Podcasts about shakespeare's sonnet

Connor and Jack close out National Poetry Month 2021 with a series of episodes exploring the history and enduring popularity of one of poetry's iconic forms: the sonnet. In episode four they travel to 1500s England to discuss the next major development of the sonnet, the Shakespearean sonnet. They discuss its differences from the Petrarchan, carpe diem, as well as one of John Donne's Holy Sonnets. Sonnet 73 By: William Shakespeare That time of year thou mayst in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruin'd choirs, where late the sweet birds sang. In me thou see'st the twilight of such day As after sunset fadeth in the west, Which by and by black night doth take away, Death's second self, that seals up all in rest. In me thou see'st the glowing of such fire That on the ashes of his youth doth lie, As the death-bed whereon it must expire, Consum'd with that which it was nourish'd by. This thou perceiv'st, which makes thy love more strong, To love that well which thou must leave ere long. Holy Sonnets: [Batter my Heart] By: John Donne Batter my heart, three-person'd God, for you As yet but knock, breathe, shine, and seek to mend; That I may rise and stand, o'erthrow me, and bend Your force to break, blow, burn, and make me new. I, like an usurp'd town to another due, Labor to admit you, but oh, to no end; Reason, your viceroy in me, me should defend, But is captiv'd, and proves weak or untrue. Yet dearly I love you, and would be lov'd fain, But am betroth'd unto your enemy; Divorce me, untie or break that knot again, Take me to you, imprison me, for I, Except you enthrall me, never shall be free, Nor ever chaste, except you ravish me. Find us at our website: www.closetalking.com/ Find us on Facebook at: facebook.com/closetalking 
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Shakespeare plays with gender roles and seasons of the year in this poem of illegitimate creativity. For more about this and other combinations of various words and original music, go to frankhudson.org

This episode we share the first of Shakespeare's Sonnets to the Dark Lady, Sonnet 127, alongside a brief contextual reading of the piece. This episode was inspired by Patrick Stewart's A Sonnet a Day initiative, which has been a source of much delight in recent months, but overlooked this one piece during a break. Episode Music: Be Chillin’ by Alexander Nakarada | www.serpentsoundstudios.com Music promoted by www.free-stock-music.com Attribution 4.0 International (CC BY 4.0) creativecommons.org/licenses/by/4.0/ Photo is in the public domain, from wikimedia.org

It's Shakespeare's birthday and National Poetry Month, so here's one of his sonnets, a particularly bitter one in a small orchestral setting. For more about this and other combinations of various words and original music, visit frankhudson.org

Listening back to the recording of Land's End on a miserable, rainy day in the circumstances of a more or less total lockdown in the UK due to the global coronavirus pandemic, I was filled with both a strong urge to be there, standing at the edge of the cliff and gazing out to sea, but also a sense of profound melancholy for the world's colossal halt this year. Around the same time, I'd heard an absolutely beautiful recording of Sir Patrick Stewart reading out Shakespeare's Sonnet 116, with the devastating couplet: Love alters not with his brief hours and weeks, But bears it out even to the edge of doom These two things came together into this mournful piece, which at once yearns to be out in the wilds of nature, but laments for the world's grinding lockdown to end safely for as many of us as possible. Reimagined by Cities and Memory, and I hope Sir Patrick doesn't mind the use of his beautiful reading. 

Harriet Walter reads Shakespeare's Sonnet 18

Unconditional Love: Song, Muskrat Love, also Shakespeare's Sonnet 18. No Judgement.No expectations. Monogamous.

Today's poem is Shakespeare's Sonnet 30, "When to the sessions of sweet silent thought . . . ". Remember: rate and review! See acast.com/privacy for privacy and opt-out information.

American composer Laurie San Martin writes music that creates a compelling narrative by exploring the intersection between texture and line. Critics have described her music as exuberant, colorful, forthright, high octane, tumultuous, and intricate. This piece's title, "nights bright days" is borrowed from Shakespeare's Sonnet 43, and reflects its late-night composition. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34687]

American composer Laurie San Martin writes music that creates a compelling narrative by exploring the intersection between texture and line. Critics have described her music as exuberant, colorful, forthright, high octane, tumultuous, and intricate. This piece's title, "nights bright days" is borrowed from Shakespeare's Sonnet 43, and reflects its late-night composition. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34687]

American composer Laurie San Martin writes music that creates a compelling narrative by exploring the intersection between texture and line. Critics have described her music as exuberant, colorful, forthright, high octane, tumultuous, and intricate. This piece's title, "nights bright days" is borrowed from Shakespeare's Sonnet 43, and reflects its late-night composition. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34687]

American composer Laurie San Martin writes music that creates a compelling narrative by exploring the intersection between texture and line. Critics have described her music as exuberant, colorful, forthright, high octane, tumultuous, and intricate. This piece's title, "nights bright days" is borrowed from Shakespeare's Sonnet 43, and reflects its late-night composition. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34687]

Today's poem (read by a special guest) is Shakespeare's Sonnet #73. Remember: Subscribe, rate, review! See acast.com/privacy for privacy and opt-out information.

