Podcasts about Elegy

Katherine Dowling is a brilliant Canadian pianist and in this conversation we talked about her album of solo music by Alice Ping Yee Ho, mentors including Gil Kalish and Henk Guittart, and how and why she's developed her exceptional musical memory. Katherine shared fantastic insights into teaching and learning, the importance of inclusivity and access to arts education, and how she uses the Pomodoro technique in the practice room. She explained how sound production on the piano is about the speed of attack and we discussed different skill sets and career paths for pianists. Dr. Dowling shared many inspiring musical memories, and how she developed her ambitious Elegy project to follow her personal path through grief. You'll be hearing some clips from the album Awake and Dreaming, which you'll find linked below, and you can use the timestamps to navigate the eipsode. Like all my episodes, you can watch this on my YouTube channel or listen to the podcast on all the podcast platforms, and I've also linked the transcript to my website Katherine Dowling websiteWhere to listen to Awake and Dreaming I wanted to let you know about some other episodes I've linked directly to this one, which I think may interest you, with: pianist and musicologist Samantha Ege composer Frank Horvat organist Gail Archer Cheng2 Duo with Bryan and Silvie Cheng pianist Jeeyoon Kim Original Merch for saleCan you buy this independent podcaster a coffee? ⁠Complete Catalog of EpisodesNewsletter sign-upLinktree for social media ⁠photo: Jiyang ChenTimestamps:(00:00) Intro(01:54) Eckhardt-Gramatté competition, composer Alice Ping Lee Ho, regional music festivals(7:18) album Awake and Dreaming, solo piano music by Alice Ping Lee Ho(11:34) Elegy project, coping with grief(16:09) excerpt from There is No Night Without a Dawning from Awake and Dreaming(18:59) Memorization, Suzuki method(25:15) limitations of learning on electronic keyboards(27:08) mentor Henk Guittart, Schoenberg(29:48) appreciation for modern music in the Netherlands, Ellen Corver(32:31)connection to visual art with Alice Ho's compositions (34:20) excerpt of Shade(35:51)experience of funnel couds on the Prairies(37:34) Cyclone by Alice Ping Lee Ho(41:12) valuable teaching experiences in Regina(42:37) other episodes you'll like and ways to support this series(43:32) positive teaching experiences(46:48) new parent(48:18) Gilbert Kalish(53:49) Tanglewood experience, different skills and careers for pianists(56:45) sound production for pianists(01:04:31) inspiring concerts for different audiences(01:07:48) practice strategies, The Artist's Way, Pomodoro technique(01:12:05) mentoring the next generations

References 1. Audacity, Free Audio Recording Program 2. Wonder Share Filmora, Video Editing Program & Free Music Clips 3. Dr. Myles Munroe, of The Bahamas Faith Ministries - Teachings on The Oppressed Spirit 4. Ms Amanda, a former Multi-Generational Satanist and Witch and her poems of Oppression Ms Amanda's Poems 1. The Tapestry of Me 2. The Spiders Inside of Me 3. Numb Free Music Clips 1. Sad Blues Red Song Mother 2. Dreamland 3. Elegy of War 4. History Scene String 5. Sad Rainy Season 6. Missing Under The Chinese Parasol Tree 7. City Insider 8. Reborn Me Global web of Agape Love Ministries is www.agapeloveishere.org Pastor Deborah Schleich is on X and LinkedIn Explore the podcast 33 episodes Love Is Here Podcast Show, A Voice In The Darkness with Pastor Deborah

References 1. Audacity, Free Audio Recording Program 2. Wonder Share Filmora, Video Editing and Free Music Clips 3. Dr. Myles Munroe, of The Bahamas Faith Ministries 4. Pixabay, Free Motion Videos 5. Google Free Clip Art 6. The Authorized King James Bible Free Music 1. Sad Blues Red Song Mother 2. Missing Under The Chinese Parasol Tree 3. Elegy of War 4. Dreamland 5. Romantic Chinese Style Love Story 6. Alive Poems 1. Moving by Ms Amanda 2. In Memory of My Son, By Isaac and Ms Amanda 3. My Baby, by Ms Amanda The global web site of Agape Love Ministries is at www.agapeloveishere.org Pastor Deborah Schleich is also on X and LinkedIn Explore the podcast 33 episodes Love Is Here Podcast Show, A Voice In The Darkness with Pastor Deborah The Hidden Kingdoms

References 1. Audacity, Free Audio Recording Program 2. Wonder Share Filmora, Video Editing and Free Music Clips 3. Google Free Clip Art 4. Pixabay, Free Motion Videos 5. The Authorized King James Bible 6. Pastor Deborah's True Life Story Scriptures 1. Luke 5 : 36 - 39, The 4 Gospels 2. Genesis 1 : 26 - 28, The Beginnings of Humanity's Dominion on earth 3. Isaiah 60. 61, & 62, Words of God's Everlasting Covenant to all of humanity Free Music Clips from Filmora 1. City Insider 2. Arabic 3. Peace of Mind 4. Reborn Me 5. Elegy of War 6. Alive 7. Epic Sci Fi 8. Reborn Me 9. Chinese Vintage 10. Dreamland 11. Sad Blues Red Song Mother Global web site of ministry is www.agapeloveishere.org Pastor Deborah Schleich is also on X and LinkedIn

References 1. Audacity Free Audio Recording Program 2. Wonder Share Filmora Video Editing Program & Free Music Clips 3. Google Free Clip Art 4. Pixabay Free Motion Videos 5. The Authorized King James Bible Scriptures Used 1. Mark 2 : 21 - 22 Free Music from Wonder Share 1. City Insider 2. Peace of Mind 3. Romantic Chinese Style Love Story 4. Epic Sci Fi 5. Elegy of War 6. Alive Global Web of Agape Love Ministry & Pastor Deborah is at www.agapeloveishere.org Pastor Deborah Schleich is also on X and LinkedIn Transcript

References 1. Audacity Free Audio Recording Program 2. Wonder Share Filmora, Video Editing Program and Free Music Clips 3. Webster's Dictionary 4. Strong's Concordance 5. The Authorized King James Bible 6. Google Free Clip Art 7. Pixabay, Free Motion Videos Free Music Clips from Wonder Share, Filmora 1. Epic Sci Fi 2. Peace of Mind 3. Alive 4. Elegy of War 5. Chinese Style The Old Memories 6. Romantic Chinese Style Love Story 7. Dreamland 8. City Insider Book Reference 1. The Kingdom of Darkness, by Pastor Deborah Agape Love's Global web site is at www.agapeloveishere.org Pastor Deborah is on X and LinkedIn and her email is at pastordeborah@agapeloveishere.org

