Podcasts about Ozymandias

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English romantic poet Percy Bysshe Shelley was born at Field Place in Warnham in 1792, spending his formative years at his family home. His family is well-connected with the Horsham District too.  While he wrote famous poems such as Ozymandias, Queen Mab and To A Skylark and influenced many poets and writers, including Robert Browning, WB Yeats, Thomas Hardy and George Bernard Shaw, Shelley - whose second wife Mary Shelley authored the famous gothic novel Frankenstein - never knew fame during his lifetime.  Despite Percy Bysshe Shelley's posthumous influence and literary reputation, many of us are unaware of the writer's connection to Horsham and know little about his life, other than his works. However, our guests for this episode - Carol Hayton and David Hide - directors of The Shelley Memorial Project - are among those hoping to change that.  The Shelley Memorial Project wants to create a lasting public memorial to Percy Bysshe Shelley to commemorate Horsham's famous former citizen.  To find out more, we gathered around a table at the Shelley Arms in Broadbridge Heath to talk about Shelley, his connection to Horsham, and the project's plans to honour him.   

Why Do We Seem To Be the Dumbest Among All  The Swarms Of Advanced Beings In The Universe? More About Mikey The Rescue Cat Ozymandias And Trump A Rare Cat Is  Rushed Out Of Europe (see my newsletter/podcast for his photo and story) Old Men & Me A Town Emergency More About The Heart One Listener's Information Regarding Those Peeing Cats Another Stripper Name:.  And Yet ANOTHER Peeing Cat Out Of Control CALLERS:  Delmer Gets A Message From Her House Zoey Is Moving Back Home And Jennifer Is Also Moving

1 hour and 46 minutes The Sponsors Thank you to Underground Printing for making this all possible. Rishi and Ryan have been our biggest supporters from the beginning. Check out their wide selection of officially licensed Michigan fan gear at their 3 store locations in Ann Arbor or learn about their custom apparel business at undergroundshirts.com. Our associate sponsors are: Peak Wealth Management, Matt Demorest - Realtor and Lender, Ann Arbor Elder Law, Michigan Law Grad, Human Element, Sharon's Heating & Air Conditioning, The Sklars Brothers, the Autograph: Fandom Rewarded app, Champions Circle, Winewood Organics, Community Pest Solutions, and Venue by 4M where usually record this. 1. Men's Basketball vs Auburn - Sweet Sixteen Starts at 1:00 It's times like this that make you think of Percy Bysshe Shelley's poem Ozymandias which has a passage about "when you're leading by 9 points with 12 minutes left don't give up a 20-2 run". Michigan made Auburn as dumb as Michigan for a half and then Auburn remembered they were the #1 overall seed. Michigan gives up 1.04 ppp overall. Turnovers were tied but Michigan was obliterated on rebounds. The season-long issues with the front court came to light in this game. This ended up being what you would expect in a game of Michigan vs Super Michigan. We'll miss Vlad Goldin, Craig has some nits to pick.  2. Looking Back on the Season Starts at 21:51 Dusty May comes into a roster with Will Tschetter and Nimari Burnett, most of his FAU squad doesn't follow him (besides Vlad Goldin). But he assembles this motley crew of a team. The question coming in was "can he assemble a good roster or did he just have one good recruiting class?" Turns out he can assemble a good roster. Brian hoped this could be a 6-seed coming into the season and people thought this was crazy. They probably should've been higher than a 5-seed. This season earns an A for exceeding all expectations, not an A+ but an A. Dusty May was the better choice over Niko Medved.  3. Hot Takes and Looking Forward to Next Season Starts at 42:43 Takes hotter than whatever Craig is about to say. Michigan loses Rubin Jones, Jace Howard, Vlad Goldin, Justin Pippen, and probably Danny Wolf, You now have a roster cap of 15, they can be scholarship or not. They'll be looking for centers in the portal. Get ready for an L.J. Cason glow up. Looking ahead to Trey McKenney as a freshman. If Sam Walters was going to hit the portal, wouldn't he have done it by now? There appear to be a lot of high quality centers in the portal. Transfer portal targets, Brian wants Magoon Gwath. What's the ceiling for next year? They'll finally have some continuity on the roster. Just find a guy who's 7 feet tall and put him on the roster.  4. Michigan Football Spring Practice and Hockey Starts at 1:26:08 The only QBs available are Bryce Underwood and Jadyn Davis, Mikey Keene is injured. Otherwise we're not hearing much of anything. Shamari Earls is supposedly turning out and is Charles Woodson sized. There will not be Jeremy Clark slander. Michigan hockey had a disappointing end to the season, how will they bounce back? How much will Michigan pay for hockey after football and basketball? What does the rest of the Big Ten look like? MUSIC: "Cradle The Pain"—Morgan Nagler "Back to Earth"—Manplanet "I Wish"—Skee-Lo “Across 110th Street”—JJ Johnson and his Orchestra    

In the wake of the Kangxi Emperor's flawless victory + fatality of Galdan Khan, he erects his own definitive version of "The Way Things Happened" - five stone stelae monuments as an everlasting tribute to his greatness, and his side of the story literally written in stone. But even one so mighty as the Lord of Great Qing is not above the twist of fate's knife. For he has been receiving highly disturbing reports about his son and heir, Crown Prince Yinreng... Time Period Covered: 1697-1707 CE Major Historical Figures: Great Qing: The Kangxi Emperor (Aisin-Gioro Xuande) [r. 1654-1722] Crown Prince Yunreng [1674-1725] Prince Yinxu Minister Songgotu [1636-1703] Minister Maci [1652-1739] Jesuits/Catholic Church: Pope Clement XI [r. 1700-1721] Bishop Charles-Thomas Maillard De Tournon [1668-1710] Fr. Joachim Bouvet [1656-1730] Jean-Francois Gerbillon, Puritan Missionary Tómas Pereira, Puritan Missionary Kingdom of France: King Louis XIV, "The Sun King" [r. 1643-1715] Major Works Cited: Perdue, Denis. China Marches West: The Qing Conquest of Central Eurasia. Shelly, Percy Bysshe. "Ozymandias." Spence, Jonathan D. Emperor of China: Self-Portrait of K'ang-hsi. Learn more about your ad choices. Visit megaphone.fm/adchoices

