Podcast appearances and mentions of elizabeth barrett

Hometown Radio 02/07/25 6p: Elizabeth Barrett, the Reluctant Therapist

Hometown Radio 01/30/25 4p: Elizabeth Barrett discusses music as therapy

Welcome to Mysteries to Die For.I am TG Wolff and am here with Jack, my piano player and producer. This is a podcast where we combine storytelling with original music to put you in the heart of a mystery. All stories are structured to challenge you to beat the detective to the solution. Jack and I perform these live, front to back, no breaks, no fakes, no retakes. The rules for law and order create the boundaries for civil co-existence and, ideally, the backdrops for individuals, families, and companies to grow and thrive. Breaking these rules puts civil order at risk. And while murder is the Big Daddy of crimes, codified ordinances across municipal divisions, counties, states, and countries show the nearly endless ways there are to create mayhem. This season, we put our detective skills to the test. This is Season 8, Anything but Murder. This is Episode 2, dognapping is the featured crime. This is Going to the Dogs by Bonnar SpringDELIBERATIONMamie may have figured out what's going on but Evan definitely needs our help to unpack this dognapping caper for his grandfather, Gordon. Here are the suspects in the order we met them:Bonnie, the daily housekeeper with a dog of her ownLou, the down on his luck musician turned chauffeur and handy manPaul, the cousin with a checkered pastJanice Dobosh, the real estate agent who swears she had an appointmentABOUT Bonnar SpringBonnar Spring writes international thrillers and short stories with morally ambiguous protagonists. A nomad at heart, she hitchhiked across Europe at sixteen, joined the Peace Corps after college, and trekked to Machu Picchu for a significant birthday. Bonnar's short fiction has won both the AlBlanchard and Derringer Awards. She hosts the Crime Wave podcast, part of the Authors on the Air Radio Network.ABOUT DognappingDognapping has been a real thing for a long while. In Victorian times, organized gangs of dognappers stalked and stole pets from the wealthy, which wasn't categorized as a crime. The crime website Crime Reads has a story of poet Elizabeth Barrett's beloved dog Flush, who was dognapped three times. More recently, in February 2021, a dognapping turned vicious when the man walking Lady Gaga's three French Bulldogs was shot to acquire the dogs. One pup fled but the other two were captured and taken. The man, Ryan Fisher, was shot in the chest. He survived but lost a lung and, not to mention to psychological damage. Lady Gaga offered a $500,000, to questions asked reward and the dogs were returned two days later. But questions were asked and the apparent hero, Jennifer McBride, was arrested with four others and charged with attempted murder. James Jackson was sentenced to 21 years for the attempted murder of Fisher.McBride pled the charge down to receiving stolen property and was sentenced to two years' probation. But that wasn't enough for McBride, who then sued Lady Gaga for the $500,000 reward plus $1.5 mil in damages. Lady Gaga stood her ground and the judge sided with her, finding that McBride could not benefit from the wrongdoing but seeking to enforce the contract.https://crimereads.com/dognapping/https://www.bbc.com/news/entertainment-arts-67003283WRAP UPThat wraps this episode of Mysteries to Die For. Support our show by subscribing, telling a mystery lover about us, and giving us a five-star review. Check out our NEW website m2d4podcast.com for links to this season's authors.Mysteries to Die For is hosted by TG Wolff and Jack Wolff.

fWotD Episode 2736: The Raven Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Thursday, 31 October 2024 is The Raven."The Raven" is a narrative poem by American writer Edgar Allan Poe. First published in January 1845, the poem is often noted for its musicality, stylized language and supernatural atmosphere. It tells of a distraught lover who is paid a visit by a mysterious raven that repeatedly speaks a single word. The lover, often identified as a student, is lamenting the loss of his love, Lenore. Sitting on a bust of Pallas, the raven seems to further antagonize the protagonist with its repetition of the word "Nevermore". The poem makes use of folk, mythological, religious, and classical references.Poe stated that he composed the poem in a logical and methodical manner, aiming to craft a piece that would resonate with both critical and popular audiences, as he elaborated in his follow-up essay in 1846, "The Philosophy of Composition". The poem was inspired in part by a talking raven in the 1841 novel Barnaby Rudge by Charles Dickens. Poe based the complex rhythm and meter on Elizabeth Barrett's poem "Lady Geraldine's Courtship" and made use of internal rhyme as well as alliteration throughout."The Raven" was first attributed to Poe in print in the New York Evening Mirror on January 29, 1845. Its publication made Poe popular in his lifetime, although it did not bring him much financial success. The poem was soon reprinted, parodied, and illustrated. Critical opinion is divided as to the poem's literary status, but it nevertheless remains one of the most famous poems ever written.This recording reflects the Wikipedia text as of 07:53 UTC on Friday, 8 November 2024.For the full current version of the article, see The Raven on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Danielle.

Hometown Radio 10/29/24 6p: Elizabeth Barrett looks at Kamala Harris and men

Hometown Radio 10/17/2024 5p: Elizabeth Barrett looks at Kamala Harris and men

Daily QuoteIt is silly of you, for there is only one thing in the world worse than being talked about, and that is not being talked about. (Oscar Wilde)Poem of the DayThe Beautiful ChangesBy Richard WilburBeauty of WordsElizabeth Barrett to Robert Browning

Daily QuoteLove is an untamed force. When we try to control it, it destroys us. When we try to imprison it, it enslaves us. When we try to understand it, it leaves us feeling lost and confused. (Paulo Coelho)Poem of the Day新秋卞之琳Beauty of WordsRobert Browning to Elizabeth Barrett

Community members are voicing opposition and wearing “change the route” pins as they advocate for adjustment to Richmond City's plan to pave a 10ft wide path through the heart of Bryan Park. The multi-use Fall Line Trail project will span 43 miles from Ashland to Petersburg and will include a million, 0.7-mile section slated to pass through Bryan Park, which begins on Henrico's southern border just west of I-95 in Lakeside. Elizabeth Barrett, a member of the Citizens for a Responsible Fall Line Trail, wore one of the green, tree-shaped pins as she attended the Richmond City Council District...Article LinkSupport the show

Daily QuoteThe choice of books, like that of friends, is a serious duty. (John Lubbock)Poem of the Day"I loved you first: but afterwards your love"By Christina RossettiBeauty of WordsRobert Browning to Elizabeth Barrett

Tune in for a "best of" conversation with the self-identified “Christian, Libertarian, environmentalist, capitalist, lunatic farmer,” Joel Salatin [SAL-uh-“tin”], of Polyface farms in rural Virginia. He chats with Elizabeth Barrett about his family's mission to share their holistic and sustainable farming practices with all like-minded people.Listen Tuesday from 2-3pm on KCBX

Is your child's mental health hiding in plain sight? This week's episode of the Baby Tribe podcast tackles the monumental subject of childhood mental health and parenting. We reflect on our own experiences growing up under protective parents and discuss how open communication can better equip children to handle life's challenges. We dive deep into cultural differences in parenting styles, the importance of fostering resilience, and why addressing mental health openly is crucial, especially given the stark statistics on youth suicide in Ireland.  Today's children face a multitude of stressors, from school exams and body image issues to the pressures of social media and future anxieties. Joined by child psychiatrist Dr. Elizabeth Barrett, we examine how misinformation online compounds these problems and why it's vital for schools to provide accurate mental health resources. Additionally, we address the shocking data on racism and religious discrimination affecting young minds. Dr. Barrett offers practical strategies to help parents recognize emotional distress in children and emphasizes the necessity of tailored mental health support, enhancing school-based services, and improving accessibility to CAMHS.  Finally, we explore the intricate relationship between social media and adolescent mental health. While acknowledging the risks of online bullying and the impact of social media on self-esteem, we also highlight potential benefits, like supportive online communities. Parents will appreciate our practical tips on setting phone boundaries and the delicate balance between monitoring and allowing freedom. We call for stronger responsibilities from social media companies and legislators to create safer online environments. Wrapping up, we stress the foundation of good mental health: consistent sleep, regular exercise, and reconnecting with nature. Don't miss this enlightening conversation designed to equip parents with the tools to support their children's mental well-being.  Support Links: https://www.pieta.ie/ https://www.bodywhys.ie/ https://www.samaritans.org/ireland/samaritans-ireland/ Learn more about your ad choices. Visit megaphone.fm/adchoices

The complete audiobook is available for purchase at Audible.com: voicesoftoday.net/flight The Flight of the Duchess By Robert Browning Narrated by Denis Daly This dramatic romance, first published in 1845, ostensibly relates the story of the escape of a love-lorn young woman from the rigours of life with a stern and uncaring husband. Several commentators have seen the poem as an oblique reference to Browning's own current life situation, in which he enabled his future wife, Elizabeth Barrett, to escape from the confines of a patriarchal household to Italy, a country which forms the backdrop to many of his poems.

