Podcasts about George VI

The image of King Charles III welcoming Volodymyr Zelensky to Sandringham evokes memories of his grandfather, George VI, standing firm as Britain held the line before the United States entered the war. Since then, Europe has relied on Washington's security umbrella. But that era may be coming to an end. Last Friday, Ukraine's president was caught off guard on live television, confronted with rhetoric strikingly similar to Kremlin talking points that shifted blame for the war onto Kyiv and NATO. What was supposed to be a solemn debrief of PM Keir Starmer's visit to Washington instead turned into an urgent strategy session in London. If NATO's future is in doubt, is Europe truly prepared to defend itself? And with Trump appearing to align himself with Putin, is the continent now closer than ever to direct confrontation with Russia? Read more'We should have woken up earlier': Europe races to rearm as old alliances falterProduced by François Picard, Alessandro Xenos, Guillaume Gougeon and Ilayda Habip.

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

Heute vor 73 Jahren, am 05. Februar 1952, stirbt George VI. und damit macht er Platz für Elizabeth Alexandra Mary, auch bekannt als Queen Elizabeth II.. Wir schauen zurück auf den Machtwechsel.

In this week's episode, we take a look at five tips for outlining your novel. I also take a look at audiobook sales for 2024. This week's coupon code will get you 50% off the audiobook of Wizard-Thief, Book #2 in the Half-Elven Thief series, (as excellently narrated by Leanne Woodward) at my Payhip store: WIZARD50 The coupon code is valid through February 21, 2025. So if you need a new audiobook for spring, we've got you covered! 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 237 of The Pulp Writer Show. My name is Jonathan Moeller. Today is January 31st, 2025, and today we're discussing five tips for outlining your novel. Before we get to that, we will have Coupon of the Week, an update on my current writing projects, Question of the Week, and then a look at how my audiobooks performed in 2024.   First up, Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Wizard Thief, Book Number Two in the Half-Eleven Thief series (as excellently narrated by Leanne Woodward) at my Payhip store. That coupon code is WIZARD50. Both the coupon code and the link to the store will be in the show notes for this episode. This coupon code will be valid through February the 21st, 2025. So if you need a new audiobook to get you through the February doldrums, we have got you covered. And now an update on my current writing and audiobook projects. I am very, very, very pleased to report that Shield of Deception, the fourth book in The Shield War series, is done. As soon as I am finished recording this episode, I'm going to start publishing it at all the stores. So by the time this episode goes live, you should be able to get it at your favorite ebook store. I'm very pleased this is done because I think this is the longest book I have written in the last four years, which of course I picked to do over the Christmas holiday and was in the process of switching over to a new desktop computer. Great planning on my part, but the book is done and hopefully you should be able to enjoy it soon at your favorite ebook store.   Now that Shield of Deception is done, my next project will be Ghost in the Assembly and I'm pleased to report I'm 20,000 words into that. So I'm hopefully on track to have that come out sometime in March. My secondary project is also going to be Shield of Battle, the fifth book in the Shield War series, and hopefully that will be in April, if all goes well.   In audiobook news, Cloak of Masks is now finally available at all audiobook stores: Audible, Amazon, Apple, Google Play, Chirp, and all the others. A reminder that you can also get Ghost Armor Omnibus One, the combination of the first three Ghost Armor books (as excellently narrated by Hollis McCarthy), at Audible, Apple, and Amazon.   00:02:15 Question of the Week   Now it's time for Question of the Week, which is intended to inspire enjoyable discussions of interesting topics. This week's topic: do you watch the special features on the DVD when you watch a movie? I'm talking about the making of and the director and cast and crew interviews and so forth. Not all DVDs have them of course, but some do. We have a few responses to this question.   Justin says: It depends on the movie. The special features in Monty Python and the Holy Grail Special Edition are a must-see in my opinion.   John says: I watched all the Lord of the Rings Extended Edition extras. Really great material. I know I've watched others, but I can't recall offhand. Definitely the gold standard.   Tom says: My general pattern is to watch the trailer, then the movie, then the deleted scenes. Sometimes I'll watch parts of the special features if their name caches my eye, not often though.   James says: With On-Demand through my cable provider, I just watch the movies. Being part of the PC Master Race, I've never had a gaming console to play DVDs on. I haven't bought a DVD in ages. I used to belong to Redbox, but they're not even in business anymore. Elizabeth says: Sometimes, or play in another language with English subtitles.   Brandy says: Sometimes. I watched The Lord of the Rings special features and enjoyed it. I also watch historical extras or look them up.   Bonnie says: I think I may have once? I usually just watch the movie, haven't watched anything in ages, though.   Juana says: Yes. After the feature things are interesting!   Tracy says: I do.   For myself, the inspiration for this question was that I couldn't think of anything to watch, so I was watching the special features on The Lord of the Rings Extended Editions box set, which a few people have already mentioned. I really think those are the gold standard for DVD special features. Not too many special features have middle aged literature professors discussing the origins of the book that inspired the movie. There's like six discs worth of special features in the Extended Edition Lord of the Rings DVDs, and if you watch all of them, it's really a very interesting and comprehensive documentary on how those three movies were made. If you get the Oppenheimer Blu-ray, the special features that come with that are also quite interesting and worth watching in my opinion.   00:04:18 Audiobook Sales in 2024   Now let's talk a little bit about how my audiobooks did in 2024. Ebook sales were down a bit from 2023 to 2024, but my audiobook sales were up from 2023 to 2024. So here are my Top 10 bestselling audiobooks of 2024. It's nice to note that audio (at least for me) was up, in 2024 in a time of general economic contraction. So that's nice. Now my Top 10 audiobooks:   The Ghosts: Omnibus One 2. Frostborn: The Gorgon Spirit 3. Frostborn: The Dark Warden 4. Frostborn: The Broken Mage 5. Frostborn: The World Gate 6. Frostborn: The False King 7. Frostborn: Excalibur 8. Frostborn: The Dwarven Prince 9. Dragonskull: Omnibus One 10. Frostborn: The High Lords   So I have to admit, it's nice to see the Frostborn books still in the Top 10 there because they've long ago made back their production costs. So now it's just a pure profit at this point, which is nice. And it's also amusing that The Ghosts Omnibus One remains my bestselling audiobook of all time just because it's so long. Now let's see how those sales broke down by vendor because as you know, I sell my audiobooks through several different platforms. And so let's see how they did:   ACX (Audible, Amazon, Apple): 76.54% 2. Google Play: 9.84% 3. Storytel: 5.08% 4. Hoopla: 2.73% 5. Spotify: 2.27% 6. Chirp: 1.05% 7. Under 1%: Kobo, Scribd, Audiobooks.com, Overdrive, TuneIn, Bibliotheca, Nook, and Anyplay     So as we can see, Audible in the form of ACX is still pretty dominant, but there is growth on the other platforms, especially Google Play. I was not expecting Google Play to come in second. I would've thought it would've been Chirp or Spotify, but it seems Google Play did very well for me for audiobooks for 2024. So thanks for listening everyone, or at least listening to the audiobooks. We're not done with the podcast yet, so let's now move on to our main topic.   00:06:34 Main Topic: 5 Tips for Creating an Outline for Your Novel   Now let's move on to our main topic, five tips for creating an outline for your novel. In the fiction writing community, there's generally two schools of thoughts, outliners (of which I am definitely one), and discovery writers, who feel that starting with outlines sort of drains the process of its fun and magic. Though I heard an interesting point from one of Brandon Sanderson's videos recently where he said that all outliners do have a little bit of discovery writer in them because if you look at your outline, it'll say something like “there is a chase scene.” Then when you get to that part of the book, you write out eight to ten pages of the chase scene or whatever that you come up with on the spot and then later refine and improve through editing. So that's a good point, but I do think outlining is more useful in general for writing than not outlining is.   So why outline? As I mentioned, many writers do not outline, but I do think outlining does help, especially with beginning writers. For one, it saves time because if you follow the outline, you're less likely to go down a blind alley and realize you have to drop the last 10 or 20,000 words you wrote. It helps prevent getting stuck and not knowing what to write next. And it also really helps because it'll save you time in editing because you're less likely to have to rewrite large portions of the book. And it's also helpful for maintaining continuity as well.   I found also that outlining in advance is good because it forces you to think about things before you start because we all know writers who get really excited about writing, get a third of the way through, and then don't know where to go next. It's because they haven't thought it through. Outlining forces you to really think through the middle, which is where a lot of writers get stuck, and it also forces you to think through the ending and make sure it properly resolves the conflicts and stakes raised in the story.   As an example, I know a beginning writer who did not create an outline when setting out to write for the first time, although she had a strong setting and liked her characters, she realized about halfway through that the conflict wasn't enough to carry her whole story and that changing the conflict or raising the stakes would change the tone of the story too much. And unfortunately, she decided to abandon the draft. You could look at that one way, that it was months of wasted effort for her that could have been prevented with a couple hours of outlining, though I think it's better to look at it as a valuable learning experience where she learned that yes, outlining really will help me with my writing and just sort of had to learn that the hard way through attempting to write without an outline first.   #1: So our first tip for outlining novels is to learn story structure. It's hard to write an outline without understanding good story structure, but the flip side is if you do understand story structure and put good story structure into your outline, it will be all the easier to write your novel. The basic story structure that everyone learns in English class when they're talking about short stories (or should learn an English class when they're talking about short stories), is introduction, conflict, rising action, climax, and resolution. That is essentially basic short story structure that's in short stories and in novels, however long. A longer novel of course we'll have subplots and sort of sub conflicts and maybe false ends and red herrings, but that basic story structure is there throughout. So our first tip for good outlining is to understand story structure. And if you try to hold to that basic five step story structure when you're first starting out, especially when you're first starting out, you'll probably find it a lot easier to go.     #2: Start with the problem. What do we mean by that? First, think of the main conflicts and then start outlining to move the characters/locations around them accordingly. Work the hardest on understanding your central conflict. Your protagonist must have a problem that results in a serious conflict. Now, serious conflict doesn't necessarily imply violence, though in genres such as a thriller and mystery, it can. The conflict must be emotionally significant and serious for the protagonist where there are real stakes involved.   The example I usually go to for this is the movie The King Speech, which is a highly fictionalized version of Britain's King George VI learning to overcome his stutter to speak in public. At no point in the movie is George VI in any physical danger. His wife and children love and respect him, and he's generally well regarded by everyone who knows him. However, the problem is he can't speak in public effectively, and this is a huge emotional problem for him. And frankly, one with serious stakes after his brother abdicates and he becomes king. He needs to be able to speak effectively in public or he won't be able to carry out his duties well. So this conflict of dealing with his stutter and his speech impediment is central to the movie. And even though he's not in any physical danger, it nonetheless has very high stakes for him, which is why I say that the problem has to be emotionally significant and have high stakes for the protagonist.   And there are ways to do that without violence, though of course, if you're writing fantasy or a thriller, you can use all the violence you want. You can help create a significant conflict and problem for your character by asking yourself a few questions. What conflicts and actions lead up to it? What is causing this conflict to happen? What are the stakes? What will happen if it doesn't resolve favorably? And why is the character involved? What must they do to resolve the conflict?   For an example from my own books, I'm going to talk about Half-Elven Thief, which is available on Amazon and Kindle Unlimited if you want to go read that. In Half-Elven Thief, the main character is Rivah, who is a member of a fantasy Thieves Guild in her city. She's massively in debt to her immediate superior in the Thieves Guild who hates her and has been using that debt to exploit work from her and considering selling her into slavery to recover the debt. However, a massive and very dangerous job comes to the Thieves Guild, and Rivah is the one assigned to take the job, and if she pulls off the job, her debt will be repaid and she doesn't have this debt hanging over her head anymore. But the job is to steal a spell book from a very dangerous and powerful wizard, so there's every chance she'll be killed in the process. So the central conflict of Half-Elven Thief, that Rivah needs to steal this spell book from this very dangerous wizard, and the stakes for that is so she can get out from under this debt her superior has been holding over her head for the last three years. So hopefully that is a helpful example of a conflict with serious stakes for the protagonist.   #3: Our third tip is to start with simple. What is the book's blurb or elevator pitch for this story? Write that first. There's a couple different ways you can do that. I've sometimes described my Cloak Games/Cloak Mage series as Shadow Run meets The Dresden Files, which can be a starting point. I've heard people describe the Caina series as Black Widow meets Conan the Barbarian, which is another way to do it. To return to our previous two examples, in The King's Speech, the precise pitch is “faced with becoming King George VI must overcome his speech/stutter and face his emotional problems in order to effectively exercise his office.” And with my book Half-Elven Thief, the elevator pitch was, “in order to escape a dangerous debt, a thief is forced to steal a spell book from a dangerous wizard.” So that is the one sentence starting point, and you can use that to build the conflict.   Another potential way to do this is to write the blurb for your book and then build the conflict off that. For example, here is the blurb for another one of my books, Ghost in the Serpent, which is available at all ebook stores.   Anyway, the blurb: “A deadly poison. A hidden cult of sorcerers. Only Caina can find the truth. Caina is a countess of the Empire, an advisor and friend of three powerful monarchs, but she was once a nightfighter with the Ghosts, the spies and assassins of the Emperor and faced lethal sorcerers and corrupt lords. And when a hidden cult of malevolent sorcerers emerges from the shadows, Caina will show them that she has forgotten none of her old skills.”   So what is this blurb doing? It is introducing the setting and the characters, Caina and the Empire, focusing on the conflict and stakes and focusing on how they relate to Caina. And that allows us to sort of expand out into the conflict. If you read the book, you know that the plot is someone tries to poison Caina and fails. As she investigates what happened, she discovers that her husband had two children that he didn't know about, and for some reason this mysterious cult is trying to kill both Caina and these children, which pulls her deeper into the mystery. So that is the stakes and the conflict, and that is how I was able to build the book around them. #4: Our fourth tip is to just start. Just pick a time, grab your laptop or your notebook or whatever, and just start writing down an outline for your short story or a synopsis. Don't research things about your story while you're outlining. You can just write “TO BE RESEARCHED LATER” in capital letters, which is what I do sometimes. Don't research the perfect way to make an outline, just sit down and make an outline. How I outline personally is what I usually do is I have the central conflict in mind, like the example with Rivah, and then I sit down and write a synopsis of what I want to happen and then I chop up the synopsis into chapters and I go from there. My outlines tend to be about 1,000 to 2,000 words long, depending on the length of the book.   For example, Shield of Deception, which I just published, was on the longer side. It came to about 120,000 words and the outline was about 2,000 words. And it basically started out as a long synopsis I wrote, and then I chopped up the synopsis into chapters and went from there. I included major story beats, where the characters were going to go, and what they did. It doesn't get too detailed. Each chapter…the book had 30 chapters. So each chapter generally was described with about 80 words in the outline, maybe a hundred words, depending on what goes on. The detail varies. Basically, like in a chapter outline, I'll say “Character X comes and confronts Character Y and then they fight.” Then I will extemporize and make up the conversation when I actually get to the writing.   What I try to include in all the outlines is story beats that have to be in the story. The character has to be here or the plot doesn't make sense, or they have to go this location or it's a massive plot hole, or they have to think of this or it causes a plot hole, that kind of thing, which is part of the value of the outlining process is that it forces you to think of these things in advance. What I don't include is that I don't get too super detailed because to return to the Brandon Sanderson example from earlier in the show, when you get to the actual scene, there is a bit of discovery writing, like where I'll write where Character X confronts Character Y about whatever they're arguing about. Then the actual conversation I will just write when I arrive there.   #5: And our fifth and final tip, try a different style of outlining if you're struggling. There are different outlining techniques and styles out there. Here are two examples.   There's the Snowflake Method by Randy Ingermanson, which is where you start with a one sentence summary, build up to a paragraph, and continue to add detail in depth. There's also Dean Koontz's story structure from his book, How to Write Bestselling Fiction. His story structure is:   Get your character into trouble as quickly as possible Their plans backfire Things escalate until defeat seems inevitable Victory against all odds   If you're having trouble starting an outline, that might be a good way to do it. That said, there is no magic bullet. There is not a magic outlining style or perfect outlining style that will guarantee success. So don't get lost in endless reading or studying different kinds of outlines. A finished outline is better than waiting for a perfect one. And in that vein, a book that you have actually written, even if it's not as cool as you want it to be, is still infinitely better than a book that exists only in your head. And all that said, those five tips for outlining, I'm about to do all that myself. There is in the tech industry a phrase called “eating the dog food” or “eating your own dog food,” which means if you make a product and sell a product, you should probably be using the product a great deal. And Microsoft in particular was known for leaning on this. And for myself, I'm going to be doing everything I just talked about here because over the next few days, I'll be writing the outline for Shield of Battle, which at the moment consists of only four sentences I jotted down when I had ideas. I'll be applying all those techniques myself to write the outline for Shield of Battle, and hopefully it will work well for me. I think it will. I think these tips, if you want to start outlining your novels before you write them, would hopefully be helpful for you as well.   So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