Shortly after my own trip to the Grampians and Araps, where I played briefly on Punks in the Gym, just to give it, as Ben Cossey would say, a tummy rub, I went back to the Blue Mountains where I met a bunch of Australian mega-crushers. One of those crushers was Andrea Hah. And because she was the first Australian woman to climb Punks in the Gym, and Arapiles had a big impact on her life, I really wanted to have her on the show.  Andrea is not only a mega-crusher and one of the most accomplished climbers in Australia. She's also a physio at Move Clinic, which she runs with her partner, Lee Cossey - also a mega-crusher. And she's a mom to a little BMX shredder. Basically, an all around badass.  So we talk Araps and Punks as well as other Australian history like her send of Ozymandias which was the first ground up in a day ascent of the route and her arch-nemesis climb, Lord of the Rings in Araps.  Andrea on Instagram: https://www.instagram.com/andreahah/ Save Arapiles Climbing Petition: https://www.change.org/p/save-natimuk-stop-the-rock-climbing-ban-at-the-famous-mt-arapiles Save Arapiles Climbing Video:  https://www.youtube.com/watch?v=h_bYfeWq_Nw   Our friends at Rab are excited to sponsor both full and partial scholarships to Ladies Weekend Out's events, making their educational programs more accessible than ever and helping to empower women in the outdoors.” Learn more here: https://www.ladiesweekendout.com/rab-equipment-scholarships   Check out our website for related episodes, resources and more! Join the Secret Stoners Club for FREE and get bonus episodes. ---------------------------------- Season Two is generously supported by Rab.  This episode is supported by Tension Climbing. Use code WRITTEN15 at checkout. This episode is supported by our research partner, NOLS: The National Outdoor Leadership School. Written in Stone is co-created with Power Company Climbing.  

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

Joanna Robinson and Rob Mahoney leave their family behind to revisit the ‘Breaking Bad' episode “Ozymandias.” They discuss why it's such an important piece of TV history, the Rian Johnson of it all, and their relationship with the AMC drama (1:49). Along the way, they talk about how the show would've been remembered had this episode been its series finale and its lasting legacy on how dramatic television is structured (12:11). Later, they give out a handful of awards, including best line, most iconic shot, favorite overlooked detail, best fit, and much more (28:22). Email us! tiptopinthepink@gmail.com Hosts: Joanna Robinson and Rob Mahoney Producer: Kai Grady Additional Production Support: Justin Sayles Learn more about your ad choices. Visit podcastchoices.com/adchoices

Drew Maxey, (drewxdeficit on Twitter and TikTok) joins Riki and Matthew to discuss the political messaging of Watchmen, what it means for us today, and why it is so often misunderstood. We talk about the valorization by many fans of Rorschach that misses so much of his character, how the movie changed things, and Ozymandias' decision, among other topics. Then Matthew goes on a rant and Riki and Drew do their best to humor them. Drew Maxey is an educator who loves, teaches, and writes comics. His professional comics debut will be a short holiday story in the Batman Smells, Robin Laid an Egg anthology, released December 4th. He will talk about Watchmen until he's Dr. Manhattan blue in the face.To hear more of Drew's content about Watchmen and other topics, find him on TikTok & Instagram, or go here To get Drew's Watchmen Chapter 1 movie commentary, donate to the Palestinian Children's Relief Fund then email a receipt of your donation to Drew. We've started the conversation. Now we want to hear from you!Want to continue the discussion with us? Agree or disagree with what we talked about, or add your own thoughts? We've got options for you!Email: ✉️ Matthew@TheEthicalPanda.com

Andrew Roberts has written twenty books, which have been translated into twenty-eight languages and have won thirteen literary prizes. These include Napoleon: A Life, Churchill: Walking with Destiny, and most recently, Conflict: The Evolution of Warfare from 1945 to Gaza, which he co-authored with General David Petraeus.Sponsors:Our Place's Titanium Always Pan® Pro using nonstick technology that's coating-free and made without PFAS, otherwise known as “Forever Chemicals”: https://fromourplace.com/tim (10% off all products from Our Place using code TIM) Shopify global commerce platform, providing tools to start, grow, market, and manage a retail business: https://shopify.com/tim (one-dollar-per-month trial period)LinkedIn Jobs recruitment platform with 1B+ users: https://linkedin.com/tim (post your job for free)Timestamps:[00:00:00] Start[00:06:14] Expelled from Cranleigh school.[00:07:14] Why MI6 considered Andrew for recruitment.[00:09:56] The teacher who made history exciting to 10-year-old Andrew.[00:13:05] Words Andrew avoids when writing about history.[00:14:20] Are steady-nerved leaders naturally born or nurtured?[00:16:05] The thinkers who influenced Winston Churchill and his sense of noblesse oblige.[00:18:26] What made Napoleon Bonaparte the prime exemplar of war leadership?[00:24:37] Lessons from Winston Churchill's autobiography, My Early Life.[00:26:22] Napoleon's relationship with risk.[00:29:26] Andrew's signed letter from Aldous Huxley.[00:30:49] When historical figures carry a sense of personal destiny.[00:33:07] The meeting Andrew wishes he could've witnessed as a fly on the wall.[00:34:30] When historical villains carry a sense of personal destiny.[00:37:14] What Churchill and Napoleon learned from their mistakes.[00:39:38] "Dear Diary..."[00:44:00] Maintaining creative flow during the writing process.[00:47:18] On working with brilliant publisher Stuart Proffitt (aka Professor Perfect).[00:52:53] Why are some significant figures immortalized while others go the way of Ozymandias?[00:57:59] Thoughts on personal legacy.[00:59:18] Fiction favorites.[01:02:05] Being objective about the history of imperialism.[01:03:31] The challenges of teaching and learning history today.[01:06:40] Why "Study history" is Andrew's coat of arms motto.[01:10:22] What Andrew, as a history expert, sees for the future.[01:14:01] Counteracting natural pessimism.[01:15:34] What to expect from Andrew's latest book Conflict (co-authored with David Petraeus).[01:19:21] Upcoming book projects.[01:20:26] Parting thoughts.*For show notes and past guests on The Tim Ferriss Show, please visit tim.blog/podcast.For deals from sponsors of The Tim Ferriss Show, please visit tim.blog/podcast-sponsorsSign up for Tim's email newsletter (5-Bullet Friday) at tim.blog/friday.For transcripts of episodes, go to tim.blog/transcripts.Discover Tim's books: tim.blog/books.Follow Tim:Twitter: twitter.com/tferriss Instagram: instagram.com/timferrissYouTube: youtube.com/timferrissFacebook: facebook.com/timferriss LinkedIn: linkedin.com/in/timferrissPast guests on The Tim Ferriss Show include Jerry Seinfeld, Hugh Jackman, Dr. Jane Goodall, LeBron James, Kevin Hart, Doris Kearns Goodwin, Jamie Foxx, Matthew McConaughey, Esther Perel, Elizabeth Gilbert, Terry Crews, Sia, Yuval Noah Harari, Malcolm Gladwell, Madeleine Albright, Cheryl Strayed, Jim Collins, Mary Karr, Maria Popova, Sam Harris, Michael Phelps, Bob Iger, Edward Norton, Arnold Schwarzenegger, Neil Strauss, Ken Burns, Maria Sharapova, Marc Andreessen, Neil Gaiman, Neil de Grasse Tyson, Jocko Willink, Daniel Ek, Kelly Slater, Dr. Peter Attia, Seth Godin, Howard Marks, Dr. Brené Brown, Eric Schmidt, Michael Lewis, Joe Gebbia, Michael Pollan, Dr. Jordan Peterson, Vince Vaughn, Brian Koppelman, Ramit Sethi, Dax Shepard, Tony Robbins, Jim Dethmer, Dan Harris, Ray Dalio, Naval Ravikant, Vitalik Buterin, Elizabeth Lesser, Amanda Palmer, Katie Haun, Sir Richard Branson, Chuck Palahniuk, Arianna Huffington, Reid Hoffman, Bill Burr, Whitney Cummings, Rick Rubin, Dr. Vivek Murthy, Darren Aronofsky, Margaret Atwood, Mark Zuckerberg, Peter Thiel, Dr. Gabor Maté, Anne Lamott, Sarah Silverman, Dr. Andrew Huberman, and many more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, we closely read Shelley's "Ozymandias," a poem written in a time of revolution and social protest. We focus on the poem's sonnet structure, its engagement with--and critique of--empire, its meditation on the bust of Ramses II, and its afterlife in an episode of _Breaking Bad. _ To learn more about Percy Bysshe Shelley, click here (https://www.poetryfoundation.org/poets/percy-bysshe-shelley). Here is the text of the poem: I met a traveller from an antique land, Who said—“Two vast and trunkless legs of stone Stand in the desert. . . . Near them, on the sand, Half sunk a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed; And on the pedestal, these words appear: My name is Ozymandias, King of Kings; Look on my Works, ye Mighty, and despair! Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away.” Photo: Ramses II, British Museum