References 1. Audacity Free Audio Recording Program 2. Wonder Share Filmora, Video Editing Program and Free Music Clips 3. Webster's Dictionary 4. Strong's Concordance 5. The Authorized King James Bible 6. Google Free Clip Art 7. Pixabay, Free Motion Videos Free Music Clips from Wonder Share, Filmora 1. Epic Sci Fi 2. Peace of Mind 3. Alive 4. Elegy of War 5. Chinese Style The Old Memories 6. Romantic Chinese Style Love Story 7. Dreamland 8. City Insider Book Reference 1. The Kingdom of Darkness, by Pastor Deborah Agape Love's Global web site is at www.agapeloveishere.org Pastor Deborah is on X and LinkedIn and her email is at pastordeborah@agapeloveishere.org

References 1. Audacity, Free Audio Recording Program 2. Wonder Share Filmora, Video Editing and Free Music Clips 3. Google Free Clip Art 4. Pixabay, Free Motion Videos 5. The Authorized King James Bible 6. Pastor Deborah's True Life Story Scriptures 1. Luke 5 : 36 - 39, The 4 Gospels 2. Genesis 1 : 26 - 28, The Beginnings of Humanity's Dominion on earth 3. Isaiah 60. 61, & 62, Words of God's Everlasting Covenant to all of humanity Free Music Clips from Filmora 1. City Insider 2. Arabic 3. Peace of Mind 4. Reborn Me 5. Elegy of War 6. Alive 7. Epic Sci Fi 8. Reborn Me 9. Chinese Vintage 10. Dreamland 11. Sad Blues Red Song Mother Global web site of ministry is www.agapeloveishere.org Pastor Deborah Schleich is also on X and LinkedIn

References 1. Audacity Free Audio Recording Program 2. Wonder Share Filmora Video Editing Program & Free Music Clips 3. Google Free Clip Art 4. Pixabay Free Motion Videos 5. The Authorized King James Bible Scriptures Used 1. Mark 2 : 21 - 22 Free Music from Wonder Share 1. City Insider 2. Peace of Mind 3. Romantic Chinese Style Love Story 4. Epic Sci Fi 5. Elegy of War 6. Alive Global Web of Agape Love Ministry & Pastor Deborah is at www.agapeloveishere.org Pastor Deborah Schleich is also on X and LinkedIn Transcript

References 1. Audacity, Free Audio Recording Program 2. Wonder Share Filmora, Video Editing Program & Free Music Clips 3. Dr. Myles Munroe, of The Bahamas Faith Ministries - Teachings on The Oppressed Spirit 4. Ms Amanda, a former Multi-Generational Satanist and Witch and her poems of Oppression Ms Amanda's Poems 1. The Tapestry of Me 2. The Spiders Inside of Me 3. Numb Free Music Clips 1. Sad Blues Red Song Mother 2. Dreamland 3. Elegy of War 4. History Scene String 5. Sad Rainy Season 6. Missing Under The Chinese Parasol Tree 7. City Insider 8. Reborn Me Global web of Agape Love Ministries is www.agapeloveishere.org Pastor Deborah Schleich is on X and LinkedIn Explore the podcast 33 episodes Love Is Here Podcast Show, A Voice In The Darkness with Pastor Deborah

References 1. Audacity, Free Audio Recording Program 2. Wonder Share Filmora, Video Editing and Free Music Clips 3. Dr. Myles Munroe, of The Bahamas Faith Ministries 4. Pixabay, Free Motion Videos 5. Google Free Clip Art 6. The Authorized King James Bible Free Music 1. Sad Blues Red Song Mother 2. Missing Under The Chinese Parasol Tree 3. Elegy of War 4. Dreamland 5. Romantic Chinese Style Love Story 6. Alive Poems 1. Moving by Ms Amanda 2. In Memory of My Son, By Isaac and Ms Amanda 3. My Baby, by Ms Amanda The global web site of Agape Love Ministries is at www.agapeloveishere.org Pastor Deborah Schleich is also on X and LinkedIn Explore the podcast 33 episodes Love Is Here Podcast Show, A Voice In The Darkness with Pastor Deborah The Hidden Kingdoms

