Podcast appearances and mentions of Robert Herrick

In this episode, Brett McCollum interviews Robert Herrick, a real estate investor and agent, who shares his journey from starting in California to expanding his investments in Indiana and Birmingham. Robert discusses the challenges and strategies of navigating different real estate markets, the importance of understanding local dynamics, and the value of mentorship in the industry. He emphasizes the significance of problem-solving in real estate investing and offers advice for new investors looking to break into competitive markets.   Professional Real Estate Investors - How we can help you: Investor Fuel Mastermind:  Learn more about the Investor Fuel Mastermind, including 100% deal financing, massive discounts from vendors and sponsors you're already using, our world class community of over 150 members, and SO much more here: http://www.investorfuel.com/apply   Investor Machine Marketing Partnership:  Are you looking for consistent, high quality lead generation? Investor Machine is America's #1 lead generation service professional investors. Investor Machine provides true ‘white glove' support to help you build the perfect marketing plan, then we'll execute it for you…talking and working together on an ongoing basis to help you hit YOUR goals! Learn more here: http://www.investormachine.com   Coaching with Mike Hambright:  Interested in 1 on 1 coaching with Mike Hambright? Mike coaches entrepreneurs looking to level up, build coaching or service based businesses (Mike runs multiple 7 and 8 figure a year businesses), building a coaching program and more. Learn more here: https://investorfuel.com/coachingwithmike   Attend a Vacation/Mastermind Retreat with Mike Hambright: Interested in joining a “mini-mastermind” with Mike and his private clients on an upcoming “Retreat”, either at locations like Cabo San Lucas, Napa, Park City ski trip, Yellowstone, or even at Mike's East Texas “Big H Ranch”? Learn more here: http://www.investorfuel.com/retreat   Property Insurance: Join the largest and most investor friendly property insurance provider in 2 minutes. Free to join, and insure all your flips and rentals within minutes! There is NO easier insurance provider on the planet (turn insurance on or off in 1 minute without talking to anyone!), and there's no 15-30% agent mark up through this platform!  Register here: https://myinvestorinsurance.com/   New Real Estate Investors - How we can work together: Investor Fuel Club (Coaching and Deal Partner Community): Looking to kickstart your real estate investing career? Join our one of a kind Coaching Community, Investor Fuel Club, where you'll get trained by some of the best real estate investors in America, and partner with them on deals! You don't need $ for deals…we'll partner with you and hold your hand along the way! Learn More here: http://www.investorfuel.com/club   —--------------------

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

The complete audiobook is available for purchase at Audible.com: https://n9.cl/wmx033 Poems by Robert Herrick By Robert Herrick Evan Blackmore - introduction Narrated by Evan Blackmore This collection contains 201 lively little poems by the most playful of English Golden Age writers, Robert Herrick. All his favorite pieces are here: Delight in Disorder, Corinna's Going A-Maying, To the Virgins to Make Much of Time, To Anthea Who May Command him Anything, To Daffodils, The Night-Piece to Julia, and many others.

Pam and Olivia celebrate the transition from 2024 to 2025 with New Year's traditions, fun spaghetti trivia, and fascinating history like Edwin Hubble's galaxy announcement in 1924. They also share jokes, phrases for the New Year, and a heartfelt poem by Robert Herrick. Wishing all listeners a Happy New Year—keep wondering!Links and ResourcesThe Wonder Kids Club - bonus audio and printables for each showSupport the show with a one-time donation.The TeamHost: Pam BarnhillHost: Olivia BarnhillResearch and Writing: Betsy CypressProduction: Thomas BarnhillGraphics: Katy WallaceOperations: Meg Angelino

In this episode of the Wonder World Podcast, Pam and Olivia celebrate the third week of November with unique days like Make Homemade Bread Day, Apple Cider Day, and National Cranberry Relish Day. They dive into fun discussions about Thanksgiving favorites, including Pam's journey from canned to homemade cranberry sauce!The episode features historical highlights like the Gettysburg Address and New Jersey's ratification of the Bill of Rights. There's a trivia question about Puerto Rico's geography, a roundup of November birthdays, some Thanksgiving-themed jokes, and a lovely poem, Grace for a Child by Robert Herrick, introducing the new vocabulary word, "benison."It's a cozy mix of history, fun facts, and holiday cheer, perfect for curious listeners! Links and ResourcesThe Wonder Kids Club - bonus audio and printables for each showSupport the show with a one-time donation.Monday November 20th, 2023The TeamHost: Pam BarnhillHost: Olivia BarnhillResearch and Writing: Betsy CypressProduction: Thomas BarnhillGraphics: Katy WallaceOperations: Meg Angelino Mentioned in this episode:Join the Wonder Kids Club for Only $24!Use code WW2025 and join for only $24! head to https://www.wonderworldpodcast.com/Kids Club Promo

Send us a textToday we look at the love children of John Donne and Ben Jonson, a group of monarchist soldiers during the English Civil War.  Collectively known as the Cavalier Poets, they are numerous.  We'll look at some representative poems today by Robert Herrick, Thomas Carew, Richard Lovelace, and the ill-fated and unfortunately named Sir John Suckling.Additional music:"Consort for Brass" by Kevin MacLeod"La Violetta" by Claudio Monteverdi; perf. The Boston Camerata, dir. Joel Cohen"In Town Tonight" by Reginald Dixon; perf. Eric CoatesSupport the showPlease like, subscribe, and rate the podcast on Apple, Spotify, YouTube Music, or wherever you listen. Thank you!Email: classicenglishliterature@gmail.comFollow me on Instagram, Facebook, Tik Tok, and YouTube.If you enjoy the show, please consider supporting it with a small donation. Click the "Support the Show" button. So grateful!Podcast Theme Music: "Rejoice" by G.F. Handel, perf. The Advent Chamber OrchestraSubcast Theme Music: "Sons of the Brave" by Thomas Bidgood, perf. The Band of the Irish GuardsSound effects and incidental music: Freesounds.orgMy thanks and appreciation to all the generous providers!