Attlee calls an early election as George VI has a lung removed. Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, we wrap up the November Writing Challenge by taking a look back at the Five Iron Laws Of Storytelling, which have often been discussed on this show before. Be sure to get your free copy of STORYTELLING: HOW TO WRITE A NOVEL at my Payhip store. The book will remain free until December 9th: https://payhip.com/b/JPDoT TRANSCRIPT Note: Spoiler alert at 3:35. Please check this section of the podcast before proceeding if you are concerned about spoilers for several older television shows, movies, video games, and books.     00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 229 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November 26th, 2024, and today we are wrapping up our November Writing Challenge with a look back at The Five Iron Laws of Storytelling. You may note that I am recording this a bit earlier than I usually do, but that is because I want to take a couple days off for Thanksgiving.   To celebrate the end of our November Writing Challenge and to congratulate you all for listening to these shows, I am giving away free copies of my nonfiction book, Storytelling: How to Write a Novel on my Payhip Store. The link will be in the show notes, and if you follow that link, you can get a free copy of Storytelling: How to Write a Novel from my Payhip Store until December 9th. So follow that link in the show notes to my Payhip store and you can get a free copy of Storytelling: How to Write a Novel until December 9th. Before we get to our main topic, let's have a look at my current writing projects. My main project right now is Orc Hoard, the fourth book in the Rivah Half-Elven series, and that puts me at 55,000 words into it and that puts me on chapter 11 of 18. So I think the final draft will be around 85,000 words or so, which will make it the longest book in the series to date. And if all goes well, I very, very, very much want to have that out before Christmas. I'm also about 4,000 words into Shield of Deception, which will be the fourth book in my Shield War series and if all goes well, I am hoping that will be the first book I publish in 2025.   In audiobook news, the audiobook of Cloak of Spears, as excellent narrated by Hollis McCarthy, is now available at all the usual ebook stores. I will include a short preview of the audiobook of Cloak of Spears at the end of this episode, so you can listen to that then. And that is where I'm at with my current writing projects as we wrap up November and head into December.   00:01:57 Main Topic: The Five Iron Laws of Storytelling   So now let's go right into our main topic, The Five Iron Laws of Storytelling. I figured this would be a good main topic to wrap up our November Writing Challenge with as it is a good reminder and a good summation of many of the things we talked about in the past month. The Five Iron Laws of Storytelling is a concept I first talked about on my website like 10 years ago now. The name Iron Law is sort of a tongue in cheek joke because I got the idea from a science fiction author Jerry Pournelle, who termed what he called Pournelle's Iron Law of Bureaucracy, where describing that after a certain amount of time, a bureaucracy will cease to attend to the function to which it was created and instead devote its attention to sustaining and perpetuating the bureaucracy. And I'm sure we can all think of examples of that, so that's where I took the name from, but it's not so much Iron Laws as these are useful principles to guide you while you are writing a fictional story, whether it's a short story, a screenplay, or a novel. I would say it's fair to argue that storytelling does have some laws you can follow (or at least if you don't like the term laws, best practices) and a writer will ignore those best practices to his peril. When people get ticked off about the ending of a story like the ending of The Sopranos or the ending to Stephen King's Dark Tower series, if they simply don't like a novel or a TV show, it's usually because the writer ignored one of more of these Iron Laws that we're going to talk about. These then are what I believe to be The Five Iron Laws of Storytelling.   When discussing them, I will cite five examples that I think to be excellent examples of the craft of storytelling: the movie the King's Speech, the movie Wreck-It Ralph, the movie Gravity, the novel Pride and Prejudice, and the TV series Breaking Bad. I should note that I did not personally care for Breaking Bad because it was too nihilistic for my taste, but nonetheless, it was an excellently crafted example of a well-written story. I'll also cite four things I believe to be examples of bad storytelling: the final two volumes of Stephen King's Dark Tower series, the Dragon Age 2 computer game, the original ending of the Mass Effect 3 computer game, and the ending of the Sopranos TV series. So note that there will be spoilers for all of these shows, films, books, and games. Now onto the five laws.   #1: The protagonist must have a problem that results in a conflict because if there is no problem, there is no story. Conflict and problems are engines that drive the story. A happy life with minimal conflicts and problems might be the ideal that we all want in real life, but it does make for an exceedingly dull story. The main character of his story needs to have a problem that results in some kind of conflict. Note that this conflict doesn't necessarily have to have an actual villain, it just needs a problem to solve. The movie The King's Speech doesn't have a villain (though the future and former King Edward VII is kind of a jerk) but instead revolves around George VI's efforts to deal with his speech impediment. Gravity likewise has no villain but centers around Dr. Stone's efforts to survive in the harsh environment of space. So the protagonist must have a problem. The story is about how he or she deals with said problem, which leads us on to number two. #2: The protagonist's problem and conflict must be consequential to the protagonist and have real stakes for the protagonist. The problem has to be serious because if it is not, there are no real stakes, the reader will get bored and cease to care about the character. The worst of all worlds is an unlikeable character with a trivial problem. Walter White in Breaking Bad is a thoroughly unlikable character, but he becomes sympathetic to the audience because of the nature of his problem. He's dying of cancer and so he turns to meth production to ensure his family's security after his death. Walter's problem, of course, has very real stakes, his own mortality and his family's future, but the stakes need not be life and death, but nonetheless, they need to be emotionally serious and significant to the protagonist.   In the King's Speech, at no point in the movie is George VI in any kind of physical danger. He is wealthy and respected, his wife and children love him, and he does not have the self-destructive impulses and nature of his brother. Nevertheless, his problem is real. It is emotionally painful and opposes a risk to both himself and his sense of duty to the monarchy and the country. Likewise, Elizabeth Bennett in Pride and Prejudice is in no physical danger throughout the book. Nonetheless, the stakes of her problem and her feelings for Mr. Darcy are consequential. If she does not secure a good marriage when her father dies, there is a very real possibility she'll be impoverished. Or if she marries an unsuitable man like Mr. Wickham, her life will be miserable. So while a young woman dealing with her feelings seems like a trivial problem, it will nonetheless have potentially dire consequences for Elizabeth and her family if she chooses wrongly.   Physical danger is likewise an easy way to introduce high stakes to a story. In Gravity, Dr. Stone faces constant risk of death in a variety of agonizing ways due to the harsh nature of space. Wreck-It Ralph faces the prospect of non-existence if he dies outside his game. In Breaking Bad, other than the inevitable death from cancer, Walter White faces increasingly high odds of getting shot in the head by his business partners and customers, since crystal meth is clearly not a business for conservative-minded investors. Regardless of the nature of the problem and the conflict, it must be consequential and carry high risks and dangers for the protagonist. That said, the problem must be something the protagonist can conceivably deal with. Too vague of a problem or too powerful of a problem, and the story goes off the rails.   When I'm recording this in November of 2024, it's a few months since the fourth Dragon Age video game came out, and if you look at the internet at all, there are of course frequent debates about which Dragon Age game was the best and which one was the worst. But in my opinion, Dragon Age 2 is the weakest of them because it runs smack dab into the problem we've been talking about. The central conflict in the game was strife between the mages and the Templars who are supposed to police the mages. The Templars claim that the mages are demon worshiping abominations while the mages claim that Templars are arbitrary and brutal. As it turns out both sides are right, regardless of which faction the protagonist chooses to aid, making the conflict of Dragon Age 2 to be human nature/social injustice. Regardless, it's not a problem that can be resolved within the game and in the ending, the Templars and the mages go to war no matter what decisions the player actually makes, so I'm afraid that the story falls flat.   #3: The protagonist must take action and struggle to resolve his or her conflict and problem.  A common failure in storytelling is a protagonist who has a serious problem but does nothing about it. We've all read stories with a passive protagonist, or even worse, a protagonist who does nothing but whine about his difficulties or thinks that by feeling bad about his or her problems, they will somehow magically get better. Worst of all is when a protagonist does nothing but whine or complain for two hours or 300 pages and somehow does solve all of his or her problems. This is apparently a common problem in the genre of romance novels. The opposite of this problem is the boring invincible hero. This is common in science fiction or fantasy series where towards the end of the series, the hero is so powerful that he or she can defeat all his problems using magic or a blast from a particle cannon. Struggle is necessary for a story. If the protagonist does not struggle, the story will probably be boring. No, the protagonist has to take action, actual active action to resolve the problem, but he or she must struggle while doing so. In Breaking Bad, Walter White sets out to solve his family's impending financial ruin by brewing up some crystal meth for sale. In Wreck-it Ralph, Ralph wants respect from the other denizens of his game, so he jumps to another game to win a medal and therefore prestige. In Gravity, Dr. Stone struggles to stay alive the entire time in the face of the indifferent hostility of outer space to human life. If these characters did nothing to surmount their problems, we would have boring stories.   #4: The protagonist must face challenges and setbacks and his or her efforts to resolve the problem that may even backfire. This is a good antidote to the boring invincible hero problem we just mentioned. Think of this as the unexpected complications ensue rule. You see this all the time in real life, it matters both serious and trivial. Like say you need to mail your rent check but you're out of stamps, so you drive to the post office, but there's an accident in the intersection and you have to take a different route. As you take a different route, your car breaks down. All these new problems need to be dealt with and you still have to mail the check. We've all had days like that, and fictional protagonists should be no different in the pursuit of their goals.   Additionally, it's possible for a protagonist to inadvertently make things worse through his or her actions. Like in Wreck-It Ralph, Ralph sets off for his medal of heroism, but in doing so, accidentally puts his own game out of order and inadvertently unleashes the virus like cy-bugs in the Sugar Rush game. Walter White in Breaking Bad is a textbook example of this. In the course of attempting to solve his problems, he makes a number of extremely bad decisions that estrange him from his family and sent his business partners gunning for his head. In the King's Speech, George VI gives up in despair believing he'll never overcome his speech impediment. In Pride and Prejudice, Elizabeth torpedoes her relationship with Mr. Darcy because of her misunderstanding of his motives. And if you've seen Gravity, you know that Dr. Stone's situation frequently goes from bad to worse.   #5:  The ending must provide satisfactory emotional resolution to the problems raised in the story. Of all the Five Iron Laws of Storytelling, this one is undeniably the most important. Screw this one up and readers will be ticked and talk about on the Internet for years. Whatever crisis comes up in the story, whatever conflict or difficulties, it must be resolved in an emotionally satisfying manner   by the end of the story. It can be a happy ending or a sad ending or a mixture of the two, but it must be emotionally satisfying.   Let's look at some bad examples first. Stephen King is an excellent writer. If you've read his book 11/22/63, you know that's a great book. But when he's written as much as he has, not everything is going to be good, of course. And Stephen King's The Dark Tower series is a good example of a weak ending. After 22 years and seven books, the protagonist Roland learns that he has repeated his quest to the Dark Tower over and over again for thousands of years, forgetting every time, which makes everything that happened in the previous seven books utterly meaningless since the events happened before and will happen again. Therefore, there is no emotional resolution to the story or Roland's quest for the Dark Tower. The computer game Mass Effect 3 is another example of how not to end a story. In the case of Mass Effect 3, the original ending is simply too abbreviated. Commander Shepherd sacrifices himself or herself. A weird light shoots out of the Citadel. The Normandy crash lands on an alien planet, and that's it. Considering the hundreds of hours of gameplay involved and the intricate network of emotional relationships between Shepherd's companion and the dozens of subplots over the three games, the ending was too short to provide adequate emotional resolution. It felt a bit like a cop out as if the writers had simply said, okay, we're done, stop here, and had given up before attempting the necessary ending. The ending of Dragon Age: Origins by contrast was an excellent example of a well done ending.   The ending of the Sopranos is an even more extreme version of this.  Infamously, the series simply ends with a cut to black in the middle of Tony Soprano and his family eating dinner. Many viewers thought their televisions had failed. This is the ultimate example of a story of failing to provide emotional resolution. The final episode does not even attempt to do so. I suspect these problems arise when a writer tries to be realistic, which is what happens when a writer mistakes verisimilitude (a story feeling realistic) for realism. A story requires suspension of disbelief and attempting phony realism can cause the story to break down.   But let's move from the negative to the positive and look at some good examples of endings. The ending of Breaking Bad was well executed, since it resolved the story's emotional conflicts. Walter White does not escape punishment for as many crimes since he's shot to death in the end. Additionally, he dies in the act of resolving some of the conflicts that he helped create. His meth empire has been taken over by his enemies and his former partner has been forced to prepare meth for them. Walter tries to provide for his family, free his partner, and defeat his rivals and dies at the end, killed not by his cancer, but by finally facing the consequences of his many bad decisions. Note that this is by no means a happy ending, but it is a satisfying ending, which is more important.   The King's Speech ends well, with George VI addressing the nation over the radio without melting down due to his speech impediment, simultaneously resolving the conflicts over his stammer and his fear of accepting his duties as king. This is an ambivalently happy ending. George VI has overcome his conflicts, but the viewers know that the United Kingdom is about to go through World War II and George himself will die prematurely of lung cancer and heart disease in 1952. Nevertheless, the conflicts within the story have been resolved.   Wreck-It Ralph has a more straightforwardly happy ending. Every single conflict raised within the story is resolved. Ralph accepts his role as villain in the game, realizing he is a vital part of the team. He gains the respect of his neighbors, and the villainous King Candy and the cy-bugs are defeated. Additionally, even when the side conflicts are resolved: Fix It Felix marries Sergeant Calhoun, King Candy's malevolent influence over the racing game has ended, and the homeless video game characters are able to set up inside Ralph's game.   To sum up, stories have a sort of irresistible logic to them. Much like a properly balanced equation. a writer should set out to create a story that follows this logic, which will result in a far more enjoyable experience for the reader.   So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.   Don't forget to get your free book copy of Storytelling, how to Write a Novel from my Payhip store.