While one a short hike right near the border between Utah and Idaho, I tried to capture the songs of all the [Western Meadowlarks](https://www.audubon.org/field-guide/bird/western-meadowlark) around me. If you listen closely, you can just hear them. It's one of my favorite birdsongs, and they're not shy about singing it.Today's poem is another of Shakespeare's sonnets. If you didn't hear my episodes on the sonnets, I highly recommend heading back and listening to episodes 201, 203, and 205. I give a brief summary here, but only very, very briefly.There are still a couple of important moves left for the sonnets, and next time we will be leaving the handsome young man and hooking up with the dark lady. Whoo: mysterious!### TEXT OF POEMSonnet 126, by William ShakespeareO thou, my lovely boy, who in thy powerDost hold Time's fickle glass, his sickle, hour;Who hast by waning grown, and therein showestThy lovers withering, as thy sweet self growest.If Nature, sovereign mistress over wrack,As thou goest onwards still will pluck thee back,She keeps thee to this purpose, that her skillMay time disgrace and wretched minutes kill.Yet fear her, O thou minion of her pleasure!She may detain, but not still keep, her treasure:Her audit (though delayed) answered must be,And her quietus is to render thee.( )( )

Welcome to The Daily Poem. Today's poem is William Shakespeare's Sonnet 116. If you like this show, remember to subscribe, rate, and review. Please consider supporting the Close Reads Podcast Network on Patreon. See acast.com/privacy for privacy and opt-out information.

Welcome to The Daily Poem. Today's poem is William Shakespeare's Sonnet #18. See acast.com/privacy for privacy and opt-out information.

Shakespeare系列第二弹来啦～在拆解完人生之后，莎翁这次来严肃的给我们讲讲什么是真爱！愿你此生也能真正爱过。Sonnet 116: Let me not to the marriage of true minds BY WILLIAM SHAKESPEARELet me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove. O no! it is an ever-fixed mark That looks on tempests and is never shaken; It is the star to every wand'ring bark, Whose worth's unknown, although his height be taken. Love's not Time's fool, though rosy lips and cheeks Within his bending sickle's compass come; Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me prov'd, I never writ, nor no man ever lov'd.

This is the culmination of the Poetry Professors' National Poetry Month project - to take Shakespeare's Sonnet 130 through all five layers of the UnVEIL system.

For national poetry month, Dan and Becky are taking Shakespeare's Sonnet 130 and breaking it down in all five layers.  This episode looks at the Voice and Events layers.

There is a lot more that could be said about sonnet 20, but this should serve as a nice introduction to this one, especially for you listeners who are not regular readers of Shakespeare's sonnets. This is one of the crazy ones, or at least one of the difficult-to-categorize-Shakesepeare's-sexuality ones. I recorded this while out birding one morning (yes, I am a middle aged white male: so what?) and I had to edit out probably three or four planes landing or taking off. Not exactly the quietest place to record. I tried to get rid of them all while recording, but I'm obviously not a professional audio engineer, who would have made me do a few sentences over from scratch. But that would of course require that I worked form a script, which is pretty obviously not the case if you've listened to an episode or two. For the text of the poem, or more things to read, come on over to visit at jeffreywindsor.net.

For the second of our look together at some of Shakespeare's sonnets, today's selection is the most famous: sonnet 18, the famous "Shall I comapre thee to a summer's day?" The only sonnet that rivals it in popular consciousness is Elizabeth Barrett Browning's "How do I love thee? Let me count the ways." I approach this with a little reticence, since it's such well-trod territory, but it helps to fill in the whole narrative that I will be explaining as time goes on. So I press on and am posting it anyway. Don't like my interpretation? Let me know.I recorded this on the most beautiful day of the whole year so far. Surely there will be nicer days in the future, but today is the finest since before winter began months ago. It is a perfect day to read about summer's days, even though it's just spring.As always, there's more for you to read at http://jeffreywindsor.net

For national poetry month, Dan and Becky are taking Shakespeare's Sonnet 130 and breaking it down in all five layers - one each week.  This week begins the process with the UNderstand Words layer.