What happens when it all ends? How do you react when your life as you know it is over? Who do you take down with you? Do you try and save anyone along the way? Why is it so fun to wield a stick like a samurai sword? All these questions and more are discussed and answered as Adam and Terry are joined by Todd to break down Breaking Bad in what many consider the best episode of television ever made: Season 5, Episode 14 - "Ozymandias." Check back every Thursday morning for the latest episode of the Almost SideShow! Find the past seasons of the Almost SideShow here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://almostsideways.com/Main%20Menu/Artice%20Archives%20Sub-Menus/AlmostSideways/Almost%20SideShow.html⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The SideShow is meant to be a companion to listen to after you watch each episode, so join us on the journey!  Watch the episode, then listen to our reaction and analysis.  New episodes drop every week! The Almost SideShow is hosted by Terry Plucknett and Adam Daly and is a part of the AlmostSideways family. Find AlmostSideways everywhere! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠almostsideways.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/AlmostSidewayscom-130953353614569/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠AlmostSideways Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @almostsideways ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Terry's Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @almostsideterry ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Zach's Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @pro_zach36 Todd: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Too Cool for Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Adam's Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @adamsideways ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/almostsideways-podcast/id1270959022⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/show/7oVcx7Y9U2Bj2dhTECzZ4m⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Stitcher⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.stitcher.com/podcast/almost-sideways-movie-podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCfEoLqGyjn9M5Mr8umWiktA/featured?view_as=subscriber⁠

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We stop time in Francis Ford Coppola’s “Megalopolis” and discuss: We, uh, review Megalopolis; Story & Writing, exposition, melodrama; Afterwards we’ll rank our top 5 or 10 films; and other such stuff and things and stuff. “Look on my Works, ye Mighty, and despair!” – Percy Bysshe Shelley from the poem “Ozymandias” Watch us on […] The post Ep 292: “Megalopolis” appeared first on The Pestle.

Watchmen: Chapter I is spoiled!Discover more great podcasts on the That Shelf Podcast Network! Learn more about TDF Everything on Facebook and Twitter!Hosts:Daniel Grant (Twitter & Instagram)Ben Sit (Twitter & Instagram)Show:@TDFSpoiled on Twitter, Instagram, Threads & YouTubeSubscribe & Follow HERE

Comedian Henrik Blix (THE PROBLEM WITH JON STEWART) was supposed to be on the show but he couldn't make it, so instead we invited Dr. Chelvin Tayne to share his groundbreaking research into mindfulness and lifestyle optimization. Watch full video of interview here: https://youtu.be/dn5bHwEExbA "Composition Number 8", by Vasily Kandinsky: https://www.guggenheim.org/artwork/1924 "Ozymandias", by Percy Bysshe Shelley: https://www.poetryfoundation.org/poems/46565/ozymandias Produced by G34 Productions Filmed at Grove 34 in Astoria, Queens

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What if the very foundation of our society was built on a lie? Join us as Tony Arterburn delves into the rapid decline of the US dollar, the historical failure of fiat currencies, and the artificial pillars propping up our current economic state. Drawing from Percy Shelley's "Ozymandias" and an analogy from Alice in Chains' "Jar of Flies," Tony explores the consequences of overabundance and the manipulative roots stretching back to 1913 and 1971. Through a compelling mix of historical analysis and contemporary critique, we uncover the unsettling truths behind our financial systems.In a gripping analysis of political dynamics, we tackle the rumors surrounding Joe Biden's potential exit from the presidential race, comparing his situation to historical figures like LBJ and Truman. Tony and his co-hosts examine the deep state's influence in maintaining Biden's position and explore the potential implications for Donald Trump and future elections. We also shine a light on the rise of sociopathic tendencies within American governance, inspired by Doug Casey's article, dissecting how these traits mirror those seen in totalitarian regimes and the broader implications for our political landscape.Finally, we explore the seismic geopolitical shifts from the West to the East, spotlighting key organizations like the World Economic Forum and the Trilateral Commission. We discuss the importance of political engagement, especially concerning gun rights and the looming threat of central bank digital currencies (CBDCs). Wrapping up, Tony shares his excitement for the upcoming Bitcoin conference in Nashville and introduces a new segment called "Truth or Hitting," while expressing heartfelt gratitude to our dedicated audience. Tune in for an episode packed with thought-provoking insights and timely discussions.