King Charles III has set out the government's plans for the year ahead, but what happened the last time a King was on the throne unveiling the programme for an incoming Labour prime minister?We look back at 1945, when Labour's Clement Attlee had defeated Conservative Winston Churchill, and find some surprising modern-day parallels. The voice of George VI is provided by the actor Kieran Hodgson.Plus: Columnists Robert Crampton and Trevor Phillips discuss the scale of opposition to planning reform and Trevor's warning about tribal politics here and in America. Hosted on Acast. See acast.com/privacy for more information.

Iain Dale talks to royal biographer and historian, Jane Ridley, about the man who saved the monarchy following the abdication crisis.

Willy Willy Harry Stee, Harry Dick John Harry Three, One Two Three Neds, Richard Two, Henry's Four Five Six.........then who? Edward Four Five...Dick The Bad, Harry's Twain and Ned The Lad, Mary, Bessie, James The Vain, Charlie Charlie, James again. William & Mary, Anna Gloria, Four Georges, William and Victoria, then Edward, George and Ned The Eighth, quickly goes and Abdicat'th...Then Comes GeorgeWe're up to our final George....King George VI. A man who, though never destined to be the monarch, actually turned out to be the right man for the job....and what a massive job it was as World War II dominated his reign.Helping Charlie Higson to unpick this member of the 'Good King Club' is James Holland, celebrated World War II historian and co-founder of the Chalke History Festival. Hosted on Acast. See acast.com/privacy for more information.

Le 10 mai 1940, au début de la seconde guerre mondiale, Winston Churchill est nommé premier ministre du Royaume-Uni par le roi George VI. Du lundi au vendredi, Lorànt Deutsch vous donne rendez-vous dans la matinale de RTL. Chaque jour, l'animateur de "Entrez dans l'histoire" revient sur ces grands moments qui ont façonné notre pays.

Queen Victoria's great-grand children, the children of King George V were a fascinating bunch. The two eldest brothers Edward VIII and George VI both took their turns on the throne. The four younger siblings never wore crowns but still got into plenty of mischief. They were: Mary, Princess Royal and Countess of Harewood who dedicated herself to improving the lives of women, Prince Henry, Duke of Gloucester a stoic war hero Prince George, Duke of Kent, an artistic bisexual tomcat Prince John, a lonely boy who died tragically young. Let's meet them... Join me every Tuesday when I'm Spilling the Tea on History! Check out my Youtube Channel: https://www.youtube.com/c/lindsayholiday Follow me on Facebook: https://www.facebook.com/profile.php?id=100091781568503 Instagram: https://www.instagram.com/historyteatimelindsayholiday/ Tik Tok: https://www.tiktok.com/@historyteatime Please consider supporting me at https://www.patreon.com/LindsayHoliday and help me make more fascinating episodes! Intro Music: Baroque Coffee House by Doug Maxwell Music: Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical by Kevin MacLeod is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/) Source: https://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100303 Artist: http://incompetech.com/ #HistoryTeaTime #LindsayHoliday Please contact advertising@airwavemedia.com if you would like to advertise on this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Rishi Sunak: I'm thankful the King's cancer was caught earlyKing's public battle a far cry from George VI's secret illnessKing Charles has cancer: Everything we know so far Hosted on Acast. See acast.com/privacy for more information.