Hometown Radio 05/02/24 4p: Elizabeth Barrett examines the empowerment of college protesters

Hometown Radio with Dave Congalton Show" airs weekday afternoons from 3p to 7p. Join the conversation as Dave discusses important issues facing the community and chats with a mixture of local officials and interesting people.

We have the new British 6-year-old Champion, Kitty King, on the show to talk about her success and her ride Kantango. Along with the Young Rider 3* winner at Cornbury, Elizabeth Barrett, to hear about her first international win, Project Pony and her prize at last year's British Eventing Support Trust's Ball. Listen for free across all podcast platforms.

The secret wedding of poets Elizabeth Barrett and Robert Browning on September 12th, 1846, was witnessed by just two people. Elizabeth was so nervous about the ceremony, held at Marylebone Parish Church, that she needed smelling salts to calm her.  Barrett was already an acclaimed poet, while Browning was relatively unknown at the time. But their correspondence, comprising almost 600 letters exchanged over less than two years, is considered one of literature's great romances.  In this episode, Arion, Rebecca and Olly explain how the Brownings' marriage inspired their greatest works; probe into Browning's pet name for Barrett, ‘the Portuguese'; and consider whether, contrary to all appearances, Browning may have had sinister intentions for his new wife…  Further Reading: • ‘Elizabeth Barrett Browning: Life, Poetry, Relationship & ‘How Do I Love Thee?'' (HistoryExtra, 2021): https://www.historyextra.com/period/victorian/elizabeth-barrett-browning-who-life-love-poetry-relationship-robert/ • ‘What we can learn from Elizabeth Barrett Browning's years in lockdown' (The Guardian, 2021): https://www.theguardian.com/books/2021/feb/15/what-we-can-learn-from-elizabeth-barrett-brownings-years-in-lockdown •'The life and work of Elizabeth Barrett Browning' (The British Academy, 2020): https://www.youtube.com/watch?v=hkSWGqMDBEY #Literature #Victorian #Romantic #Wedding #UK Love the show? Join 

Hometown Radio 07/26/23 4p: Psychologist Elizabeth Barrett talks about the "Barbie" movie

Elizabeth Barrett's tyrannical father has forbidden any of his family to marry. Nevertheless, Elizabeth falls in love with the poet Robert Browning --- Support this podcast: https://podcasters.spotify.com/pod/show/ang189/support

Elizabeth Barrett and Eco-therapist Maia Kiley talk about finding our way to wholeness through deep connections with our ecological home in mother nature. Climate distress is a rapidly expanding mental health concern.

Hometown Radio 02/21/23 6p: Elizabeth Barrett talks about ageism in our culture

Its a conversation with the Reluctant Therapist, Elizabeth Barrett and Marlena Tanner, certified eating disorder specialist, registered dietician and founder of The Yellow House Project about how to allow food and love and body acceptance to guide our eating habits and improve our lives.

LMFT Elizabeth Barrett discusses ageism and ageing.

It's been 200 years of trial and error and error and error and the helping professions have yet to find a cure for mental illness. Symptoms may be reduced but true and lasting healing has been elusive. Tune in Tuesday at 2 for a Conversation with the Reluctant Therapist, Elizabeth Barrett and Dr. Andrew Scull about his upcoming book, "Desperate Remedies: Psychiatry's Turbulent Quest to Cure Mental Illness.

"The Raven" is a narrative poem by American writer Edgar Allan Poe. First published in January 1845, the poem is often noted for its musicality, stylized language, and supernatural atmosphere. It tells of a distraught lover who is paid a mysterious visit by a talking raven. The lover, often identified as a student,[1][2] is lamenting the loss of his love, Lenore. Sitting on a bust of Pallas, the raven seems to further antagonize the protagonist with its constant repetition of the word "Nevermore". The poem makes use of folk, mythological, religious, and classical references.Poe claimed to have written the poem logically and methodically, with the intention to create a poem that would appeal to both critical and popular tastes, as he explained in his 1846 follow-up essay, "The Philosophy of Composition". The poem was inspired in part by a talking raven in the novel Barnaby Rudge: A Tale of the Riots of Eighty by Charles Dickens.[3] Poe based the complex rhythm and meter on Elizabeth Barrett's poem "Lady Geraldine's Courtship", and made use of internal rhyme as well as alliteration throughout."The Raven" was first attributed to Poe in print in the New York Evening Mirror on January 29, 1845. Its publication made Poe popular in his lifetime, although it did not bring him much financial success. The poem was soon reprinted, parodied, and illustrated. Critical opinion is divided as to the poem's literary status, but it nevertheless remains one of the most famous poems ever written.[4]This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5744894/advertisement

Backstage Banter, A musical holiday gift - Hear backstage conversations with the reluctant therapist, Elizabeth Barrett and Live Oak 2022 artists, starting with bandmates Jake, Trey and James from folk band, The Riverside, and finishing up with activist singer-songwriter Raye Zaragoza.

Honoring the mentor - the honor of mentoringA mentor helps to illuminate the often uncertain path of our life - tune in Tuesday at 2 for a conversation with the reluctant therapist, Elizabeth Barrett for a conversation about the impact and importance of mentors and the gift that is the opportunity to mentor someone else. Your calls will be welcomed and encouraged.

Hometown Radio 12/02/22 5p: Elizabeth Barrett looks at the trend of adults preferring to be alone

To be in community is to be held in place - this is essential to mental health and well-being. Tune in at 2 p Tuesday for a conversation with the Reluctant Therapist, Elizabeth Barrett and musician/singer/songwriter Nick Larson from Proxima Parada, about building creative spaces and relationships that support them. Your calls will be welcomed and encouraged.Air Date 11/29/22

We do better, we feel better and we behave better when we belong to a group, a team, a family that holds us up when life strips us down. Tune in for a conversation with Elizabeth Barrett, the Reluctant Therapist about the importance of maintaining a core support system with gratitude and grace. Who are you thankful for this holiday season? Your calls will be welcomed and encouraged.

What does it mean to be an adult? It's more than an age, It's more than the rights. It's more than the responsibilities. To be an adult is to provide guidance, support and wisdom to the younger generation. Where are all of the adults? Tune in at 2 p (pst) for a Conversation with the Reluctant Therapist, Elizabeth Barrett, about becoming the leaders we need to be. Your calls will be welcomed and encouraged.Air Date 11-15-22

Hometown Radio 09/29/22 4p: Therapist Elizabeth Barrett urges couples to have "date nights"

MN Writer Elizabeth Barrett hopes new children's book Mashkiki Road: The Seven Grandfather Teachings helps students rebuild personal communities after the pandemic.

How Do I Love Thee? Love Sonnet 43 by Elizabeth Barrett

It's a conversation with the Reluctant Therapist, Elizabeth Barrett and Cal Poly Psychology Professor, Dr. Carrie Langer about helping kids and parents navigate the new school "normal" and things we need to do as educators, elders, parents and general citizens, to address the current mental health crisis, which is growing exponentially among young people.

Traditions, Rituals, Ceremonies - Without them we are adrift, and the current state of our collective mental health is evidence of the loss. Tune in Tuesday at 2 pm (pst) and join this conversation with the Reluctant Therapist, Elizabeth Barrett about the unintended but expected costs of shredding our social and cultural fabric. Your calls will be welcomed and encouraged.

Our lives should not be defined by our struggles, but enhanced and strengthened by the resilience and grace we develop in living through and learning during challenging times. Tune in Tuesday at 2 p for a Conversation with the Reluctant Therapist, Elizabeth Barrett and director, choreographer, performing artist, Michael Jenkinson about navigating very separate public and personal lives - hiding secrets - and finding a way home to yourself.

One of our greatest acts of courage is investing in ourselves - trusting that we have something to offer or a new talent to share and then taking the leap from our known routine to a life of potentially great rewards. Hear a Conversation with the Reluctant Therapist, Elizabeth Barrett and Yoga, health coach, Robyn Hastin, who took a leap of faith during the pandemic and changed the course of her career and personal wellness.

This week, I'll turn the mic over to two guest hosts, for a conversation about mental health and technology with Dr. Elizabeth Barrett, licensed family-marriage counselor, author, and Cal Poly professor. Cal Poly “Technically Human” students Katelyn Travis and Katrina Loye interview Dr. Barrett to discuss the modern implications of digital technologies for family and romantic dynamics. The episode delves into the complications of recent technology, including social media apps and the shift into virtual education due to Covid-19. In a virtual world, we lose connection and intimacy in the relationships that should be most important to us, and Dr. Barrett helps us brainstorm ways that we can reconnect in our coldly digital world. Dr. Elizabeth Barrett is a Psychology and Child Development professor at the California Polytechnic State University, San Luis Obispo where she lectures on the topics of counseling, family psychology, child abuse and neglect, and marriage and family therapy. She is a licensed marriage and family therapist of 20 years and a mental health coach specializing in personal growth, family life, and relationship issues. She has worked with the county of San Luis Obispo as a crisis/in-home counselor for a child abuse prevention program where she focused on communication's importance in individual health and the well-being of a family. Her expertise surrounding family psychology and the psychological impact of our evolving society is enhanced through her roles as a wife, mother, grandmother, sister, and daughter. She shares her concerns regarding our collective mental health and the direction of the helping professions on her weekly radio program on Public Radio KCBX, A Conversation with the Reluctant Therapist.