"Ozymandias" by Percy Bysshe Shelley  I met a traveller from an antique land,Who said—“Two vast and trunkless legs of stoneStand in the desert. . . . Near them, on the sandHalf sunk a shattered visage lies, whose frown,And wrinkled lip, and sneer of cold command,Tell that its sculptor well those passions readWhich yet survive, stamped on these lifeless things,The hand that mocked them, and the heart that fed;And on the pedestal, these words appear:My name is Ozymandias, King of Kings;Look on my Works, ye Mighty, and despair!Nothing beside remains. Round the decayOf that colossal Wreck, boundless and bareThe lone and level sands stretch far away.” Hi, I'm Grace, and this is the Peter Piper Picked a Peck of Pickled Poems Podcast. It's a poetry podcast by a kid, for kids. Are you ready for today's Pickled Poem? Email pickledpoemspodcast@gmail.com and let me know what you thought about today's episode. I'd love to hear YOUR favorite poem, too, so make sure to include that in the email and it might show up in a future episode. Make sure your parents have subscribed to this podcast, and ask them to leave a rating and review so more kids and families can enjoy pickled poems. Oh, and I should mention that this podcast is sponsored by the ⁠⁠⁠Homeschool Conversations with Humility and Doxology podcast⁠⁠⁠, which is hosted by my Mom. So if you have a parent listening, they should probably check that one out, too. Now go pick a peck of pickled poems! I'll see you next week! ⁠⁠⁠https://www.humilityanddoxology.com/pickledpoemspodcast⁠⁠

It's July so - of course - a cold grey morning sees the boys back on Hampstead Heath. Featuring the Dubai tour/holiday, Paul's legs and Rob's ribs, July kicking off full of thrills for Britain - Glastonbury, the Euros, Wimbledon and Pride - more magpies than ever, early aims for the rest of the year - beginning with the London 10k - gig report, a tempting trip to Cambridge, kids and pups, the incredible achievements of Joss, thoughts of Ozymandias, and a sprinkling of hope for the future.Here's to Joss Naylor, greatest fell runner ever.SUBSCRIBE for early access, ad-free listening and more... and BUY OUR BOOKS; you can get Rob's book Running Tracks here - https://www.waterstones.com/book/running-tracks/rob-deering/9781800180444 - and you can get Paul's book 26.2 Miles to Happiness here: https://www.waterstones.com/book/26-2-miles-to-happiness/paul-tonkinson/9781472975270You can download Rob's show Long Distance Man here: gofasterstripe.com/ldThanks for listening, supporting, and sharing your adventures with us. Happy running.Support this show http://supporter.acast.com/runningcommentary. Thanks for listening - we'll be back next week, and if you're desperate in the meantime, subscribe and become a Fan - there are hundreds of old episodes you can have a go on, AND you'll get next week's episode three days early. Happy running! https://plus.acast.com/s/runningcommentary. Hosted on Acast. See acast.com/privacy for more information.

Welcome to Blood, Meth, and Tears, the podcast about Breaking Bad. In this episode, we discuss episodes fourteen through sixteen of season five: Ozymandias, Granite State, and Felina. Twitter: @RTOPodcasts, @ThatCoolBlkNerd, @Scarfinger, @RatchetBookClub Become a Patron at http://www.Patreon.com/singlesimulcast Donate to the show at http://www.buymeacoffee.com/sscast

Welcome to Blood, Meth, and Tears, the podcast about Breaking Bad. In this episode, we discuss episodes fourteen through sixteen of season five: Ozymandias, Granite State, and Felina. Twitter: @RTOPodcasts, @ThatCoolBlkNerd, @Scarfinger, @RatchetBookClub Become a Patron at http://www.Patreon.com/singlesimulcast Donate to the show at http://www.buymeacoffee.com/sscast

Welcome to Blood, Meth, and Tears, the podcast about Breaking Bad. In this episode, we discuss episodes fourteen through sixteen of season five: Ozymandias, Granite State, and Felina. Twitter: @RTOPodcasts, @ThatCoolBlkNerd, @Scarfinger, @RatchetBookClub Become a Patron at http://www.Patreon.com/singlesimulcast Donate to the show at http://www.buymeacoffee.com/sscast

"Look Upon my Goo Ye Mighty and Despair!" - Percy Shelley, wrote this, I believe in his chart topping hit Ozymandias, which was about the Watchmen character of the same name. Very slick. Also what's slick? We got more Resident Evil Underworld for your ears, fresh and hot this week. HOT EAR WARNING. Our Socials Follow us at patreon.com/pixellitpod and hop into our Discord! Blue Sky: https://bsky.app/profile/pixellitpod.com Instagram: https://instagram.com/pixellitpod

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: The "TESCREAL" Bungle, published by ozymandias on June 4, 2024 on The Effective Altruism Forum. A specter is haunting Silicon Valley - the specter of TESCREALism. "TESCREALism" is a term coined by philosopher Émile Torres and AI ethicist Timnit Gebru to refer to a loosely connected group of beliefs popular in Silicon Valley. The acronym unpacks to: Transhumanism - the belief that we should develop and use "human enhancement" technologies that would give people everything from indefinitely long lives and new senses like echolocation to math skills that rival John von Neumann's. Extropianism - the belief that we should settle outer space and create or become innumerable kinds of "posthuman" minds very different from present humanity. Singularitarianism - the belief that humans are going to create a superhuman intelligence in the medium-term future. Cosmism - a near-synonym to extropianism. Rationalism - a community founded by AI researcher Eliezer Yudkowsky, which focuses on figuring out how to improve people's ability to make good decisions and come to true beliefs. Effective altruism - a community focused on using reason and evidence to improve the world as much as possible. Longtermism - the belief that one of the most important considerations in ethics is the effects of our actions on the long-term future.[1] TESCREALism is a personal issue for Torres,[2] who used to be a longtermist philosopher before becoming convinced that the ideology was deeply harmful. But the concept is beginning to go mainstream, with endorsements in publications like Scientific American and the Financial Times. The concept of TESCREALism is at its best when it points out the philosophical underpinnings of many conversations occurring in Silicon Valley - principally about artificial intelligence but also about everything from gene-selection technologies to biosecurity. Eliezer Yudkowsky and Marc Andreessen - two influential thinkers Torres and Gebru have identified as TESCREAList - don't agree on much. Eliezer Yudkowsky believes that with our current understanding of AI we're unable to program an artificial general intelligence that won't wipe out humanity; therefore, he argues, we should pause AI research indefinitely. Marc Andreessen believes that artificial intelligence will be the most beneficial invention in human history: People who push for delay have the blood of the starving people and sick children whom AI could have helped on their hands. But their very disagreement depends on a number of common assumptions: that human minds aren't special or unique, that the future is going to get very strange very quickly, that artificial intelligence is one of the most important technologies determining the trajectory of future, that intelligences descended from humanity can and should spread across the stars.[3] As an analogy, Republicans and Democrats don't seem to agree about much. But if you were explaining American politics to a medieval peasant, the peasant would notice a number of commonalities: that citizens should choose their political leaders through voting, that people have a right to criticize those in charge, that the same laws ought to apply to everyone. To explain what was going on, you'd call this "liberal democracy." Similarly, many people in Silicon Valley share a worldview that is unspoken and, all too often, invisible to them. When you mostly talk to people who share your perspective, it's easy to not notice the controversial assumptions behind it. We learn about liberal democracy in school, but the philosophical underpinnings beneath some common debates in Silicon Valley can be unclear. It's easy to stumble across Andreesen's or Yudkowsky's writing without knowing anything about transhumanism. The TESCREALism concept can clarify what's going on for confused outsiders. How...