En 1952, Elisabeth, qui n'est encore que princesse, vient saluer son père le roi George VI à Londres, atteint d'un cancer très avancé. Le roi est dans l'incapacité d'honorer une visite officielle au Kenya, une colonie britannique, membre du Commonwealth. Elisabeth, alors âgée de vingt-six ans, et son époux, le prince Philip, doivent le remplacer au pied levé. Une fois arrivée au Kenya, la jeune princesse évolue dans l'ambiance chaleureuse de Nairobi. A-t-elle conscience qu' elle vit alors les dernières heures paisibles de sa vie ? Du lundi au vendredi, Lorànt Deutsch vous donne rendez-vous dans la matinale de RTL. Chaque jour, l'animateur de "Entrez dans l'histoire" revient sur ces grands moments qui ont façonné notre pays.

According to Princess Diana, Prince Charles once asked her in a towering bad temper: ‘Am I to be the only Prince of Wales not to be allowed a mistress?' Taking their cue from the landed aristocracy, British royals have for centuries ‘married for the dynasty' then engaged in semi-official affairs - or even long term parallel relationships - with others in their circle. Those marrying into the family were expected to ‘understand' and not make a public fuss, and many did (unlike Diana!).Our guest this week, Tom Sykes, has a very good reason to care about this story. He's a writer and the royal correspondent for The Daily Beast - and he thinks that his own grandmother, Camilla Sykes (nee Russell) may have had a long term love affair with the King. In fact members of Tom's family going back several generations have been closely involved with the British royals at their wildest and naughtiest - including Edward VII when he was a most scandalous Prince of Wales. Hearing their stories provides a unique window into the social history of Upper Class Britain. You can buy books from the authors we feature here in our own Scandal Mongers bookshophttps://uk.bookshop.org/shop/scandalm...Looking for the perfect gift for a special scandalous someone - or someone you'd like to get scandalous with? We're here to help.https://www.etsy.com/uk/shop/ScandalM...Andrew Lownie / andrewlownie Phil Craig / philmcraig Scandal Mongers / mongerspodcast Hosted on Acast. See acast.com/privacy for more information.

A little bonus to finish 2023, we've dipped into the archives and pulled out this recording of a live show we did at the We Have Ways of Making You Talk Festival in July 2022. We Have Ways of Making You Talk is a Second World War podcast, so we were talking about the royals during the war, specifically focusing on the former king (Edward VIII) and the actual king (George VI), looking at their different experiences of the war and some of their relationship during it. The episode was not recorded through the sound desk, so the sound quality isn't up to our usual standards, but a big thanks to Mike Hammock who has helped to boost the audio quality. Learn more about your ad choices. Visit podcastchoices.com/adchoices

George VI (1936-52) led Britain through one of the most consequential periods in world history. His modest and undramatic style of rule in stark contrast to the controversy and drama which surrounded the short reign of his brother was required to guide Britain through the Second World War and the death of the British Empire. He was a steady hand, who overcame his own personal limitations and won the respect of the British people. Characters George VI - King of the United Kingdom and the British Dominions (1936-52), Emperor of India (1936-47) Elizabeth Bowes-Lyon - Queen consort of the United Kingdom and the British Dominions (1936-52), Empress of India (1936-47) Edward VII - King of the United Kingdom and the British Dominions and Emperor of India (1936), brother of GeorgeGeorge V - King of the United Kingdom and the British Dominions and Emperor of India (1910-36), father of George Edward VII - King of the United Kingdom and the British Dominions and Emperor of India (1901-10), grandfather of George Victoria - Queen of the United Kingdom and the British Dominions (1837-1901) and Empress of India (1876-1901), Great-grandmother of George Mary of Teck - Queen consort of the United Kingdom and the British Dominions and Emperor of India (1910-36), mother of George Wallis Simpson - Wife of Edward VIII Princess Elizabeth - elder daughter of George and Elizabeth Princess Margaret - younger daughter of George and Elizabeth Prince Philip - husband of Princess Elizabeth Prime Ministers Stanley Baldwin (1935-37)Neville Chamberlain (1937-40) Winston Churchill (1940-45, 1951-55) Clement Attlee (1945-51) Aneurin Bevan - Labour Minister of Health, co-founder of the NHS Duff Cooper - anti-appeasement Conservative politician  Alec Hardinge - Private Secretary of George VI Lionel Logue - Australian speech therapist Freda Dudley Ward - Edward VIII's former mistress Phyllis Monkman - George's former love interest Sheila Chisholm - George's former mistress Cosmo Lang - Archbishop of Canterbury Adolf Hitler - Fuhrer of Germany (1934-45) Benito Mussolini - Dictator of Italy (1922-43) Richard Grigg - Historian Credits Wenn die Soldaten I was glad Hubert Parry King Oliver s Jazz Band The Planets - Jupiter - Gustav Holst Bbc_world-war-_07046171 bbc_air-raids-_07048083  bbc_bang----qu_07043166  Bbc_ships---tu_07018114 bbc_battle-of-_07008071

In this second of the special Rosebud Christmas Cracker episodes, Gyles talks to Patricia Owtram: the first Rosebud centenarian. Pat tells Gyles about her fascinating and long life: from her childhood in 1920s Lancashire where she was taught to speak German by the family's Austrian cook, to her schooldays and her war years. Pat did critical work as part of the Y Service, listening in on the goings-on of the German fleet. She also tells Gyles about meeting George VI and about her later career as a journalist and TV producer. This conversation gives a fascinating glimpse of life as it was at the start of the 20th century. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The British royal family and UK intelligence operations have been linked since Queen Victoria's time, involving everything from personal protection to matters of international intrigue to concerns about blackmail. Professor and author Rory Cormac, who has conducted extensive research on the British intelligence services, has recently added to his corpus of writings in the field with a book about the modern royal-intelligence intersection: Crown, Cloak, and Dagger, co-authored with Richard Aldrich.David Priess and Rory discussed the difference in US and UK education about the royal family; intelligence foundations during the reign of the first Elizabeth; why it fell apart under her successor; the seeds of modern intelligence under Victoria; the involvement of UK intelligence officers in the death of Grigori Rasputin; the challenges and advances involving intelligence and Edward VII, George V, and Edward VIII; the contributions of George VI to the Allies' massive D-Day deception operations; Elizabeth II's reading of intelligence reports; Soviet spy Anthony Blunt's close relationship with the royal family; Elizabeth's role as a diplomatic "helper;" the exposures of Charles III and Prince Willliam to intelligence; why Clement Attlee was an underappreciated prime minister; and more.Among the works mentioned in this episode:The book Crown, Cloak, and Dagger by Richard J. Aldrich and Rory CormacThe book How To Stage a Coup by Rory CormacChatter is a production of Lawfare and Goat Rodeo. This episode was produced and edited by Cara Shillenn of Goat Rodeo. Podcast theme by David Priess, featuring music created using Groovepad.Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.

The British royal family and UK intelligence operations have been linked since Queen Victoria's time, involving everything from personal protection to matters of international intrigue to concerns about blackmail. Professor and author Rory Cormac, who has conducted extensive research on the British intelligence services, has recently added to his corpus of writings in the field with a book about the modern royal-intelligence intersection: Crown, Cloak, and Dagger, co-authored with Richard Aldrich.David Priess and Rory discussed the difference in US and UK education about the royal family; intelligence foundations during the reign of the first Elizabeth; why it fell apart under her successor; the seeds of modern intelligence under Victoria; the involvement of UK intelligence officers in the death of Grigori Rasputin; the challenges and advances involving intelligence and Edward VII, George V, and Edward VIII; the contributions of George VI to the Allies' massive D-Day deception operations; Elizabeth II's reading of intelligence reports; Soviet spy Anthony Blunt's close relationship with the royal family; Elizabeth's role as a diplomatic "helper;" the exposures of Charles III and Prince Willliam to intelligence; why Clement Attlee was an underappreciated prime minister; and more.Among the works mentioned in this episode:The book Crown, Cloak, and Dagger by Richard J. Aldrich and Rory CormacThe book How To Stage a Coup by Rory CormacChatter is a production of Lawfare and Goat Rodeo. This episode was produced and edited by Cara Shillenn of Goat Rodeo. Podcast theme by David Priess, featuring music created using Groovepad. Hosted on Acast. See acast.com/privacy for more information.

This week, Hallie has written a quiz all about works (mostly books) that were adapted into other works (mostly movies)! It is a very hard quiz. Justin gets big mad. We also talk about children's literature, soccer, and some recent history!2:37: Q1 (Times & Places): How One Man Saved the British Monarchy is the subtitle of a 2010 non-fiction book about George VI that was adapted into what 2010 film directed by Tom Hooper?13:01: Q2 (Arts & Literature): What 1963 book, written and illustrated by Maurice Sendak, was adapted into a 2009 film with some of the large creatures voiced by James Gandolfini, Catherine O'Hara, and Forest Whitaker?18:45: Q3 (Everything Else): The Accidental Billionaires, the book that was the basis for the film The Social Network, was written by Ben Mezrich in consultation with what Facebook co-founder who broke contact with Mezrich after settling his lawsuit with Mark Zuckerberg?30:10: Q4 (Movies & TV): The Godfather was adapted from a 1969 novel of the same name by what author who also co-wrote the screenplay with Francis Ford Coppola?36:34: Q5 (Sports & Games): The 2005 film Fever Pitch completely changed the subject of the 1992 essay it was based on.  While the film is about the main character's obsession with the Boston Red Sox, the essay was about the author's obsession with which Premier League team based in Holloway, North London?42:41: Q6 (Music): Victor Hugo's novel, Les Miserables, was adapted as a stage musical.  Name either the composer or lyricist who also co-wrote the book for the musical.Theme music: "Thinking it Over" by Lee Rosevere, licensed under CC BY 2.0E-Mail: quizandhers@gmail.com Facebook: https://www.facebook.com/quizandhers/Twitter: https://twitter.com/quizandhersInstagram: https://www.instagram.com/quizandhers/3 Beers In Podcast: https://www.3beersinpodcast.com/Brain Ladle Podcast: http://www.brainladletrivia.com/Cormac on Twitter: @CormacsThoughts

Three kings in one year and the Spanish civil war

This episode brings the marriage of King George VI and Queen Elizabeth, the Queen Mother to life, from the uproar of King Edward VIIIs abdication to the challenges of the Second World War. How did they shore up public faith in the monarchy? And how did they raise their daughters through such an uncertain period?Dan is joined by Sally Bedell Smith, a leading historian of the monarchy and author of George VI and Elizabeth: The Marriage That Saved the Monarchy. She was granted special access by Queen Elizabeth II to her parents' letters and diaries and shed some light on these questions and more.Produced by James Hickmann and edited by Tomos Delargy.Discover the past on History Hit with ad-free original podcasts and documentaries released weekly presented by world-renowned historians like Dan Snow, Suzannah Lipscomb, Lucy Worsley, Matt Lewis, Tristan Hughes and more. Get 50% off your first 3 months with code DANSNOW. Download the app or sign up here.We'd love to hear from you! You can email the podcast at ds.hh@historyhit.com.You can take part in our listener survey here. Hosted on Acast. See acast.com/privacy for more information.