Oliver Goldsmith (born Nov. 10, 1730, Kilkenny West, County Westmeath, Ire.—died April 4, 1774, London) was an Anglo-Irish essayist, poet, novelist, dramatist, and eccentric, made famous by such works as the series of essays The Citizen of the World, or, Letters from a Chinese Philosopher (1762), the poem The Deserted Village (1770), the novel The Vicar of Wakefield (1766), and the play She Stoops to Conquer (1773).Goldsmith was the son of an Anglo-Irish clergyman, the Rev. Charles Goldsmith, curate in charge of Kilkenny West, County Westmeath. At about the time of his birth, the family moved into a substantial house at nearby Lissoy, where Oliver spent his childhood. Much has been recorded concerning his youth, his unhappy years as an undergraduate at Trinity College, Dublin, where he received the B.A. degree in February 1749, and his many misadventures before he left Ireland in the autumn of 1752 to study in the medical school at Edinburgh. His father was now dead, but several of his relations had undertaken to support him in his pursuit of a medical degree. Later on, in London, he came to be known as Dr. Goldsmith—Doctor being the courtesy title for one who held the Bachelor of Medicine—but he took no degree while at Edinburgh nor, so far as anyone knows, during the two-year period when, despite his meagre funds, which were eventually exhausted, he somehow managed to make his way through Europe. The first period of his life ended with his arrival in London, bedraggled and penniless, early in 1756.Goldsmith's rise from total obscurity was a matter of only a few years. He worked as an apothecary's assistant, school usher, physician, and as a hack writer—reviewing, translating, and compiling. Much of his work was for Ralph Griffiths's Monthly Review. It remains amazing that this young Irish vagabond, unknown, uncouth, unlearned, and unreliable, was yet able within a few years to climb from obscurity to mix with aristocrats and the intellectual elite of London. Such a rise was possible because Goldsmith had one quality, soon noticed by booksellers and the public, that his fellow literary hacks did not possess—the gift of a graceful, lively, and readable style. His rise began with the Enquiry into the Present State of Polite Learning in Europe (1759), a minor work. Soon he emerged as an essayist, in The Bee and other periodicals, and above all in his Chinese Letters. These essays were first published in the journal The Public Ledger and were collected as The Citizen of the World in 1762. The same year brought his Life of Richard Nash, of Bath, Esq. Already Goldsmith was acquiring those distinguished and often helpful friends whom he alternately annoyed and amused, shocked and charmed—Samuel Johnson, Sir Joshua Reynolds, Thomas Percy, David Garrick, Edmund Burke, and James Boswell. The obscure drudge of 1759 became in 1764 one of the nine founder-members of the famous Club, a select body, including Reynolds, Johnson, and Burke, which met weekly for supper and talk. Goldsmith could now afford to live more comfortably, but his extravagance continually ran him into debt, and he was forced to undertake more hack work. He thus produced histories of England and of ancient Rome and Greece, biographies, verse anthologies, translations, and works of popular science. These were mainly compilations of works by other authors, which Goldsmith then distilled and enlivened by his own gift for fine writing. Some of these makeshift compilations went on being reprinted well into the 19th century, however.By 1762 Goldsmith had established himself as an essayist with his Citizen of the World, in which he used the device of satirizing Western society through the eyes of an Oriental visitor to London. By 1764 he had won a reputation as a poet with The Traveller, the first work to which he put his name. It embodied both his memories of tramping through Europe and his political ideas. In 1770 he confirmed that reputation with the more famous Deserted Village, which contains charming vignettes of rural life while denouncing the evictions of the country poor at the hands of wealthy landowners. In 1766 Goldsmith revealed himself as a novelist with The Vicar of Wakefield (written in 1762), a portrait of village life whose idealization of the countryside, sentimental moralizing, and melodramatic incidents are underlain by a sharp but good-natured irony. In 1768 Goldsmith turned to the theatre with The Good Natur'd Man, which was followed in 1773 by the much more effective She Stoops to Conquer, which was immediately successful. This play has outlived almost all other English-language comedies from the early 18th to the late 19th century by virtue of its broadly farcical horseplay and vivid, humorous characterizations.During his last decade Goldsmith's conversational encounters with Johnson and others, his foolishness, and his wit were preserved in Boswell's Life of Samuel Johnson. Goldsmith eventually became deeply embroiled in mounting debts despite his considerable earnings as an author, though, and after a short illness in the spring of 1774 he died.-bio via Britannica This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Recorded by Nicole Callihan for Poem-a-Day, a series produced by the Academy of American Poets. Published on March 25, 2025. www.poets.org

Situated on the cusp of the Romantic era, Thomas Gray's work is a mixture of impersonal Augustan abstraction and intense subjectivity. ‘Elegy Written in a Country Churchyard' is one of the most famous poems in the English language, and continues to exert its influence on contemporary poetry. Mark and Seamus explore three of Gray's elegiac poems and their peculiar emotional power. They discuss Gray's ambiguous sexuality, his procrastination and class anxieties, and where his humour shines through – as in his elegy for Horace Walpole's cat.Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:Directly in Apple Podcasts: https://lrb.me/applecrldIn other podcast apps: https://lrb.me/closereadingsldFurther reading in the LRB:John Mullan: Unpranked Lyrehttps://www.lrb.co.uk/the-paper/v23/n24/john-mullan/unpranked-lyreTony Harrison: ‘V.'https://www.lrb.co.uk/the-paper/v07/n01/tony-harrison/vGet the books: https://lrb.me/crbooklistRead the texts online:https://www.thomasgray.org/texts/poems/sorwhttps://www.thomasgray.org/texts/poems/elcchttps://www.thomasgray.org/texts/poems/odfcNext episode: Mid-20th century elegies: Betjeman, Lowell, Bishop Hosted on Acast. See acast.com/privacy for more information.

The Enobarbus arc ends with a climactic confrontation in the treasure chamber.   DiCaprio Devereaux decides the fate of several magic items. Doc Hop uses her first wish. Rex Maximus executes a flawless Charizard seismic toss.   STARRING - Austin Yorski: https://bsky.app/profile/austinyorski.bsky.social Laura Kate Dale: https://bsky.app/profile/laurakbuzz.bsky.social Quinn Larios: https://bsky.app/profile/rollot.bsky.social   SUPPORT - Patreon.com/AustinYorski Patreon.com/LauraKBuzz Patreon.com/WeeklyMangaRecap   AUDIO - https://www.youtube.com/watch?v=MHrF-ZfdwIk Kirby Super Star OC ReMix by TSori & Others: "Until the Next Dance" [Meta Knight: Ending]: https://www.youtube.com/watch?v=aeEvMkYAU1o Katherine Cordova - YouTube OC ReMix #1281: Dragon Warrior IV 'The Grief of Aktemto' [Elegy] by Ryan8bit Dragon Warrior VII OC ReMix by Bluelighter...: "Deeper in the Heart" [Days of Sadness] (#3762)   DISCORD - https://discord.gg/YMU3qUH

Ce 4 mars, Marjorie Hache nous embarque pour deux heures de rock, d'indie et d'explorations pop alternatives. Parmi les classiques, Queen, Judas Priest et les Beastie Boys avec leur emblématique "Fight For Your Right". Côté nouveautés, Architects dévoile "The Sky the Earth and All Between", album de la semaine, avec le titre "Elegy". Scowl et Sharon Van Etten & The Attachment Theory enrichissent aussi la sélection, cette dernière jouant bientôt au Trianon et à Rock en Seine. La reprise du jour nous ramène en 1979 avec The Jam et leur version de "Heatwave". Le live est signé Stager, groupe noise rock de Rouen. Enfin, le long format met en avant The Presidents Of The USA avant de conclure en douceur avec Little River Band. La playlist de l'émission : Franz Ferdinand - Hooked Beastie Boys - Fight For Your Right Bobby Womack - Across 110Th Street Dropkick Murphys - Johnny, I Hardly Knew Ya Sharon Van Etten & The Attachment Theory - Trouble Donovan - Mellow Yellow Eiffel - J'ai Pousse Trop Vite Architects - Elegy Queen - Fat Bottomed Girl Banks - Love Is Unkind Green Day - Still Breathing Judas Priest - Breaking The Law Scowl - Not Hell The Jam - Heatwave New Order - Crystal The Prodigy - Omen Heartworms - Warplane The Rolling Stones - Ruby Tuesday Body Count - Born Dead Secret Girls - Stager (Live Session Cm Stager) Joan Baez - House Of The Rising Sun Suicidal Tendencies - You Can't Bring Me Down Vundabar - Spades Alice Cooper - Poison Psycho-Surgeons - Horizontal Action Presidents Of The USA - Peaches Little River Band - Its A Long Way There