Some poets wind up writing prayers by accident; others do it on purpose. Today's poems from Robert Herrick–“Grace For a Child” and “His Prayer for Absolution”–are of the latter variety. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Today's poem from Ben Jonson (also know by its first line, “Drink to me only with thine eyes”) has been arranged and set to music numerous times, and become so familiar that it is often recognizable even to those who no longer associate it with Jonson himself. Jonson's circle of admirers and friends, who called themselves the “Tribe of Ben,” met regularly at the Mermaid Tavern and later at the Devil's Head. Among his followers were nobles such as the Duke and Duchess of Newcastle, as well as writers, including Robert Herrick, Richard Lovelace, Sir John Suckling, James Howell, and Thomas Carew. Most of his well-known poems include tributes to friends, notably Shakespeare, John Donne, and Francis Bacon.When Jonson died in 1637, a tremendous crowd of mourners attended his burial at Westminster Abbey. He is regarded as one of the major dramatists and poets of the seventeenth century.-bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Today's poem from Robert Herrick is not only an ode to the holiday of Candlemas, but a meditation on the everlasting revolution of the seasons.For more on the history of Groundhog Day and Candlemas, check out this conversation between Richard Rohlin and Jonathan Pageau. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Trick or treat!  Here's a bone-us episode on Robert Herrick's "The Hag," about a witch's night ride with the Devil!Support the showPlease like, subscribe, and rate the podcast on Apple, Spotify, Google, or wherever you listen. Thank you!Email: classicenglishliterature@gmail.comFollow me on Instagram, Facebook, Twitter, Tik Tok, and YouTube.If you enjoy the show, please consider supporting it with a small donation. Click the "Support the Show" button. So grateful!Podcast Theme Music: "Rejoice" by G.F. Handel, perf. The Advent Chamber OrchestraSubcast Theme Music: "Sons of the Brave" by Thomas Bidgood, perf. The Band of the Irish GuardsSound effects and incidental music: Freesounds.org

Poetry & Piano D.K. McKenzie—Warwick poet, pianist, and founder of The Poe Underground, a spoken word and music project—plays an original piano composition under his recording of Upon Julia's Clothes by Robert Herrick and Friday Night by D.K. McKenzie. Upon Julia's Clothes Whenas in silks my Julia goes, Then, then (methinks) how sweetly flows That liquefaction of her clothes. Next, when I cast mine eyes, and see That brave vibration each way free, O how that glittering taketh me! Friday Night Frightful Friday night You consort with misfits and shove all angels toward the blender Again: You merge with those dragons that wait to ensnare you at every turn with every insipid step Friday night and I can't protect you from the monsters you breed and merge with at all hours of impossible night Here you are again Inviting a hail of fire to rain on down all over your body all over your life Watch D.K. create his keyboard solos for Upon Julia's Clothes and Friday Night. Check out ⁠⁠⁠The Poe Underground⁠⁠⁠.

Amanda Holmes reads Robert Herrick's poem “Upon Julia's Clothes.” Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you'll win a copy of a poetry collection edited by David Lehman. This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch. Hosted on Acast. See acast.com/privacy for more information.

As research teams around the world prepare for the launch of two separate missions to our 'sister planet' Venus, other scientists are spending their time looking through the data already collected by previous missions. Take, for example, the Magellan spacecraft, which mapped the surface of Venus from September 1990 through October 1994 using synthetic aperture radar. Last month, Science published a new paper detailing how scientists compared two radar images space eight months apart and discovered a volcanic vent that had grown and changed shape in that time period. Join co-author Robert Herrick from the University of Alaska Fairbanks and communications specialist Beth Johnson as they discuss how the discovery was made, how it changes what we know of Venus, and what the new information could mean for future Venus missions. (Recorded live on 6 April 2023. Paper: https://www.science.org/doi/10.1126/science.abm7735

Today's poem is by Robert Herrick (baptised 24 August 1591 – buried 15 October 1674)[1], a 17th-century English lyric poet and Anglican cleric. He is best known for Hesperides, a book of poems. This includes the carpe diem poem "To the Virgins, to Make Much of Time", with the first line "Gather ye rosebuds while ye may".—Bio via Wikipedia This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

The World Decision

In this episode of the podcast, Fred Watson embarks on a journey to the National Press Club to attend a big event featuring NASA Administrator Bill Nelson, only to find himself in the wrong place at the wrong time and caught in a thunderstorm. "If you're going to bet on where the most likely place for an eruption to occur on Venus, this would be it. It's the tallest volcano on the planet." Fred Watson was in a hotel room in Canberra when a thunderstorm struck, sending him scrambling to unplug his electronics. While there, he heard about the National Press Club lunch with the NASA administrator, Bill Nelson, and his deputy, Pam Melroy. He managed to get a ticket and attended the event, where he learned about the volcanically active planet Venus. Robert Herrick, a planetary scientist at the University of Alaska, had detected a particular volcanic vent that had changed in shape and size over an eight month period. Professor Herrick suggested that this could be a recent volcanic event; and Trevor Allen's research on the carbonaceous asteroid, 162173 Ryugu, uncovered evidence of uracil, a component of RNA molecules. In this episode, you will learn the following: 1. What is the Veritas mission and how could it further our understanding of volcanoes on Venus?Herrick 2. How did researchers detect uracil in the carbonaceous asteroid 162173 Ryugu? 3. How does the sun's core lose mass and energy and how does it become visible radiation? Connect with us: Facebook: @spacenutspodcast YouTube: @spacenutspodcast Twitter: @spacenutspodcst Website: www.spacenuts.io Loved this episode? Leave us a review and rating here: https://www.bitesz.com/show/space-nuts/reviews/new/ Sponsor Details: This episode is brought to you thanks to the support of NordVPN. To check out the special Space Nuts deals at the moment, just visit www.nordvpn.com/spacenuts and click on the Get the Deal button. Thank you.

Compelling evidence for recent (1990's!) volcanic activity on Venus has been un-Earthed, or rather un-Venused, by Robert Herrick through analysis of Magellan radar data. A volcanic vent seems to have roughly doubled in size in 1991. We discuss the difficulties of these observations and the implications for future missions. We also take a look at the role of supermassive black holes in controlling star formation in galaxies and have a numerical Top quark trivia. Warning: this episode gets off to a bit of a silly start, so jump ahead to the 24-minute mark if you want to get straight to Venus!

