Podcast appearances and mentions of Matthew Arnold

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

Today's Topics: 1) Gospel - Mark 4:21-25 - Jesus said to His disciples, “Is a lamp brought in to be placed under a bushel basket or under a bed, and not to be placed on a lampstand? For there is nothing hidden except to be made visible; nothing is secret except to come to light. Anyone who has ears to hear ought to hear.” He also told them, “Take care what you hear. The measure with which you measure will be measured out to you, and still more will be given to you. To the one who has, more will be given; from the one who has not, even what he has will be taken away.” Bishop Sheen quote of the day 2) Matthew Arnold on his new apostolic work 3) LA Fires show liberal, socialist policies have failed... again https://www.tfp.org/la-fires-show-liberal-socialist-policies-have-failed-again/ 4) To President Trump: Life begins at conception https://www.knightsrepublic.com/single-post/to-the-president-god-saved-your-life-to-save-the-unborn

The complete audiobook is available for purchase at Audible.com: https://n9.cl/ukmnm Peele Castle and Other Poems By William Wordsworth Introduction by Evan Blackmore Narrated by Evan Blackmore This project is a recording of 43 poems on themes of hardship and bereavement, which are commonly included in Wordsworth anthologies (Matthew Arnold, Palgrave, etc.) The breadth and depth of Wordsworth's feelings went far beyond his own personal experience. When he looked back at other times—at the troubles of the Reformation or the religious persecutions under Charles II—he thought of the many different people who were affected and felt for them all. And when he traveled to other places—for instance, when he traveled through Scotland and wrote the poems collected in Yarrow Revisited—his mind lingered in the dwellings and the ruins, and felt for the people who had lived there too.

Today's Topics: 1, 2, 3, 4) Matthew Arnold joins Terry Gospel - LK 11:42-46 - The Lord said: “Woe to you Pharisees! You pay tithes of mint and of rue and of every garden herb, but you pay no attention to judgment and to love for God. These you should have done, without overlooking the others. Woe to you Pharisees! You love the seat of honor in synagogues and greetings in marketplaces.   Woe to you! You are like unseen graves over which people unknowingly walk.” Then one of the scholars of the law said to Him in reply, “Teacher, by saying this You are insulting us too.” And He said, “Woe also to you scholars of the law! You impose on people burdens hard to carry, but you yourselves do not lift one finger to touch them.” Memorial of Saint Margaret Mary of Alacoque, Virgin Memorial of Saint Hedwig, Religious Saints Margaret Mary and Hedwig, pray for us! Bishop Sheen quote of the day

Today's Topics: 1, 2, 3, 4)  Matthew Arnold joins Terry Gospel - Lk 10:13-16  - Jesus said to them, "Woe to you, Chorazin! Woe to you, Bethsaida! For if the mighty deeds done in your midst had been done in Tyre and Sidon, they would long ago have repented, sitting in sackcloth and ashes. But it will be more tolerable for Tyre and Sidon at the judgment than for you. And as for you, Capernaum, 'Will you be exalted to heaven? You will go down to the netherworld.' Whoever listens to you listens to Me. Whoever rejects you rejects Me. And whoever rejects Me rejects the One Who sent Me." Bishop Sheen quote of the day

Today's poem demonstrates that, unlike Arnold's sideburns, loving the Bard never goes out of style. Although remembered now for his elegantly argued critical essays, Matthew Arnold, born in Laleham, Middlesex, on December 24, 1822, began his career as a poet, winning early recognition as a student at the Rugby School where his father, Thomas Arnold, had earned national acclaim as a strict and innovative headmaster. Arnold also studied at Balliol College, Oxford University. In 1844, after completing his undergraduate degree at Oxford, he returned to Rugby as a teacher of classics.After marrying in 1851, Arnold began work as a government school inspector, a grueling position which nonetheless afforded him the opportunity to travel throughout England and the Continent. Throughout his thirty-five years in this position Arnold developed an interest in education, an interest which fed into both his critical works and his poetry. Empedocles on Etna (1852) and Poems (1853) established Arnold's reputation as a poet and, in 1857, he was offered a position, which he accepted and held until 1867, as Professor of Poetry at Oxford. Arnold became the first professor to lecture in English rather than Latin. During this time Arnold wrote the bulk of his most famous critical works, Essays in Criticism (1865) and Culture and Anarchy (1869), in which he sets forth ideas that greatly reflect the predominant values of the Victorian era.Meditative and rhetorical, Arnold's poetry often wrestles with problems of psychological isolation. In “To Marguerite—Continued,” for example, Arnold revises John Donne's assertion that “No man is an island,” suggesting that we “mortals” are indeed “in the sea of life enisled.” Other well-known poems, such as “Dover Beach,” link the problem of isolation with what Arnold saw as the dwindling faith of his time. Despite his own religious doubts, a source of great anxiety for him, in several essays Arnold sought to establish the essential truth of Christianity. His most influential essays, however, were those on literary topics. In “The Function of Criticism” (1865) and “The Study of Poetry” (1880) Arnold called for a new epic poetry: a poetry that would address the moral needs of his readers, “to animate and ennoble them.” Arnold's arguments, for a renewed religious faith and an adoption of classical aesthetics and morals, are particularly representative of mainstream Victorian intellectual concerns. His approach—his gentlemanly and subtle style—to these issues, however, established criticism as an art form, and has influenced almost every major English critic since, including T. S. Eliot, Lionel Trilling, and Harold Bloom. Though perhaps less obvious, the tremendous influence of his poetry, which addresses the poet's most innermost feelings with complete transparency, can easily be seen in writers as different from each other as W. B. Yeats, James Wright, Sylvia Plath, and Sharon Olds. Late in life, in 1883 and 1886, Arnold made two lecturing tours of the United States.Matthew Arnold died in Liverpool on April 15, 1888.-bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Send us a textThe full text of this podcast, including the links mentioned, can be found in the transcript of this edition or at the following link:https://andrewjbrown.blogspot.com/2024/09/far-back-through-creeks-and-inlets.htmlPlease feel free to post any comments you have about this episode there.The Cambridge Unitarian Church's Sunday Service of Mindful Meditation can be found at this link:https://www.cambridgeunitarian.org/morning-service/ Music, "New Heaven", written by Andrew J. Brown and played by Chris Ingham (piano), Paul Higgs (trumpet), Russ Morgan (drums) and Andrew J. Brown (double bass) Thanks for listening. Just to note that all the texts of these podcasts are available on my blog. You'll also find there a brief biography, info about my career as a musician, & some photography. Feel free to drop by & say hello. Email: caute.brown[at]gmail.com