TRACKLIST: 1. Everything in its Right Place - Kamaal Williams 2. Lead Me To the Water - LaRussell, Hit-Boy & Tietta 3. Everybody Loves the Sunshine (feat. José James) - Takuya Kuroda 4. Siesta (B-Side) - Ezra Collective 5. Ozymandias & the Shrine of Abu Simbel - Parviz 6. Know Betta - Henry Wu 7. Happier (feat. Clementine Douglas) [Extended] - The Blessed Madonna 8. Cartier - Logic1000 9. I'm Pressed - serpentwithfeet 10. WHERE DiD THE LOVE GO? - IAMDDB 11. Never Saw It Coming (feat. Zyah Belle & Chachi) - Terrace Martin & Terrace Martin Presents The Pollyseeds 12. Joey Stop Taking My Pads - Babo 13. U Shud Kno - TroyBoi 14. Harlem Popo - Diamantero 15. Onceuponatimeinthe805 (Else's) - KYLE 16. Home - BROCKHAMPTON 17. 333 - King Isis 18. ordinary love - Humble the Great 19. Florida Baby - Isaiah Falls 20. Alone Together (feat. Keyon Harrold) - Gary Clark Jr. 21. triflin' - Zack Fox 22. Don't You Dare Stop - Say She She

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Development RCTs Are Good Actually, published by ozymandias on March 28, 2024 on The Effective Altruism Forum. This post was cross-posted from the substack Thing of Things with the permission of the author. In defense of trying things out The Economist recently published an article, "How poor Kenyans became economists' guinea pigs," which critiques development economists' use of randomized controlled trials. I think it exemplifies the profoundly weird way people think about experiments. The article says: In 2018, an RCT run by two development economists, in partnership with the World Bank and the water authority in Nairobi, Kenya's capital, tracked what happened when water supply was cut off to households in several slum settlements where bills hadn't been paid. Researchers wanted to test whether landlords, who are responsible for settling the accounts, would become more likely to pay as a result, and whether residents would protest. Hundreds of residents in slum settlements in Nairobi were left without access to clean water, in some cases for weeks or months; virtually none of them knew that they were part of an RCT. The study caused outrage among local activists and international researchers. The criticisms were twofold: first, that the researchers did not obtain explicit consent from participants for their involvement (they said that the landlord's contracts with the water company allowed for the cut-offs); and secondly, that interventions are supposed to be beneficial. The economists involved published an ethical statement defending the trial. Their research did not make the cut-offs more likely, they explained, because they were a standard part of the water authority's enforcement arsenal (though they acknowledged that disconnections in slums had previously been "ad hoc"). The statement did little to placate the critics. You know what didn't get an article in The Economist? All the times that slum dwellers in Nairobi were left without access to clean water for weeks or months without anyone studying them. By the revealed preferences of local activists, international researchers, and The Economist, the problem isn't that people are going without clean water, or that the water authority is shutting off people's water - those things have been going on for decades without more than muted complaining. The ethical problem is that someone is checking whether this unthinkably vast amount of human suffering is actually accomplishing anything. The water authority is presumably not shutting off people's water recreationally: it's shutting off people's water because they think it will get them to pay their water bills. Therefore, the possible effects of this study are: The water authority continues to do the same thing it was doing all along. The water authority learns that shutting off water doesn't get people to pay their bills, so it stops shutting off people's water, and they have enough to drink. If you step back from your instinctive ick reaction, you'll notice that this study may well improve water access for slum dwellers in Nairobi, and certainly isn't going to make it any worse. But people are still outraged because, I don't know, they have a strongly felt moral opposition to random number generators. I really don't understand the revulsion people feel about experimenting on humans. It's true that many scientists have done great evil in the name of science: the Tuskegee syphilis experiment, MKUltra, Nazi human experimentation, the Imperial Japanese Unit 731.[1] But the problem isn't the experiments. It's not somehow okay to deny people treatment for deadly diseases, force them to take drugs, or torture them if you happen to not write anything down about it. If it's fine to do something, then it's fine to randomly assign people to two groups, only do it to half of ...

In the Hematite City of Ozymandias the Princes have built a shrine to honor the lynchpin of all reality. A world of her own is at her fingertips. All she needs to do it grasp it. Oh and kill the rest. With Ismail as Hunts the Storm who makes a plea Trevor as Parallax who feels a little tense Caity as Hannah, Archmaster of Life Victoria as Ethyl Stubbs, Archmaster of Death and Charlotte as Mona Storytelling by Rudy New Song! Mona Machine Composed by Psnayl Abyssal Timeline Theme Composed by Psnayl Hunts-the-Storm Theme Composed by Psnayl Play the game! Buy the rules here: https://www.drivethrurpg.com/product/... You can cast spells too. You know it.   / discord  #notdnd #magetheawakening #ttrpg 0:00 Intro 2:15 Sudden Monkeys! 7:08 Hulk Hannah Form 11:12 Holy Water Miracle 13:55 This Byron 25:38 Breakout Rooms of Betrayal 40:06 The moment I capture my friends 49:20 Oh you have wings now 1:05:55 "It's corruption!" 1:18:49 What's your gnosis these days? 1:27:07 "How dare you paradox!" --- Support this podcast: https://podcasters.spotify.com/pod/show/wards-and-witchcraft/support