Connaissez-vous Robert Herrick ? Il s'agit d'un chercheur de l'Institut de géophysique de l'université de l'Alaska, qui durant d'interminables réunions Zoom durant les différents confinements en 2020, a observé et comparé des images radars de la planète Vénus. Des images et données provenant de la mission Magellan, qui a été lancée en 1990 et a duré quatre ans, et qui n'avaient pas toutes été exploitées jusqu'à présent.Ainsi, en utilisant ces images radars, Robert Herrick a pu découvrir des zones de la surface de Vénus qui n'avaient pas non plus été étudiées auparavant. Ce dernier s'est focalisé sur les relevés radars de deux volcans suspectés d'être actifs sur Venus, Ozza et Maat. Dans les années 90, L'orbite de la sonde Magellan ne permettait pas une revisite idéale (c'est-à-dire de passer au-dessus d'un point à un intervalle fixe pour des observations précises). Il a donc dû fouiller les données disponibles durant plus de 200 heures, et les analyser manuellement. Finalement, Robert Herrick a pu observer un changement ayant eu lieu entre février et octobre 1991 sur la pente nord du volcan Maat. Durant cette période de quelques mois, son flanc avait changé, recouverte sur une zone de plusieurs kilomètres carrés par quelque chose qui ressemblait fort à une coulée de lave.De la lave, ou un simple glissement de terrain ? Le chercheur a ainsi travaillé avec Scott Hensley, l'un de ses collègues de laboratoire, qui a modélisé la zone et testé des dizaines de scénarios de simulation. Et en effet, il s'agissait bien d'une coulée volcanique. La nouvelle a rapidement fait le tour de la communauté scientifique, considéré comme un changement assez radical puisque jusque-là, les scientifiques pensaient que seules la Terre et une des lunes de Jupiter possédaient des volcans actifs. Dès lors, quelle est la prochaine étape ? Aller vérifier sur place peut-être ?. À moins qu'une autre sonde ne soit envoyée vers Vénus... car depuis Magellan, aucun autre dispositif n'a permis de compléter ce travail d'observation et de mesure. Enfin, il s'agira de tirer des enseignements de tout cela. Car si Vénus a une activité volcanique, cela pourrait certainement aiguiller les spécialistes des étoiles dans leur compréhension du système solaire et de notre galaxie. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Connaissez-vous Robert Herrick ? Il s'agit d'un chercheur de l'Institut de géophysique de l'université de l'Alaska, qui durant d'interminables réunions Zoom durant les différents confinements en 2020, a observé et comparé des images radars de la planète Vénus. Des images et données provenant de la mission Magellan, qui a été lancée en 1990 et a duré quatre ans, et qui n'avaient pas toutes été exploitées jusqu'à présent. Ainsi, en utilisant ces images radars, Robert Herrick a pu découvrir des zones de la surface de Vénus qui n'avaient pas non plus été étudiées auparavant. Ce dernier s'est focalisé sur les relevés radars de deux volcans suspectés d'être actifs sur Venus, Ozza et Maat. Dans les années 90, L'orbite de la sonde Magellan ne permettait pas une revisite idéale (c'est-à-dire de passer au-dessus d'un point à un intervalle fixe pour des observations précises). Il a donc dû fouiller les données disponibles durant plus de 200 heures, et les analyser manuellement. Finalement, Robert Herrick a pu observer un changement ayant eu lieu entre février et octobre 1991 sur la pente nord du volcan Maat. Durant cette période de quelques mois, son flanc avait changé, recouverte sur une zone de plusieurs kilomètres carrés par quelque chose qui ressemblait fort à une coulée de lave. De la lave, ou un simple glissement de terrain ? Le chercheur a ainsi travaillé avec Scott Hensley, l'un de ses collègues de laboratoire, qui a modélisé la zone et testé des dizaines de scénarios de simulation. Et en effet, il s'agissait bien d'une coulée volcanique. La nouvelle a rapidement fait le tour de la communauté scientifique, considéré comme un changement assez radical puisque jusque-là, les scientifiques pensaient que seules la Terre et une des lunes de Jupiter possédaient des volcans actifs. Dès lors, quelle est la prochaine étape ? Aller vérifier sur place peut-être ?. À moins qu'une autre sonde ne soit envoyée vers Vénus... car depuis Magellan, aucun autre dispositif n'a permis de compléter ce travail d'observation et de mesure. Enfin, il s'agira de tirer des enseignements de tout cela. Car si Vénus a une activité volcanique, cela pourrait certainement aiguiller les spécialistes des étoiles dans leur compréhension du système solaire et de notre galaxie. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today I will be speaking with Visual House's Founder and CEO, Robert Herrick and Head of Production, Mattia Lusignani.    Vision House is an ideal fit for the world's leading property developers, designers, and agencies who look to position their projects in the most desirable, refined, and elevated way possible. They offer a full-service creative agency that establishes iconic real estate brands worldwide including locations in Los Angeles, New York, Miami, London, Hong Kong and Dubai.   Visual House is a blend of creative thinkers, strategists and artists who thrive on collaborative relationships.  They take an idea and transform it into something real.  They bring real estate brands to life and create value through ingenious storytelling, imagery, and experience-making.   In today's episode we will be discussing:   The benefits of outsourcing and using 3D visualizers How Visual house has expanded it's offering from just imagery to a complete suite of marketing services which cater to the built environment professionals - developers to architects The advances in technology, unreal engine and other infrastructure How they have set up international offices     To learn more about Visual House visit their: Website: https://visualhouse.com/ Facebook: https://www.facebook.com/visualhouseco Instagram: https://www.instagram.com/visualhouse.co/ LinkedIn: https://www.linkedin.com/company/visualhouse/ Twitter: https://twitter.com/visualhouse Vimeo: https://vimeo.com/visualhouseco     ► Feedback? Email us at podcast@businessofarchitecture.com   ► Access your free training at http://SmartPracticeMethod.com/   ► If you want to speak directly to our advisors, book a call at https://www.businessofarchitecture.com/call   ► Subscribe to my YouTube Channel for updates:   https://www.youtube.com/c/BusinessofArchitecture   *******   For more free tools and resources for running a profitable, impactful, and fulfilling practice, connect with me on: Facebook: https://www.facebook.com/groups/businessofarchitecture Instagram: https://www.instagram.com/enoch.sears/ Website: https://www.businessofarchitecture.com/ Twitter: https://twitter.com/BusinessofArch Podcast: http://www.businessofarchitecture.com/podcast iTunes: https://podcasts.apple.com/us/podcast/business-architecture-podcast/id588987926 Android Podcast Feed: http://feeds.feedburner.com/BusinessofArchitecture-podcast Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9idXNpbmVzc29mYXJjaGl0ZWN0dXJlLmxpYnN5bi5jb20vcnNz   *******   Access the FREE Architecture Firm Profit Map video here: http://freearchitectgift.com   Download the FREE Architecture Firm Marketing Process Flowchart video here: http://freearchitectgift.com     Carpe Diem!  

Solénoïde (03.10.2022) - La pépite musicale de la semaine, c'est en Pologne que nous l'avons trouvée ! Avec ‘Kwiaty' (Ghostly International), le compositeur Jacaszek s'affirme comme un des pôles d'attraction majeur de l'ambient-music européenne. Son savoir-faire de climatologue sombre et narratif fait ici des merveilles. Intégrant des voix féminines à la beauté céleste, cet album au cachet expérimental et dramatique est inspiré par les poèmes du britannique Robert Herrick (17ème siècle). Originaires du Vietnam, Nguyen Le et Ngo Hong Quang Music confronteront leur héritage culturel à un beau bouquet d'influences cosmopolites. Un projet qui allie les talents du trompettiste Paolo Fresu, de la japonaise Mieko Miyasaki au koto, d'Alex Tran au cajon et du percussionniste indien Prabhu Edouard Music. Le new yorkais JOHN ZORN dirigera ensuite le quintet électrique basse-clavier-batterie-guitare-voix SIMULACRUM afin de rendre un hommage singulier au peintre flamand Jérôme Bosch. Un album qui sera le théâtre de 10 stupéfiantes acrobaties musicales croisant metal, math-rock, jazz, blues et funk. Et ultime gourmandise sonore, celle offerte par le groupe de Mike Johnson, Thinking Plague, originaire du Colorado, qui nous gratifiera d'une nouvelle épopée sombre sur les terres les plus fécondes du rock progressif.