Today's Topics: 1) Matthew Arnold joins Terry Gospel - LK 7:36-50 - A certain Pharisee invited Jesus to dine with him, and He entered the Pharisee's house and reclined at table. Now there was a sinful woman in the city who learned that He was at table in the house of the Pharisee. Bringing an alabaster flask of ointment, she stood behind Him at His Feet weeping and began to bathe His Feet with her tears. Then she wiped them with her hair, kissed them, and anointed them with the ointment. When the Pharisee who had invited Him saw this he said to himself, “If this Man were a prophet, He would know who and what sort of woman this is who is touching Him, that she is a sinner.” Jesus said to him in reply, “Simon, I have something to say to you.” “Tell me, Teacher,” he said. “Two people were in debt to a certain creditor; one owed five hundred days' wages and the other owed fifty. Since they were unable to repay the debt, he forgave it for both. Which of them will love him more?” Simon said in reply, “The one, I suppose, whose larger debt was forgiven.” He said to him, “You have judged rightly.” Then He turned to the woman and said to Simon, “Do you see this woman? When I entered your house, you did not give Me water for My Feet, but she has bathed them with her tears and wiped them with her hair. You did not give Me a kiss, but she has not ceased kissing My Feet since the time I entered. You did not anoint My Head with oil, but she anointed My Feet with ointment. So I tell you, her many sins have been forgiven; hence, she has shown great love. But the one to whom little is forgiven, loves little.” He said to her, “Your sins are forgiven.” The others at table said to themselves, “Who is This Who even forgives sins?” But He said to the woman, “Your faith has saved you; go in peace.” Memorial of Saint Januarius, Bishop and Martyr Saint Januarius, pray for us! Bishop Sheen quote of the day

Heartache and disappointment consumed the coronial inquest on its final day. The mothers of Rachel McCrow and Matthew Arnold deliver emotional statements, sharing the many “what ifs” that still haunt them from that day, and the critical questions that remain unanswered. In this episode, new details come to light around radio blackspots, body worn cameras, the Arnold family's agonising five-hour wait for answers, and Rachel McCrow's final message. And as Internal Investigations hone in on opportunities for improvement, the families are demanding more be done; fighting for Matt and Rachel's legacy to be one of change, so their sacrifice will protect others.See omnystudio.com/listener for privacy information.

A Queensland coroner is investigating the motivations of Gareth, Nathaniel and Stacey Train, who killed constables Matthew Arnold and Rachel McCrow and a neighbour, Alan Dare, at their remote property in Wieambilla. So far, the testimonies have included a forensic psychiatrist and an extremism academic. Queensland state reporter Andrew Messenger speaks to Tamsin Rose about the recommendations that have been made by police and experts to prevent a repeat of this tragedy You can support the Guardian and the Full Story podcast here

The first witness takes the stand; Queensland Detective Inspector Sue Newton, who led the 16-month-long police investigation.  Her evidence, and never-seen-before photos, take us inside the Train's property and house, revealing the weapons, the hiding places and some inexplicably bizarre items. The police investigation lays bare the Train's depraved actions, stripping the gear from the fallen officers bodies, and haunting images captured on one of those officers body worn cameras finally reveals who fired the fatal shots that killed Constable Rachel McCrow and Matthew Arnold.  In this podcast episode, host Melissa Downes is joined by producer Jess Lodge to break down the Detective Inspector's evidence.See omnystudio.com/listener for privacy information.

Chilling evidence was played to the Coroners Court on the opening day of the coronial inquest into the Wieambilla massacre, unveiling the tragic moments that led to the deaths of officers Rachel McCrow and Matthew Arnold, and neighbour Alan Dare. Footage from police body cameras established a clear timeline of the ambush, capturing the unfolding tragedy - and the heroic actions of the four young officers - in real time. There was also emotional testimony from the victim's families, a joint statement made outside the court. The McCrow and Arnold families said there was “no escaping our devastating loss … the all-consuming grief … and the tears”.In this podcast episode, host Melissa Downes is joined by 9News court reporter Anna Rawlings to discuss the opening day's key details and the nine key questions Queensland state coroner Terry Ryan seeks to answer.See omnystudio.com/listener for privacy information.

On December 12, 2022, Constables Rachel McCrow and Matthew Arnold were killed in the line of duty. A neighbour, Alan Dare, also died that day. As did the three people who were firing at them. But there are still many unanswered questions from that night, which will be examined when an inquest gets underway at the end of this month. 9News presenter and host of podcast The Ultimate Sacrifice, Melissa Downes, joins us to discuss the deadliest shooting in Queensland Police history. THE END BITS Subscribe to Mamamia Listen to The Ultimate Sacrifice here. Find out more about Mamamia's charity partner RizeUp Australia here. And if this episode has brought up anything for you or if you just feel like you need to speak to someone, call 1800 RESPECT (1800 737 732). CREDITS Guest: 9News presenter and host of podcast The Ultimate Sacrifice, Melissa Downes Host: Gemma Bath Executive Producer: Liv Proud Audio Producer: Scott Stronach GET IN TOUCH: Feedback? We're listening! Email us at truecrime@mamamia.com.au or send us a voice note, and one of our Podcast Producers will come back to you ASAP. If any of the contents in this episode have caused distress, know that there is help available via Lifeline on 13 11 14 or Beyond Blue on 1300 22 4636 Mamamia acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present and extend that respect to all Aboriginal and Torres Strait Islander cultures.  Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Episode #244: Matthew Arnold details the aftermath of Operation 1027, and how this has dramatically shifted the landscape of conflict in Myanmar. The junta's inability to maintain control, compounded by losing key territories, showcases a dramatic shift in power dynamics. Arnold emphasizes that the ceasefire brokered by China, although seemingly significant, is more a tactical pause than a strategic peace, driven by the junta's need to save face amid substantial defeats.The broader conflict is marked by a series of insurgencies and the junta's heavy reliance on violence against civilians, illustrating its desperation. Arnold points out that the junta's attempts to stabilize their rule through ceasefires often fail, revealing a pattern of transactional and insincere agreements meant to temporarily halt fighting rather than foster long-term political solutions.Arnold's insights highlight the junta's eroding military capacity, strained logistics, and diminishing strategic depth. This scenario underscores a critical juncture where local resistance, ethnic alliances, and international diplomatic pressures converge, potentially leading to the junta's collapse and a reconfiguration of Myanmar's political landscape.Matthew Arnold concludes with a powerful message to those continuing on in the resistance movement: “The Myanmar people should take heart. This has been your revolution, you have been the ones who have pushed it, you've succeeded more than any other country has when confronted with a deeply entrenched, genocidal military, and one that is willing to use mass violence against the population. All of this has been through the determination and dedication of the Myanmar people.”