The potential for connections are limitless - and yet we just keep expanding loneliness. Social media is not really about being social - it's a platform for selling products and creating more consumers, under the guise of building community. And yet - we can't seem to tear ourselves away. Tune in Tuesday at 2 for a conversation with the Reluctant Therapist, Elizabeth Barrett and guests, about their struggles with being involved in social media and their successful retreats from the virtual world. Your calls will be welcomed and encouraged.

The Transformative and Inevitable Power of GriefLoss is inherent in life - how we process, grieve and grow through loss determines the quality of our future. Tune in Tuesday at 2 for a Conversation with the Reluctant Therapist, Elizabeth Barrett and certified grief counselor Claire Aargaard, author of - When a Child Dies, A hopeful healing guide for surviving the loss of a Child - about her journey through devastating grief, and into a different life.

Hometown Radio 04/28/22 4p: Elizabeth Barrett wonders if people can grieve for too long

We take our vows, we pledge our love and set off on our marriage adventure - keeping these most intimate relationships whole can be our life's most satisfying or devastating experience. Tune in Tuesday at 2 for a Conversation with the Reluctant Therapist , Elizabeth Barrett, about the ever- changing landscape of marriage in our constantly changing world. Your calls with questions and comments will be welcomed and encouraged.

I've gone down a delightful and rewarding rabbit hole of reading, learning all about the poet Elizabeth Barrett Browning. That's linking into thoughts on the evolution of literary criticism  and what makes work "good."The book I mention is Dared & Done: The Marriage of Elizabeth Barrett and Robert Browning by Julia Markus (https://www.goodreads.com/book/show/613753.Dared_Done).The audiobook of BRIGHT FAMILIAR is here (https://www.audible.com/pd/Bright-Familiar-Audiobook/B09WSGFLXW?source_code=AUDFPWS0223189MWT-BK-ACX0-303113&ref=acx_bty_BK_ACX0_303113_rh_us) and DARK WIZARD is here (https://www.audible.com/pd/Dark-Wizard-Audiobook/B09QQRHTYZ?source_code=AUDFPWS0223189MWT-BK-ACX0-294201&ref=acx_bty_BK_ACX0_294201_rh_us) and you can check out FaRoFeb here (https://farofeb.com/farofeb-2022/).You can order FIRE OF THE FROST here (https://jeffekennedy.com/fire-of-the-frost) and DARK WIZARD here (https://jeffekennedy.com/dark-wizard). Preorder THE STORM PRINCESS AND THE RAVEN KING here (https://jeffekennedy.com/the-storm-princess-and-the-raven-king).If you want to support me and the podcast, click on the little heart or follow this link (https://www.paypal.com/paypalme/jeffekennedy).You can watch this podcast on YouTube here (https://youtu.be/2asMLkIZ-VM).Sign up for my newsletter here! (https://landing.mailerlite.com/webforms/landing/r2y4b9)Support the show (http://paypal.me/jeffekennedy)

In this episode, Gartner VP of research Elizabeth Barrett discusses those workers most vulnerable to being left behind as we move into a hybrid work future: frontline and essential workers. Organizations have been grappling with accommodating their hybrid workforce — to find a balance between their in-office and at-home workers to ensure productivity and protect culture. But those who never went remote have borne the brunt of the COVID-19 pandemic and are arguably at much greater risk.In this episode, we discuss actionable insights for how to make sure we maintain productivity and engagement among those whose workers never went remote.

Elizabeth Barrett BrowningElizabeth Barrett Browning (1806 – 1861) was an English poet of the Victorian era. Born in County Durham, the eldest of 12 children, Elizabeth Barrett wrote poetry from about the age of six. At 15 she became ill, suffering intense head and spinal pain for the rest of her life. Later in life she also developed lung problems, possibly tuberculosis. Her first adult collection of poems was published in 1838 and she wrote prolifically between 1841 and 1844, producing poetry, translation and prose. She campaigned for the abolition of slavery and her work helped influence reform in the child labour legislation. Her prolific output made her a rival to Tennyson as a candidate for poet laureate on the death of Wordsworth. Elizabeth's volume Poems (1844) brought her great success, attracting the admiration of the writer Robert Browning. Their correspondence, courtship and marriage were carried out in secret, for fear of her father's disapproval. Following the wedding she was indeed disinherited by her father. The couple moved to Italy in 1846, where she would live for the rest of her life.How do I love thee? Let me count the ways. I love thee to the depth and breadth and height My soul can reach, when feeling out of sight For the ends of being and ideal grace. I love thee to the level of every day's Most quiet need, by sun and candle-light. I love thee freely, as men strive for right. I love thee purely, as they turn from praise. I love thee with the passion put to use In my old griefs, and with my childhood's faith. I love thee with a love I seemed to lose With my lost saints. I love thee with the breath, Smiles, tears, of all my life; and, if God choose, I shall but love thee better after death.Support this show http://supporter.acast.com/thewanderingpaddy. Hosted on Acast. See acast.com/privacy for more information.

Chúng ta nên cảm thấy thoải mái hơn với sự lơ đãng, và thay vì cự tuyệt nó, hãy chấp nhận nó. “Vào những thời điểm khó khăn, khi việc sáng tác rơi vào bế tắc, đọc sách thôi thì không đủ, thành ra nghiên cứu ngữ pháp và những cuốn từ điển lại là môt cách hay để giết thời gian,” nhà thơ Elizabeth Barrett viết, năm 1839. Đã có những ngày như thế. Trong thời nay thì Browning vẫn đúng về điều này, dĩ nhiên là vậy, thử hỏi bất kì người nào hay tra Wikipedia hay Urban Dictionary thì rõ. Điều cô ấy viết nghe có vẻ lỗi thời đơn giản bởi vì những người đang sống trong thế kỉ hiện đại như chúng ta luôn có thừa cách để phân tán tư tưởng. Ví dụ như đánh máy, tra Google, hay lái xe, phân tâm giờ trở thành một kĩ năng mà tất cả chúng ta đều là chuyên gia.

The invention of photography in the first half of the 19th century had a powerful impact on the Victorian Era. I briefly describe early photographic processes (especially the daguerreotype), explain how and why postmortem photography became a common Victorian-Era practice, and look at some recent controversy surrounding it. ***** References Browning, Elizabeth Barrett. “Outline and Shadow.” https://www.laphamsquarterly.org/arts-letters/outline-and-shadow Carlton, Genevieve. “27 Victorian Death Photos — And The Disturbing History Behind Them.” https://allthatsinteresting.com/victorian-death-photos DeVelvis, Melissa. “Death, Immortalized: Victorian Post-Mortem Photography.” https://www.clarabartonmuseum.org/post-mortem-photography/ Heichelbech, Rose. “The Truth about Victorian Post-Mortem Photographs.” https://liveplayeat.com/victorian-post-mortem-photographs/ Sontag, Susan, quoted by Leslie Camhi. “Memento Mori.” https://www.villagevoice.com/2006/06/13/memento-mori/ Sussex Photo History. “The Daguerreotype Process.” http://photohistory-sussex.co.uk/dagprocess.htm Vatomsky, Sonya. “Clearing Up Some Myths About Victorian ‘Postmortem' Photographs.” https://www.atlasobscura.com/articles/victorian-post-mortem-photographs West, Nancy. “Pictures of Death.” https://www.theatlantic.com/technology/archive/2017/07/pictures-of-death/534060/ ***** Email: thevictorianvarietyshow@gmail.com Twitter: https://twitter.com/victorianvarie1 Buy Me a Coffee: https://www.buymeacoffee.com/marisadf13 I'd greatly appreciate it if you could take a moment to rate this podcast on Spotify, or leave a review on Apple Podcasts, as that will help this podcast reach more listeners! Also, I want to give a huge THANK YOU to Jason and Lisa of the Designated Quizzers podcast for all of their support of this show! You can check out their latest episode here (or wherever you listen!): https://podcasts.apple.com/us/podcast/designated-quizzers-podcast/id1598591568?i=1000547098163 --- Send in a voice message: https://anchor.fm/marisa-d96/message

Hometown Radio 12/02/21 4p: Elizabeth Barrett argues for the need to institutionalize the mentally ill in California