Good News: The Provincial Government in Bali has announced an action plan to eliminate single-use plastics by the end of 2022! Link HERE. The Good Word: The wonderful poem “To The Virgins, To Make Much Of Time”, by Robert Herrick. Good To Know: Cool facts about dandelions! Good News: A giant battery installation on Oahu […]

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

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

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

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

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

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

Although this author is more known for his carpe-diem poem "To the Virgins, to Make Much of Time," Robert Herrick also included some supernatural and fantastical elements in his poems "The Spell," "Oberon's Feast," "the Hag," and "Another to Bring in the Witch." Tune your senses towards the otherworldly void as Warlock Vorobok returns to read these paranormal poems. Warlock Vorobok Reads is a monthly storytime for grownups.

"Daisy Time," by Marjorie Pickthall is a sweet, airy poem for Spring time. "To Daffodils," by Robert Herrick, as though to countermand the declarations from our first poet this week, Herrick reminds us, like Robert Frost in "Nothing Gold Can Stay," that beauty is transitory, and our lives, like the beautiful flowers, have but a short time to bloom. If you'd like to support us, donate through Paypal at Romanschapter5@comcast.net If you enjoy our content, consider donating through PayPal to romanschapter5@comcast.net   https://www.youtube.com/c/TheChristianAtheist/featured https://www.facebook.com/JnJWiseWords https://wisewordsforyouroccasion.wordpress.com   #poem #poetry #verse #literature #aestheticliterature #aesthetic #rhythmic #phonaesthetics #soundsymbolism #metre #prosaic #literarycomposition #poet #ambiguity #symbolism #irony #poeticdiction #muse #prosody #meter #metricalpatterns #rhymescheme #spring #springpoetry #springtime #odetospring #thomasgrey #billycollins #today #williamwordsworth #lineswritteninearlyspring #johndryden #songcalmwastheevenandclearwasthesky #marjoriepickthall #daisytime #robertherrick #todaffodils #claudemckay #afterthewinter #gerardmanleyhopkins #louisuntermeyer #feuerzauber

"Delight in disorder" was celebrated in a poem by Robert Herrick (1591-1674) and the long hair, flamboyant dress and embrace of earrings that made up Cavalier style has continued to exert influence as a gender fluid look. Lauren Working's essay considers examples ranging from Van Dyck portraits and plays by Aphra Behn to the advertising for the exhibition called Fashioning Masculinities which runs at the Victoria and Albert museum this spring. Fashioning Masculinities: The Art of Menswear is at the V&A from March 19th 2022. Radio 3 broadcast a series of Essays from New Generation Thinkers exploring Masculinities which you can find on BBC Sounds https://www.bbc.co.uk/programmes/m00061jm Lauren Working is a Lecturer in Early Modern Literature at the University of York and a New Generation Thinker on the scheme run by BBC Radio 3 and the Arts and Humanities Research Council to turn academic research into radio. You can hear her discussing The Botanical Past in a Free Thinking discussion https://www.bbc.co.uk/programmes/m000wlgv

"Delight in disorder" was celebrated in a poem by Robert Herrick (1591-1674) and the long hair, flamboyant dress and embrace of earrings that made up Cavalier style has continued to exert influence as a gender fluid look. Lauren Working's essay considers examples ranging from Van Dyck portraits and plays by Aphra Behn to the advertising for the exhibition called Fashioning Masculinities which runs at the Victoria and Albert museum this spring. Fashioning Masculinities: The Art of Menswear is at the V&A from March 19th 2022. Radio 3 broadcast a series of Essays from New Generation Thinkers exploring Masculinities which you can find on BBC Sounds https://www.bbc.co.uk/programmes/m00061jm Lauren Working is a Lecturer in Early Modern Literature at the University of York and a New Generation Thinker on the scheme run by BBC Radio 3 and the Arts and Humanities Research Council to turn academic research into radio. You can hear her discussing The Botanical Past in a Free Thinking discussion https://www.bbc.co.uk/programmes/m000wlgv Producer: Luke Mulhall Image: Anthony van Dyck Lord John Stuart and his Brother, Lord Bernard Stuart (about 1638) Oil on canvas The National Gallery, London. Bought, 1988 © The National Gallery, London.

Hosts: Fr Steve and Rich Budd, with special guest Fr. Alexei Woltornist In today's episode we talk about Eastern Catholicism. We hear a reflection on redemptive suffering. And we hear a poem by Robert Herrick, “Litany to the Holy Spirit,” read by Maria O'Brien.

Robert Herrick (baptised 24 August 1591 – buried 15 October 1674)[1] was a 17th-century English lyric poet and Anglican cleric. He is best known for Hesperides, a book of poems. This includes the carpe diem poem "To the Virgins, to Make Much of Time", with the first line "Gather ye rosebuds while ye may".Bio via Wikipedia See acast.com/privacy for privacy and opt-out information.

Robert Herrick (baptised 24 August 1591 – buried 15 October 1674)was a 17th-century English lyric poet and cleric. He is best known for Hesperides, a book of poems. This includes the carpe diem poem "To the Virgins, to Make Much of Time", with the first line "Gather ye rosebuds while ye may"

Today, in celebration of the American holiday "Thanksgiving Day," I want to share with you a recording of short story written by Louisa May Alcott, called "An Old-Fashioned Thanksgiving." The audio file has no commentary—it's merely an unabridged reading of the story—and is suitable for you to share with your children as a worthwhile story to enjoy this time of year. But this story is filled with financial lessons for those with ears to hear. As you listen to a life of long ago (circa 1830), I'd encourage you to reflect on the life that you and I now live in comparison. For me, this reflection fills me with Thanksgiving, which is the starting point of living a rich life now. You are rich. I am rich. Let's realize it and act appropriately. Joshua If you prefer to read the story to your children yourself, here is the text I read: https://digital.library.upenn.edu/women/alcott/thanksgiving/thanksgiving.html  Here are a few poem and prayers of Thanksgiving you may enjoy as well: O Lord, that lends me life, Lend me a heart replete with thankfulness! ~~William Shakespeare 1564-1616 May all who share these gifts today Be blessed by Thee, we humbly pray. What God gives and what we take 'Tis a gift for Christ his sake; Be the meal of beans or peas, God be thanked for those and these; Have we flesh or have we fish, All are fragments from His dish. ~~Robert Herrick 1591-1674 Prayer Lord, behold our family here assembled. We thank thee for this place in which we dwell, for the love that unites us, for the peace accorded to us this day, for the health, for the food, and the bright skies that make our lives delightful, for our friends in all parts of the earth. Give us courage, gaiety, and the quiet mind. Spare to us our friends, soften us to our enemies. Bless us, if may be, in all our innocent endeavours. If may not, give us the strength to encounter that which is to come. May we be brave in peril, constant in tribulation, temperate in wrath, and in all changes of fortune loyal and loving to one another. As the clay to the potter, as the windmill to the wind, as the children of their sire, we beseech of Thee this help and mercy for Christ's sake. Amen. ~~Robert Louis Stevenson