In this episode we're discussing two SXSW Film Festival narrative films that center around being lost and searching for something.In We're All Gonna Die, an alien spike has materialized onto the earth's atmosphere, and a struggling beekeeper and a grieving EMT are forced to join forces on a roadtrip after the spike has mysteriously caused the teleportation of his car and her bees. Co-directors/co-writers Freddie Wong and Matthew Arnold join us to discuss their decision to set  the apocalypse in our regular world, expressing honesty through lies, and the funny story behind the main character's calf fetish.Desert Road is a horror/sci-fi about a woman who crashes her car in the middle of the desert and walks down the road for help - only to realize no matter which way she walks, she ends up back at her crashed car. Director/writer Shannon Triplett shares the true story this film is based on, the brilliance of her lead actress who carries the film, Kristine Froseth, and the importance of casting (including heavyweights Beau Bridges and Frances Fisher), and how the success of the shoot was centered on the full moon. Follow director/writer Freddie Wong on IGFollow director/writer Matthew Arnold on IGFollow director/writer Shannon Triplett on IGAudio engineering by Jeff Hunt from Storied: San FranciscoSupport the showThanks for listening and for your support! We couldn't have reached 10 years, recorded 700+ episodes, and won Best of the Bay Best Podcast in 2022 and 2023 without your help! -- Be well, stay safe, Black Lives Matter, AAPI Lives Matter, and abortion is normal. -- Subscribe to our channel on YouTube for behind the scenes footage! Rate and review us wherever you listen to podcasts! Visit our website! www.bitchtalkpodcast.com Follow us on Instagram & Facebook Listen every Tuesday at 9 - 10 am on BFF.FM

From Hebrew scriptures to contemporary television, from Medieval manuscripts to Victorian greeting cards, angels loom large in the collective imagination of Western culture, and not only for Christians. But the word angel seems to cover a multitude of possible beings. To judge from their many and varied representations, a vision of an angel might involve a giant three-headed winged monster, a chubby winged baby, or maybe an elegant androgynous figure. Given the diverse ways angels have been represented across different eras and traditions, it is difficult to get a sense of what Christians actually believe about angels. Where did the idea of angels originate? Are there really different ranks of angels? What about guardian angels? Or fallen angels? And why are they so frequently depicted with wings? On this episode of the Glad You Asked podcast, hosts Emily Sanna and Rebecca Bratten Weiss speak with guest Matthew Arnold about angels in the Bible and why our ideas about them are so varied.  Arnold has written extensively on the paranormal in the Bible and spent over 10 years investigating the paranormal from a Christian perspective, drawing on his background in both theology and science. He is author of The Invisible Dimension: Spirit-Beings, Ghosts, and the Afterlife (Anamchara Books), and the editor of The Christian Parapsychologist, a publication of The Churches' Fellowship for Psychical and Spiritual Studies. Learn more about angels and read some of Arnold's writings in the links below. “Messengers of comfort and courage: The truth about angels,” By Lisa Raatikainen. https://uscatholic.org/articles/202006/messengers-of-comfort-and-courage-the-truth-about-angels/  “Fallen Angels and Satan,” By Matt Arnold. https://ghostsghoulsandgod.co.uk/2020/06/fallen-angels/  “Did Angels Marry Human Women?” By Matt Arnold. https://ghostsghoulsandgod.co.uk/2020/09/did-angels-marry-human-women/  “Guardian angels are life's traveling companions, pope says,” By Junno Arocho Esteves. https://www.ncronline.org/vatican/francis-comic-strip/francis-chronicles/guardian-angels-are-lifes-traveling-companions-pope  “The Angels,” From The Catechism of the Catholic Church. https://www.usccb.org/sites/default/files/flipbooks/catechism/86/  The Invisible Dimension: Spirit-Beings, the Afterlife, and Ghosts, By Matt Arnold. https://a.co/d/70V0iOi  Glad You Asked is sponsored by the Claretian Missionaries. https://claretiansusa.org https://myclaret.org   

Welcome to the Instant Trivia podcast episode 1137, where we ask the best trivia on the Internet. Round 1. Category: B.C. Vips 1: In 399 B.C. he told a jury, "I am not grieved, men of Athens, at this vote of condemnation". Socrates. 2: Rather than surrender to the Romans, this great Carthaginian general took his own life. Hannibal. 3: Ankhesenamun, one of the daughters of King Akhenaten and this beautiful queen, married King Tut. Nefertiti. 4: Farmer/soldier Cincinnatus saved ancient Rome, then refused to stay on as a dictator, preserving this Roman form of govt.. the republic. 5: One of the 7 wise men of Greece, his code of laws formed the foundation of Athens' democracy. Solon. Round 2. Category: Christmas Stories 1: Dickens wrote it for the money but said he laughed and cried over it more than any other story. A Christmas Carol. 2: In Luke's version of Christ's birth, the angel brings them "tidings of great joy". the shepherds. 3: Recounting his early years in Wales, this author said, "One Christmas was so like another". Dylan Thomas. 4: In his short story "The Gift of the Magi", a young husband and wife sacrifice to give each other gifts. O. Henry. 5: Truman Capote's story of his childhood holidays, he narrated the TV movie version. A Christmas Memory. Round 3. Category: Arnold 1: Larger-than-life gambler Arnold Rothstein was implicated in this 1919 baseball scandal involving bribed players. the Black Sox Scandal. 2: Natl. hero Arnold von Winkelried of this mountainous country helped it achieve a victory over the Austrians in 1386. Switzerland. 3: Inspired by his years in India, Sir Edwin Arnold's blank-verse epic "The Light of Asia" told of this religion founder. Buddha. 4: English educator Thomas Arnold was the longtime headmaster of this boys school that shares its name with a sport. Rugby. 5: This poet's feelings of spiritual isolation are reflected in works like "Dover Beach". Matthew Arnold. Round 4. Category: Bottom Feeders 1: This animal has no head, arms or internal organs and belongs to the phylum Porifera, meaning "pore-bearer". sponge. 2: The long-necked species of this bivalve is also known as the steamer. a clam. 3: In the Pacific and Atlantic halibuts, both of these organs are usually on the right side. eyes. 4: Although this echinoderm usually has 5 arms, some may have more than 40. a starfish. 5: The tube type of these live near deep-sea hydrothermal vents on the ocean floor and can reach 6' in length. worms. Round 5. Category: Sting Like A Be. With Be in quotes 1: Your garden variety this veggie is often eaten pickled; the sugar type, not. a beet. 2: Meaning small, round and glittering, this adjective is usually applied to the eyes of the untrustworthy. beady. 3: A warning signal or radar device that helps you determine your position. a beacon. 4: Not Paul or Ringo, but a synagogue caretaker or a minor church official. a beadle. 5: This name is combined with Hawker in a Wichita-based airplane company. Beechcraft. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on March 9, 2024. www.poets.org

Episode: 2193 Matthew Arnold's honeymoon on Dover Beach: an odd Valentine's Day greeting.  Today, a Valentine's Day greeting.