Our illustrious heroes come full circle and land at the doorstep of the Alllaylat Almadia nightclub and finally confront Amahl Farouk in his true form - that of The Shadow King. Armed with the Opal of Ozymandias and the Lament Configuration, Farouk now possesses near omnipotent powers and now controls his own army of Cenobite warriors. Our original band of WWII Superheroes come together once more to combat the forces of the Axis Powers in part two of our In the Shadow of Evil campaign entitled In the Mouth of Madness. Featuring players from Startplaying.gamesLike what you see! Support us on Patreon at https://www.patreon.com/DreamslayerStudiosCheck out our website at https://dreamslayerstudios.renderforestsites.com/Join us on Facebook at https://www.facebook.com/dreamslayerstudios.entertainment/A Marvel Superheroes FASERIP RPG Actual PlayMusic from this episode may come from the following sources: Digital Juice, Tabletop Audio and Monument Studios

Andy Parker reads "Ozymandias," a poem by Percy Bysshe Shelley.Follow Us On Social MediaYouTubeRumbleTwitterFacebookInstagram

#witchRPG #magetheawakening Following a wild night the Fools find themselves still in the cannibal timeline. Still in the Abyss. Given agency of where to go, they choose north. North where the ghosts go. North to the field of heads. North to the suspicious Golden Brick Road that is all too familiar to one. North to the city of Ozymandias. North to a great betrayal. With Charlotte as Mona, Archmaster of Prime Trevor as Parallax, Archmaster of Time Caity as Hannah, Archmaster of Life Victoria as Ethyl Stubbs, Archmaster of Death and Ismail as Hunts the Storm their werewolf compass Storytelling by Rudy Fixed some of the audio issues New Song! Mona Machine Composed by Psnayl Abyssal Timeline Theme Composed by Psnayl Hunts-the-Storm Theme Composed by Psnayl Play the game! Buy the rules here: https://www.drivethrurpg.com/product/... You can cast spells too. You know it.   / discord  #archmastery #magetheawakening #ttrpg 0:00 Intro 1:01 Hung Over Pirates 13:58 Spirit Duo 19:08 Golden Road --- Support this podcast: https://podcasters.spotify.com/pod/show/wards-and-witchcraft/support

Featuring a full lineup of Japan's Kuichi Brewing Company! We discuss the sad state and misrepresentation offered by imported beer aisles, Ozymandias discusses gym-bro culture normalizing gay jokes AKA integration through ridicule, we share the story of how we once became Aristophane's man (thank you Old Number 7), meeting the worst guest to invite to a cocaine party (2 for 1 girl)

OMG, Stacey's accused of being a jewel thief! And more importantly, this leads to financial problems for Claudia and she's out for revenge! Meanwhile, the junior podcaster attempts to eat an entire box of staples. On today's agenda: Stacey cleans house; spicy Pepsi; digestive system DLC; the Ozymandias of footwear; a distressing scenario involving chicken livers; Karen sets the record straight; obstacles to horse ownership; shoe size trauma; important worldbuilding continuity; definitely offal. Our theme song is ‘The Incredible Shrinking Larry' by Matt Oakley and ‘Big Band Jingle A' is by Lobo Loco, both on the Free Music Archive. If you like our show, tell a friend, rate and review on your podcast app of choice, and come say hi on Facebook, Twitter, Tumblr or Instagram! We also have a ko-fi and we're real self-conscious about it!

It's possible heroic efforts will be made and some piece of the statue could be preserved for another few millennia.  But eventually, whether its in a museum or out in the elements, atom by atom, it will fade.  In a way, its already suffered one kind of death.  At its creation, it was a statue of a ruler its people viewed as a God.  It had a talismanic power.  Now it's only relevant because it's an example of ancient sculpture.  Hordes of tourists walk by every day, taking a quick glance at a ruler that few remember, slowly falling apart in a dusty old museum. This song is based on the poem Ozymandias, by Percy Bysse Shelley: I met a traveller from an antique land,Who said—“Two vast and trunkless legs of stoneStand in the desert. . . . Near them, on the sand,Half sunk a shattered visage lies, whose frown,And wrinkled lip, and sneer of cold command,Tell that its sculptor well those passions readWhich yet survive, stamped on these lifeless things,The hand that mocked them, and the heart that fed;And on the pedestal, these words appear:My name is Ozymandias, King of Kings;Look on my Works, ye Mighty, and despair!Nothing beside remains. Round the decayOf that colossal Wreck, boundless and bareThe lone and level sands stretch far away.

This week marked the passing of Henry Kissinger at the ripe age of 100. Beyond the condolences, a new discussion emerged – was the iconic realist actually a misunderstood idealist all along? Reigniting the timeless debate: Is Kissinger, idealist inclinations notwithstanding, truly deserving of the praise he receives in certain influential circles? The man may be gone, but the controversy lives on. SPOILER: He was definitely an asshole Johnny Harris: Was Kissinger a War Criminal? https://youtu.be/COqq7862wcU?si=YtznCSs7XeCDjLjx Henry Kissinger: Good or Evil? https://www.politico.com/magazine/story/2015/10/henry-kissinger-history-legacy-213237/ Also a review of the new Season of Frasier, because… WHY NOT!?! I am an Artist and Comic creator, always making things, and you go to FWACATA.com for links to everything you see here, including my live art shows almost daily on Youtube and Whatnot, buy original art and designs like this on my Etsy or Teepublic store, and read my comics and get insights and discounts on my Patreon! Hit the links for more! Introducing Stimulus, the happy social network where giveaways replace ads. Brands get the attention they need, and people can win cash! Enter giveaways by liking, replying, or reposting. We ensure fairness with random prize selections. ID verification keeps things legit. Joining is easy – sign up and browse. But remember, verification is for U.S. residents only. Let's brighten up social media together. Visit https://www.stimulus.com/ref/FWACATA Happy giveaways, and positive vibes. --- Send in a voice message: https://podcasters.spotify.com/pod/show/fwacata/message

Original Air Date: January 13, 1957Host: Andrew RhynesShow: GunsmokePhone: (707) 98 OTRDW (6-8739) Stars:• William Conrad (Matt Dillion)• Parley Baer (Chester)• Georgia Ellis (Kitty)• Howard McNear (Doc) Producer:• Norman Macdonnell Music:• Rex Koury Sound Patterns:• Ray Kemper• Bill James Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK

Original Air Date: January 13, 1957Host: Andrew RhynesShow: GunsmokePhone: (707) 98 OTRDW (6-8739) Stars:• William Conrad (Matt Dillion)• Parley Baer (Chester)• Georgia Ellis (Kitty)• Howard McNear (Doc) Producer:• Norman Macdonnell Music:• Rex Koury Sound Patterns:• Ray Kemper• Bill James Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK

Emilio checks out Starfield and we compare it to Baldur’s Gate 3. Bobby beats Trine 3 while Nic gets his Warhammer achievement and Christian gets addicted to Ozymandias.TOPICSNine Parchments, PAX West, Void Crew, Trine 3, Remnant II, Total war Warhammer III: Immortal Empire, Nour: Play with Your food, Soulstone Survivors, Ozymandias: Bronze Age Empire Sim, StarfieldFor more, check out dlgaming.net!