It's almost a little cruel going from the top of the food chain as a sixth-grader into a school occupied by grades seventh through twelfth. Montgomery Central is a giant swimming pool occupied by hormone-driven adolescents pushed in with the option to sink or swim. Some students look like they could still be breastfeeding, while others have full-on Grizzly Adams beards. Seventh grade was a blur trying to find my way around and making new friends. Somehow I survived, and I can only hope eighth grade will be more manageable. The first bus ride of the year is always a little exciting. I get to see all of my old friends, and it's fun meeting the kids who are new to the neighborhood. This particular year started right up with the hope of romance in my future. The driver took us down an unfamiliar road and stopped at a house I'd never seen before. It was the first time I made eye contact with Carol. She walked up the steps, and before sitting across the aisle from me, she smiled. "Wait, did she grin at me? She probably saw the sleeping drooly-faced kid next to me and thought it was funny. Gosh, he's going to cramp my style. Maybe she did smile at me," I thought while frantically trying to avoid eye contact for the remainder of the journey. The whole scenario played out the same for two full months. Carol would get on the bus, we'd both smile, and then I'd ignore her because I panicked and had no idea of how to seize the day. I should have never stopped reading comics because that's when all of my girl problems started. Graduating to stuff like "Gather ye rosebuds while ye may" has me constantly thinking about love and time. Time is on my side right now, but it'll be lost one day soon, and what if I never love? All adults ever do, is complain about how hard life can be and how lucky fourteen-year-olds like myself have it. Did they forget what it's like to be afraid and how paralyzing situations can be, or is it all a giant lie they tell kids to prepare us for adulthood? Maybe I'll figure that out one day. "Gosh, it's getting cold," escapes my mouth to be carried away by the frozen air for a moment before mixing with the heavy fog of a November morning. My footprints take the place of our first frost of the season while I hop to stay warm at the bus stop. Today is the day. I'm planning on asking Carol on a date. My brother already told me he'd be our chauffeur if I ever worked up enough nerve, so that's covered. We'll strike up a deep conversation, and before arriving at MCHS, I will have secured my very first date. Carol's stop came and went, and she didn't get on as luck would have it. Today was supposed to be my time to shine, so hopefully, I'll have enough nerve when I see her again. My heart was a little broken because I didn't get to sit across from her. We never spoke, but I'd gotten used to being near my brown-eyed companion. The empty seat is a reminder that I must act soon. Janet, Carol's good friend, stopped me on the way to first-period PE to talk. She informed me that Carol likes me and would like to be my girlfriend if I'd ever ask. After exiting the conversation, I was more worried than ever. What if she is only caught up in the idea of being my girlfriend? She hardly knows me, after all. Our first conversation could quite possibly be our last if I say the wrong thing. Those rosebuds are already beginning to wilt. After getting dressed for gym class, I got lost in conversation with my buddies, Brian and Wade, before roll call. "Did someone fart?" I inquired while my two pals wondered the same thing. Billy turned around to assure us no one farted this time, and it was actually Wayne. He'd spent the morning cleaning out the chicken coops before school, and a few souvenirs hitchhiked on the bottom of his sneakers. We were all thankful it wasn't us and changed the topic. My friends encouraged me to ask Carol out finally because they were probably tired of me talking about it. Caught up in our discussion, I'd missed my name, and Coach Cron gave me twenty push-ups. Wayne was on the bottom row of the bleachers, so I made sure to distance myself before the workout. The smell of a gymnasium is terrible enough without subtle hints of chicken poop swirling around my nostrils as I take deep breaths. Later in the day, I noticed Carol in the hallway. "Carpe diem," I thought over and over as I approached her with shaky knees and an accelerated heartbeat. After greeting one another, I asked her why she wasn't on the school bus. Before she could finish her explanation, I blurted out, "Would you like to go on a date?" Her flawless smile chased away the brief pause with welcomed relief before the bell signaled our tardiness. Being late to my sixth period didn't phase me in the least. We held hands on the way to the bus that afternoon after class. My birthday was back in July, and somehow I managed to save most of the cash for a special occasion. A first date qualifies, so I went all out and spared no expense. During our weekly trip to Montgomery Ward, I found a great deal on a necklace in the jewelry section. After dropping half of my money on it, the other half was for the movies. We both love to laugh, so we decided on Spies Like Us with Chevy Chase and Dan Aykroyd. We arrived at my date's house; I hopped from the car and rushed up the sidewalk to the front door. Knock, knock, knock. Carol's mother answered and invited me inside to have a seat. She told me her daughter would only be a minute and was super friendly. All I could think about while I sat on the couch was how excited I was about the big night. I imagined how thrilled she'd be after I gave her the gift and how we'd get to hold hands during the entire movie. Maybe I'd even be able to swing my first kiss at the end of our evening. Carol walked into the room, and I couldn't help but believe she was way out of my league. The ride to the theater lasted forever. There was so much to say but not while my big brother was in the front seat driving. The experience was awkward enough without him becoming part of the conversation. He drove off as we walked to the box office and paid for the two tickets. We had a few minutes before the show started, so I suggested we take a stroll. A few flurries began to fall, and I figured it would be romantic if I presented her gift before we went inside. The half-moon was peeking at us through the clouds, and everything could not have been more sublime. We stopped under a street lamp long enough for me to reach into my pocket to pull out her surprise. "Chris, this is beautiful," she told me before wrapping her arms around my neck to give me a tight squeeze. That embrace was worth every dime I spent earlier at the store for my new girlfriend. She asked me to put it on her, and I was successful after fumbling around for a minute or so. It was off to the concession stand for a couple of sodas before the movie. I couldn't tell you anything about the comedy except that it was rather magical sitting beside a pretty girl with her hand in mine. Occasionally we'd glance at each other and giggle. Sometimes I'd give her a tiny squeeze, and she'd return the favor. My fingers had fallen asleep about halfway in, but I wasn't about to waste a second neglecting her touch. This moment took two months to materialize, and every ounce of it would secure a spot in my heart forever. We whispered and laughed all the way back to her house after leaving the cinema. The only time Carol took her head off my shoulder was to briefly admire her new necklace. Soon I would be face to face with her at the front door. Hopefully, we would end with the kiss that's been in the making for fourteen years. Nervousness began to rear its ugly face, but I was confident enough to seize the day. It's too bad the climax would also indicate the end of our enchanting evening under the moonlight. Not a single word broke through the silence as I escorted her toward the house. All I wanted was a peck on the cheek, and I'd drown in complete fulfillment. Tonight everything will change, and I will officially be on my way to adulthood. We stopped at the front door, and she thanked me for a fantastic time. Her mesmerizing copper eyes drew me in like a tractor beam straight out of Star Wars. My heart was screaming through my chest the closer I got to her lips. Just before we connected and ultimately sealed the deal, she asked me to wait. "I don't like to French kiss," she uttered before I pulled away. Alright, I had no clue what a French kiss was, and I was not about to ruin everything, so I settled for another hug and told her goodbye. Carol and I held hands at school for a couple of more weeks before going our separate ways. Things didn't work out how I wanted them to, but my first date was in the books, and I officially had a girlfriend for a little while. My first kiss came along just before my sixteenth birthday with a girl named Jeannie, unless we count Teresa. I know it's confusing, but I'll explain that another day. "Gather ye rosebuds while ye may, Old Time is still a-flying;And this same flower that smiles today Tomorrow will be dying." - Robert Herrick