Crossref is a non-profit organization that logs and updates citations for scientific publications. Each month, Crossref identifies a list of the most popular Aging (Aging-US) papers based on the number of times a DOI is successfully resolved. Below are Crossref's Top 10 Aging DOIs in 2023. 10: Old-age-induced obesity reversed by a methionine-deficient diet or oral administration of recombinant methioninase-producing Escherichia coli in C57BL/6 mice DOI: https://doi.org/10.18632/aging.204783 Authors: Yutaro Kubota, Qinghong Han, Jose Reynoso, Yusuke Aoki, Noriyuki Masaki, Koya Obara, Kazuyuki Hamada, Michael Bouvet, Takuya Tsunoda, and Robert M. Hoffman 9: Metformin use history and genome-wide DNA methylation profile: potential molecular mechanism for aging and longevity DOI: https://doi.org/10.18632/aging.204498 Authors: Pedro S. Marra, Takehiko Yamanashi, Kaitlyn J. Crutchley, Nadia E. Wahba, Zoe-Ella M. Anderson, Manisha Modukuri, Gloria Chang, Tammy Tran, Masaaki Iwata, Hyunkeun Ryan Cho, and Gen Shinozaki 8: Age prediction from human blood plasma using proteomic and small RNA data: a comparative analysis DOI: https://doi.org/10.18632/aging.204787 Authors: Jérôme Salignon, Omid R. Faridani, Tasso Miliotis, Georges E. Janssens, Ping Chen, Bader Zarrouki, Rickard Sandberg, Pia Davidsson, and Christian G. Riedel 7: Characterization of the HDAC/PI3K inhibitor CUDC-907 as a novel senolytic DOI: https://doi.org/10.18632/aging.204616 Authors: Fares Al-Mansour, Abdullah Alraddadi, Buwei He, Anes Saleh, Marta Poblocka, Wael Alzahrani, Shaun Cowley, and Salvador Macip 6: Potential reversal of biological age in women following an 8-week methylation-supportive diet and lifestyle program: a case series DOI: https://doi.org/10.18632/aging.204602 Authors: Kara N. Fitzgerald, Tish Campbell, Suzanne Makarem, and Romilly Hodges 5: Leukocyte telomere length, T cell composition and DNA methylation age DOI: https://doi.org/10.18632/aging.101293 Authors: Brian H. Chen, Cara L. Carty, Masayuki Kimura, Jeremy D. Kark, Wei Chen, Shengxu Li, Tao Zhang, Charles Kooperberg, Daniel Levy, Themistocles Assimes, Devin Absher, Steve Horvath, Alexander P. Reiner, and Abraham Aviv 4: DNA methylation GrimAge strongly predicts lifespan and healthspan DOI: https://doi.org/10.18632/aging.101684 Authors: Ake T. Lu, Austin Quach, James G. Wilson, Alex P. Reiner, Abraham Aviv, Kenneth Raj, Lifang Hou, Andrea A. Baccarelli, Yun Li, James D. Stewart, Eric A. Whitsel, Themistocles L. Assimes, Luigi Ferrucci, and Steve Horvath 3: Deep biomarkers of aging and longevity: from research to applications DOI: https://doi.org/10.18632/aging.102475 Authors: Alex Zhavoronkov, Ricky Li, Candice Ma, and Polina Mamoshina 2: An epigenetic biomarker of aging for lifespan and healthspan DOI: https://doi.org/10.18632/aging.101414 Authors: Morgan E. Levine, Ake T. Lu, Austin Quach, Brian H. Chen, Themistocles L. Assimes, Stefania Bandinelli, Lifang Hou, Andrea A. Baccarelli, James D. Stewart, Yun Li, Eric A. Whitsel, James G Wilson, Alex P Reiner, Abraham Aviv, Kurt Lohman, Yongmei Liu, Luigi Ferrucci, and Steve Horvath 1: Chemically induced reprogramming to reverse cellular aging DOI: https://doi.org/10.18632/aging.204896 Authors: Jae-Hyun Yang, Christopher A. Petty, Thomas Dixon-McDougall, Maria Vina Lopez, Alexander Tyshkovskiy, Sun Maybury-Lewis, Xiao Tian, Nabilah Ibrahim, Zhili Chen, Patrick T. Griffin, Matthew Arnold, Jien Li, Oswaldo A. Martinez, Alexander Behn, Ryan Rogers-Hammond, Suzanne Angeli, Vadim N. Gladyshev, and David A. Sinclair Aging is an open-access, traditional, peer-reviewed journal that has published high-impact papers in all fields of aging research since 2009. All papers are available to readers (at no cost and free of subscription barriers) in bi-monthly issues at Aging-US.com. For media inquiries, please contact media@impactjournals.com.

Today's poem is the one you had to read in high school without really understanding it. (Or was that just me?)Among the major Victorian writers, Matthew Arnold (1822-1888) is unique in that his reputation rests equally upon his poetry and his poetry criticism. Only a quarter of his productive life was given to writing poetry, but many of the same values, attitudes, and feelings that are expressed in his poems achieve a fuller or more balanced formulation in his prose. This unity was obscured for most earlier readers by the usual evaluations of his poetry as gnomic or thought-laden, or as melancholy or elegiac, and of his prose as urbane, didactic, and often satirically witty in its self-imposed task of enlightening the social consciousness of England.Assessing his achievement as a whole, G.K. Chesterton said that under his surface raillery Arnold was, “even in the age of Carlyle and Ruskin, perhaps the most serious man alive” [though, from Chesterton, this is not entirely a compliment.] H.J. Muller declared that “if in an age of violence the attitudes he engenders cannot alone save civilization, it is worth saving chiefly because of such attitudes.” It is even more striking, and would have pleased Arnold greatly, to find an intelligent and critical journalist telling newspaper readers in 1980 that if selecting three books for castaways, he would make his first choice The Poetical Works of Matthew Arnold (1950), because “Arnold's longer poems may be an acquired taste, but once the nut has been cracked their power is extraordinary.” Arnold put his own poems in perspective in a letter to his mother on June 5, 1869: “It might be fairly urged that I have less poetical sentiment than Tennyson, and less intellectual vigour and abundance than Browning; yet, because I have perhaps more of a fusion of the two than either of them, and have more regularly applied that fusion to the main line of modern development, I am likely enough to have my turn, as they have had theirs.”-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Matthew Arnold, expert on Our Lady of Good Success which occurred in Quito, Ecuador, shares the history of this Marian apparition. + Sister Mark Randall from the Carmelite Sisters of the Aged and Infirm talks about the amazing life Venerable Mother Mary Angeline Theresa McCrory and gives an update on her cause for canonization.

Matthew Arnold, expert on Our Lady of Good Success which occured in Quito, Ecuador, shares the history of this Marian apparition. + Sister Mark Randall from the Carmelite Sisters of the Aged and Infirm talks about the amazing life Venerable Mother Mary Angeline Theresa McCrory and gives an update on her cause for canonization.