Today's episode is a three-way interview as Alexander Larman joins to talk about the Duke & Duchess of Windsor and their treasonous activities both leading up to, and during the war. Tessa Dunlop joins me to chat with Alex about their Nazi connections, the rise of George VI from diffident spare to widely admired monarch, as well as plenty more.Alexander Larman LinksThe Windsors at War: The Nazi Threat to the CrownTessa Dunlop LinksElizabeth & Philip: A Story of Young Love, Marriage and Monarchy

May 12, 1937. The coronation of George VI brings an end to the Abdication Crisis that shook the foundations of the British state.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In 1970, King Charles III warned about the negative effects of plastic on the environment and the dangers of climate change, but was mocked for his views. He built an eco-town and supported “organic” farming long before the word became fashionable.This episode is sponsored by BetterHelp. Visit betterhelp.com/DUBIOUS today to get 10% off your first month of therapy. The UK has a new monarch: King Charles III's coronation was watched by millions across the globe. Camilla became Queen Consort and William, the heir to the throne, became Duke of Windsor. Prince George is second in line to the throne. If you like our content, but want to listen to our episodes AD-FREE, please become a patron. Whether you're a monarchist or not, you have to admit that Elizabeth Regina II – Lilibet et as Prince Phillip used to call her - was a magnificent monarch and Uk's longest reigning monarch. 1, 2 When her father George VI died in February 1952, Elizabeth—then 25 years old—became queen regnant of seven independent Commonwealth countries: the United Kingdom, Canada, Australia, New Zealand, South Africa, Pakistan, and Ceylon (known today as Sri Lanka), as well as Head of the Commonwealth. During her reign, she had 15 Prime Ministers, from Winston Churchill to Liz Truss. King Charles III has a passion for gardening, plants and green spaces and was way ahead of his time with his care for the environment, a worry he expressed in his 1970 speech in which he warns about plastic, pollution and the dangers of climate change. He also loves sustainable architecture and built an eco-town called Pundbury on the outskirts of Dorchester, in Dorset. He enjoys organic farming and products, which he has been growing since before the word “organic” became fashionable. 3, 4, 5  1. Anneta Konstantindes. American tourists once met the Queen and had no idea who she was — so she played a joke on them. Business Insider India. June 2022. ⇤2. British Royal Films Youtube channel. Queen Elizabeth cracks a joke!. Youtube. March 2009. ⇤3. The Royal Family Youtube channel. The Prince of Wales reflects on 50 years since his first speech on the environment. Youtube. February 2020. ⇤4. Royal Institue of British Architects Facebook page. Next month marks 30 years since Prince Charles's (in)famous ‘Carbuncle' speech.... Facebook. April 2014. ⇤5. A speech by HRH The Prince of Wales at the 150th anniversary of the Royal Institute of British Architects (RIBA), Royal Gala Evening at Hampton Court Palace. Prince of Wales Official Website. May 1984. ⇤

Episode 67 is a special: A Brief History of Coronation Broadcasts (or Broadcast Coronations) How the BBC has brought two such ceremonies to the air, as they (and others) now tackle a third, for King Charles III. We'll tell you all about the two previous on-air crownings, of George VI and Elizabeth II, both on radio and TV - but first we'll go back to the four monarchs before them: Queen Victoria's (1938) used a certain technological advancement to bring more eyes than ever before to a coronation procession. Edward VII's (1902) had a film made of it, though a simulation using actors. (Had director Georges Méliès got his way, it would have included Queen Victoria's ghost!). Edward's wife Princess Alexandra had a few links to broadcasting too. Watch Georges Méliès' film The Coronation of Edward VII (1902): https://youtu.be/ME6z810Zre8 George V's (1911) was filmed for newsreel. That newsreel footage: https://www.youtube.com/watch?v=i8SoUPxIkZ8  Edward VIII's (1937) was planned then canned after his (broadcast) abdication. George VI's (1937) took the same coronation day, same plans, changed the name etched onto the crown (I think that's how they do it), and his state occasion made it to radio and TV: the first broadcast coronation. We'll meet the engineer who taught him to conquer his stammer for the microphone, but had to sleep in Westminster Abbey. And learn how many (or how few) cameras were available to use. You probably have more in your house right now... BBC radio's coronation broadcast - Stuart Hibberd, John Snagge etc: https://www.youtube.com/watch?v=TWPE4GIp9kE - thanks to Random Radio Jottings blog BBC website inc making-of film: https://www.bbc.com/historyofthebbc/100-voices/birth-of-tv/two-coronations/ George VI's coronation speech: https://www.youtube.com/watch?v=WfD14kL2XAk Elizabeth II's (1953) was "the OB of all OBs", aka "C-Day". Hear from Richard Dimbleby, John Snagge... and learn why we should toast him at hymn 9 (don't worry - there aren't that many)  The complete ceremony, televised: https://www.youtube.com/watch?v=52NTjasbmgw Coronation Day Across the World, courtesy of Random Radio Jottings/Andy Walmsley: https://www.youtube.com/watch?v=7Jg4uK2DGFA BBC website on Elizabeth II's coronation, inc behind-the-scenes film: https://www.bbc.com/historyofthebbc/anniversaries/june/coronation-of-queen-elizabeth-ii/ Charles III's (2023): Well that's not history enough yet for our liking... Here's a nice guide to the televised coronation, past and present: https://news.sky.com/story/the-kings-coronation-will-be-televised-and-much-more-how-ways-to-watch-have-changed-since-the-queen-was-crowned-12848891 === Like this episode? Do share it. Or rate and review us. Or chip in on patreon.com/paulkerensa (or ko-fi.com/paulkerensa) to help fund like this. Thanks! === This podcast is nothing whatsoever to do with the BBC. We believe the clips used are no longer in copyright due to age. It is possible that some somehow retain BBC or Crown copyright, in which case the content belongs to them, and certainly not us. It's all here purely to inform, educate and entertain. For more on this deep dive project into broadcasting's back-story, see paulkerensa.com/oldradio, including details of the live show and novel. Subscribe to get each episode when it lands. NEXT TIME: Major Arthur Corbett-Smith - Reith's maverick rival of 1923. Please stand for the National Anthem. paulkerensa.com/oldradio

In this Bonus Episode, Jessica and Rachel interview royal author Sally Bedell Smith on her new book, "George VI and Elizabeth." Follow us on Instagram @podcastroyal Email us at hellopodcastroyal@gmail.com

EPISODE 1408: In this KEEN ON show, Andrew talks to the author of GEORGE VI AND ELIZABETH, Sally Bedell Smith, about the 20th century royal marriage that , she believes, saved the British monarchy Sally Bedell Smith is the New York Times best-selling author of eight biographies. Her latest, George VI and Elizabeth: The Marriage That Saved the Monarchy (Random House 2023) is the definitive biography of the late Queen Elizabeth II's mother and father, based for the first time on special access to their letters and diaries in the Royal Archives at Windsor Castle that was granted to the author by the Queen. Ms. Smith has also written best-selling biographies of King Charles III, Queen Elizabeth II, Diana, Princess of Wales, John and Jacqueline Kennedy, Bill and Hillary Clinton, Pamela Harriman, and William S. Paley. Translations of her books have been published in more than a dozen countries. An on-air contributor to CNN since 2017 offering analysis and commentary on the British royal family, Ms. Smith was a contributing editor at Vanity Fair from 1996 to 2018. She previously worked at Time and The New York Times, where she was a cultural news reporter. She received the 2012 Washington Irving Medal for Literary Excellence, an award presented by the Saint Nicholas Society of the City of New York, and Elizabeth the Queen won the 2012 Goodreads Choice Award for best book in history and biography. In 2012 Ms. Smith was also the consultant to playwright Peter Morgan on The Audience, his award-winning drama about Queen Elizabeth II starring Helen Mirren. In 2020 she was awarded a Doctor of Humane Letters (L.H.D.) by Wheaton College, Norton, Massachusetts, her alma mater. She received her M.S. from Columbia University. SoSally Bedell Smith is the mother of three children and resides in Washington, D.C. with her husband, Stephen Smith. Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children. Learn more about your ad choices. Visit megaphone.fm/adchoices

As the Second World War raged, King George VI faced not only a battle for the nation's survival, but also for the royal family's reputation. And that reputation came under threat from close quarters, when figures within the royal orbit, including the king's own brother, were either linked with or sympathetic to Nazi Germany. Alexander Larman tells Ellie Cawthorne about the threat these connections posed to Britain's royals, at a moment of national crisis. (Ad) Alexander Larman is the author of The Windsors at War: The Nazi Threat to the Crown (Orion, 2023). Buy it now from Waterstones: http://www.awin1.com/cread.php?awinmid=4746&awinaffid=489797&p=https%3A%2F%2Fwww.waterstones.com%2Fbook%2Fthe-windsors-at-war%2Falexander-larman%2F9781474623933&clickref=historyextra-social-histboty Learn more about your ad choices. Visit podcastchoices.com/adchoices

"the day kings die"

This week we are joined by the Royal Historian, Literary Agent and author of “The Traitor King”, Andrew Lownie who has come on to settle several rages but mainly that EDWARD VIII WAS NOT A NAZI DUPE but an active intriguer with the Nazis. As well as to flatten the idea that he and Wallis Simpson shared this epic love story that would culminate in the sacrifice of a throne.We'll be talking how the Duke of Windsor engaged in plots against Churchill, Chamberlain, George VI and Britain. How we can breathe a heavy sigh of relief that he didn't get to the throne.You can learn more about Andrew's research into Edward VIII by buying a copy of his book “The Traitor King”from the History Rage Bookshop, and you can follow him on Twitter @AndrewLownieYou can follow History Rage on Twitter @HistoryRage and let us know what you wish people would just stop believing using the Hashtag #HistoryRage. You can join our 'Angry Mob' on Patreon as well. £5 per month gets you episodes 3 months in advance, the invite to put questions to future guests, and the coveted History Rage mug. Subscribe at www.patreon.com/historyrage Support the showYou can follow History Rage on Twitter @HistoryRage and let us know what you wish people would just stop believing using the Hashtag #HistoryRage. You can join our 'Angry Mob' on Patreon as well. £5 per month gets you episodes 3 months early, the invite to choose questions, entry into our prize draws and the coveted History Rage mug. Subscribe at www.patreon.com/historyrage