Frank examines statues and statutes with Percy Bysshe Shelley. The poems referenced are ‘England in 1918' and ‘Ozymandias'. The essay referenced is ‘A Defence of Poetry'.

A Battletech podcast highlighting the storied mercenary units of the Inner Sphere that are highlighted in the 2023 Mercenaries Kickstarter and exploring the news and products surrounding it. In episode 09 we are looking at the Camacho's Cabelleros!!! Special thanks to Matt "Bloodbath" Behrens, co-host on the Wolfnet Radio Podcast! Check out our sponsor: Fortress Miniatures & Games! https://www.fortressminiaturesandgames.com/ Follow the Mercenary Star Podcast on Twitter: @MercStarPodcast Follow the Mercenary Star Podcast on Instagram: Mercenary Star Podcast Follow Seth on twitter: @WhiteFoxSG Check out the other awesome Battletech Podcasters & Creators in the Valhalla Club discord, and be sure to follow our Podcaster Solaris Tournament! https://discord.gg/NjMqnXqPYs Email us at mercenarystarpodcast@gmail.com Camacho's Cabelleros Fiction: • Close Quarters, Victor Milan, 1994 • Hearts of Chaos, Victor Milan, June 1996 • Black Dragon, Victor Milan, November 1996 • Callie's Call, Victor Milan, BattleCorp, 2005 • Ozymandias, Victor Milan, Battletech: 25 Years of Art & Fiction, 2009

Here we are for episode 659! In which Ozymandias The Talking Duck finally joins the podcast team and meets all the regulars - how exactly will he get on!? Paul also finds himself daydreaming about what it would have been like to have been in rock band... We also have a quiz with Calum and a new composition by Muffleyontour called COCO at around the 45 minutes and 30 seconds mark. Not only this but also a new piece by Harry F called THE END OF THE LINE, which appears around the 56 minutes, 30 seconds mark. Our next show, #660 sees Mr Yeti receiving a mysterious visitor from overseas - who can it be? Thanks once again to my special guest for this episode, Mr Gianluca C from all the way over in Italy! Please join us if you can! Email us at shyyeti@yahoo.co.uk if you have any comments - you can even send me a sound-file and I'll include it. The music is by Shy Yeti, Harry F, Muffleyontour and Luca. Sound effects by Paul C and Soundbible. All other content of this episode is Copyright Paul Chandler, 2023. Episode 659 was recorded on the 28th February 2023, with additional scenes recorded between the 31st July and the 1st August 2023. Calum's quiz was recorded on the 6th of August 2023, whilst Cuthbert's cameo was recorded during the editing process on the 13th August 2023.

Everything I'm about to share with you happened in England and France during the lifetime of Thomas Jefferson, while America still had its “new baby” smell.The English poet Samuel Taylor Coleridge gave us “The Rime of the Ancient Mariner” in 1798, while Napoleon sailed to Egypt to fight the Battle of the Pyramids and famously discover the Rosetta Stone.Coleridge died of heart failure due to his opium addiction.Wordsworth gave us “The Rainbow” in 1802, while the people of France enthusiastically approved a new constitution that elevated Napoleon to dictator for life.Wordsworth died of a lung infection.Shelley gave us “Ozymandias,” the tale of a fallen and forgotten emperor, in 1818, while Napoleon languished in exile on the island of Saint Helena in the Atlantic.Shelley died in a boating accident at the age of 29.Keats gave us “La Belle Dame sans Mercy” in 1819, while Napoleon continued to languish on Saint Helena.Keats died of tuberculosis at the age of 25.“Le Belle Dame sans Mercy” in English means “The Beautiful Girl without Mercy,” but you and I know her as Fame and Fortune.You've often heard the names of Coleridge, Wordsworth, Shelley, and Keats, but did you know that each of these English Romantic poets was inspired by an imaginary 15th-century monk named Thomas Rowley?But imaginary through he was, Thomas Rowley re-ignited the flames of romantic literature in England during the colorful years that he lived in the mind of an adolescent boy in poverty.That boy, Thomas Chatterton, was born 15 weeks after his father died in 1752, when Thomas Jefferson was just 9 years old. Napoleon would not be born for another 3 years.Little Thomas spent his days with his uncle, the sexton of the church of St Mary, Redcliffe, where he would crawl through the attic of that vast, ancient building, examining the contents of oak chests stored there since 1185, where documents as old as the War of the Roses lay forgotten.By the time he was 6, young Thomas Chatterton had learned his alphabet from the illuminated capitals of those documents. By the time he was 11, Thomas had become so well-versed in the language and legends of earlier centuries that he began sending poems to “Felix Farley's Bristol Journal,” claiming they were transcribed from the writings of a monk named Thomas Rowley who had lived 300 years earlier.Aside from the hundreds of poems written by this imaginary monk, Chatterton wrote political letters, song lyrics, operas and satires in verse and in prose. He became known to the readers of the Middlesex Journal as Decimus, a rival of Junius, that author of the forever infamous Letters of Junius. Chatterton was also a contributor to Hamilton's Town and Country Magazine, and the Freeholder's Magazine, political publications supportive of liberty and rebellion.While the brilliant submissions of Thomas Chatterton were happily accepted by editors across England, he was paid little or no money for them.On the 17th of April, 1770, 17-year-old Thomas Chatterton penned a satire he called his “Last Will and Testament.” In it, he hinted that he was planning to end his life the following day.That famous poem by John Keats, “La Bella Dame sans Mercy,” may well have been written with Thomas Chatterton in mind. For the beautiful, merciless girl in that poem is a fairy – let us call her Fame & Fortune – who makes love to a medieval knight in his dreams, then leaves him sick and dying on a cold hillside when she...

Featuring a full line up of Steigel Radlers! We marvel at the prowess of a Brewing Company which has been in business for over 500 years, Ozymandias worries about the impending cognitive dissonance created by always telling children they are cute, Anthropos proudly boasts on behalf of humanity, the James Webb Telescope's greatest achievement; smart phone wallpapers!