Join us in this enlightening episode of the Classical Etc. podcast from Memoria Press. Dive into a rich and thought-provoking discussion on faith and reason with Martin Cothran, Tanya Charlton, and Paul Schaeffer, as they delve into the intricate intersection of Athens and Jerusalem in classical education. The core of today's discussion revolves around Martin's article in "The Classical Teacher". It presents three historical perspectives on the relationship between Greek (Athens) and Hebrew (Jerusalem) cultures: the Conflict View by Tertullian, the Reconciliation Theory by Matthew Arnold, and the Dialectic Theory by Joseph Strauss. Join us in exploring how these theories influence the modern classical education model. How do the balance of Greek intellectualism and Hebrew holiness shape our understanding and teaching methodologies? Engage with our deep dive into the philosophical backgrounds of these theories and their significant influence on Western history, civilization, and thought. This episode is a must-listen for educators, students, and anyone interested in the profound connection between historical cultures and modern education. Subscribe to our channel for more insightful discussions and join the journey through the fascinating world of classical education. For more information on how Memoria Press can get you started with new books for your home and school visit us at memoriapress.com

Today's Topics: 1, 2, 3, 4) Father Murr and Matthew Arnold join Terry Barber to discuss the recently uncovered, scandalous 1998 book by Cardinal Fernandez on "Spirituality and Sensuality"

Are you living the life you want to live, or the one you want others to see? That was the question on the mind of today's guest when he hit his first year of university. At the time. life seemed good. He had an academic scholarship to a top-tier school and a dream of making the U-19 Canadian Rugby Team had become a reality. But then it all came crashing down... In this episode of The Greatness Machine, Darius chats with Ben Nemtin, a #1 New York Times bestselling author of 'What Do You Want To Do Before You Die?,' co-founder of The Buried Life movement and inspirational keynote speaker. He has delivered over 500 keynotes to brands and Fortune 500 companies around the globe.  In this episode you'll discover: How Ben overcame crippling depression, including his list of 100 things to do before he dies (of which he has achieved 96!) How a poem called 'The Buried Life' led him to a TV show on MTV, where he played basketball with President Obama among other things Answers to questions such as: 'What do you want to do before you die?' And 'What are the top five things people regret on their deathbeds?' Join Darius and Ben as they discuss creating the life you want for yourself - not the one you want others to see. Topics include: How Ben conquered depression in his youth to create a list of 100 things to do before he dies Why a 150 year-old poem called 'The Buried Life' by Matthew Arnold led Ben to create a show for MTV How to discover what you want to do before you die, and how you can avoid having regrets at the end of your life And other topics... Connect with Ben: Website: https://www.bennemtin.com/ LinkedIn: https://www.linkedin.com/in/bennemtin Instagram: https://www.instagram.com/bennemtin/ Facebook: https://www.facebook.com/Nemtin/  Connect with Darius: Website: https://therealdarius.com/ Linkedin: https://www.linkedin.com/in/dariusmirshahzadeh/ Instagram: https://www.instagram.com/whoompdarius/ YouTube: https://therealdarius.com/youtube Book: The Core Value Equation https://www.amazon.com/Core-Value-Equation-Framework-Limitless/dp/1544506708 Learn more about your ad choices. Visit megaphone.fm/adchoices

Matt Seybold joins Rob Hawkes and Scott Ferguson to discuss the political economy of literary criticism from past to present, amateur to professional. Seybold is Associate Professor of American Literature at Elmira College and Resident Scholar at the Center for Mark Twain Studies. In addition to writing and teaching in the field of literature & economics, Seybold produces and hosts The American Vandal podcast, an ever-growing collection of conversations and presentations about literature, humor, and history in America that is inspired by Mark Twain's life and legacy. Our conservation focuses, in particular, on The American Vandal's magisterial eighth series titled, “Criticism LTD.” With 16 episodes totaling 24-hours of listening, “Criticism LTD” marshals a diverse cast of over 50 voices to provide fresh perspectives on the origins & trajectories of literary criticism and the so-called “crisis of humanities.” Episodes take on a wide range of topics, including: the marked contrast between today's “golden age of criticism” (Ryan Ruby) in amateur and para-academic venues and the “Ponzi Austerity” (Yanis Varoufakis) and “Ed-Tech Griftopia” (Seybold) undermining contemporary academic research and instruction; the mid-20th-century trouncing of the neo-Aristotelian Chicago School Critics by the neoliberal Chicago School Economists; how the ugly politics of race, class, gender, and colonialism have both informed and met resist in practices of close reading; and the importance of the 19th-century feud over literary criticism between Matthew Arnold and Mark Twain for imaginatively contesting imperialism, then and now. “Criticism LTD” has much to offer teachers, researchers, organizers, and creators interested in building a more humane, collaborative, and democratic education system in the shell of the old. Visit our Patreon page here: https://www.patreon.com/MoLsuperstructureMusic by Nahneen Kula: www.nahneenkula.com

Editor's Note, by Art Middlekauff In April 1890, the third issue of a fledgling periodical entitled The Parents' Review was delivered to subscribers. Under the standard subtitle “A Monthly Magazine of Home-Training and Culture,” this third issue included yet another heading: “Education is an atmosphere, a discipline, a life.”—Matthew Arnold.[1] The next and following issues … The post Conversation Piece first appeared on Charlotte Mason Poetry.

You're listening to a Special Release episode of Insight Myanmar Podcast. In the aftermath of Operation 1027, a pivotal military action initiated by the Three Brotherhood Alliance, and further supported by a coalition of ethnic fighters and PDF units, Myanmar is undergoing a transformative moment and so we are launching this series in response.Our guest is Matthew Arnold, an academic and independent policy analyst specializing in politics, governance, and peace and conflict, with extensive experience in Myanmar and a background encompassing roles at The Asia Foundation, academic research, and with the UN World Food Program in various conflict zones and humanitarian crises.Arnold notes that Myanmar now stands at a critical juncture, marked by 33 months of both armed and peaceful resistance against military dictatorship. He describes how Operation 1027, executed by competent and strategically inclined Ethnic Armed Organizations (EAOs), reflects a carefully considered move based on the evolving trajectory of the conflict. In his view, the junta, facing widespread and entrenched resistance, lacks the depth to recover, evidenced by its inability to launch significant counter-offensives.To Arnold, the pro-democracy resistance, a bottom-up revolt evolving into a national uprising for federal democracy, remains steadfast despite criticisms and flaws. The junta's brutal tactics have ignited an unquenchable fire of revolution, and its continued atrocities are unlikely to shift the tide. Arnold boldly predicts that the democratic movement, now viable and ascendant, is poised for outright victory within the next 3 to 6 months, shaping a post-conflict peace that, while potentially messy, is distinguished by social goodwill and solidarity among the Myanmar people.Amid calls for international support, Arnold urges an open-minded approach, emphasizing Myanmar's potential for positive collective change and dismissing notions of irreparable fracture. In his view, Operation 1027 serves as a catalyst, signaling a ray of hope in a dark world, inviting contemplation, preparation, and celebration of the impending collapse of the genocidal junta.