The BBC has had a powerful influence on our musical taste, and in this BBC centenary year, Nicholas Kenyon, a former controller of Radio 3 and director of the Proms, delves into the archives to explore the BBC's role in reviving the centuries of early music from before the 18th century. In five programmes he looks at the rare repertory which the BBC broadcast, from its small beginnings in the 1920s to its acceptance in the mainstream during the 1970s. Drawing on entertaining and illuminating extracts from the BBC archives, with original music recordings, Kenyon shows the way in which early music and period-style performance gradually became part of our musical consciousness and an essential part of our listening. In his second essay, Kenyon explores how by the 1930s the BBC had become a powerful influence on national taste and there were strong voices urging it to do more for British music. In 1934 it broadcast a 13-week series of English music ‘From plainsong to Purcell' curated by the scholar, conductor and editor Sir Richard Terry. He argued for ancient music on the grounds that ‘our forefathers were human beings like ourselves. Music which held human appeal for them cannot be devoid of interest for us.' Terry edited music for broadcast which had never been broadcast before, and some of which, like the sixty secular madrigals of Peter Philips, had never been heard in modern times. Early music came to form a part of national ceremonial like the Coronation of George VI in 1937, with the BBC leading the way in its celebratory concerts. Presented by Nicholas Kenyon Produced by Melissa FitzGerald

A major figure behind his nephew Philip's marriage to Queen Elizabeth II and instrumental in the royal family taking the Mountbatten name, Dickie Mountbatten's career included being Supreme Allied Commander of South East Asia during World War Two and the last Viceroy of India. Once the richest woman in Britain and a playgirl who enjoyed numerous affairs, Edwina Mountbatten emerged from World War Two as a magnetic and talented charity worker loved around the world. From the prize-winning and best-selling historian Andrew Lownie comes a nuanced portrayal of two very unusual people and their complex marriage to mark the 40th anniversary of Lord Mountbatten's assassination by the IRA. From British high society and the South of France to the battlefields of Burma and the Viceroy's House, this is a rich and filmic story whose characters include all the key figures of the Second World War. From Churchill and Montgomery to Roosevelt and Eisenhower; the Royal Family, including the Duke of Windsor, George VI, the Queen, Prince Philip and Prince Charles; to Charlie Chaplin, Noel Coward, Salvador Dali, George Gershwin, Grace Kelly and Merle Oberon.

A major figure behind his nephew Philip's marriage to Queen Elizabeth II and instrumental in the royal family taking the Mountbatten name, Dickie Mountbatten's career included being Supreme Allied Commander of South East Asia during World War Two and the last Viceroy of India. Once the richest woman in Britain and a playgirl who enjoyed numerous affairs, Edwina Mountbatten emerged from World War Two as a magnetic and talented charity worker loved around the world. From the prize-winning and best-selling historian Andrew Lownie comes a nuanced portrayal of two very unusual people and their complex marriage to mark the 40th anniversary of Lord Mountbatten's assassination by the IRA. From British high society and the South of France to the battlefields of Burma and the Viceroy's House, this is a rich and filmic story whose characters include all the key figures of the Second World War. From Churchill and Montgomery to Roosevelt and Eisenhower; the Royal Family, including the Duke of Windsor, George VI, the Queen, Prince Philip and Prince Charles; to Charlie Chaplin, Noel Coward, Salvador Dali, George Gershwin, Grace Kelly and Merle Oberon.

What to expect at Monday's state funeral of Queen Elizabeth II. Adam chats to James Naughtie and Rachel Burden, who are both part of the BBC radio coverage of the day's events, as the nation will say a final farewell to Britain's longest-reigning monarch. They're joined by charity worker Ella Marks MBE who remembers the funeral of George VI and will be attending Monday's ceremony at Westminster Abbey. Today's episode was produced by Tim Walklate with Miranda Slade and Clare Williamson. Emma Crowe is the technical producer and Sam Bonham the assistant editor.

David Pryce-Jones met the King—George VI—when he was six or so. Later, when he was 16, he observed the King’s funeral procession. The crown fell off the coffin, right in front of him. Two years later, he placed a bet on a horse for the Queen—she had handed him a five-pound note and asked him to do it. David Pryce-Jones is a writer: a journalist, a historian, a biographer, a novelist, a memoirist. Source

Jeannette Black turned 104 this past week, a staggering age to have reached. How did she manage this achievement? There is no reasonable explanation, though avoiding sweets may be one of her secrets to longevity. On being presented with a Carvel ice cream birthday cake, she proclaimed it to be, “too sweet”. Or it may be her lifelong embrace of sarcasm and negativity, a sensible outlook given that she has lived through two once-in-a-century pandemics. On the other side of the Atlantic, Queen Elizabeth II died after a reign of over 70 years. Whatever she embodied socially and politically, she did provide a consistent unifying presence for the UK, and was the only monarch most living humans have known. Unless you turned 104 this week, in which case you have lived during the reigns of five sovereigns: George V, Edward VIII, George VI, QEII, and now King Charles III. To put that in mathematical and historical perspective, if you take Jeannette's birth year, 1918 and subtract her 104 years, you land on 1814, when George III was the monarch. Yes, the same George III who was king during the American revolution. In other news this week, it was the 21st anniversary of the September 11th attacks, which provides a moment to remember those lost on that day, and also to stare in disbelief at how those intervening years have turned Mayor Rudy Giuliani from a mostly respected political leader into a crazed nihilistic side show. And Lewis's “Off the Rails” tour returns this week, with a jam-packed circumnavigation of the New England states, and then it's on to Ohio and Indiana next week. Lewis is looking forward to being back on stage and is hoping he will remember his act, as he has left preparations for the shows to the last minute. “The Rant Is Due” is also back, so send in your rants and remember to tune into the live streams this weekend and throughout the upcoming tour. Submit rants to Lewis https://www.lewisblack.com/live Want to see Lewis live? Tickets are available here: https://www.lewisblack.com/tickets Check out Lewis' Grammy-nominated special, Thanks For Risking Your Life https://tlbrecords.lnk.to/LewisWE Subscribe to Lewis Black's Rantcast Apple – https://bit.ly/rantcast Spotify – https://spoti.fi/3oNaPFh Google – https://bit.ly/37Zb35u Amazon – https://amzn.to/37bg8Za Follow Lewis Website – http://www.lewisblack.com Instagram – http://www.instagram.com/thelewisblack Twitter – https://twitter.com/thelewisblack Facebook – https://www.facebook.com/thelewisblack Youtube - https://www.youtube.com/OfficialLewisBlack New episodes arrive every Wednesday via The Laugh Button For advertising opportunities email: advertise@thelaughbutton.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

The year was 1953. Queen Elizabeth II had already succeeded her father, George VI, upon his death in February the year before. On May 1, almost exactly a month before her coronation, the Queen began praying every day and reading private devotions that were specifically written for her by the Archbishop of Canterbury to help her spiritually prepare to become the figurehead of the United Kingdom.  On today's episode, Charles Morris speaks with Catherine Butcher who literally wrote the book on the Queen's faith in Jesus. Moments after the news of Elizabeth's death broke, Charles Morris recorded this conversation with Catherine to talk about Her Majesty's steadfast faith in Christ and the hope she clung to as she went home to be with the Lord. As this second Elizabethan era draws to an end, we pray this conversation will give you insights on the faith of England's longest reigning monarch, while also giving you a sense of hope in the knowledge that all believers can look forward to a time when we will reign forever with Christ. 

The Queen has died.   When those words were heard and repeated, over and over last Thursday, people around the world knew immediately which queen. In fact, few are alive today who can remember a time when she was not on Britain's throne. She lived to 96, not only the longest reigning monarch in British history but the second longest reigning monarch in all of history, surpassed only by King Louis XIV of France, the “Sun King.” Among the many anecdotes that put her life in historical context, Elizabeth II was queen for a full third of the existence of the United States of America as a nation.   When Elizabeth ascended to power, Winston Churchill was the prime minister. Just two days before she died, in a final act of royal duty, Elizabeth received a 15th person into that high office. When she began her rule in 1952, there was a British Empire, and not just in name. Though every nation within the empire would gain independence, she remained head of state of a dozen of them, including Canada, Australia, New Zealand, and other smaller countries around the world.  Elizabeth's historic tenure as queen might have never happened, except for a domestic turmoil that has never quite seemed to leave the House of Windsor alone. Her father, George VI, assumed the throne only because her uncle abdicated it for an illicit romance. Her sister's temperament did not, shall we say, “fit” her royal duties. Her eldest son, now King Charles III, entered a loveless marriage in the midst of his own extramarital affairs, while her second son ruined his place in the world by falling in with Jeffrey Epstein. Her grandson Prince Harry is full of bitter words and accusations about the royal family.  In this way, the royal family was a reflection of changes seen across the Western world during the Queen's reign. Marriage rates in the U.K. have dropped by double digits in the last few decades, and divorces have increased by several orders of magnitude. While the Britain she inherited in her youth famously stood up for liberty and democracy against tyranny, corporate and government powers often enforce conformity and silence. Weekly church attendance in Britain has dropped to less than a million each week in a population of nearly 70 million. Add in technological change, war, globalization, populism, the rise and fall of global powers, and it may be that the Queen's most remarkable achievement was preserving the monarchy as a legitimate institution amidst the flux and chaos of the last few decades.   As one who could, as Kipling once put it, “walk with Kings, nor lose the common touch,” she played the part of elegant empress, with an impish sense of humor and a delightfully ordinary demeanor. As such, Queen Elizabeth was, in many ways, an always-relevant anachronism. She was an incarnation of G.K. Chesterton's call for a “democracy of the dead” or C.S. Lewis' warning against “chronological snobbery.” In an age that confuses change as progress, her life was a reminder that certain truths and duties do not change with the times—eternals that are not subject to our whims or imaginations—but are revealed, at least in part, through the accumulated wisdom of the ages.  In fact, “duty” is the word most commonly used to describe Elizabeth II, as if she inherited her father's sense of it along with the throne. As Bloomberg's Adrian Woolridge noted on Twitter, “The Queen grasped Edmund Burke's great dictum that, for a true conservative, the point of change is to stay the same, at least in the things that really matter. Monarchy is a restraint on modernity or it is nothing.”  She was barely an adult when she declared, “I declare before you all that my whole life, whether it be long or short, shall be devoted to your service and the service of our great imperial family to which we all belong.” Near the end of her life, she reflected back on that promise, “When I was 21, I pledged my life to the service of our people, and I asked for God's help to make good that vow. Although that vow was made in my salad days, when I was green in judgement, I do not regret, or retract, one word of it.”  There are few contentions more despised today than the idea that our rights must be balanced by our duties, but Elizabeth thought of the crown as a calling, a part of something greater than herself. How she carried out those duties in an ever-changing world points to a commitment that goes beyond tradition or even the monarchy. As she put it herself, monarchs do not lead troops into battle or rule from on high anymore. So, she committed to lead by serving, which is of course the way of Jesus, who said the greatest among us are servants. In many of her annual Christmas radio messages, she pointed to Christ as the One she sought to follow and emulate. Leading by serving is one of the things that the New Testament calls the “fruit” of faith.  Having reached the end of her era, it's difficult to imagine what the monarchy will become. As Jake Meador from Mere Orthodoxy observed, “After she and Benedict XVI pass, I think European Christendom will be conclusively gone from this world. Something else will come and God will continue to work. But the loss is still immense.”   Indeed, it is, but what makes a person “great” has not changed. Around the world, followers of Christ are living faithful lives, committed to what God has called them to, in truth and service. Their stage may not be as global or their mistakes as public, but their lives point to the Sovereign who sits on the throne of heaven and earth and whose kingdom shall have no end. That faithfulness is, in God's economy, greatness.  