In this episode you discover the meaning and origin of “Bee in the Bonnet”.Twists and turns in our investigation take us to London, the English Civil War of the 1640s, the church at Dean Prior, a book with 1,200 poems, and other odd destinations as we track down the meaning and origin of “Bees in the bonnet”.Timestamps:00:00 - Episode topic;00:32 - Show and host info;00:53 - All the buzz about bees and bonnets;03:41 - Who is Rev. Robert Herrick & what does he have to do with bees and bonnets?;06:09 - How to learn more;06:23 - How to listen to other episodes;06:36 - How to contact host.—Sources and citations:Meaning: https://idioms.thefreedictionary.com/have+a+bee+in+bonnet. Farlex Dictionary of Idioms. © 2015 Farlex, Inc, all rights reserved.Meaning and origin for "a bee in one's bonnet": Robert Hendrickson. “The QPB Encyclopedia of Word and Phrase Origins” ; page 72.“The Mad Maid's Song”: https://www.poetry.com/poem/31397Wikipedia: Robert Herrick (poet): https://en.wikipedia.org/wiki/Robert_Herrick_%28poet%29Wikipedia: English Civil War: https://en.wikipedia.org/wiki/English_Civil_WarWikipedia: Solemn League and Covenant: https://en.wikipedia.org/wiki/Solemn_League_and_Covenant—Host:Stephen Carter, CEO, Stress Solutions, LLC. Website: https://www.EFT-MD.com. Contact email: CarterMethod@gmail.com.—Technical information:Recording and first edits done with Twisted Wave. Additional edits with Audacity. Leveled with Levelator. Final edits and rendering done with Hindenburg Journalist Pro.Microphone: Neat King BeeKeywords:King Charles II, bees, bonnets, Robert Herrick, English Civil War,

“Gather ye rosebuds while ye may, / Old Time is still a-flying, / And this same flower that smiles to-day / To-morrow will be dying.” --Robert Herrick, baptized this day 1591.

Introductory note on Robert Herrick (Wikipedia)

"Gather ye rosebuds while ye may, Old Time is still a-flying; And this same flower that smiles today, to-morrow will be dying?" Herrick was only a humble country minister with a wealth of wisdom and a keen appreciation of life, which he expressed in lyrics of wonderful beauty and melody. (Volume 40, Harvard Classics)

In this episode I talk about emoticons or “pictorial representation of a facial expression using punctuation or other keyboard characters”. Emoticon is short for “emotion icon” and first appeared in 1994 [source]. Earlier sightings of possible emoticons in the wild include a possibly smiley face in 1648 in To Fortune, a poem by Robert Herrick, […]

Event: Operation Tears Of the 22 Off the Hardball This event is to help veterans to reset mentally SIgn up Question of the week be Brotherhood of Men Why is the divorce rate so high, especially in Western countries, if love marriages work? Well, there are theories as to why. The number one resin though is the No-fault divorce. This was started in 1969 by one of the greatest presidents the US had. Now Reagan later said he regretted signing the bull when he was governor of California. He did this as a means to cut down the fabrication of wrongdoings being slung at each other trying to get a divorce. Since then the divorce rate has skyrocketed. For a long time, men were the primary people who started divorces but as time has gone on, now women initiate around 80% of all divorces today. Why? Well, that's where the theories come into play. Most of the time it is because one person or another is having an affair but money issues also play a part. Yet with the affairs, the problem is that many men have stopped being men and now women are busy having to take up the slack. Men have been told they are to spill their emotional guts to their wife and that does nothing but add stress to their wife's life. The overly emotional man causes the woman in the guy's life to lose respect for him. All because he listened to society and stopped doing guy things out of fear that he was going to be seen as a toxic masculine guy. Men have stopped doing several things that attracted the woman to him. These things are what turned her on to him. All because he was doing manly things and then after saying I do he started sharing way too much and ditching his friends for his wife. What did these men stop doing? There are several things men have stopped doing that caused their women to not respect them. These things are part of the 4 pillars of a relaxed male. Man's mind Men stop learning they get a job and start working and they think that is it. Job accomplished! Nope, they are providing for their family that is important, but he stops learning and expanding his mind getting smarter. Most men stop reading after high school and read-only if it is required. They don't learn for the sake of learning. Man's Body They get a dad bod. Now a few extra pounds isn't a deal-breaker but 50 pounds? That isn't sexy to a woman. Now men don't have to be chiseled, but I shape so that if they can protect their family if needed. You hear women claim that they like a soft chubby man. Yet those claims don't ring true when you hear who they think is sexy. Bro-Thor wasn't nearly as hunky as fit Thor. You could hear that from the women's reaction when they saw Avengers End Game. Men need to be in shape so that they are healthy enough to take care of their wives when they get old. A fat man will not live as long as a healthy man. Mans Soul Men have stopped perspiring their passions after they get married. Women love to see men who are driven to accomplish something. Now, this doesn't mean that the men are to become workaholics. This means that they have work and a hobby or a side business or an activity that feeds their soul. Most men when they are dating have something like this. Then they drop it when they get married and start turning their full attention to their wives. The wives have other things to do too other than sit around and give their husbands all their attention. Mans Community this is the pillar that falls almost completely apart after marriage. First off any friends before marriage disappears. The wife and kids get 90% of the man's attention. He can't go camping because of his wife and the kids. He does go sit and talk with his band of brothers because of his wife and kids. It not that the wife and kids demand it all the time. It's just we guys believe that is what we are supposed to do. So we lose our friends and we don't replace them with new ones. Before we know it 20 years have passed and we have 1–4 friends. And maybe only one of them is dependable enough that we could call them at 3 am with a problem. We don't have normally get together with other masculine men so we can talk about our problems. So what do we do? We tell our wives our problems. That's because we have been told we are supposed to share our emotions with our wives. That is only partially the solution we are supposed to talk about with our wives but we share the positives with them and share the negative with our band of brothers. We take the negative from our lives we help them and we ask our close friends to help with the emotional weight it may have. Telling a wife all the financial problems you have doesn't help her have confidence in you. It doesn't help her to see you as the provider. You are extra emotional baggage that she has to deal with when you come in and start dumping all over her how crappy your boss is. Women won't respect you for that and a woman can't love a man she can't respect. The other thing that will help a marriage last is to know how to fill your partner's emotional tank. That is know how to talk and be present with them when they are talking. Learn to speak their love language. That will go a long way in keeping wondering eyes from going anywhere other than to you. Main Topic Men stop being who they are supposed to be Victim mindset No responsibility Men act surprised They let their wife's emotional rank run empty A marriage needs to have lots of communication for a person's emotional tank to stay full. Now the problem is many times we are using the wrong language. In marriage, there are 5 different love languages that can be spoken in the same house. We are often speaking our love language and it's getting lost in translation. GIfts Quality time Words of Affirmation Acts of Service Physical Touch They stop talking Many times we stop talking we don't sit and listen. We aren't present while our wives are speaking. We are thinking of everything else that is going on and not what is happening right there at the moment. We miss so many nuances of what is being shared. In doing so we lose the opportunity to connect. They stop being spontaneous With life, you have to stop and smell the roses. Or as Robert Herrick said in his poem, "To the Virgins, to Make Much of Time",   Robert Herrick   "Gather ye rosebuds while ye may," — Robert Herrick     We let time slip past us with kids and houses and just life in general. You may have financial problems but you can still exercise your creativity and be spontaneous. They just drift Drifting isn't only an example of not paying attention to what you are doing, but also is about you not having a goal set to pursue. You not having a reason why you jump out of bed excited to take on the day is a huge example of drifting. Their pillars have collapsed Man's mind You stop learning You aren't reading You would rather not listen to audiobooks or podcasts but music only When you stop learning you start dying Man's body They are out of shape They are not the physique of when they met They can't protect their family when they are out of shape. Man's soul What feeds your soul? That is the question if you don't have a passion. Find something to create. Maybe it's a blog or you take up painting, or woodworking, or even blacksmithing. You need to be creating something. From charitable work to a business. Have a purpose in your life. Man's Community This is the huge one for us men these days. We don't spend enough time with other masculine men. We don't sit with other men eating and talking about our lives. A mastermind of like-minded men Is there for you to find balance in your life. They are there to take the negative so you don't have to burden your woman with those negative events, and you can shower her with the positives.