You're listening to a Special Release episode of Insight Myanmar Podcast. In the aftermath of Operation 1027, a pivotal military action initiated by the Three Brotherhood Alliance, and further supported by a coalition of ethnic fighters and PDF units, Myanmar is undergoing a transformative moment and so we are launching this series in response.Our guest is Matthew Arnold, an academic and independent policy analyst specializing in politics, governance, and peace and conflict, with extensive experience in Myanmar and a background encompassing roles at The Asia Foundation, academic research, and with the UN World Food Program in various conflict zones and humanitarian crises.Arnold notes that Myanmar now stands at a critical juncture, marked by 33 months of both armed and peaceful resistance against military dictatorship. He describes how Operation 1027, executed by competent and strategically inclined Ethnic Armed Organizations (EAOs), reflects a carefully considered move based on the evolving trajectory of the conflict. In his view, the junta, facing widespread and entrenched resistance, lacks the depth to recover, evidenced by its inability to launch significant counter-offensives.To Arnold, the pro-democracy resistance, a bottom-up revolt evolving into a national uprising for federal democracy, remains steadfast despite criticisms and flaws. The junta's brutal tactics have ignited an unquenchable fire of revolution, and its continued atrocities are unlikely to shift the tide. Arnold boldly predicts that the democratic movement, now viable and ascendant, is poised for outright victory within the next 3 to 6 months, shaping a post-conflict peace that, while potentially messy, is distinguished by social goodwill and solidarity among the Myanmar people.Amid calls for international support, Arnold urges an open-minded approach, emphasizing Myanmar's potential for positive collective change and dismissing notions of irreparable fracture. In his view, Operation 1027 serves as a catalyst, signaling a ray of hope in a dark world, inviting contemplation, preparation, and celebration of the impending collapse of the genocidal junta.

The tripartite finale of "Criticism LTD" begins with a the feud between Matthew Arnold and Mark Twain, followed by "Bed Glee" [14:00], "Outing Criticism" [40:00], and "The Fate of Professional Reading" [59:00] Cast (in order of appearance): Beci Carver, Kim Adams, Ryan Ruby, Ainehi Edoro, Jed Esty, Matt Seybold, Gerald Graff, Harry Stecopoulos Soundtrack: Joe Locke's "Makram" For episode bibliography, please visit MarkTwainStudies.com/EmpireOfCriticism, or subscribe to our newsletter at TheAmericanVandal.SubStack.com, where you will also receive episode transcripts.

Daily Quote Human speech is like a cracked tin kettle, on which we hammer out tunes to make bears dance when we long to move the stars. (Gustave Flaubert) Poem of the Day Tear by Arthur Rimbaud Beauty of Words Ideas in England Matthew Arnold

Do you want to see the world as it is, or as it ought to be? This difficult question is at the heart of the millennia-old debate over morality and art. Pulling back the camera to ask how we got to our current dysfunction, Spencer moves from Homer and Isaiah to Nabokov and Matthew Arnold, looking for answers to the questions that are currently wracking the culture. The digital age has shattered a lot of our old systems, but somewhere in the aftermath there is hope for a new middle ages and a re-enchanted world. Check out our sponsor, the Ancient Language Institute: https://ancientlanguage.com/youngheretics/ Sign up to be in the mailbag: https://rejoiceevermore.substack.com/ Pick up my book, How to Save the West: https://a.co/d/9S57cfh

If you're a fan of JK Rowling, Jack Vettriano or Manchester United you're probably not surprised by the denigration they receive from critics. There is a whole host of cultural artefacts that seem to be universally popular yet despised by critics. Is it just gatekeeping or do the critics have a point? In this week's podcast, we discuss criticism. We speak about the role of the critic, James Wood, Matthew Arnold, Richard Feynman, status-seeking, thrifting, gatekeepers and wargaming. Finally, we share examples of art and media where we are undecided on whether it is good or bad. A few things we mentioned in this podcast: - Upset by Einaudi? https://interlude.hk/upset-by-einaudi/ - Twilight vampires? Bah! Fangs ain't what they used to be… https://www.theguardian.com/global/booksblog/2009/jan/08/twilight-vampire - The Premium Mediocre Life of Maya Millennial https://www.ribbonfarm.com/2017/08/17/the-premium-mediocre-life-of-maya-millennial/ - Unpopular Opinions https://xkcd.com/2184/ - Geeks, MOPs, and sociopaths in subculture evolution https://meaningness.com/geeks-mops-sociopaths For more information on Aleph Insights visit our website https://alephinsights.com or to get in touch about our podcast email podcast@alephinsights.com Image by Jack Vettriano / PA Wire via Flickr

Matthew Arnold Stern is an award-winning writer and public speaker. He has written professionally since 1983. He published four novels, including Amiga and The Remainders, and a guide to impromptu speaking, Mastering Table Topics.The RemaindersBlack Rose Writing, 2021A World Without Books was created to help writers connect with readers. This Micro-Podcast provides authors a platform to share stories about writing, discuss current projects, and consider life without books. Listen to episodes on our website, Apple, Spotify, or wherever you podcast.Past Forward is a curiosity company dedicated to educational accessibility. We work with community leaders from academic institutions, nonprofit organizations, private corporations, and public agencies to document today, with context from our past, and learn moving forward.

Episode: 2699 Heligoland, a bucolic magnet for the machines of war.  Today, we visit Heligoland.

"Balder Dead" is a beautiful epic poem by Matthew Arnold. It draws from Norse mythology to retell the story of the the death of Odin's son, Balder, instigated by the treacherous jealousy of Loki.  --- Support this podcast: https://podcasters.spotify.com/pod/show/librivox1/support

Culture and Anarchy

Sketches from Concord and Appledore Concord thirty years ago; Nathaniel Hawthorne; Louisa M. Alcott; Ralph Waldo Emerson; Matthew Arnold; David A. Wasson; Wendell Phillips; Appledore and its visitors; John Greenleaf Whittier

Today's Topics: 1, 2, 3, 4) Matthew Arnold joins Terry today to discuss Our Blessed Mother's appearances and what she asks of us Gospel - John 4:43-53 -  After the two days, He left there for Galilee. For Jesus himself testified that a prophet has no honor in his native place. When He came into Galilee, the Galileans welcomed Him, since they had seen all He had done in Jerusalem at the feast; for they themselves had gone to the feast. Then He returned to Cana in Galilee, where He had made the water wine. Now there was a royal official whose son was ill in Capernaum. When he heard that Jesus had arrived in Galilee from Judea, he went to Him and asked Him to come down and heal his son, who was near death. Jesus said to him, “Unless you people see signs and wonders, you will not believe.” The royal official said to him, “Sir, come down before my child dies.” Jesus said to him, “You may go; your son will live.” The man believed what Jesus said to him and left. While he was on his way back, his slaves met him and told him that his boy would live. He asked them when he began to recover. They told him, “The fever left him yesterday, about one in the afternoon.” The father realized that just at that time Jesus had said to him, “Your son will live,” and he and his whole household came to believe. Now this was the second sign Jesus did when He came to Galilee from Judea. Solemnity of Saint Joseph, spouse of the Blessed Virgin Mary Saint Joseph, pray for us! Bishop Sheen quote of the day