Send us a textThe full text of this podcast can be found in the transcript of this edition or at the following link:https://andrewjbrown.blogspot.com/2025/03/blue-remembered-hills-elegy-for-my.htmlPlease feel free to post any comments you have about this episode there.The Cambridge Unitarian Church's Sunday Service of Mindful Meditation can be found at this link:https://www.cambridgeunitarian.org/morning-service/ Music, "New Heaven", written by Andrew J. Brown and played by Chris Ingham (piano), Paul Higgs (trumpet), Russ Morgan (drums) and Andrew J. Brown (double bass) Thanks for listening. Just to note that the texts of all these podcasts are available on my blog. You'll also find there a brief biography, info about my career as a musician, & some photography. Feel free to drop by & say hello. Email: caute.brown[at]gmail.com

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

Planet Poet-Words in Space – NEW PODCAST!  LISTEN to my WIOX show (originally aired February 11th, 2025) featuring poet Tina Barry on her spellbinding new book, I Tell Henrietta.  Kristin Flynn, the artist who created the intense, expressive cover and interior art for I Tell Henrietta also joins us on the show.  Visit:Tina Barry at Tina Barry writer and  Kristin Flynn at https://www.kristinflynn.art   Praise for I Tell Henrietta"Tina Barry's astonishing collection I Tell Henrietta explores thresholds between the dream world and wakefulness and between poetry and prose... " ---- Mary Biddinger, author of Department of Elegy"Tina Barry's startling and eclectic I Tell Henrietta pushes the hybrid aesthetic envelope forward....Suffused with astute observation, memory and crystalline imagery, Barry's collection is a must-read for those who love small works containing multitudes"----  Nathan Leslie, editor of Best Small Fictions, author of Hurry Up and RelaxTina Barry is a textile designer turned poet, short-fiction writer and editor. She is the author of I Tell Henrietta (Aim Higher, Inc., 2024) with art by Kristin Flynn, Beautiful Raft and Mall Flower (Big Table Publishing, 2019 and 2016).Her writing can be found in Rattle, Verse Daily, ONE ART: a journal of poetry, SWWIM, The Indianapolis Review, The Best Small Fictions 2020 (spotlighted story) and 2016, and elsewhere. Tina has five Pushcart Prize nominations and several Best of the Net and Best Microfiction nods. She teaches at The Poetry Barn and Writers.com. Kristin Flynn earned a BFA in fashion design from Parsons School of Design, an AAS degree in Textiles from Rochester Institute of Technology, and studied painting at Marylhurst University in Portland, Oregon. Her paintings and drawings have been exhibited in numerous group and solo shows, including the Cheryl McGinnis Gallery, Stone Ridge Center for the Arts, Jane Street Gallery Studio 89, Brick Gallery, Kingston Museum of Contemporary Art, and Bard College. 

References 1. Audacity Audio Recording 2. Wonder Share Filmore video editing and free music clips 3. Google Free Clip Art Pictures 4. Pixabay free motion video clips 5. Dr. Myles Munroe, The Bahamas Faith Ministry Free Music 1. Sad Blues Red Song Mother 2. City Insider 3. Peace of Mind 4. Chinese New Year's Eve 5. Elegy of War 6. Missing Under the Parasol Tree 7. Alive 8. Arabic 9. Epic Sci Fi The global web site of Agape Love, Love Is Here at https://www.agapeloveishere.org

References 1. Audacity Audio Recording 2. Wonder Share Filmore video editing and free music clips 3. Google Free Clip Art Pictures 4. Pixabay free motion video clips 5. Dr. Myles Munroe, The Bahamas Faith Ministry Free Music 1. Sad Blues Red Song Mother 2. City Insider 3. Peace of Mind 4. Chinese New Year's Eve 5. Elegy of War 6. Missing Under the Parasol Tree 7. Alive 8. Arabic 9. Epic Sci Fi The global web site of Agape Love, Love Is Here at https://www.agapeloveishere.org

References 1. Audacity Audio Recording Program 2. Wonder Share Filmora Video Editing and Free Music Clips Program 3. Google Free Clip Art 4. Pixabay Free Motion Videos 5. The Authorized King James Bible 6. Dr. Myles Munroe, The Bahamas Faith Ministries, Teaching on Kings and Kingdom Scriptures 1. Genesis 1 : 26 - 28, Written by Moses 2. Isaiah 61 & 62, God's Words to Humanity Free Music Clips from Wonder Share Filmora 1. City Insider 2. Elegy of War 3. Reborn Me 4. Romantic Chinese Style Love Story 5. Epic Sci Fi Trailer 6. Peace of Mind 7. The Grocery Story The global web site of Agape Love, Love Is Here at https://www.agapeloveishere.org Also all videos are freely podcasted to Free Podcast Shows which all are accessible on the front page of the web site on the left hand side of the page and they include the following 1. on these apps Find Us On These Apps Available on PocketCasts Available on PodFriend Available on Overcast 2. Called Agape Love or Pastor Deborah's Podcast Show Agape Love Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 3. Mental Health And The Forever Person Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 4. Setting The Captives Free Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 5. The King And The Kingdom Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 6. International Spiritual Care University Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 7. Story Time Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 8. Tele-Ministry Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 9. Audio Books Podcast Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 10. School of Light Podcast Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music Also you can continue to following Pastor Deborah and her spiritual teaching on the Ministry's Global Network of YouTube Channels of 1. The Hidden Kingdoms @youtube.com@thehiddenkingdoms 2. For Children of All Ages at https://www.youtube.com/channel/UCOdG... 3. The Light of Love Channel at https://www.youtube.com/channel/UChCu... 4. and on The Hidden Kingdoms Playlists of YouTube Shorts at https://www.youtube.com/watch?v=h4dIJ... and on The Hidden Kingdoms Community Posts at https://www.youtube.com/watch?v=AVoTe... 5. Pastor Deborah is now also on RUMBLE at Agape Love's War, The War of 2 Realms at https://rumble.com/c/c-1837635 6. And soon to be on Spreaker , A Podcasting Platform at Agape Love's Podcast with Pastor Deborah https://www.spreaker.com/user/16790962 You can also follow Agape Love, Love Is Here and Pastor Deborah on 1. Twitter at / agapeloveishere 2. and on LinkedIn at / pastor-deborah Follow Agape Love, Love Is Here's Global Spiritual Teaching Ministry with Pastor Deborah by subscribing to the channels, connecting with her on Twitter and LinkedIn. Also make comments on the videos and on the Community Posts and listen to her on all of the Ministries many Podcasts Shows which all are free to listen to. Love Pastor Deborah