After 70 years of service to the people of the United Kingdom, the Realms and the Commonwealth, Her Majesty Queen Elizabeth Windsor passed away at 96, surrounded by her family at Balmoral Castle in Scotland.Whether you're a monarchist or not, you have to admit that Elizabeth Regina II – Lilibet et as Prince Phillip used to call her - was a magnificent monarch and also a most capable and beloved mother figure for the British people. She was also The United Kingdom's longest reigning monarch. If you like our content, please become a patron to get our bonus episodes and our public episodes ad-free. 1, 2 Now, the UK has a new king: King Charles III. Camilla became Queen Consort and William, the heir to the throne, is now Duke of Cornwall and will become Duke of Windsor. Prince George is second in line to the throne. When her father George VI died in February 1952, Elizabeth—then 25 years old—became queen regnant of seven independent Commonwealth countries: the United Kingdom, Canada, Australia, New Zealand, South Africa, Pakistan, and Ceylon (known today as Sri Lanka), as well as Head of the Commonwealth. During her reign, she had 15 Prime Ministers, from Winston Churchill to Liz Truss. The Queen's coronation in 1953 and her marriage to Prince Phillip, the birth of her 4 children (King Charles, Princess Anne, Prince Andrew Duke of York and Prince Edward Earl of Wessex), the celebrations of her Silver, Golden, Diamond, and Platinum jubilees in 1977, 2002, 2012, and 2022, are some of the important milestones of her life. She had several residences: Buckingham Palace, Windsor Castle, Balmoral Castle, Holyrood Place, Sandringham Estate, and Hillsborough Castle. King Charles also has several homes: Clarence House, Highgrove, Birkhall and Llwynywermod. King Charles III has a passion for gardening, plants and green spaces and was way ahead of his time with his care for the environment, a worry he expressed in his 1970 speech in which he warns about plastic, pollution and the dangers of climate change. He also loves sustainable architecture and built an eco-town called Pundbury on the outskirts of Dorchester, in Dorset. He enjoys organic farming and products, which he has been growing since before the word “organic” became fashionable. 3, 4, 5, 1. Anneta Konstantindes. American tourists once met the Queen and had no idea who she was — so she played a joke on them. Business Insider India. June 2022. ⇤2. British Royal Films Youtube channel. Queen Elizabeth cracks a joke!. Youtube. March 2009. ⇤3. The Royal Family Youtube channel. The Prince of Wales reflects on 50 years since his first speech on the environment. Youtube. February 2020. ⇤4. Royal Institue of British Architects Facebook page. Next month marks 30 years since Prince Charles's (in)famous ‘Carbuncle' speech.... Facebook. April 2014. ⇤5. A speech by HRH The Prince of Wales at the 150th anniversary of the Royal Institute of British Architects (RIBA), Royal Gala Evening at Hampton Court Palace. Prince of Wales Official Website. May 1984. ⇤

EXPERTS CHRISTOPHE BARBIER Éditorialiste politique Conseiller de la rédaction - « Franc-Tireur » FRANCK FERRAND Directeur de « La Cité de l'Histoire » MARION VAN RENTERGHEM Grand reporter - « L'Express » GEORGINA WRIGHT Directrice du programme Europe - Institut Montaigne ÉRIC ALBERT – En direct de Londres Journaliste - Correspondant à Londres - « Le Monde » Elizabeth II : la fin d'une ère Après 70 ans de règne, Elizabeth II, la reine du Royaume-Uni est morte hier à 96 ans. Depuis l'annonce de son décès les hommages se multiplient dans le pays. Dans la capitale, des milliers de personnes se sont rassemblées devant Buckingham Palace pour rendre hommage à la défunte reine. Le gouvernement britannique est «uni dans son soutien» au nouveau roi Charles III qui a accédé au trône à la suite du décès de sa mère Elizabeth II, a indiqué Downing Street à l'issue d'un Conseil des ministres extraordinaire. Charles III et son épouse Camilla ont atterri à l'aéroport de Northolt, dans l'ouest de Londres. Le roi avait quitté le château de Balmoral en Ecosse en début d'après-midi. Il s'adressera aux Britanniques à 19h heure de Paris lors de sa première allocution télévisée comme souverain, a annoncé Lindsay Hoyle. Ce dernier indique que la séance d'hommages au Parlement serait suspendue "pendant que Sa Majesté le Roi s'adresse à la nation". Le roi sera proclamé demain à 10 heures du matin heure de Londres, au sein du palais St James, a déclaré le palais de Buckingham. Le cercueil d'Elizabeth II sera d'abord été exposé à Holyrod Palace, avant une cérémonie à la Cathédrale St Giles d'Edimbourg et un transfert à Londres en train royal. Il doit arriver à la salle du trône du palais de Buckingham. La dépouille de la reine sera déplacée à Westminster Hall, lieu du Parlement, dans une chapelle ardente ouverte au public, pour trois jours. Au dixième jour après la mort d'Elizabeth II se tiendront ses funérailles à l'abbaye de Westminster. Tout autour de la planète, de nombreux chefs d'Etat et officiels ont réagi à l'annonce de la mort de sa mère Elizabeth II, notamment le président français et le secrétaire général de l'ONU. Le président de la République s'est rendu ce vendredi matin à l'ambassade du Royaume-Uni à Paris. Le président y a signé le registre de condoléances et déposé une rose blanche, symbole du peuple anglais, devant le portrait de la reine. Avec la mort de la souveraine, c'est une page de l'histoire du pays qui se tourne. En 70 ans de règne, elle aura nommé et côtoyé pas moins de 15 Premiers ministres. La dernière, Liz Truss, fut nommé tout juste deux jours avant son décès. Chaque mardi, la reine recevait le chef du gouvernement, qui lui faisait part de ses projets pour le Royaume-Uni et recevait en échange des conseils, que Tony Blair jugeait « extrêmement précieux ». Une très stricte confidentialité entourait ces entretiens. Montée sur le trône à 25 ans, en 1952, après la mort de son père George VI, Elizabeth II a hérité d'un premier ministre historique : Winston Churchill. Pour son départ en 1955, la reine et le prince Philippe dîneront à Downing Street. Une rumeur tenace assure que le premier ministre préféré d'Elizabeth II fut le travailliste Harold Wilson, en poste de 1964 à 1970, puis de 1974 à 1976. La relation entre la reine et Margaret Thatcher aura, elle, fait les gros titres des tabloïds britanniques. La dame de fer gouvernera 11 ans et libéralisera l'économie du royaume, entraînant parfois des tensions avec Elizabeth II. Ses relations auront été beaucoup plus cordiales avec Tony Blair, élu en 1997. Ces dernières années, le Brexit aura entrainé une grande instabilité politique dans le pays et Elizabeth II aura côtoyé tour à tour David Cameron, Theresa May, Boris Johnson et enfin Liz Truss. Elizabeth II était également la cheffe de la famille royale. De son mariage avec Philip Mountbatten seront nés quatre enfants : Charles, Anne, Andrew et Edward. Ils donneront à Elizabeth et à Philip huit petits-enfants. Les tensions et soubresauts au sein de sa famille n'ont pas manqué, des relations avec sa sœur Margaret, à celles entre son fils héritier Charles et Lady Diana ou encore du prince Harry avec Meghan Markle. Avec, toujours, le peuple britannique et le monde pour témoins. DIFFUSION : du lundi au samedi à 17h45 FORMAT : 65 minutes PRÉSENTATION : Caroline Roux - Axel de Tarlé REDIFFUSION : du lundi au vendredi vers 23h40 RÉALISATION : Nicolas Ferraro, Bruno Piney, Franck Broqua, Alexandre Langeard, Benoît Lemoine PRODUCTION : France Télévisions / Maximal Productions Retrouvez C DANS L'AIR sur internet & les réseaux : INTERNET : francetv.fr FACEBOOK : https://www.facebook.com/Cdanslairf5 TWITTER : https://twitter.com/cdanslair INSTAGRAM : https://www.instagram.com/cdanslair/

Queen Elizabeth II has died after 70 years on the British throne. Born in April 1926, Elizabeth Windsor became heir apparent, aged 10, when her uncle Edward VIII abdicated and her father George VI became king. In 1947 – She married navy lieutenant Philip Mountbatten, a Greek Prince, at London's Westminster Abbey before being crowned there in 1953 in the world's first televised coronation. In this reflection of her life and illustrious reign, Dan is joined by historian Professor Kate Williams to look at The Queen's childhood, adolescence in WWII and the upbringing that made her a monarch admired around the world.Producer: Charlotte LongAudio editor: Dougal Patmore Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Queen Elizabeth II has died after 70 years on the British throne.Born in April 1926, Elizabeth Windsor became heir apparent, aged 10, when her uncle Edward VIII abdicated and her father George VI became king.In 1947 – She married navy lieutenant Philip Mountbatten, a Greek Prince, at London's Westminster Abbey before being crowned there in 1953 in the world's first televised coronation.In this special episode of our sister podcast, Dan Snow's History Hit, Dan is joined by historian Kate Williams to look at The Queen's childhood, adolescence in WWII and the upbringing that made her a monarch admired around the world.Producer: Charlotte Long Audio editor: Dougal Patmore Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Queen Elizabeth II has died after 70 years on the British throne. Born in April 1926, Elizabeth Windsor became heir apparent, aged 10, when her uncle Edward VIII abdicated and her father George VI became king. In 1947 – She married navy lieutenant Philip Mountbatten, a Greek Prince, at London's Westminster Abbey before being crowned there in 1953 in the world's first televised coronation. In this special episode of Dan Snow's History Hit, Dan is joined by historian Kate Williams to look at The Queen's childhood, adolescence in WWII and the upbringing that made her a monarch admired around the world.Producer: Charlotte LongAudio editor: Dougal Patmore Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Queen Elizabeth II has died after 70 years on the British throne.Born in April 1926, Elizabeth Windsor became heir apparent, aged 10, when her uncle Edward VIII abdicated and her father George VI became king.In 1947 – She married navy lieutenant Philip Mountbatten, a Greek Prince, at London's Westminster Abbey before being crowned there in 1953 in the world's first televised coronation.In this special episode of Dan Snow's History Hit, Dan is joined by historian Kate Williams to look at The Queen's childhood, adolescence in WWII and the upbringing that made her a monarch admired around the world.Producer: Charlotte Long Audio editor: Dougal Patmore Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Queen Elizabeth II has died after 70 years on the British throne. Born in April 1926, Elizabeth Windsor became heir apparent, aged 10, when her uncle Edward VIII abdicated and her father George VI became king. In 1947 – She married navy lieutenant Philip Mountbatten, a Greek Prince, at London's Westminster Abbey before being crowned there in 1953 in the world's first televised coronation. In this special episode of our sister podcast, Dan Snow's History Hit, Dan is joined by historian Kate Williams to look at The Queen's childhood, adolescence in WWII and the upbringing that made her a monarch admired around the world.Producer: Charlotte Long Audio editor: Dougal Patmore Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Photo: No known restrictions on publication. @Batchelorshow 2/2: What if Hitler came to defeated London to Crown George VI? 2/2: #LitCrit:  Widowland by C .J. Carey.  Originally posted July 2, 2021) : https://www.amazon.com/Widowland/dp/1529411998/ref=sr_1_1?dchild=1&keywords=Widowland&qid=1625274350&s=books&sr=1-1