God seems to like material! He made it. He made us. He comes to us through the manger and the cross. Instead of giving up something for Lent, perhaps we should practice appreciation for God's gift of creation. Joel Hess from Ringside Preachers Podcast and Donavon Riley from Banned Books Podcast expose things you won't hear in church. “The Ringers” talk philosophy, heresy, literature, art, and faith to expand your mind this Lent.   TOPICS & SOURCES:   Matthew Arnold   Spiritual Art   Incantation in music   Dominion over the precious ecosystem   Jordan Peterson   Appreciate Material for Lent       Music: Lets Roll by Joel A Hess     Check out Joel's & Donavon's Regular Podcasts: Ringside Preachers  Banned Books

Today's Topics: 1, 2, 3, 4) Gospel - Mt 20:17-28 - As Jesus was going up to Jerusalem, he took the Twelve disciples aside by themselves, and said to them on the way, “Behold, we are going up to Jerusalem, and the Son of Man will be handed over to the chief priests and the scribes, and they will condemn him to death, and hand him over to the Gentiles to be mocked and scourged and crucified, and he will be raised on the third day.” Then the mother of the sons of Zebedee approached Jesus with her sons and did him homage, wishing to ask him for something. He said to her, “What do you wish?” She answered him, “Command that these two sons of mine sit, one at your right and the other at your left, in your kingdom.” Jesus said in reply, “You do not know what you are asking. Can you drink the chalice that I am going to drink?” They said to him, “We can.” He replied, “My chalice you will indeed drink, but to sit at my right and at my left, this is not mine to give but is for those for whom it has been prepared by my Father.” When the ten heard this, they became indignant at the two brothers. But Jesus summoned them and said, “You know that the rulers of the Gentiles lord it over them, and the great ones make their authority over them felt. But it shall not be so among you. Rather, whoever wishes to be great among you shall be your servant; whoever wishes to be first among you shall be your slave. Just so, the Son of Man did not come to be served but to serve and to give his life as a ransom for many.” Memorial of Saint John of God, Religious Saint John, pray for us! Matthew Arnold joins Terry to discuss the importance the Church places on marriage and the family in a successful society Bishop Sheen quote of the day

In this episode, we discuss with Johanna how she works full time and still manages to homeschool her two children. We also chat about how she socializes her kids, the curriculum she uses, and the reporting requirements in the State of New York.Curriculum discussed:https://charlottemasonhomeschooling.com/collections/allhttps://buildyourlibrary.com/https://www.masterbooks.com/https://www.singaporemath.com/https://www.teachingtextbooks.com/https://www.christianbook.com/page/homeschool/science/berean-buildershttps://www.christianbook.com/science-in-the-beginning/jay-wile/9780989042406/pd/042406?event=ESRCGhttps://www.christianbook.com/science-in-the-ancient-world/jay-wile/9780989042420/pd/042420?event=ESRCGhttps://www.logicofenglish.com/https://iew.com/https://www.allaboutlearningpress.com/all-about-spelling/https://writeshop.com/**Charlotte Mason**Charlotte Mason was a British educator and reformer in England at the turn of the twentieth century. She proposed to base the education of children upon a wide and liberal curriculum. She was inspired by the writings of the Bible, John Amos Comenius, Matthew Arnold and John Ruskin.The Tuttle Twins The Tuttle Twins' Books Introduce Important Ideas About Freedom That Schools Don't Teach But Should!My Homeschool Village Do you want to homeschool but are overwhelmed with where to start? We have you covered!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showInstagram: TheHomeschoolHowToPodcast Facebook: The Homeschool How To Podcast

On today's ID the Future, host Peter Robison continues a lively conversation with Douglas Murray, author of The War on the West, Tom Holland, author of Dominion: How the Christian Revolution Remade the World, and Stephen Meyer, author of Return of the God Hypothesis. Here in the concluding part of the interview, the four consider English Victorian poet Matthew Arnold's elegiac depiction of the West bereft of religious faith. What does this retreating “sea of faith” mean in practical terms for Western culture, and what path, if any, is there to a renewal of Western culture? Can we embrace the Christian ethical framework without belief in God, miracles, and the afterlife? Meyer warns that attempting to borrow some form of Read More › Source

In 1878, critic Matthew Arnold wrote, "Goethe is the greatest poet of modern times... because having a very considerable gift for poetry, he was at the same time, in the width, depth, and richness of his criticism of life, by far our greatest modern man." In this episode, Jacke talks to Ritchie Robertson, author of Goethe: A Very Short Introduction, about the life and works of Johann Wolfgang von Goethe (1749-1832): scientist, administrator, artist, art critic, and supreme literary writer in a vast variety of genres. Ritchie Robertson is Taylor Professor of German in the University of Oxford. He is the author of The 'Jewish Question' in German Literature, 1749-1939: Emancipation and its Discontents (OUP, 1999), Mock-Epic Poetry from Pope to Heine (OUP, 2009), and Kafka; A Very Short Introduction (OUP, 2004). He has translated several German authors into English for the Oxford World's Classics and Penguin Classics series, and has been a Fellow of the British Academy since 2004. Additional listening: 463 Friedrich Nietzsche (with Ritchie Robertson) George Eliot 111 The Americanest American - Ralph Waldo Emerson Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at www.thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

Support the podcast: patreon.com/thehemingwaylist War & Peace - Ander Louis Translation: Kindle and Amazon Print Host: @anderlouis

Support the podcast: patreon.com/thehemingwaylist War & Peace - Ander Louis Translation: Kindle and Amazon Print Host: @anderlouis