References 1. Wonder Share Filmore, a video Editing Program and free music clips 2. Aubdacity Audio Recording Program 3. Google Free Clip Art 4. Pixabay Free Motion Videos 5. The Authorized King James Bible 6. Dr. Myles Munroe, The Bahamas Faith Ministries Teachings Scriptures 1. Genesis 1 : 26 - 28, The Beginning of Kingship From God 2. Isaiah 61 & 62, God's Everlasting Covenant to humanity 3. Romans 2 : 21, God's Words to humanity through Paul of Be Not Conformed to this earthly world 4. Hebrews 4 : 12, God's Spiritual Circumcision of the Spirit from it's Soul of Flesh and it's Darkness Free Music Clips from Wonder Share 1. Romantic Chinese Style Love Story 2. Alive 3. Elegy of War 4. Dreamland 5. Reborn Me 6. The Grocery Store 7. Peace of Mind The global web site of Agape Love, Love Is Here at https://www.agapeloveishere.org Also all videos are freely podcasted to Free Podcast Shows which all are accessible on the front page of the web site on the left hand side of the page and they include the following 1. on these apps Find Us On These Apps Available on PocketCasts Available on PodFriend Available on Overcast 2. Called Agape Love or Pastor Deborah's Podcast Show Agape Love Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 3. Mental Health And The Forever Person Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 4. Setting The Captives Free Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 5. The King And The Kingdom Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 6. International Spiritual Care University Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 7. Story Time Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 8. Tele-Ministry Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 9. Audio Books Podcast Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 10. School of Light Podcast Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music Also you can continue to following Pastor Deborah and her spiritual teaching on the Ministry's Global Network of YouTube Channels of 1. The Hidden Kingdoms @youtube.com@thehiddenkingdoms 2. For Children of All Ages at https://www.youtube.com/channel/UCOdG... 3. The Light of Love Channel at https://www.youtube.com/channel/UChCu... 4. and on The Hidden Kingdoms Playlists of YouTube Shorts at https://www.youtube.com/watch?v=h4dIJ... and on The Hidden Kingdoms Community Posts at https://www.youtube.com/watch?v=AVoTe... 5. Pastor Deborah is now also on RUMBLE at Agape Love's War, The War of 2 Realms at https://rumble.com/c/c-1837635 6. And soon to be on Spreaker , A Podcasting Platform at Agape Love's Podcast with Pastor Deborah https://www.spreaker.com/user/16790962 You can also follow Agape Love, Love Is Here and Pastor Deborah on 1. Twitter at / agapeloveishere 2. and on LinkedIn at / pastor-deborah Follow Agape Love, Love Is Here's Global Spiritual Teaching Ministry with Pastor Deborah by subscribing to the channels, connecting with her on Twitter and LinkedIn. Also make comments on the videos and on the Community Posts and listen to her on all of the Ministries many Podcasts Shows which all are free to listen to. Love Pastor Deborah

References 1. Audacity Audio Recording Program 2. Wonder Share Filmora Video Editing and Free Music Clips Program 3. Google Free Clip Art 4. Pixabay Free Motion Videos 5. The Authorized King James Bible 6. Dr. Myles Munroe, The Bahamas Faith Ministries, Teaching on Kings and Kingdom Scriptures 1. Genesis 1 : 26 - 28, Written by Moses 2. Isaiah 61 & 62, God's Words to Humanity Free Music Clips from Wonder Share Filmora 1. City Insider 2. Elegy of War 3. Reborn Me 4. Romantic Chinese Style Love Story 5. Epic Sci Fi Trailer 6. Peace of Mind 7. The Grocery Story The global web site of Agape Love, Love Is Here at https://www.agapeloveishere.org Also all videos are freely podcasted to Free Podcast Shows which all are accessible on the front page of the web site on the left hand side of the page and they include the following 1. on these apps Find Us On These Apps Available on PocketCasts Available on PodFriend Available on Overcast 2. Called Agape Love or Pastor Deborah's Podcast Show Agape Love Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 3. Mental Health And The Forever Person Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 4. Setting The Captives Free Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 5. The King And The Kingdom Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 6. International Spiritual Care University Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 7. Story Time Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 8. Tele-Ministry Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 9. Audio Books Podcast Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 10. School of Light Podcast Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music Also you can continue to following Pastor Deborah and her spiritual teaching on the Ministry's Global Network of YouTube Channels of 1. The Hidden Kingdoms @youtube.com@thehiddenkingdoms 2. For Children of All Ages at https://www.youtube.com/channel/UCOdG... 3. The Light of Love Channel at https://www.youtube.com/channel/UChCu... 4. and on The Hidden Kingdoms Playlists of YouTube Shorts at https://www.youtube.com/watch?v=h4dIJ... and on The Hidden Kingdoms Community Posts at https://www.youtube.com/watch?v=AVoTe... 5. Pastor Deborah is now also on RUMBLE at Agape Love's War, The War of 2 Realms at https://rumble.com/c/c-1837635 6. And soon to be on Spreaker , A Podcasting Platform at Agape Love's Podcast with Pastor Deborah https://www.spreaker.com/user/16790962 You can also follow Agape Love, Love Is Here and Pastor Deborah on 1. Twitter at / agapeloveishere 2. and on LinkedIn at / pastor-deborah Follow Agape Love, Love Is Here's Global Spiritual Teaching Ministry with Pastor Deborah by subscribing to the channels, connecting with her on Twitter and LinkedIn. Also make comments on the videos and on the Community Posts and listen to her on all of the Ministries many Podcasts Shows which all are free to listen to. Love Pastor Deborah