Photo: No known restrictions on publication. @Batchelorshow 1/2: What if Hitler came to defeated London to Crown George VI? 1/2: #LitCrit:  Widowland by C .J. Carey.  Originally posted July 2, 2021) : https://www.amazon.com/Widowland/dp/1529411998/ref=sr_1_1?dchild=1&keywords=Widowland&qid=1625274350&s=books&sr=1-1

The detailed secret plan of what happens on D-Day: the day Queen Elizabeth II passes.The Queen herself was actively involved the planning of her own funerial ceremonies. Buckingham Palace prefers to use code names for all royal deaths. The last time a British monarch died 70 years ago, the demise of George VI was communicated in code to Buckingham Palace, to prevent switchboard operators from finding out. The code was “Hyde Park Corner”. If you like our content please become a patron to get our bonus episodes, as well as our public episodes ad-free! While everyone loves the Queen and wishes Her Majesty would live forever, one has to face the facts: Queen Elizabeth is 96 years old, she is in good health for her age but she does have some mobility issues, as any human would at 96. She had COVID-19 in February 2022, she recovered but she did say that covid leaves 'one feeling very tired and exhausted'. During the Platinum Jubilee celebrations, The Queen pulled out of some of the events due to “discomfort”. 1 The day she passes was code-named D-Day, and every day after that until she is taken to her last resting place. 2, 3 The second Her Majesty The Queen draws her last breath, Prince Charles of Wales becomes King. The British prime Minister is announced of her demise, he will hear the phrase “London Bridge is down”. From the Foreign Office's Global Response Centre, in an undisclosed location in London, the news will go out to the 15 governments outside the UK where the Queen is also the head of state, and the 36 other nations of the Commonwealth. 4 The BBC, will activate RATS the “radio alert transmission system”, a cols war system that is used only in case of national emergencies or the monarch's death. On D Day +1, the proclamation of King Charles will take place – that is part of operation SPRING TIDE. His coronation will most likely happen about a year later though. The queen will lie in state at the Palace of Westminster for three days, in an operation codenamed FEATHER. D-Day +9 is the actual day of the funeral, and everything will be closed in the UK - including the stock market – as this will be a day of national mourning. The nation will be silent. The state funeral itself will be held at Westminster Abbey. After the state funeral at Westminster Abbey, the queen's body will be brought home to Windsor Castle outside of London, where many members of the royal family over the centuries have been buried at St. George's Chapel. Once Charles is king, the line of succession will change. William will move up and take the position of heir apparent. 1. NBC News. Queen To Skip Jubilee Event After Feeling “Discomfort”. Youtube. June 2022. ⇤2. Sam Knight. 'London Bridge is Down': The Secret Plan for the Days after the Queen's Death. The Guardian. March 2017. ⇤3. Alex Wickham. Britain's Plan for When Queen Elizabeth II Dies, Politico. September 2021. ⇤4. Inside “Operation London Bridge,” the Detailed Plan for When Queen Elizabeth II Dies. Cosmopolitan. June 2022. ⇤

…and more on today’s CrossPolitic Daily News Brief. My name is Toby Sumpter and today is Friday, June 3, 2022. This year our national conference is in Knoxville, TN October 6th-8th. The theme of this year’s conference is Lies, Propaganda, Storytelling and the Serrated Edge. Satan is the father of lies, and the mother of those lies is a government who has rejected God. We have especially been lied to these last two years, and the COVIDpanic has been one of the central mechanisms that our government has used to lie to us and to grab more power. Because Christians have not been reading their bibles, we are susceptible to lies and weak in our ability to fight these lies. God has given us His word to fight Satan and his lies, and we need to recover all of God’s word, its serrated edge and all. Mark your calendars for October 6th-8th, as we fight, laugh and feast with fellowship, beer and Psalms, our amazing lineup of speakers, hanging with our awesome vendors, meeting new friends, and more. Early bird tickets are available now, but will be gone before you know it! Sign up now at flfnetwork.com/knoxville2022 Tulsa police report that a gunman, who killed four people at a medical building in the Oklahoma city, went to the facility to kill a doctor he blamed for the pain he experienced after surgery. The gunman, identified as Michael Lewis, entered a building on the St. Francis Health System campus with an AR-15-style weapon and opened fire, killing two doctors and two other people, Tulsa Police Chief Wendell Franklin said at a news briefing. The gunman apparently then turned the gun on himself. This is of course tragic and horrific, but the question I have is how many other shootings happened this week in Chicago, LA, or NYC? All of them are tragic and horrific, but there certainly seems to be a selective bias related to how we report shootings, and the highlighted ones are calculated to try to steer public opinion and outrage toward blaming guns and gun laws rather than recognizing that we have something rotten in our culture, something rotten in our souls. Matt Walsh released a new documentary this week named What is a Woman? https://twitter.com/SethDillon/status/1532208535974645760?s=20&t=tSdjbpEWyoI7i4WFbtPpzw Play full clip https://www.dailymail.co.uk/news/article-10875017/Pediatrician-says-prepubescent-kids-ready-HRT-ask-new-documentary.html The documentary shows doctors claiming prepubescent children are ready to change genders 'whenever they ask for it' and claiming they can safely 'pause' hormone development 'like music'. The documentary, What Is A Woman, aired last night on The Daily Wire at 9pm. It sees filmmaker and author Matt Walsh asking trans activists and doctors to define what a woman is through the lens of today's political and sociological climate. Many fail to give a straight answer. In the trailer for the film, Walsh prompts giggles from African tribesmen by asking them if a 'man can become a woman' and challenging protesters at the Women's March over their idea of what a female is. In their sit-down, pediatric professor Dr. Michelle Forcier says kids are ready for 'medical affirmation when they ask for it' - even if it's before they have reached puberty. 'Medical affirmation begins when the patient says they're ready for it. Play Clip: Quite apart from the alarming medical damage being done by people who are basically experimenting on children – “kiddos,” everyone needs to keep their eye on the ball. The goal in all of this is to lower the age of consent. Pedophilia is coming people. If children can ask for surgeries and puberty blockers because they want to be a different sex, and if judges determine that they have that “fundamental right,” there is absolutely no reason why they cannot be preyed upon by older men or women and have that fundamental right. This is why the increasing rhetoric of “grooming” and “groomers” is exactly right, and you shouldn’t let up. June is Groomer Month. The connection between sexual perversion, particularly homosexuality, and pedophilia is historic and well documented. Lies, Propaganda, Story Telling, and the Serrated Edge: https://spectatorworld.com/topic/cheers-tattoos-and-the-end-of-metoo-at-the-depp-verdict/ A jury has found both Amber Heard and Johnny Depp liable for defamation in their lawsuits against each other. The jury awarded significantly more damages to Depp, a legal win for the actor. Depp sued Heard, his ex-wife, for defamation over a 2018 op-ed she wrote for The Washington Post in which she described herself as a “public figure representing domestic abuse.” Though Depp was not named in the article, he claims it cost him lucrative acting roles. Heard countersued her ex-husband for defamation over statements Depp’s attorney made about her abuse claims. The jury found that Heard defamed Depp in three separate statements in The Washington Post piece, and that Depp defamed Heard with one statement his attorney made. Depp was awarded $15 million to Heard’s just $2 million. But what the Spectator and others are noting is that this might be one of the most high profile cases where a man won a court case against a woman on the topic of abuse. One woman outside the courthouse after the verdict said, “The #MeToo movement was very serious, but it lost its value,” she said. “Not everybody was truthful.” She added, “Depp did great things for men by coming forward… Even if Depp did lose, he won in everyone else’s eyes.” While the Depp Heard case seems a bit gauche, the SBC is embroiled in a current controversy surrounding accusations of abuse and cover ups. But there are signs of some sanity beginning to emerge even here: one Christian attorney Matt Martens tweeted Thursday: “The abused parishioner is due a process that condemns the guilty. The accused minister is due a process that protects the innocent. Both the abused and the accused are due a fair process. Love your abused and accused neighbors as yourself. The point of due process isn’t process for the sake of process. It’s not process so we can all feel better when we judge. The point of process is accuracy. Good process is how we reach accurate results. And accuracy is the core of justice in matters of judgment.” While this kind of sanity is not yet going viral, the fact that it garnered a bit of attention was noteworthy. Gold River Trading Co. Are you tired of buying sugary drinks and coffee from large woke corporations? Throw a tea party! Gold River Trading Co. is an American company that offers premium alternatives for Americans who enjoy a delicious cup of tea. Start your day with Gold River’s invigorating American Breakfast Blend, cool down with a pitcher of crisp & refreshing Iced Tea, or unwind with Chamomile Herbal tea. Explore a variety of high-quality blends and enjoy a healthy, flavorful alternative from an American company that shares your values. Go to goldriverco.com and save 10% off all orders using discount code CROSSPOLITIC at checkout. Queen Elizabeth II marks 70 years on the throne with a four-day celebration. Her Majesty the Queen is the first British monarch to celebrate a Platinum Jubilee. A beaming Queen Elizabeth waved to cheering crowds massed outside Buckingham Palace on Thursday as Britain kicked off four days of pomp, parties and parades to celebrate her record-breaking 70 years on the British throne. Tens of thousands of royal supporters waving flags lined the streets of London for a military parade at the start of the four-day Platinum Jubilee. Millions of people across Britain and the world were expected to watch the festivities, join street parties and light beacons in honour of the 96-year-old queen. Elizabeth has been on the throne for longer than any of her predecessors, and is the third-longest reigning monarch ever of a sovereign state. Opinion polls show she remains hugely popular and respected among British people. The celebrations began with the Trooping the Colour, a military parade held annually to mark the queen's official birthday, where 1,500 soldiers marched to military music in ceremonial uniforms of scarlet tunics and bearskin hats. Later the crowds moved to the Mall, the grand boulevard running up to Buckingham Palace, where in brilliant sunshine they cheered and waved Union flags while a display of modern and historic planes took place overhead. Fifteen Typhoon jets spelled out the number 70. Thursday marks not only the start of the Jubilee, but also the 69th anniversary of the coronation of Elizabeth, who became queen on the death of her father George VI in February 1952. Psalm of the Day: Psalm 100 – Matthew David Montegomery Psalms for Singing https://open.spotify.com/track/4n0Pc3FB7JV1bLprizvOxF?si=fcbed6bdc32843a7 Play 0:00-0:59 Amen! This is Toby Sumpter with CrossPolitic News. Remember you can always find the links to our news stories and these psalms at crosspolitic dot com – just click on the daily news brief and follow the links. Or find them on our App: just search “Fight Laugh Feast” in your favorite app store and never miss a show. If this content is helpful to you, would you please consider becoming a Fight Laugh Feast Club Member? We are building a cancel-proof Christian media platform, and we can’t do it without your help. Join today and get a $100 discount at the Fight Laugh Feast conference in Knoxville, TN Oct. 6-8, and have a great day.