Making the Impossible Possible (ft. Ben Nemtin)One man's dream to help others achieve theirsOPENING QUOTE:“It was national news, then it was international news, and then people also started sending us their dreams, asking for our help. And so we just kept doing it because the energy was there. And that's why this project turned into, really, a lifestyle. And I realized that a list is really a reminder of the things that are truly important to you that tend to get buried by the day-to-day.”-Ben NemtinGUEST BIO:Ben Nemtin rose to fame when he and three buddies from school made a list of 100 impossible things they wanted to do before they died. Then they jumped into a van together and set out to make them happen. The catch? For every one dream they accomplished, they had to help someone else achieve a dream of their own. The foursome filmed the whole thing, which became a hit TV show on MTV and helped launch Ben's remarkable speaking career. This last year, Ben delivered over 150 paid keynotes and is one of the most in-demand speakers on the planet. He helps audiences make the impossible possible while covering topics like mental health, burnout, and regret in a deeply personal and authentic way.Links:WebsiteInstagramTwitterFacebookLinkedInYouTubeCORE TOPICS + DETAILS:[10:04] - From Desire to Belief to ActionGoing from wanting something to making it realityHow do you play basketball with the President? First, you have to decide to do it. Then you have to never take no for an answer. Next, and this is the important part, you have to continue refusing to take no for an answer.That's what Ben learned— that achieving your dreams happens only when you mix a desire with the belief that it's possible and the continual, never-ending drive to take action and make it happen.[14:47] - Building the Speaking MuscleDispelling the talent myth“Every speaker that you see started where you are now.” With that simple message, Ben nails what makes speaking so magical— the fact that it's not magic at all. If you're willing to put in the reps, put in the hours, and keep striving to become better, anyone can truly become a transformative speaker. There's no secret talent, no genetic code for speaking prowess. It's just practice, practice, and more practice.[20:45] - Growing During the PandemicHow Ben turned the normal COVID story on its headWhen your circumstances become worse, how do you respond?Ben responded to the worst possible circumstances by making himself the best he could be. “When COVID hit, I had to really look at, ‘How do I make my keynote 20% to 30% better? Because I feel as though it's going to be less impact virtually, just by nature of the virtual environment.”That ownership over difficult circumstances is rare, and powerful. Sometimes you can lighten your load. But when you can't, you can always make yourself stronger to bear the weight.[36:03] - The Ultimate RegretHow to avoid feelings of missed opportunities at the end76% of people on their deathbed regret having lived their life for someone other than themselves. “I lived the life I thought I should live, not a life for me.”How do you avoid that regret? By following the three steps we started with. Find your desire, truly believe it's possible, and then set about making it a reality every day with everything you do.RESOURCES:[7:38] The Buried Life, by Matthew Arnold[33:20] The Buried Life WebsiteFollow Ben Nemtin:WebsiteInstagramTwitterFacebookLinkedInYouTubeFollow Josh Linkner:FacebookLinkedInInstagramTwitterYouTubeABOUT MIC DROP:Hear from the world's top thought leaders and experts, sharing tipping point moments, strategies, and approaches that led to their speaking career success. Throughout each episode, host Josh Linkner, #1 Innovation keynote speaker in the world, deconstructs guests' Mic Drop moments and provides tactical tools and takeaways that can be applied to any speaking business, no matter it's starting point. You'll enjoy hearing from some of the top keynote speakers in the industry including: Ryan Estis, Alison Levine, Peter Sheahan, Seth Mattison, Cassandra Worthy, and many more. Mic Drop is sponsored by ImpactEleven.Learn more at: MicDropPodcast.comABOUT THE HOST:Josh Linkner is a Creative Troublemaker. He believes passionately that all human beings have incredible creative capacity, and he's on a mission to unlock inventive thinking and creative problem solving to help leaders, individuals, and communities soar. Josh has been the founder and CEO of five tech companies, which sold for a combined value of over $200 million and is the author of four books including the New York Times Bestsellers, Disciplined Dreaming and The Road to Reinvention. He has invested in and/or mentored over 100 startups and is the Founding Partner of Detroit Venture Partners.Today, Josh serves as Chairman and Co-founder of Platypus Labs, an innovation research, training, and consulting firm. He has twice been named the Ernst & Young Entrepreneur of the Year and is the recipient of the United States Presidential Champion of Change Award. Josh is also a passionate Detroiter, the father of four, is a professional-level jazz guitarist, and has a slightly odd obsession with greasy pizza. Learn more about Josh: JoshLinkner.comSPONSORED BY IMPACTELEVEN:From refining your keynote speaking skills to writing marketing copy, from connecting you with bureaus to boosting your fees, to developing high-quality websites, producing head-turning demo reels, Impact Eleven (formerly 3 Ring Circus) offers a comprehensive and powerful set of services to help speakers land more gigs at higher fees. Learn more at: impacteleven.comPRODUCED BY DETROIT PODCAST STUDIOS:In Detroit, history was made when Barry Gordy opened Motown Records back in 1960. More than just discovering great talent, Gordy built a systematic approach to launching superstars. His rigorous processes, technology, and development methods were the secret sauce behind legendary acts such as The Supremes, Stevie Wonder, Marvin Gaye, Diana Ross and Michael Jackson.As a nod to the past, Detroit Podcast Studios leverages modern versions of Motown's processes to launch today's most compelling podcasts. What Motown was to musical artists, Detroit Podcast Studios is to podcast artists today. With over 75 combined years of experience in content development, audio production, music scoring, storytelling, and digital marketing, Detroit Podcast Studios provides full-service development, training, and production capabilities to take podcasts from messy ideas to finely tuned hits. Here's to making (podcast) history together.Learn more at: DetroitPodcastStudios.comSHOW CREDITS:Josh Linkner: Host | josh@joshlinkner.comConnor Trombley: Executive Producer | connor@DetroitPodcastStudios.com

A gloriously dark Tech House mix. Donations, Merchandise, Newsletter, more: https://www.groovelectric.com Podrunner: Workout Music mixes: https://www.podrunner.com PLAYLIST 01. Matthew Arnold, Dover Beach (reader unknown) 02. Bedrock - Heaven Scent (Marc Romboy & Miki Kekenj Rework) 03. Vidno - After Coma 04. Vortex - Stupendulous 05. Mirko Worz - Over (Daniel Hecke Remix) 06. Doomwork - Ram Bam (Extended Mix) 07. Jirus Manley - Flatout 08. The Cube Guys, StevAxel - WollyHood (Club Mix) 08. Tony Thomas - Neutral Density 19. Angel Heredia - Zurek 11. Nora En Pure, Lika Morgan - In the Air Tonight (Leventina Remix) 12. Mr. V, Sted-E & Hybrid Heights - Back to Basics (Extended Mix) 13. Kevin Andrews, Jason Chance - Krin (Extended Mix) 14. Siwell - Endless (Extended Mix) 15. Melt - Fun Factory 16. Pagano - Ipanema (Extended Mix) 17. Alex Preston, Siege - Save Me (Extended Mix) 18. Medusa, ACAY - Rising Up (Extended Mix) 19. Italobros - Dilan (Extended Mix) 20. Drauf & Dran - Gospletrain == Please support these artists == Music copyright the respective artists. All other material c2006, 2022 by Steve Boyett. For personal use only. All rights reserved. Any unauthorized copying editing, exhibition, sale, rental, exchange, public performance, or broadcast of this audio is prohibited.

Marcus Aurelius was a Roman emperor, born nearly two millennia ago (121 – 180). Marcus became the Emperor of the Roman Empire in 161 and ruled for nearly two decades until his death in 180. It is important to realize the gravity of that position and the magnitude of power that Marcus possessed. He held one of—if not the most—powerful positions in the world at the time. If he chose to, nothing would be off limits. There is a reason the adage that power in absolute absolutely corrupts has been repeated throughout history—it unfortunately tends to be true. And yet, as the essayist Matthew Arnold remarked, Marcus proved himself worthy of the position he was in.Marcus has only one core work, which was actually never intended for publication: his Meditations (originally titled “To Himself”). This is not only one of greatest books ever written but perhaps the only book of its kind. It is the definitive text on self-discipline, personal ethics, humility, self-actualization and strength. This episode of the podcast is a collection of some of our favorite quotes from this book.