References 1. Wonder Share Filmore, a video Editing Program and free music clips 2. Aubdacity Audio Recording Program 3. Google Free Clip Art 4. Pixabay Free Motion Videos 5. The Authorized King James Bible 6. Dr. Myles Munroe, The Bahamas Faith Ministries Teachings Scriptures 1. Genesis 1 : 26 - 28, The Beginning of Kingship From God 2. Isaiah 61 & 62, God's Everlasting Covenant to humanity 3. Romans 2 : 21, God's Words to humanity through Paul of Be Not Conformed to this earthly world 4. Hebrews 4 : 12, God's Spiritual Circumcision of the Spirit from it's Soul of Flesh and it's Darkness Free Music Clips from Wonder Share 1. Romantic Chinese Style Love Story 2. Alive 3. Elegy of War 4. Dreamland 5. Reborn Me 6. The Grocery Store 7. Peace of Mind The global web site of Agape Love, Love Is Here at https://www.agapeloveishere.org Also all videos are freely podcasted to Free Podcast Shows which all are accessible on the front page of the web site on the left hand side of the page and they include the following 1. on these apps Find Us On These Apps Available on PocketCasts Available on PodFriend Available on Overcast 2. Called Agape Love or Pastor Deborah's Podcast Show Agape Love Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 3. Mental Health And The Forever Person Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 4. Setting The Captives Free Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 5. The King And The Kingdom Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 6. International Spiritual Care University Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 7. Story Time Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 8. Tele-Ministry Podcast Listen on Google Play Music Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 9. Audio Books Podcast Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music 10. School of Light Podcast Listen on Itunes Listen on TuneIn Listen on iHeartRadio Listen on Amazon Music Also you can continue to following Pastor Deborah and her spiritual teaching on the Ministry's Global Network of YouTube Channels of 1. The Hidden Kingdoms @youtube.com@thehiddenkingdoms 2. For Children of All Ages at https://www.youtube.com/channel/UCOdG... 3. The Light of Love Channel at https://www.youtube.com/channel/UChCu... 4. and on The Hidden Kingdoms Playlists of YouTube Shorts at https://www.youtube.com/watch?v=h4dIJ... and on The Hidden Kingdoms Community Posts at https://www.youtube.com/watch?v=AVoTe... 5. Pastor Deborah is now also on RUMBLE at Agape Love's War, The War of 2 Realms at https://rumble.com/c/c-1837635 6. And soon to be on Spreaker , A Podcasting Platform at Agape Love's Podcast with Pastor Deborah https://www.spreaker.com/user/16790962 You can also follow Agape Love, Love Is Here and Pastor Deborah on 1. Twitter at / agapeloveishere 2. and on LinkedIn at / pastor-deborah Follow Agape Love, Love Is Here's Global Spiritual Teaching Ministry with Pastor Deborah by subscribing to the channels, connecting with her on Twitter and LinkedIn. Also make comments on the videos and on the Community Posts and listen to her on all of the Ministries many Podcasts Shows which all are free to listen to. Love Pastor Deborah

The poet Michael Longley, who died on 22nd January 2025 at the age of 85, was described by Seamus Heaney as 'a keeper of the artistic estate, a custodian of griefs and wonders.' He devoted a lifetime to the art of poetry and won numerous poetry prizes.In Episode 1 of this series of The Essay, first broadcast in 2024 and recorded to mark his 85th birthday, he talked with presenter Olivia O'Leary about his home town of Belfast and his love of jazz, saying that, 'Good poetry for me combines two things: meaning and melody.' He also loved the classics, which he studied at Trinity College Dublin, where he met his wife, Edna, a distinguished literary critic. He was one of a group of young poets that emerged from Northern Ireland in the 1960s and he describes the mutual support, rivalry and excitement of that time.He reads his poems Elegy for Fats Waller and an extract from his poem River and Fountain from a new collection, Ash Keys: New Selected Poems (Cape Poetry), published to mark his 85th birthday on 27th July 2024. He also reads Bookshops from his collection Angel Hill and Poem from The Slain Birds.Presenter: Olivia O'Leary Producer: Claire Cunningham Executive Producer: Regan HutchinsMichael Longley's Life of Poetry is a Rockfinch production for BBC Radio 3.

JD Vance emerged as a media darling with “Hillbilly Elegy,” his best-selling 2016 memoir of growing up poor in Ohio, but it's just one of several hats he's worn—Yale-trained lawyer, Silicon Valley venture capitalist, Never Trump pundit, Pro-Trump senator, and Vice President of the United States—all by the age of 40. On this episode, host and Vanity Fair editor Radhika Jones is joined by executive editor Claire Howorth and Hive editor Michael Calderone to trace Vance's populist ride through America's power centers and how his right-wing ideology dovetails with a burgeoning constitutional crisis. They also explore how Vance is shaping up as Trump's Veep—and whether he has the political chops to one day land the top job.  Learn about your ad choices: dovetail.prx.org/ad-choices

Donne's are arguably the greatest love poems in English after Shakespeare's sonnets. Donne as a Metaphysical poet. Donne's fascinating and troubled life. A spectrum of types of love, beginning with the satiric and overtly erotic: “Elegy 19” and “The Flea.”