The original gang is back!  Why?  Because Theo needs advice.  Not just any advice - the oldest advice in the world.  That's right - this week we're discussing The Wisdom of Ptah-Hotep, a “book” of “advice” from Ptah-Hotep, vizier of Pharaoh Isesi, the last ruler of the Fifth Dynasty of Egypt.  Theo has a suggestion for how we can avoid fixing the healthcare system.  Jackie Kermits against her will.  Rachel reminisces about her old classssssmatessss, Bobo and Bilbo.  Topics include: Fuddruckers, Coca-Mola, Serpent Handling 101, Undermining the Government in a God-Fearing Way, frame narratives (which Rachel came up with), Battiscombe G. Gunn, severing one's ties with the occult, horse kids, 6000 years of great stuff, Ozymandias the salty ol' sea dog, Theewi vs. Beefy T vs Theo Sunflow, Cyndi Lauper, Princesplaining, You Thought You Knew New York, and Yeah! by Usher feat. Lil Jon and Ludacris.(Titles we considered but didn't go with: Girls for the Gays and Goths for the Whales; Dress for the Egypt You Want, Not the Egypt You Have; Obey Your Enemy, Eat Your Wife; Look On Me Works, Me Hearties; 2,000 Years of Disagreement; and The Elements of Human Intercourse Throughout the Ages.) ★ Support this podcast on Patreon ★

This is a free preview of a paid episode. To hear more, visit weekendwater.substack.comIn the first ever BONUS chat (kind of a mini-episode of the podcast - but AD-FREE!) for our WEEKEND WATER substack subscribers who seek, oh so sweet, PREMIUM content, Janie & Paul make their SUCCESSION finale predictions, OR DO THEY? PFT learns his fate if he loses at “Comedian Feud” and cuckoo is decidedly NOT in a throuple! To have our bonus episode i…

Chris and Andy talk about the penultimate episode of 'Succession,' "Church and State." They talk about Roman's breakdown at the funeral, the use of language in this episode (1:00), how the kids continue to grieve Logan by trying to become him (26:34), and how this episode is similar to the "Ozymandias" episode of 'Breaking Bad' (39:01). Hosts: Chris Ryan and Andy Greenwald Producer: Kaya McMullen Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today's poem is Ozymandias by Percy Bysshe Shelley. This week's episodes are for, and feature, young poets. Ever since taking on the role as host of The Slowdown, I've been thinking a lot more about the importance of performance in poetry. An organization that teaches this art to young people is Poetry Out Loud, for which I've served as a national judge; today's co-host, Cat, participated as a performer, winning her region in New York. Her reading of Ozymandias reminded me of something so important: by taking on characters from classic works, we can find new power in being ourselves. We would love to hear your thoughts on these special episodes for young people. Please go to slowdownshow.org/survey to tell us what you think!

The Mandalorian is back, baby! First, Caitlin and Charlotte express gratitude about the past week, talk about what the premiere was like, and then begin discussing and breaking down “The Apostate” and “The Mines of Mandalore” — both incredible Mando episodes. Bo Katan, pirates, the future of Mandalore, how this relates to Ozymandias, and so much more.    Join our Patreon community and unlock bonus episodes!: https://www.patreon.com/skytalkers    http://skytalkers.com  http://www.twitter.com/skytalkerspod https://www.tiktok.com/@skytalkers  http://facebook.com/skytalkerspod  https://www.instagram.com/skytalkerspodcast  http://www.twitter.com/crerrity  http://www.twitter.com/caitlinplesher  hello@skytalkers.com    #starwars #themandalorian

Dr Kirk and Humberto discuss the psychology of The Joker, Lex Luthor, and Ozymandias.00:00 The Psychology of Three Villains01:30 Archetypes and origin stories11:03 The Joker15:09 Heath Ledger's Joker29:55 Lex Luthor47:27 OPP48:40 Ozymandias & the trolley problem From our sponsor, Policygenius: Need an insurance policy? Try Policygenius at https://www.policygenius.comFrom our sponsor, BetterHelp: Need a therapist? Try BetterHelp! https://www.betterhelp.com/kirkGet started today and enjoy 10% off your first month. Discount code “KIRK" will be automatically applied.December 12, 2022Become a patron: https://www.patreon.com/PsychologyInSeattleEmail: https://www.psychologyinseattle.com/contactMerch: https://teespring.com/stores/psychology-in-seattleCameo: https://www.cameo.com/kirkhondaInstagram: https://www.instagram.com/psychologyinseattle/Facebook Official Page: https://www.facebook.com/PsychologyInSeattle/TikTok: https://www.tiktok.com/@kirk.hondaThe Psychology In Seattle Podcast ®Trigger Warning: This episode may include topics such as assault, trauma, and discrimination. If necessary, listeners are encouraged to refrain from listening and care for their safety and well-being.Disclaimer: The content provided is for educational, informational, and entertainment purposes only. Nothing here constitutes personal or professional consultation, therapy, diagnosis, or creates a counselor-client relationship. Topics discussed may generate differing points of view. If you participate (by being a guest, submitting a question, or commenting) you must do so with the knowledge that we cannot control reactions or responses from others, which may not agree with you or feel unfair. Your participation on this site is at your own risk, accepting full responsibility for any liability or harm that may result. Anything you write here may be used for discussion or endorsement of the podcast. Opinions and views expressed by the host and guest hosts are personal views. Although, we take precautions and fact check, they should not be considered facts and the opinions may change. Opinions posted by participants (such as comments) are not those of the hosts. Readers should not rely on any information found here and should perform due diligence before taking any action. For a more extensive description of factors for you to consider, please see www.psychologyinseattle.com

Following up on Episode 446 Percy Bysshe Shelley - The Early Years, Jacke takes a look at the final five years of Percy Bysshe Shelley's life, from 1817-1822, as the poet turned away from hands-on political action in favor of attempting to transform the world through his art. Works discussed include the Preface to Frankenstein; "Stanzas Written in Dejection, Near Naples"; "Ozymandias"; "Ode to the West Wind"; "The Cloud"; "To a Skylark"; "Adonais, or an Elegy on the Death of John Keats"; Prometheus Unbound; "Music When Soft Voices Die"; "The Waning Moon" and "Art Thou Pale for Weariness." Additional listening: 446 Percy Bysshe Shelley - The Early Years 451 Mary Shelley John Keats More John Keats Help support the show at patreon.com/literature or historyofliterature.com/shop. 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