Hi, I'm Christy Shriver and we're here to discuss books that have changed the world and have changed us.    And I am Garry Shriver and this is the How to Love Lit Podcast.  This week and next we will have two poetry supplements.  After talking about one of the worst romances in literature- we will switch to one of literature's greatest love stories- the romance of Robert and Elizabeth Barrett Browning- although you would never guess it after reading the poem we are doing today- My Last Duchess- a very twisted poem.  You know, Christy, now that I think about it, there's not really a lot of great love stories that we've read.  So many of them end poorly- Romeo and Juliet comes to mind- but even the real life stories aren't all that awesome.  I can't say I'm all that impressed with the love story of Mary Shelley and Percy Shelley.      No, I should think not.  I wouldn't think Petrarch or Lauuuura define true love either- although Petrarch sure got a lot of mileage out of their non-relationship.    No, Hester and Dimmesdale didn't end well.    Or William Butler Yeats and Maud Gonne    Now that you mention it, whether we're talking about characters or writers- there's quite a bit of tragedy involved.    You're right- but of course, doesn't great love tragedies produce great art- look no farther than the new hit song by Selena Gomez about her disasterous relationship with Justin Bieber.  “Lose You to Love Me” debuted at number 15 on the Billboard Hot 100 and stayed on the chart for 23 weeks- hittint it number one.      And it was number 1 on Itunes as well.  Of course, Justin Bieber has milked that relationship or should I say, all of their break ups over the years, as well.      Well, xometimes things do go right- there's hope for the Noras and Torvalds out there.  HA!  So, let's introduce at least one love story that went right…Robert and Elizabeth Barrett Browning.  Except, if you want to know the love-story part, you'll have to stick around for one more episode.  We're going to start with this episode by discussing Robert Browning and his most nefarious villiian in “My Last Duchess” and then we'll look at Elizabeth and her infectious love sonnets- and that's when we'll get into their personal story.    Great, so Robert Browning, what I find unusual about Robert Browning is that there is nothing unusual about Robert Browning.  I'm so used to all of these British poets and their colorful lives, but he's kind of a non-scandalous person, well- if you don't count the part about his elopement with Elizabeth, of course.    Indeed, and that is just how he liked it- perhaps a man of his time.  Let me back us by introducing him as part of the Victorian Age- that glorious period of English history where Britain held the position of world leadership- I guess somewhat like we think of as belonging to the United States today.      Just for clarification- The Victorian period is considered somewhere around 1837-1900.    Oh yes- I should have said that.  Not talking about literature, Garry, what stands out about this period of time.      Well, there's a lot- it was an incredible period and Queen Victoria was incredibly popular.  When you say Victorian England, a lot comes to mind- both good and bad- but the first thing that comes to my mind, and please bear in mind that I'm American, so there's the disclaimer- we're always talking about impressions from this side of the Atlantic, but the first thing that comes to mind is just the incredible amount of material progress- there was unequaled production of goods- England was well on the front end of the Industrial Revolution.  There was a lot of innovation, a growing middle class- but then again on the flip side- with that there's all the social problems that go with material progress.  Things that we think of Charles Dickens writing novels about- street children, dirty pollution from coal- the sort of things we've talking about in other episodes like when we talked about where the Bronte sisters grew up or William Blake's Chimney Sweepers- and these problems are the things that lots of people but specifically a lot of writers were concerned about and commenting on.  John Ruskin famously said, “that the real test of a community is not how much wealth it is producing but what kind of people it is producing” and of course he's right about that.  It was something that would take years to sort out- finding the moral balance between production and exploitation- something every society wrestles with and always will.      Well, the Brownings, surprisingly, weren't really a part of that protest movement, to be honest- and the reason I say that is because for a big chunk of time, in fact, their entire married life, they lived in Italy.    Didn't Ibsen live in Italy, and Keats lived in Italy- Italy seems to be responsible for a lot of great English language writing.    Ironically, that's true.  Well, getting to the Brownings, Robert Browning grew up in Camberwell, at the time, a suburb of London. He was the only son of a fairly affluent family.  He was the product private tutoring, world travel, and a lot of what today we would call privilege.  None of this made him a famous poet though.      It wasn't for lack of trying.  I was impressed to see how supportive his family was to the point of paying for his work to get published.  I was also impressed by how bumpy his start was.  It seems his work was not well-received initially, and in fact was met with a bit  of mean-spirited extremely embarrassing criticism.  John Stuart Mill said that Browning was parading and I quote a “morbid state” of self-worship after he published his first poem named “Pauline” when he was 21.      Yeah- that seems meat to me, and maybe would have wiped me out too, but in his case, Browning reacted to those criticisms of his early work in a positive kind of way.  I find it clever, actually,  and this stylistic change altered the course of his career.  He swore off confessional writing- the kind that'spersonal-  and instead modified from the kind of writing he had done in the poem “Pauline” and turned to what today, he is has become famous for- the dramatic monologue.    Exactly- now Christy, I think we've mentioned these before, but what is a dramatic monologue and more importantly, why should we care?    Thank you for asking exactly the question I wanted to answer!    Ha!  It's like you didn't ask me to ask you.    Well, there is that- hahaha- anyway, let me start by saying that the reason most people don't like poetry in general is because they think it doesn't make a lot of sense.  It doesn't SAY anything. And I realize, we high school English teachers, likely share part of the blame for this dislike of the genre.  More than one teacher, myself included I'm sure, have droned on and on about things that are fairly boring.  I remember a few years ago, and this is a tangent, but it's stayed with me.  Anyway, it was a junior English class and I started the class by saying something like, “Today, students, we are going to explore some of the key features of American Romanticism and then some of the greatest hits”- to which a kid from the back row rapid fire responded- with “And that is why I got up and came to school this morning”.   It made me laugh because this particular boy, an athlete, could not think of an introduction to anything more boring than what I had just described…although, in fairness, American Romanticism is NOT boring…but I digress.    Ha!!  I'm sure you changed his mind about the writings of Edgar Allan Poe and Walt Whitman.         Well, of course I did.  HA!   But where I'm heading is that- when we think of poietry as being  boring.  We often are thinking about confessionals – people whining about their lives, their loves, getting in their feelings for the wrongs life has brought upon them- that sort of thing.      For most of us- that is not the purpose of reading.  We think of writing as a form of communicating information, and reading as a form of gathering information.  The problem with a poem is that it has no information.  And so the natural reaction to it is the very honest question- why am I reading this?  But we shouldn't read poetry like we would read an article on Snap Chap or a newspaper editorial.   Instead, we should judge it with a very intuitive criteria- did I learn something, did it make me laugh or cry, was it unexpected, did it change my mind?  That sort of thing?     But isn't learning or gathering information a large part of what writing is about?    Well, of course that's true- but it isn't a very good way to read poetry because if you do it that way you just can't enjoy it-  what makes great poetry is not the transmission of information at all.  What makes great poetry is the exact same thing as what makes great plays or great novels or great music- they voice ideas about the world- they spotlight things we experience, things we've seen but have not articulated, things we've noticed but have not thought.  Great poems are not about the poet at all- they are about us- the reader.  They are about our experiences in the world- they are about understanding the people and the emotions that populate our world. And then we are no longer alone in our world- even from 100 years ago, there was a guy who knows somebody like I know.   And Robert Browning did this sort of thing extremely well.  And I want to explain how all of this works.      Sounds good.      One thing we have to always keep in our minds about a poem is that the speaker is not the author.  In other words the poem may be in the first person, but that doesn't mean we are to understand that the speaker is writing about himself.  Example, a poem may say “I love chopped onions” and the poet actually hates them, but the speaker of the poem can say I love chopped onions because this speaker is his own separate character totally apart from the poet. And in this world that has been created, the speaker likes chopped onions.    This is, of course, true for plays as well, we know that Nora is not Ibsen , nor is Torvald.  But when we read poetry, we slip into the habit of thinking the poet is writing about his or her own life- that it's ocnfessional.  And although, that's sometimes true, and it was true for the poems we're going to read by Elizabeth next-  it's not necessarily true- in fact, I would argue- it's mostly not true.  So, that brings us to dramatic monologues.  In the dramatic monologue, especially Browning's,  it is extremely apparent that the speaker is NOT the poet.   Browning wants to make it very clear he is not using dramatic monologues as a masking technique to talk about himself.      Instead, he uses this poem, My Last Duchess,  to explore something really twisted in humanity- and although, I doubt many of us know a guy as twisted as this guy from this poem- he doesn't sound unrelatable.  As we read the monologue, Browning pushes forth a really aggressive commentary on how people treat each other, but he does it with a sort of ironic detachment.  He can entertain us as well as comment on how humans behave towards each other because he's not talking at all.  He will allow the twisted character to just talk and through this guy's, own confessions, he tell us information about himself, his view of the world, his behaviors and from there we are enabled to actually judge for ourselves how nuts this guy is, and then we can extrapolate people we may have met who are kind of like this, or maybe even really like this.      Well, I have to say, as a student of psychology, My Last Duschess, is one of the more psychologically twisted characters and fascinating characters I've read about since we've started this podcast.  The inordinate level of hubris Browning expresses through this duke makes most egomaniacs we know look small time.      True- but although none of us go to dinner parties expecting to see pictures of dead wives behind curtains, we may know someone we also find to have an absurd level of vanity disproportionate to their accomplishments or essence- that hints at this level of hubris. That to me is how this poem connects to A Doll's House, Torvald Helmer, but in his middle class suburban way expresses this  unusual degree of possessiveness that we see blown up in a Renaissance setting.  