White Ash Flies presents "Come, my Corinna, Come...": Five songs by Robert Herrick (1591-1674), read by Colin Mahoney. 1 min, 48 sec, Delight in Disorder 2 min, 33 sec, To Daffodils 3 min, 23 sec, Upon Julia's Clothes 3 min, 50 sec, The Coming of Good Luck 4 min, 15 sec, Corinna's Going A-Maying

Dylan and Charlie are joined by guest Jack Greenwood as they analyse "To the Virgins, to Make Much of Time" by Robert Herrick. Dylan also presents the worst poem he's ever written...

Today we look at the classic poem, "To the Virgins. to Make Much of Time" by Robert Herrick and we remind ourselves that we are alive. Gather ye rosebuds while ye may, Old time is still a-flying; And this same flower that smiles today Tomorrow will be dying. The glorious lamp of heaven the sun, The higher he's a-getting, The sooner will his race be run, And nearer he's to setting. That age is best which is the first, When youth and blood are warmer; But being spent, the worse, and worst Times still succeed the former. Then be not coy, but use your time, And, while ye may, go marry; For, having lost but once your prime, You may forever tarry.

Double, double toil and trouble; Fire burn and caldron bubble. Cool it with a baboon's blood, Then the charm is firm and good. — Song of the Witches, from Macbeth by William Shakespeare Have a very spooky All Hallows' Eve! Sources: "Vinyl Crackle 33RPM" by YourFriendJesse "wind2.wav" by sagetyrtle "Wind in the Trees" by willstepp "The Night Wind" by Eugene Field, read by Mia Capo Nocturne in B-flat minor by Frédéric Chopin, performed by Olga Gurevich Toccata and Fugue in D minor by Johann Sebastian Bach, performed by Paul Pitman "DANUTZ EXHUMATION 1" by DANUTZ "The Hag" by Robert Herrick, read by Jannie Meisberger "Thunder Clap OWB KY 441x16.wav" by Dave Welsh "The Haunted Corridors of Time" by jeff carter "Demon Wife and Child" by Buddhist on Fire "intro" by Dread Admiral Mastemah "Bending - 01" by Mystified "The Witch" by Mary Coleridge, read by Alison Raouf Sonata Op. 27 No. 2, I. adagio sostenuto ("Moonlight") by Ludwig van Beethoven, performed by Paul Pitman "Heks" by Jan van de Velde II