By Rita Dove

Welcome to the second episode of series 79! In this series, we are going to be going over a different solo RPG every episode, and in today's episode, Ryan is all by themself again to explore the game Elegy, an urban fantasy vampiric RPG by Miracle M! Character Creation Cast Patreon https://patreon.com/charactercreationcast Announcements: Bluesky Starter Pack! https://go.bsky.app/RBJ971x Join our Discord! https://discord.charactercreationcast.com Leave us reviews in any, or all, of these places: Character Creation Cast on Apple Podcasts (The best place to leave reviews for us) https://itunes.apple.com/us/podcast/character-creation-cast/id1363822066?mt=2&ls=1 Character Creation Cast on Podchaser https://podchaser.com/CharacterCreationCast Games/Tools discussed this episode: Elegy: Free PDF: https://miraclem.itch.io/elegy Timestamps: (00:00:00) - Announcements (00:01:27) - Introductions (00:02:05) - What's in a game? - Core Concepts (00:03:16) - What setting do you play in? (00:07:53) - What materials do we need to play Elegy? (00:10:40) - What stories and themes does this game explore? (00:12:41) - What do characters do in Elegy? (00:15:39) - What is unique about Elegy? (00:16:37) - History of the game (00:17:04) - Terms and Concepts (00:19:25) - Let's make some people! (00:24:04) - World Building Truths (00:47:16) - Name and Stats (00:49:23) - Assets (01:02:54) - Background and Connections (01:14:54) - Background Elegy (01:25:36) - Discussion - Character Sheets (01:27:09) - How does character creation stack up to other games? (01:27:52) - Fanfic? (01:32:13) - Episode Closer (01:32:58) - Call to Action (01:38:02) - Credits Music: Opening: Meditation Impromptu 03 (https://freemusicarchive.org/music/Kevin_MacLeod/Calming/Meditation_Impromptu_03) by Kevin MacLeod Clip 1: Hero (Remix) (https://freemusicarchive.org/music/Steve_Combs/Principal_Photography_1493/11_Hero_Remix) by Steve Combs Clip 2: Vampires by Andrew Stanton On Soundstripe: https://app.soundstripe.com/songs/10737 Main Theme: Hero (Remix) (https://freemusicarchive.org/music/Steve_Combs/Principal_Photography_1493/11_Hero_Remix) by Steve Combs Our Podcast: Character Creation Cast: Website: https://www.charactercreationcast.com Contact Us: https://contact.charactercreationcast.com BlueSky: @CreationCast.net (https://bsky.app/profile/creationcast.net) Discord: https://discord.charactercreationcast.com/ TikTok: https://tiktok.com/@charactercreationcast Amelia Antrim: BlueSky: @gingerreckoning.bsky.social (https://bsky.app/profile/gingerreckoning.bsky.social) Ryan Boelter: BlueSky: @lordneptune.com (https://bsky.app/profile/lordneptune.com) Our Network: https://oneshotpodcast.com Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's episode Luis welcomes Ryan Abramowitz, author of the book "Elegy For An Elephant", and Melissa McConnell, who introduced Ryan's book to Luis, to have a group discussion about the grief of losing a loved one to suicide, and how powerful artistic expression can be.Ryan discusses the process of creating and releasing the book, and how the way it has shifted things for him in his process. He talks about making new relationships with the trauma and grief, practicing releasing lingering guilt, the timelessness of love, and the value in connecting with nature. You can read more about the book, and order it, here: www.narrativesofnature.com  You can visit Melissa's website here: www.thehoneybeetemple.com She is currently working on a book about the expressive arts and somatics.You can read more about, and register for, the "How Fawning Affects Your Sex Life" webinar here.You can read more about, and register for, the 3-week "Recovering From Sexual Fawning" mini-course here.----You can learn more on the website: https://www.holisticlifenavigation.com/You can follow Luis on Instagram @holistic.life.navigationQuestions? You can email us at info@holisticlifenavigation.com

The hero dominates the 6th elegy w his strange cosmic presence against the lovers; as a fig tree & its self-contained fruit/flower fuels Rilke’s sundry metaphor & crescendos into the Samson myth. Much is gleaned in the complex image of the fig tree & its strange fruit-flower-seed pod, that encompasses so much rich metaphor and […]

In de podcast Wat Blijft hoor je aflevering 11 van de 12-delige serie Grote Geesten over indrukwekkende denkers uit de Humanistische Canon. Annette van Soest volgt het spoor terug van filosoof en schrijver Iris Murdoch. Murdoch dankt haar bekendheid aan haar romans, zoals ‘Under the Net' (Modern Library 100 Best Novels) en ‘The Sea, the Sea' (Booker Prize). Ze leidde een onconventioneel leven, had relaties met verschillende mannen tegelijk, maar trok zich ook regelmatig terug om te schrijven. Ze leed de laatste jaren van haar leven aan dementie, iets dat leidend was in ‘Iris', de speelfilm over Murdochs leven naar het boek ‘Elegy for Iris' van Murdochs echtgenoot John Bayley. 

ubaru is a Twitch streamer, YouTuber, designer, and one of the hosts of the Terminally Online podcast.Twitch: https://www.twitch.tv/ubaruTwitter: https://twitter.com/ubaruuYouTube: https://www.youtube.com/@ubaruSoundcloud: https://soundcloud.com/ubaruuTerminally Online: https://www.youtube.com/@TerminallyOnlinePodSupport my content directly:YouTube Membership: https://www.youtube.com/channel/UCaLDfbgwz7heFps4uMaPahg/joinPatreon: https://www.patreon.com/saederFollow me:Twitch: https://twitch.tv/saederTwitter: https://twitter.com/SaederRSYouTube: https://youtube.com/saeder Support this podcast on Patreon Hosted on Acast. See acast.com/privacy for more information.

For the Record is a conversation series where we speak with all manner of music heads — DJs, music journos, indie label captains, record shop owners, listening bar kingpins, et al — about their stories + the music that makes them. Join the Crate Coalition: https://discord.gg/sAaG6a7bv4 Wyatt is SoundCloud's director of music intelligence and analytics and leads a team analyzing streaming trends and artist and fan communities on SoundCloud. His team's work informs fan, creator, and editorial strategy, and plays a pivotal role in A&R. He's also a journalist and photographer, write about music, music + data, culture, science, food and healthcare. With Ian Chainey, he's been writing Stereogum's monthly metal column, The Black Market, for over a decade. MUSIC MENTIONS Nine Inch Nails Metallica Sepultura Relapse Records Spectrum Fest Amorphis “Weeper on the Shore” by Amorphis Pasi Koskinen Iron Maiden “Rock in Rio” album by Iron Maiden Napster Agalloch “The Mantle” album by Agalloch Cold Cave “Cherish the Light Years” album by Cold Cave “The Great Pan Is Dead” by Cold Cave Invisible Oranges BrooklynVegan Doug Moore Mike Nelson Pyrrhon Stereogum Saint Vitus Bar (NYC) Dave Castillo Liturgy “Aesthetica” by Liturgy Taylor Swift Aaron Lariviere Ian Chainey “Whole Lotta Red” album by Playboi Carti Q&A Erech Leleth “Inevitable” album by Summer Haze '99 “God's Hands” by Hardrock “Tales from the Thousand Lakes” album by Amorphis 夢遊病者 (aka Sleepwalker) Discovering music today (37:37): Ian Chainey Doug Moore Bandcamp Fiadh Productions Artists discovered in the past year (42:47): Summer Haze '99 Bergfried Damián Antón Ojeda Sadness abriction Hardrock First album ever purchased (47:10): “Loser” by Beck Most recent album purchased (48:07): “Banshee” album by abriction Desert island discs (48:28): “Elegy” by Amorphis “ATLiens” by OutKast “Sing the Sorrow” by AFI

The Stuph File Program Featuring Brian D. Anderson, author of the book series, The Sorcerer's Song; actress Meredith Thomas; & Dr. Stephen Sideroff, author of The 9 Pillars Of Resilience Download Brian D. Anderson is a best-selling fantasy writer, with several book series out. His latest series is the trilogy called The Sorcerer's Song, consisting of the books, The Bard's Blade, A Chorus Of Fire and The Sword's Elegy. Actress Meredith Thomas is back on the show. This Queen of Christmas once again has two holiday movies currently out; The Merry Gentlemen on Netflix and Make Or Bake Christmas on Lifetime. Dr. Stephen Sideroff, author of The 9 Pillars Of Resilience, talks about embracing and dealing with your stress. This week's guest slate is presented by Holly Haimerl, a dear friend and a former colleague from both radio and television.