Torvald doesn't seem like the kind of guy who would murder his wife, but he most certainly has reduced her to a work of art, a treasure- something comparable to a portrait on a wall to be brought out and admired, but then put back on the shelf- that portrait better not exercise any sort of will of her own- and if she knows what's best- try to stay mostly quiet and unsmiling towards strangers.      So, in case, you are unfamiliar with the poem and I've confused you, let me introduce you to the speaker of Browning's poem.  The speaker in this poem is an Renaissance Italian Duke- a extremely wealthy man, who's pedigree includes a 900 year old name.      Garry, was the guy in the poem a real person or totally something Browning made up entirely in his head.      Interesting you should ask that because as you know, I've always thought that writers write from their experience or what they know- but in the case of this particular poem- if this is an actual person- I'm not really sure we can say that it is.  We do know that Browning was well traveled and in 1838 spent two months in Northern Italy studying Italian history and legends.  This poem seems to be set somewhere in that area- there's a lot of scholarship to say maybe the town of Ferrara which, for those of us less familiar with Northern Italy, think of it as North of Florence but South of Verona or Venice.  This may or may not be the right town or the right Duke, but it's an interesting hypothesis that the Duchess in the story could be Lucrezia, Cosimo de Medici's younger daughter who was married to Alfonso of the Este family.  She supposedly died of tuberculosis, but Alfonso showed no interest in her as a wife- to the point that he left three days after their wedding in Florence without his new bride for France.  He didn't even see Lucretia for the next two years.  When he did come back to Ferrara, he sent for his wife, she moved to Ferrara and a year later, barely 17 was found dead.  It could have been tuberculosis, it could have been poisoning, we all know the Renaissance is famous for a disproportionate share of people being poisoned to death including a few members of the DE Medici family, and of course, Catherine de Medici was famous herself for poisoning people.    I saw that in the tv series, Reign.  Well, getting back to our Duke, what about this Duke from Ferraro, Alfonso the Second,  what kind of guy he- does he match the profile of someone who might poison his wife?      That's a good question.  It seems he was something of a jerk.  Historians, and let me quote one, called him an “immoderately arrogant and conceited, and prided himself beyond measure upon his bravery, intelligence, and ancient descent.  With all that he was vengeful and ever ready to pursue a feud.”  So, there you have that commentary, it seems a possibility-  but of course, as we will see as we read the poem, Christy, are we even sure the Duke in the Last Duchess murders his wife?  Renaissance murderers were kind of mysterious like that- you just never knew.      I guess so, before we get out of the history part and start reading the poem, let me ask one more question.  In this poem, the Duke keeps a portrait of his murdered wife behind a curtain so he can admire her and show her off when he wants to, is there a portrait of Lucrecia that we know of today that might have inspired this poem?  Or is there a painter called Fra Pandolf- the name of the painter in the poem?  Do we know of any  emissaries that would have been representing the would be the next duchess- the one to follow the Last Duchess?  Is there any historical evidence based on the clues from the poem that any of the other characters were real people?    Well yes and no- the first hurdle in definitely declaring this poem to be about Lucretia de Medici- is that  There is no such painting that we know of, and there is no such famous painter as Frau Pandolf.  But, if we just assume that there might have been but it's just gone to history, and we work on the assumption that the Last Duchess is Lucrezia de medici, that means the second wife would have to be Barbara of Austria.  There's a long story there, their marriage only lasted 8 years before she died.  She was most famous for her work with destitute young girls and even founded a house for them.  After she died, Alfonso married a third time, this time to Margherita, the 15 year old  niece of  his wife Barbara of Austria.    Well, whether this is the guy or not, he does seem to be creepy enough to fit the bill.    I think so.  And honestly, it doesn't matter.  This stuff is just interesting stuff to discuss at Trivia night.    I agree, I've read enough Machiavelli to know that the Renaissance boys were not above poisoning people for most anything- and that isn't even the point.  Browning doesn't tell us who it is maybe because it's a composite of a couple of people, maybe it's because it's a totally made up person, but I think because in a more important sense, this is metaphorical- this Duke is a metaphor of a familiar ego- one a reader of Ibsen might latched on to, one we can all latch on to.  And yes, this is a poem about objectifying women again, and this is why we chose to feature it this week, but honestly, if you think about it= the metaphor of the ultimate egoist s person so stupid and delusional that he sees himself as the Neptune in his world is not far fetched.    Ah- no- I'd say- look no farther than a twitter feed.  Shall we read, Christy- as this is a dramatic monologue- to what degree should we bring a dramatic reading to the text.    I think we should bring a very dramatic reading to it.  Do you want to give it a go. Let's read break it up, and then we can put it all back together and see if we can understand it.      Sure, let me read it….      Okay, there's a lot to say, but I want to break everything down so that the poem can be fun- and it is fun.  The way to read poems, and I know I've said this before, and not just me, but everyone, is read them slowly.  It's about enjoying the details.  It's not about rushing to the end, so let's do that…    That's my last Duchess painted on the wall,  Looking as if she were alive.     Sentence one- we are to see that the duchess is painted on the wall- we'll understand in a minute that that's probably a fresco, but that doesn't necessarily matter.  She looks as if she were alive, implying she's dead.  We also know that the belonged to the Duke- it's his duchess and we know it's the last one whe had.  We should also be alarmed that the tone here is quite detached.  Garry, I hope if something bad happens to me, you don't talk about me like this.  There is no tenderness here- there's pride, perhaps, but no tenderness.      Let's keep going….    I call  That piece a wonder, now; Fra Pandolf's hands  Worked busily a day, and there she stands.  Will't please you sit and look at her?    Sentence 2- 3The piece is a wonder- not the woman- again-the PIECE is the wonder- be it the paitning or the woman- it's all very detached.  But we also are told that she was painted by Fra Pandolf- Garry, you said we don't know anything about this guy for sure, but is there any historical context that could give us some help in understanding subtext here.    Well,  Fra- is short for Friar- this is a catholic monk or priest.  That tells us that there is NO sexual hanky panky going on.  Friar's take vows of chastity, and although we know there were those that broke them, there were more that didn't and we should presume that here as well.  Also, he worked busily a day- may imply that this IS a fresco.  Fresco paintings had to be done in one day, like with Michelangelo and the Sistine chapel because when the plaster dries youre done.  But the nice thing about them is that once they do dry, they last forever.  If you wanted beauty to never die- a fresco would be the way to go.    And notice this rhetorical question- whoever the Duke is talking to is basically being told to sit and admire the last Duchess.  We will soon find out that this guy is the emissary for the new Duchess, so in a sense, it is not appropriate to sit and stare at the last Mrs. So, we have to wonder, why does he insist on this?  This next sentence is really very long and difficult to understand.        I said  “Fra Pandolf” by design, for never read  Strangers like you that pictured countenance,  The depth and passion of its earnest glance,  But to myself they turned (since none puts by  The curtain I have drawn for you, but I)  But to myself they turned (since none puts by  The curtain I have drawn for you, but I)  And seemed as they would ask me, if they durst,  How such a glance came there; so, not the first  Are you to turn and ask thus.     This sentence takes a couple of rereads to just make sense of it- but let me put it in my words.  Basocially, he's saying that Fra Pandolf- on purpose- captured a very specific facial expression in the face of his ex-wife.  She had this certain deep and passionate smile- the way he's suggesting here- it's almost a sexy smile- and- according to this duke, he imagines that the guy he's talking to is like everyone else in the world and everyone else in the world- when they see this painting want to ask him, although they don't dare because this duke is just that intimidating- they want to ask him who she's looking at to give such a sexy glance.  And then he is just going to tell this guy- who did not ask that question or even ask to see this painting- who exactly his wife was looking at when she gave this sexy smile.  And notice that the way he phrases it almost suggests the last duchess was perhaps cheating on him.      Sir, 'twas not  Her husband's presence only, called that spot  Of joy into the Duchess' cheek; perhaps  Fra Pandolf chanced to say, “Her mantle laps  Over my lady's wrist too much,” or “Paint  Must never hope to reproduce the faint  Half-flush that dies along her throat.”    He says, it wasn't just my presence that gave her that sexy smile.  Maybe even Fra Pandolf happened to suggest that she reveal a little more skin- implying maybe she liked to show a little more skin- a little more wrist.  He goes on to say that paint couldn't possibly reproduce her half-flush.  All of this is pseudo sexual language that ends with death threat along the throat.      Let me interject something here that caught my eye- the way he talks to the guy he's talking to is very condescending.  He makes him sit down.  He uses the term “sir” and “you” instead of “thee or thou” that would have been more appropriate between men of equal station of the time period.  He is talking down to this guy for whatever reason.    Look at these next two sentences-     Such stuff  Was courtesy, she thought, and cause enough  For calling up that spot of joy. She had  A heart—how shall I say?— too soon made glad,  Too easily impressed; she liked whate'er  She looked on, and her looks went everywhere.    He's going on and on about this sexy smile.  But here he again implies she's permiscuous.  He uses the word “stuff”- that is a very vague term which we use euphemistically for things we don't want to say outloud.  Then he says this, “she had a heart- how shall I say?- too soon made glad” that phrase- how shall I say is set off with dashes.  This duke is stopping as if he can't quite find the right word to describe the behavior for his wife- how shall I say- he's looking for that word and the words he comes up with are “too soon made glad”- or she gets happy to easily- again implying almost less subtly that she flirts inappropriately.  Just the very idea that he wants to pretend that he has to find the right word- he's been rattling on and on in perfect iambic pentameter for a good 22 lines with no need to even have any dash at all- much less a problem with coming up with the right words.  In fact, he has already told us he shows off this picture many times apparently to a bunch of people who look at that sexy smile and wonder who she's smiling at.      He will continue to imply that his wife was a slut with even more euphemisms.  Read the next two sentences.      