A special Halloween episode featuring 5 spooky stories written by students aged 11-17, including a terrifying musical awakening, a horrifying futuristic drug, a demonic yoga class, a pizza you don't want to order, and a phone call you don't want to answer. PG. Let the kids listen in. A transcript of this episode is available at CabinTales.ca. Show Notes [0:00] Episode intro [1:15] Story One Intro Have you ever been babysitting when there's a crazed killer on the loose? Whenever that happens to me, I make sure to lock all the doors and windows. But today you'll hear a story about a forgetful babysitter in a house with too many doors. And something is about to sneak inside. [3:20] “Bat, Axe, Racket” by Jacob Tremblay Maggie was out on her first babysitting job in the big house down the street. The house had a front door, a back door, and a side door. And Maggie forgot to lock all of them…. [5:55] About the Author Jacob Tremblay is 11 years old and he has never babysat, and he can't remember ever being babysat, but he has read scary stories about babysitting…   [7:00] Story Two Intro Have you ever fallen asleep standing up? Ever slept over at a friend's or relative's house or in a hotel and woken from a dream and you had no idea where you were? You're still half in the dream and all you know is that this is not your room. Well, today you'll hear a story about someone who wakes and has a very hard time figuring out where she is. And maybe she would rather not know. [7:45] “The Music Box” by Prisha Mehta Tick. Painted eyes flutter open. She's standing upright, balancing on the tips of her toes, one arm raised over her head and the other extended. Her left arm is caked with something—dirt? Dust? Where is she? Tick. Tick…. [14:10] About the Author Prisha Mehta is a high school senior from Millburn, New Jersey, with many publications to her credit. “The Music Box” was first published in Blue Marble Review. Prisha has known since the third grade that she wanted to be a writer. And she is fabulous.   [15:15] Story Three Intro Have you ever struggled with depression or anxiety or guilt? Maybe you did something you felt so bad over that you just couldn't bring yourself to face the world? Well, today you'll hear a story about someone in the future who tries a new experimental method for forcing herself to face the world. But maybe she shouldn't. Maybe she should just stay in the basement. [16:00] “Ear to Ear” by Owen Fitzpatrick When my inbox trilled like a sparrow, telling me I had mail, I had no idea what to expect. Practically no one emailed me anymore, after what I had done. I just stayed in the basement… [22:00] About the Author Owen Fitzpatrick is a 13-year-old student in grade nine at Lisgar Collegiate High School in Ottawa whose advice to any young writer is: “Don't be afraid to share your ideas. Just start writing.” “Ear to Ear” was a First Place Winner in the Ottawa Public Library's Awesome Authors youth writing contest in the 9-12 age category, and it was published in Pot-pourri 2019. Thanks to Owen and to the Friends of the Ottawa Public Library Association, which publishes Pot-pourri, for giving permission to feature the story on this show.   [23:50] Story Four Intro Have you ever taken a yoga class that was just a little beyond your flexibility? And you just couldn't wait for the end relaxation so that you could rest? Well, you're about to hear a story about a couple of very unusual creatures who take a yoga class. Thanks to yoga teacher Patricia Dickinson for the inspiration for the guided meditation in the background to this story, and thanks to the author, Kayleigh Williams, for allowing that liberty with her story. [24:45] “Demon Yoga” by Kayleigh Williams Lie down in a comfortable position. Let your arms rest by your side… Barbas and Furfur were two demons who'd been taking yoga together for a year. They'd started with an introductory session, then they moved on to Beginner One, Beginner Two, Beginner Three, and now they were just starting an Intermediate class…. [30:55] About the Author Kayleigh Williams went to a yoga class with her mother and “I could not lie still during the end relaxation and I still don't understand how anyone can relax lying down with their eyes closed in a dimly lit room full of total strangers who could be psycho killers or demons for all you know.”   [31:55] Story Five Intro Have you ever gone up to a stranger's door, maybe you were collecting bottles or selling lawn care services, and you ring the bell and you have no idea who's going to answer that door? You have no idea what you might be interrupting. Well, you're about to hear a story where the door is answered by someone in the middle of a summoning. [32:35] “Deliverance” by Sarah Ham Phil shuffled the pizza boxes, desperately trying to liberate one of his arms…. [38:35] About the Author That story won Second Prize in the Ottawa Public Library's Awesome Authors contest a couple of years ago in the 15-17 age category, and it was first published in Pot-pourri 2017. The author, Sarah Ham, is your average writerly ghost. Sarah's advice to young writers is to have fun with what you write. “If you enjoy it, so will your readers!” Thanks to the Friends of the Ottawa Public Library Association for permission to include this story.   [38:00] Time to write your own tale I'll be reading another four student stories next week in a special Post-Halloween episode of Cabin Tales. Let today's stories and the spirit of Halloween inspire you to write something to suit the season. Tune in next week for more. [40:30] Thanks and curses (monster movie quote); coming up on the podcast As a Hollywood monster hunter once said, “I'm drawing a line in the sand here. Do not read the Latin.” But who believes in curses?  Neewollah Ypaah, young writers, and Dna Sknaht Rof Gninestil. Tune in next week for Part Two of Spooky Student Stories. You'll hear about an Air B&B you don't want to book, a monster's lair you don't want to enter, and more great tales from young writers. On November 13th, it's Cabin Tales Episode 6: “Begin in the Darkness,” with stories, excerpts, creative writing commentary, prompts, and interviews with guest authors Karen Bass, Kate Inglis, and Chris Jones. Until then…. Post a link to today's episode on your social media and share it with all the young writers in your life. And write your own tale. Thanks for listening.   Credits: Music on the podcast is from “Stories of the Old Mansion” by Akashic Records, provided by Jamendo (Standard license for online use). Music in the background of "Demon Yoga" is a brief clip taken from the royalty-free music, "Quiet Time," by David Fesliyan, from https://www.fesliyanstudios.com. Thank you. Host: Catherine Austen writes books for children, short stories for adults, and reports for corporate clients. Visit her at www.catherineausten.com. Art: The B&W image for this episode is from a wood engraving by Edwin Austin Abbey from Selections from the Poetry of Robert Herrick, 1882. Publications mentioned in the show: Blue Marble Review is a quarterly online literary journal showcasing the creative work of young writers ages  13-22. They welcome poetry, fiction, personal essays, travel stories, and opinion pieces as well as art and photography. The goal of the journal is to assemble in each issue, a broad range of voices, perspectives, and life experiences. Pot-pouri: Since 2007, the Friends of the Ottawa Public Library Association (FOPLA) has been proud to publish pot-pourri, an anthology featuring the winning entries from the Ottawa Public Library's annual Awesome Authors Youth Writing Contest. Each volume includes bilingual poetry, short stories, and now comics from talented youth authors and artists from the Ottawa community. Buy past years of pot-pourri online.  

关注「为你读诗」公众微信（微信号：thepoemforyou），每晚10点，一位特别来宾为你读诗。 王珞丹：影视演员，电影《后会无期》中苏米的扮演者 代表作： 电视剧：《奋斗》、《杜拉拉升职记》、《山楂树之恋》 电   影：《搜索》、《后会无期》 人是最为时间所困的动物，语言中存在时态，诗歌中存在对时间的观感：向后看，向前看，以及与时平行。乐观的向前看，“有花堪折直须折”以及Robert Herrick（罗伯特·赫里克）给少女们的忠告：“Gather ye rose-budswhile ye may, Old Time is still a-flying; And this same flower that smilestoday, Tomorrow will be dying（快摘玫瑰蕾，趁年少韶光飞逝不停；今朝花儿含笑，明朝却已凋零）”，异曲同工。感怀的向后看，如“大江东去，浪淘尽，千古风流人物”、“去年今日此门中”、“此日六军同驻马，当时七夕笑牵牛”。而这首歌曲中所反复的Que sera,sera（顺其自然），是与时间的一种平行时。 歌词中写到，当我是个小女孩的时候，当我有了爱人的时候，我都在询问未来，得到的答案是顺其自然；而当我有了小孩子的时候，我被问相似的问题，我将“顺其自然”这个答案告诉了后代。这简直就是人类对时间的认识史，永远从零开始地循环、有先知而无先验，有覆辙却只能重蹈。这或许可以作为电影《后会无期》宣传语的终极解答：“听过很多道理，却依然无法过好这一生”，因为听过有关时光的经验与实实在在被时光碾过，是完全不同的。 Que sera, sera是一种理想的平行式，而在现实的每一刻中，我们都被向前（希望、目标、未来、幻想）和向后（怀念、记忆、悔恨）的时间观所拉扯。不顺其自然，不甘心，因为不认命，或者说智慧远不及认识到命运的神秘和神奇。对一个年轻人说Que sera, sera，效果往往是抚慰、心理按摩；只有老人或生有慧根的人所叹的顺其自然，才包含了迟到而深刻的人生洞彻。 今日为你读诗的是演员王珞丹。电影《后会无期》中江河老师（陈柏霖饰）对苏米（王珞丹饰）的同段歌词英译汉，可谓是全片最动人的把妹一幕。

The wonderful Robert Herrick, and a few of his poems: his relation to Jonson; his erotic lyrics.  Just a class on Herrick, really.