In this episode, we read and discuss Emily Dickinson's poem about the death of Elizabeth Barrett Browning. We discuss Dickinson's innovative syntax, her use of deep pauses, and her meditations on death and grief that create surprising effects in this short lyric. I went to thank Her I went to thank Her— But She Slept— Her Bed—a funneled Stone— With Nosegays at the Head and Foot— That Travellers—had thrown— Who went to thank Her— But She Slept— 'Twas Short—to cross the Sea— To look upon Her like—alive— But turning back—'twas slow—

I read this poem every year for the anniversary of his murder. It seems more timely than ever.

By Gerard Beirne

I'm joined by interpid reporter and private dick JZ Delorean to talk about hicklibs in Michigan. Check out his incredible piece on Flint here.The Carousel is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.carousel.blog/subscribe

Send us a textThis...this episode is something. Mike and Andrew spend their time complaining and wishing it was something else. With a last minute bad guy and a protagonist thatsssssss kind of a creep, we're not sure what to think. JOIN OUR SOCIALS!magusmediaproductions.netwww.facebook.com/groups/thisisnothappeningpod/ @TINHXFilesPodCONTACT US!tinhxfp@gmail.com

If you were on the patreon you could WATCH this episode as a video OR listen to it AD-FREE! AAHH!! patreon.com/bigsofttittyGooncave, sealed, sleeping, smelling.... we remember you, r/gooncave. We remember the nasty places that dwelt within you and the nasty things that dwelt within them. Should we? Don't worry about It!We also cover our ideas for wrestlers, Tom feels bad about how much he knows about wrestling and we cover r/namenerds again. Hosted on Acast. See acast.com/privacy for more information.

Today, Chuck and Big John discuss the Appalachian Clean Hydrogen Hub and some recent criticisms surrounding it. Take our survey on how to say Appalachia!!! https://forms.gle/GzR5N7t575d242Ko9Listen to Big John's interview with CityBeat Cincinnati for their "Elegy" podcast series. https://www.citybeat.com/cincinnati/ElegyTheManyMythsofJDVance/PageTimestamps2:32 — Announcement about election night livestream and dialect survey6:40 — Intro topics: Where's JD? Kentucky Isn't in play18:25 — The Appalachian Clean Hydrogen hub18:25 — introduction to clean hydrogen hubs20:16 — a primer on "clean hydrogen"26:50 — is it clean energy?35:15 — What the ARCH is and what are the criticisms about it?47:16 — the IRA and electric vehicles51:31 — A three week PTO from beef-----------------------------------------------HELP SUPPORT APPODLACHIA! Join our Patreon, for as little as $5/month, and access live events, weekly exclusives, bonus series, and more patreon.com/appodlachia-----------------------------------------------Check out our fantastic sponsors!Red Rooster Coffee! Use our promo code “DOLLY” for free shipping!https://www.redroostercoffee.com/CBD and THC gummies & more: (use code “BANJO” for 25% off) http://www.cornbreadhemp.com/Support the show

Today's poem is from "Elegy for the Times" by Adonis, translated by Robyn Creswell. The Slowdown is your daily poetry ritual. In this episode, Major writes… “For stateless people, writing poems, taking pictures, composing songs is precarious, but making art happens, nonetheless. Often, it is a counter insistence of one's presence on earth. Today's poem is a humanizing statement of profound sorrow borne of conflict and exile.” Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp

We meet a teen cellist from a large musical family who performs a theatrical piece by Cassadó. An 18-year-old saxophone player with a commitment to community engagement delivers a moving Elegy by Fauré.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Author : Benjamin C. Kinney Narrator : Heather Thomas Host : Alasdair Stuart Audio Producer : Summer Brooks This story originally appeared in the anthology “The Internet Is Where The Robots Live Now” (Paper Dog Press, November 2018). Elegy of Carbon by Benjamin C. Kinney The miner birthed itself among rubble and vacuum, as it […] Source

In this presentation from Doxamoot 2024, Richard Rohlin presents his talk "Like Rain on the Mountain: Theodoric, Beowulf, Theoden, and Tolkien's Elegy for Northern Courage."

Reason Magazine editor-at-large Nick Gillespie joins Sarah, Steve, and Jonah to discuss whether conservatives (and libertarians) would be better off with a Trump or Kamala win in November. The Agenda: —If Republicans Want to Win, They Need Trump to Lose — Big —No small government parties —Trump and Harris' “harmonic convergence” —To fight wokeness, vote Harris —The way forward for third parties —The need for a new consensus —Future of the two-party system Show Notes: —Yuval Levin on Advisory Opinions The Dispatch Podcast is a production of The Dispatch, a digital media company covering politics, policy, and culture from a non-partisan, conservative perspective. To access all of The Dispatch's offerings—including members-only newsletters, bonus podcast episodes, and weekly livestreams—click here. Learn more about your ad choices. Visit megaphone.fm/adchoices

As Jonah predicted in the outro of yesterday's Remnant episode, everything is indeed on fire. To help interpret what is perhaps the most chaotic news cycle in recent memory, Jonah is joined by Bulwark contributor Damon Linker. Tune in for Jonah and Damon's referendum on newly selected VP candidate J.D. Vance, the state of the GOP at the 2024 convention, and the conversions of conservative think tanks. To close it out, they discuss the great Republican schism and the fallout of the Trump assassination attempt. Show Notes: —Damon's Substack: Notes from the Middle Ground The Remnant is a production of The Dispatch, a digital media company covering politics, policy, and culture from a non-partisan, conservative perspective. To access all of The Dispatch's offerings—including Jonah's G-File newsletter, weekly livestreams, and other members-only content—click here. Learn more about your ad choices. Visit megaphone.fm/adchoices