Too easily impressed; she liked whate'er  She looked on, and her looks went everywhere.  Sir, 'twas all one!     That last sentence, is a telegraphic sentence- that means it's very short for the purpose of highlighting a very important idea.  She looked everywhere and with that same dang sexy smile.  It's clear by this point he hated that.       My favour at her breast,  The dropping of the daylight in the West,  The bough of cherries some officious fool  Broke in the orchard for her, the white mule  She rode with round the terrace—all and each  Would draw from her alike the approving speech,  Or blush, at least. She thanked men—good! but thanked  Somehow—I know not how—as if she ranked  My gift of a nine-hundred-years-old name  With anybody's gift.      And now we are let on to the secret that this guy may be a psychopath.  Look at what he's jealous of- that duchess presumed to look at the sunset with her sexy smile.  A nice person gave her a cherry and she gave him a sexy smile.  She gave her mule that sexy smile.  Now we are led to question, is this really a sexy smile or is this just a kind smile?  It appears she had the audacity to thank people for things- clearly something he doesn't do.  And in fact, something she should not do- the only person she should ever be thanking is him.  He gave her the most p recious thing in the entire universe- his name- and if she thanked him other people with the same words as she used to thank him- or if she smiled at people with a kind smile- that was a direct assault him.  Who does she think she is?    Who'd stoop to blame  This sort of trifling? Even had you skill  In speech—which I have not—to make your will  Quite clear to such an one, and say, “Just this  Or that in you disgusts me; here you miss,  Or there exceed the mark”—and if she let  Herself be lessoned so, nor plainly set  Her wits to yours, forsooth, and made excuse—  E'en then would be some stooping; and I choose  Never to stoop.     Notice how the tone seems to shift here.  He's getting a little angrier.  He's also throwing out more of those dashes- this time to set off the phrase that he doesn't have skill in speech- of course he has skill in speech- that's the whole point.      It reminds me of when I've fussed at my children and said something like, “I guess I didn't make myself clear when I asked you to clean your room”- you're not really communicating you were not clear, you're communicating you WERE clear and you were ignored.      Exactly- and apparently he had told her that certain behaviors of hers like smiling and thanking people were disgusting to him and she blatantly ignored this.  She refused to be lessoned- and of course we have a pun here- because lessons are something that you learn- she refused to be taught- but she also refused to be lessened as in made smaller.  She didn't stoop – but here's what's worse. He didn't actually tell her anything.  He didn't actually ask her to do or not do anything.  For him to actually have to tell her to do these things- that in and of itself would be degrading to him.      I've been told that line before- perhaps you have to- I shouldn't have to tell you to do this- you should just know it- you should WANT to do this thing that I want you do to do.  And by you not knowing or not wanting the right things that I want you to want or to like- THAT is the infraction- the insult lies there.  How could you NOT want this thing that I want you to want or have this behavior that I want you to have.  The very idea that I would have to stoop to tell you is in itself an insult beyond scope.      And if you are not convinced that he's psycho- he's got more to say.  First to confirm that she did not cheat on him or even hate him.      Oh, sir, she smiled, no doubt,  Whene'er I passed her; but who passed without  Much the same smile?    She smiled at him.  It seems, as we are now to assume, that she did not have a sexy smile but that this smile was a kind smile- she smiled kindly at him.  And THIS was an insult because that smile, that we see on the wall- that sexy smile that is now a kind smile- she gave out to other people besides him.  Why would she do that!??  That was just too too much, so the poor person sitting down and listening to this is supposed to clearly understand that by this point he had no choice- she had to go.       This grew; I gave commands;  Then all smiles stopped together. There she stands  As if alive.    So, did he have her executed?    I know- it's ambiguous.  I read somewhere that someone directly asked Browning this question to which and one time he replied smugly, I didn't say he had her executed.  I said all smiles stopped, maybe he sent her to the convent.  But another time he said, yes, these were commands to be put to death..so we are left to make that determination for ourselves.  I will say, I think the person he's talking to thinks he had her killed.  As we read these lines, there's an indication that tried to bolt but the Duke won't let him. Let's read the ending.     Will't please you rise? We'll meet  The company below, then. I repeat,  The Count your master's known munificence  Is ample warrant that no just pretense  Of mine for dowry will be disallowed;  Though his fair daughter's self, as I avowed  At starting, is my object. Nay, we'll go  Together down, sir. Notice Neptune, though,  Taming a sea-horse, thought a rarity,  Which Claus of Innsbruck cast in bronze for me!      How do you think that means the emissary is trying to bolt?    Well, first the Duke tells him to get up for them to go down together to meet the new duchess- but then he says, nay= nay means no- no to what- I think the guy was trying to get head of him because he says, “nay, we'll go together.”  He's not letting this guy out of his sight.  He's enjoying this.  He wanted to tell this story.  He wanted to brag on his omnipotence- it's not a coincidence that he's showing off another piece of art of his- this one a Roman God- Neptune.  And this is the final thought of the poem and worth us taking a minute to think about.  Again- this is why poetry is not informational.  The fun of poetry is not to get to the end and get all the information.  The fun of poetry is to slow down and think the thoughts the poet is feeding you.  Following the clues and hearing his voice.  Browning, from over 100 years ago wants to give us a few ideas about life and how to look at certain people that surface in every generation.      And the final image is this statue of the Roman god, Neptune.  When we see the statue, the first thing we think about is =huh, another piece of art.  Browning has created a frame for his poem- he started and ended his poem with art- these two pieces.  Then the next thought should be- huh- I wonder what Neptune is supposed to tell us.  Who is Neptune?  How does art piece number two connect with art piece number 1? Well, obviously, Neptune is the god of the sea- the Greeks called him Poseiden.  But what is he doing here- well- he's taming a sea horse- what does that mean?  This statue is not a static statue- it's not a bowl of fruit, it's not even a horse in a park.  It's a Roman god taming  a sea horse.  Neptune, in general is god of the sea – he commands and controls nature itself- the environment- there is a suggestion here of violence- by casting the sculpture in bronze the Duke has tamed and stopped the god taming the sea- he is the master of it all- he is in total control- Neptune has restrained the sea horse in exactly the same way as the Duke has restrained his wife- he controls the vitality- just as he has frozen the vitality in this statue- the vitality of his wife is also frozen.      Well, and what is ironic about all of it- is that in describing his ex-wife- he describes a woman totally in tune with life- she connected to nature, to others, to animals- she was the very expression of vitality- to the point that her vitality is expressed in a smile he tries to explain away as adulterous.  He is bragging because he had the power to get rid of that smile- to get rid of that vitality- she could be reduced to a work of art in death- something he could never accomplish in life.      And yet, there is more irony even in this…in order to destroy his wife- he preserved her for all eternity.  We all know that art outlasts a single lifespan.  By destroying her vitality- he preserved her vitality.     Oh my, that's confusing- are you trying to make us crazy.      Maybe- but I'm trying to point out how fun poetry can be if we let it.  Let's read it put back together.    That's my last Duchess painted on the wall,  Looking as if she were alive. I call  That piece a wonder, now; Fra Pandolf's hands  Worked busily a day, and there she stands.  Will't please you sit and look at her? I said  “Fra Pandolf” by design, for never read  Strangers like you that pictured countenance,  The depth and passion of its earnest glance,  But to myself they turned (since none puts by  The curtain I have drawn for you, but I)  And seemed as they would ask me, if they durst,  How such a glance came there; so, not the first  Are you to turn and ask thus. Sir, 'twas not  Her husband's presence only, called that spot  Of joy into the Duchess' cheek; perhaps  Fra Pandolf chanced to say, “Her mantle laps  Over my lady's wrist too much,” or “Paint  Must never hope to reproduce the faint  Half-flush that dies along her throat.” Such stuff  Was courtesy, she thought, and cause enough  For calling up that spot of joy. She had  A heart—how shall I say?— too soon made glad,  Too easily impressed; she liked whate'er  She looked on, and her looks went everywhere.  Sir, 'twas all one! My favour at her breast,  The dropping of the daylight in the West,  The bough of cherries some officious fool  Broke in the orchard for her, the white mule  She rode with round the terrace—all and each  Would draw from her alike the approving speech,  Or blush, at least. She thanked men—good! but thanked  Somehow—I know not how—as if she ranked  My gift of a nine-hundred-years-old name  With anybody's gift. Who'd stoop to blame  This sort of trifling? Even had you skill  In speech—which I have not—to make your will  Quite clear to such an one, and say, “Just this  Or that in you disgusts me; here you miss,  Or there exceed the mark”—and if she let  Herself be lessoned so, nor plainly set  Her wits to yours, forsooth, and made excuse—  E'en then would be some stooping; and I choose  Never to stoop. Oh, sir, she smiled, no doubt,  Whene'er I passed her; but who passed without  Much the same smile? This grew; I gave commands;  Then all smiles stopped together. There she stands  As if alive. Will't please you rise? We'll meet  The company below, then. I repeat,  The Count your master's known munificence  Is ample warrant that no just pretense  Of mine for dowry will be disallowed;  Though his fair daughter's self, as I avowed  At starting, is my object. Nay, we'll go  Together down, sir. Notice Neptune, though,  Taming a sea-horse, thought a rarity,  Which Claus of Innsbruck cast in bronze for me!        A great writer can make things simple- like the simplistic understanding that this is an excellent portrait of a psychopath- which it is- to a historical understanding- as an expose on the dark side of the Renaissance- a moralistic understanding- like beware of objectifying self-serving schucks- or what I will call an optimistic reading….freedom and vitality cannot be contained…life finds a way… (to quote that philosopher Michael Crichton) and that way may just be through a poem.. .  Thank you Robert Browning.    Yeah- well there you go- today's take away- stop reading for information- but read looking for the vitality!!!      Yeah!  Read for vitality!! It's there!      Next episode, we will tell you the famous love story of Robert Browning and his celebrity wife, Elizabeth Barrett, and we'll read some bona fide love poems.  Thank you for spending time with us today.  We don't take that for granted.  Support us, if you don't mind, by tweeting an episode on your twitter feed, your linked in feed, or your facebook or Instagram feed.  Text an episode to a friend and help us grow.    Thank you.    Peace out.     

