for tires, you pay for gas, you pay for cable and internet, you pay for fast food, you pay someone to cut your hair, you pay for everything. Paul says, if you are willing to pay for all of these things, shouldn’t you be willing to pay to support the people who lead you in a relationship with Jesus? If the Spiritual is more valuable than the material, why would we only pay to support those that provide the material?? Paul and Silas had established the church in Corinth and were now doing the same thing in another city that didn’t have a church. They were working so that another group of people could experience what they had experienced of the forgiveness and redemption of the Jesus. Our church exists because Free Will Baptists sent funds and offerings to support Bob Helms as he established a new church. We are here because God worked through the generosity of other churches to make this possible. There are missionaries who are doing the same thing right now, they are taking the gospel into cities where it is not represented. They are establishing new churches in places like Eerie, PA, and Irvine, CA and Tokyo, Japan, and India. They deserve our financial support. Last week at the NAFWB we ended the week with the missions service as we do each year. All missionaries who are able to be present come to the stage and are recognized, new missionaries are prayed for and commissioned. It’s very moving. Then this week I read of a missionary couple to Tokyo who are resigning and coming home in September because their funds have dwindled. Material goods are not a motivating factor for noble church leaders. 12bNevertheless we have not used this power; but suffer all things, lest we should hinder the gospel of Christ. 15But I have used none of these things: neither have I written these things, that it should be so done unto me: for it were better for me to die, than that any man should make my glorying void. 16For though I preach the gospel, I have nothing to glory of: for necessity is laid upon me; yea, woe is unto me, if I preach not the gospel! 17For if I do this thing willingly, I have a reward: but if against my will, a dispensation of the gospel is committed unto me. 18What is my reward then? Verily that, when I preach the gospel, I may make the gospel of Christ without charge, that I abuse not my power in the gospel. Paul only used money to reach the next opportunity to preach the gospel. We are not in this for the money,  we are in this to preach the gospel. verse 12 says we suffer all things lest we should hinder the gospel… 16 - I do this out of necessity. - Woe is me is I don’t preach the gospel. Paul was saying, give or don’t give, I’m still going to preach the gospel. Paul says, I’m compelled, I’m called! I must preach the gospel. I do not lead the church because I want the pay- I lead the church because I love the gospel and I must proclaim it! You will not be consumed with money if you are compelled by the gospel. Paul said, I’ll walk away from money to preach the gospel. Paul had traded money and stuff for something bigger and better, the gospel. Some of you, you love money. You cling to it. It consumes you. You are always angling to get more, make more, some of you- money consumes you because you spend it so fast on all the stuff that you want and all the stuff you so desperately want… Let me invite you to trade it for something bigger and better.

J Milton read by Classic Poetry Aloud: http://classicpoetryaloud.podomatic.com/ Giving voice to the poetry of the past. --------------------------------------- On His Blindness by John Milton (1608 – 1674) When I consider how my light is spent E're half my days, in this dark world and wide, And that one Talent which is death to hide, Lodg'd with me useless, though my Soul more bent To serve therewith my Maker, and present My true account, least he returning chide, Doth God exact day-labour, light deny'd, I fondly ask; But patience to prevent That murmur, soon replies, God doth not need Either man's work or his own gifts, who best Bear his milde yoak, they serve him best, his State Is Kingly. Thousands at his bidding speed And post o're Land and Ocean without rest: They also serve who only stand and waite. First aired: 20 November 2007 For hundreds more poetry readings, visit the Classic Poetry Aloud index. To learn a little more about the poems and poets on Classic Poetry Aloud, join the mailing list. Reading © Classic Poetry Aloud 2008

J Milton read by Classic Poetry Aloud: http://classicpoetryaloud.podomatic.com/ Giving voice to the poetry of the past. --------------------------------------------------- On His Blindness by John Milton (1608 – 1674) When I consider how my light is spent E're half my days, in this dark world and wide, And that one Talent which is death to hide, Lodg'd with me useless, though my Soul more bent To serve therewith my Maker, and present My true account, least he returning chide, Doth God exact day-labour, light deny'd, I fondly ask; But patience to prevent That murmur, soon replies, God doth not need Either man's work or his own gifts, who best Bear his milde yoak, they serve him best, his State Is Kingly. Thousands at his bidding speed And post o're Land and Ocean without rest: They also serve who only stand and waite. First aired: 20 November 2007 For hundreds more poetry readings, visit the Classic Poetry Aloud index. Reading © Classic Poetry Aloud 2008

Milton read by Classic Poetry Aloud: http://classicpoetryaloud.podomatic.com/ Giving voice to the poetry of the past. --------------------------------------------------- On His Blindness by John Milton (1608 – 1674) When I consider how my light is spent E're half my days, in this dark world and wide, And that one Talent which is death to hide, Lodg'd with me useless, though my Soul more bent To serve therewith my Maker, and present My true account, least he returning chide, Doth God exact day-labour, light deny'd, I fondly ask; But patience to prevent That murmur, soon replies, God doth not need Either man's work or his own gifts, who best Bear his milde yoak, they serve him best, his State Is Kingly. Thousands at his bidding speed And post o're Land and Ocean without rest: They also serve who only stand and waite.