In all literary history there is no happier love story than that of Elizabeth Barrett and Robert Browning. During their secret courtship Miss Barrett sent Browning many beautiful love letters written in verse. (Volume 41, Harvard Classics) Browning married Elizabeth Barrett, Sept. 12, 1846.

Hometown Radio 06/24/21 4p: Elizabeth Barrett examines our current mental health breakdown

“All actual heroes are essential men, And all men possible heroes.” —Elizabeth Barrett Browning   Subscribe in Apple Podcasts, Spotify, or wherever you're listening right now.   If you'd like to suggest a heroic figure to be covered on the show, send an email to Jon@ObjectiveStandard.org.   Facebook: https://www.facebook.com/objectivestandard Twitter: https://twitter.com/ObjStdInstitute LinkedIn: https://www.linkedin.com/company/objectivestandardinstitute/   Also check out:   Robert Browning: The Major Works: https://amzn.to/2StbRLY   The Love Letters of Elizabeth Barrett and Robert Browning: https://amzn.to/34nmv9H The Collected Poems of Elizabeth Barrett Browning: https://amzn.to/2RJmTge

This episode features: Deirdre O'Connor, Irwin Gill, Maria Stuart, and Elizabeth Barrett. Presented by Clare Hayes-Brady (UCD).

This episode features: Deirdre O'Connor, Irwin Gill, Maria Stuart, and Elizabeth Barrett. Presented by Clare Hayes-Brady (UCD).

Robert Browning (7 May 1812 – 12 December 1889) was an English poet and playwright whose dramatic monologues put him among the foremost Victorian poets. His poems are noted for irony, characterization, dark humour, social commentary, historical settings and challenging vocabulary and syntax. His career began well, but shrank for a time. The long poems Pauline (1833) and Paracelsus (1835) were acclaimed, but in 1840 Sordellowas seen as wilfully obscure. His renown took over a decade to return, by which time he had moved from Shelleyan forms to a more personal style. In 1846 Browning married the older poet Elizabeth Barrett and went to live in Italy. By her death in 1861 he had published the collection Men and Women (1855). His Dramatis Personae (1864) and book-length epic poem The Ring and the Book (1868–1869) made him a leading British poet. He continued to write prolifically, but his reputation today rests mainly on his middle period. By his death in 1889, he was seen as a sage and philosopher-poet who had fed into Victorian social and political discourse. Societies for studying his work formed in his lifetime and survived in Britain and the United States into the 20th century.Bio via Wikipedia See acast.com/privacy for privacy and opt-out information.

Robert Browning (7 May 1812 – 12 December 1889) was an English poet and playwright whose dramatic monologues put him among the foremost Victorian poets. His poems are noted for irony, characterization, dark humour, social commentary, historical settings and challenging vocabulary and syntax. His career began well, but shrank for a time. The long poems Pauline (1833) and Paracelsus (1835) were acclaimed, but in 1840 Sordello was seen as wilfully obscure. His renown took over a decade to return, by which time he had moved from Shelleyan forms to a more personal style. In 1846 Browning married the older poet Elizabeth Barrett and went to live in Italy. By her death in 1861 he had published the collection Men and Women (1855). His Dramatis Personae (1864) and book-length epic poem The Ring and the Book (1868–1869) made him a leading British poet. He continued to write prolifically, but his reputation today rests mainly on his middle period. By his death in 1889, he was seen as a sage and philosopher-poet who had fed into Victorian social and political discourse. Societies for studying his work formed in his lifetime and survived in Britain and the United States into the 20th century.Bio via Wikipedia See acast.com/privacy for privacy and opt-out information.

Robert Browning (7 May 1812 – 12 December 1889) was an English poet and playwright whose dramatic monologues put him among the foremost Victorian poets. His poems are noted for irony, characterization, dark humour, social commentary, historical settings and challenging vocabulary and syntax. His career began well, but shrank for a time. The long poems Pauline (1833) and Paracelsus (1835) were acclaimed, but in 1840 Sordellowas seen as wilfully obscure. His renown took over a decade to return, by which time he had moved from Shelleyan forms to a more personal style. In 1846 Browning married the older poet Elizabeth Barrett and went to live in Italy. By her death in 1861 he had published the collection Men and Women (1855). His Dramatis Personae (1864) and book-length epic poem The Ring and the Book (1868-1869) made him a leading British poet. He continued to write prolifically, but his reputation today rests mainly on his middle period. By his death in 1889, he was seen as a sage and philosopher-poet who had fed into Victorian social and political discourse. Societies for studying his work formed in his lifetime and survived in Britain and the United States into the 20th century. - Bio via Wikipedia. See acast.com/privacy for privacy and opt-out information.

The episode featured writers Wendy Mitchell and Kevin Quaid with Clodagh Whelan (Alzheimer Society of Ireland). Presented by Clare Hayes-Brady and Elizabeth Barrett.

This episode of Mind Reading: Experts in Conversation looks at patient experience of dementia. The podcast features Wendy Mitchell, Kevin Quaid, Clodagh Whelan, Danielle Petherbridge, and Desmond O'Neill. Presented by Clare Hayes-Brady and Elizabeth Barrett.

Q and A from Mind Reading: Experts in Conversation looking at patient experience of dementia. The podcast featured Wendy Mitchell, Kevin Quaid, Clodagh Whelan, Danielle Petherbridge, and Desmond O'Neill. Presented by Clare Hayes-Brady and Elizabeth Barrett.

Elizabeth Barrett Browning (née Moulton-Barrett; /ˈbraʊnɪŋ/; 6 March 1806 – 29 June 1861) was an English poet of the Victorian era, popular in Britain and the United States during her lifetime. - Bio via Wikipedia. See acast.com/privacy for privacy and opt-out information.

This episode of Mind Reading: Experts in Conversation looks at vaccination. The podcast features Professor Gerardine Meaney, Dr David Grimes, Harriet Wheelock, and Professor Donal Brennan. Presented by Dr Clare Hayes-Brady and Dr Elizabeth Barrett.

Hometown Radio 02/04/21 4p: Elizabeth Barrett, the Reluctant Therapist, returns

Hometown Radio 02/04/21 4p: Elizabeth Barrett, the Reluctant Therapist, returns

Gurdjieff (1866-1949) was a very influential spiritual teacher, and his teaching of the “Fourth Way” was ahead of its time and pre-dated the findings of later neuroscience, especially the “three centres”: the sensorimotor centre, the emotional centre and the cognitive centre and his teaching of multiple self-states. In this talk Elizabeth Barrett, a long-time student of “the work” gives us her story of her encounter with “the work”, and how it transformed her life. In the short time available, Elizabeth introduces us to some of the key teachings of the Fourth Way. Photo: Dushka Howarth, Public domain, via Wikimedia Commons

Hometown Radio 10/29/20 3p: Elizabeth Barrett, the Reluctant Therapist asks, Is Capitalism bad for your mental health?

Elizabeth Barrett joins Eric and Chlotilde to share about various healing methodologies and how shifts in the mental health profession can help all people make tremendous gains in the game of life.

On this day in 1846, Elizabeth Barrett and Robert Browning exchange their last letters to each other before they move to Italy. Listen to the words of one of those letters from Elizabeth, giving a glimpse into the passion and love she had which would fuel her famous Sonnets from the Portuguese. Today is September 18, 2020. This is the Librarian's Almanac. Feel free to check out more from the Librarian's Almanac on their website: http://www.librariansalmanac.com/ I'd also love to hear from you directly. Feel free to send me an email at librarians.almanac@gmail.com

In all literary history there is no happier love story than that of Elizabeth Barrett and Robert Browning. During their secret courtship Miss Barrett sent Browning many beautiful love letters written in verse. (Volume 41, Harvard Classics)Browning married Elizabeth Barrett, Sept. 12, 1846.

In this 2015 episode, prior hosts Sarah and Deblina covered a poet's romance. Robert Browning's early work wasn't as well-received as Elizabeth Barrett's poetry. Yet Barrett mentioned his work in one of her poems, and they started a correspondence that blossomed into love. However, Elizabeth's father remained an obstacle. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Robert Browning and Elizabeth Barrett eloped on this day in 1846. / Ethiopian emperor Haile Selassie was deposed by military coup on this day in 1974. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Hometown Radio 09/02/20 3p: Elizabeth Barrett discusses the California Assemblywoman forced to bring her baby to work

En el ‘Café de las 9’ charlamos con Marc Palahí, director del European Forest Institute (Instituto Forestal Europeo), con sede en la ciudad finlandesa de Joensuu, desde donde nos atiende. En ‘Regreso al presente’, David Zurdo nos cuenta qué podemos ver en el cielo estival. Y en el espacio ‘Tenemos un pasado’ de la periodista Ángeles Caso descubrimos la biografía de la escritora británica feminista del siglo XIX Elizabeth Barrett Browning, cuya obra influyó en la reforma de la legislación del trabajo infantil. Escuchar audio

Daily Quote A man can fail many times, but he isn't a failure until he begins to blame somebody else. (John Burroughs) Poem of the Day 定风波 苏轼 Beauty of Words Robert Browning to Elizabeth Barrett

Hometown Radio 05/26/20 4p: Elizabeth Barrett, The Reluctant Therapist returns

Actress and groundbreaking director Ida Lupino takes her final bow on the podcast in her first and last appearances on Suspense. We'll hear her co-starring with Agnes Moorehead in a story of deadly sibling rivalry - "The Sisters" (originally aired on CBS on February 3, 1944). Then, she takes a shortcut through the woods in one of the scariest shows Suspense ever produced - "On a Country Road" (AFRS rebroadcast from May 10, 1959). Plus, Ida Lupino stars as poet Elizabeth Barrett in a production of The Hallmark Playhouse (originally aired on CBS on February 2, 1950).

Hometown Radio 04/01/20 5p: Elizabeth Barrett wants to know if you have a hobby

Hometown Radio 02/13/20 4p: Elizabeth Barrett wants to hear how you met your Valentine. Best story gets two free tickets to see Australian Pink Floyd at Vina Robles

Hometown Radio 12/12/19 4p: The Reluctant Therapist Elizabeth Barrett

Hometown Radio 10/17/19 5p: Elizabeth Barrett, the Reluctant Therapist

Today in 1846, poets Elizabeth Barrett and Robert Browning eloped. Elizabeth’s sonnet “How do I love thee, let me count the ways” is about their love.

Hometown Radio 04/16/19 4p: Elizabeth Barrett and Emily Zbin discuss summer youth activities

Welcome to The Daily Poem. Today's poem is Elizabeth Barrett Browning's "The Musical Instrument."Remember: subscribe, rate, review. See acast.com/privacy for privacy and opt-out information.

Robert Browning and Elizabeth Barrett eloped on this day in 1846. There's more in the February 15, 2012 episode of Stuff You Missed in History Class. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Welcome to The Daily Poem. See acast.com/privacy for privacy and opt-out information.

We're discussing Sweet Valley High, Book #17, "Love Letters," the chronicles of Queen of Chisme Caroline Peace: her self-catfishing techniques, her failed attempt to start a Dead Poet's Society in SVH, her successful attempt to dig through the Wakefield's trash, and her body-shaming older sister. Meanwhile, over in the B-plot, Liz is trying to win a playwriting competition using the romance of Elizabeth Barrett and Robert Browning as inspo... wondering if the two plots will COLLIDE? Then listen to this THRILLING EPISODE! Do it or you may never know what food and/or country Ned Wakefield is allergic to. Please leave us a nice rating and review if you enjoyed the episode! You can also follow us on Twitter and Instagram! We wanna GET TA KNOW YA! We are @SVHighPodcast on both!

Alison Rutledge, Professor of English, comes by to talk about Aurora Leigh, a delicious piece by Elizabeth Barrett Browning.

Elizabeth Barrett (1806-1861) was one of the most prolific and accomplished poets of the Victorian age, an inspiration to Emily Dickensen, Oscar Wilde, Edgar Allan Poe, and countless others. And yet, her life was full of cloistered misery, as her father insisted that she should never marry. And then, the clouds lifted, and a letter arrived. It was from the poet Robert Browning (1812-1889), admiring her from afar, declaring his love.  How did these two poets find each other? What kind of life did they share afterwards? And what dark secrets had led to her father’s restrictions…and how might that have affected his daughter’s poetry? Host Jacke Wilson takes a look at the story of the Brownings.  FREE GIFT!  Write a review on iTunes (or another site), then send us an email at jackewilsonauthor@gmail.com to receive your free History of Literature postcard as a thank you gift. Act now while supplies last!  Show Notes:  Contact the host at jackewilsonauthor@gmail.com or by leaving a voicemail at 1-361-4WILSON (1-361-494-5766).  You can find more literary discussion at jackewilson.com and more episodes of the series at historyofliterature.com. Check out our Facebook page at facebook.com/historyofliterature. You can follow Jacke Wilson at his Twitter account @WriterJacke. You can also follow Mike and the Literature Supporters Club (and receive daily book recommendations) by looking for @literatureSC. Music Credits: “Handel – Entrance to the Queen of Sheba” by Advent Chamber Orchestra (From the Free Music Archive / CC by SA). “Monkeys Spinning Monkeys” and “Piano Between” by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Analysis of Elizabeth Barrett Browning's 'Sonnet XXIX'

Robert Browning's early work wasn't as well-received as Elizabeth Barrett's poetry. Yet Barrett mentioned his work in one of her poems, and they started a correspondence that blossomed into love. However, Elizabeth's father remained an obstacle. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Matinee Theater represented a serious attempt by CBS to provide quality dramatic programming for its Sunday afternoon listeners. A continuation of the series Dangerously Yours, it was renamed Matinee Theater with a view towards presenting "a greater range of stories". That broader scope was able to accommodate such episodes as "Beautiful Dreamer" (the Stephen Foster story) and "The Love Story of Elizabeth Barrett and Robert Browning". Victor Jory and several different female stars paired to bring classics like "Wuthering Heights", "Jane Eyre", and "The Scarlet Pimpernel" to the audience, as well as a number of more contemporary works. The first of these thirty-minute broadcasts aired October 22, 1944 and the final one on April 8, 1945. The Vick Chemical Company sponsored throughout. THIS EPISODE:As the First World War ends a soldier wanders out of a Midlands asylum. Smithy was found in the trenches having lost his memory and all contact with the past. Amidst the noise of the armistice celebrations he meets a music hall actress. They fall in love, marry, move to a country cottage, and have a son. On a trip alone to Liverpool Smithy is involved in an accident. His original memory returns, but he now remembers nothing at all about his new life. Written by Jeremy Perkins. Writer is jwp@aber.ac.uk

This show represented a serious attempt by CBS to provide quality dramatic programming for its Sunday afternoon listeners. A continuation of the series "Dangerously Yours," it was renamed "Matinee Theater" with a view towards presenting "a greater range of stories." That broader scope was able to accommodate such episodes as "Beautiful Dreamer" (the Stephen Foster story) and "The Love Story of Elizabeth Barrett and Robert Browning." Victor Jory and several different female stars paired to bring classics like "Wuthering Heights," "Jane Eyre" and "The Scarlet Pimpernel" to the audience, as well as a number of more contemporary works. The first of these thirty-minute broadcasts aired October 22, 1944 and the final one on April 8, 1945. The Vick Chemical Company sponsored throughout.