Text of this poem (and all the other episodes of Lucky Words) are available at jeffreywindsor.net.

RESPONSE TO SHAKESPEARE'S SONNET 130 by Susan Greenhill Poetry

Amit Chaudhuri is a novelist, academic and musician whose books include A New World, The Immortals and most recently Odysseus Abroad. ----more----His talent for close observation of everyday details, events and characters have earned him comparison to Proust, though Chaudhuri tends to work on rather smaller canvasses. We met in an extremely noisy cafe in Oxford, and began by discussing Chaudhuri's own time as a postgraduate student in the city over two decades earlier. In the same way that this period inspired his second novel, Afternoon Raag, Chaudhuri's arrival in London and undergraduate degree in English at University College is the basis for Odysseus Abroad. As well as describing an early love of poetry, the novel traces through its allusive form a love of Homer and James Joyce. In the first part of our conversation, we also talked about: his ambition to be a poethis early career as a novelist and academicwhy Oxford didn't inspire him as a writerhis memories of literary students and England's intellectual cultureChadhuri's first visits to England in the 1970sracism, Enoch Powell and Margaret Thatcherwhy Chaudhuri wrote about undergraduate days in Londonhow a memoir became a novel thanks to Homer's Odysseyhow Chaudhuri's Uncle Radesh the uncle in Odysseus Abroadhow a charcoal sketch, 'Ulysses', by the Indian painter FN Sousa shaped the character of Uncle RadeshUncle Radesh becomes Odysseus, Chaudhuri becomes Telemachusten years later, Chaudhui begins to write a memoirhow Stephen Daedelus turned the book into a novel about unhappiness and alienation in Londonhow an Indian literary student reads Shakespeare's Sonnet 18: 'Shall I compare thee to a summer's day?''I learned about language through the weather. I also learned about my love of light and of life through London'the importance of travel and living 'abroad' for Chaudhuri's writingpoetry as Chaudhuri's first love'I am far more excited by discovering the German poet Gunter Eich than anything on the Booker Prize shortlist, with very good reason'time, slowness and Chaudhuri's prosepopular culture and why Chaudhuri loves The Simpsons. Amit Chaudhuri's website can be found here. 

"Here will we sit and let the sounds of music / Creep in our ears" (The Merchant of Venice, 5.1.63-64) How can young people connect with Shakespeare? It's a question that confronts each generation. Members of Taffety Punk, a Washington, DC, theater company, have taken to heart the mission of bringing Shakespeare into the 21st century. Rebecca Sheir, host of our Shakespeare Unlimited series, talks with Taffety Punk founding member and Artistic Director Marcus Kyd about how he and a group of classically trained actors—who are also ex-punk rockers—are giving new meaning to the term "band of players." From Bootleg performances of Shakespeare's plays—rehearsed and staged in a day—to Riot Grrrls all-female Shakespeare, recordings of punk versions of Shakespeare's Sonnet 71 and Mercutio's "Queen Mab" speech from ROMEO AND JULIET, and the Generator series of experimental works, Taffety Punk is defining Shakespeare for a new generation of theatergoers and theater makers. Marcus Kyd is a founding member and artistic director of Taffety Punk Theatre Company. Taffety Punk Theatre Company's mission is to establish a dynamic ensemble of actors, dancers, and musicians who ignite a public passion for theater by making the classical and the contemporary exciting, meaningful, and affordable. Taffety Punk received the John Aniello Award for Outstanding Emerging Theatre Company at the 2008 Helen Hayes Awards. ---------------- From the Shakespeare Unlimited podcast series. © Folger Shakespeare Library. All rights reserved. Produced for the Folger Shakespeare Library by Richard Paul; Garland Scott, associate producer.

From Literary Hyperlinks, vol. A, p.227

Happy Wednesday-before-Thanksgiving, everyone! I’m so thankful that you are all here and going on this podcast journey with me! This week, I wanted to share something else that I'm super-thankful for: the ability to Shakespeare in the original English. In this episode  I will be deconstructing one of my favorite poems, Shakespeare’s Sonnet #90. I’m so glad you’re here to enjoy this wonderful work of literature with me. For show notes and more info: diymfa.com/018

Mike and Scott discuss Shakespeare's Sonnet 47, 3 Musketeers Bars and a "player to be named later."

Shakespeare's Sonnet 46, spelling bees, front stage tickets, and Lewis and Clarke.

Shakespeare's Sonnet 42, ziplining, American Gladiators and the Lumberjack Slam.

Shakespeare's Sonnet 41 and high five, up high, down low, too slow.

Shakespeare's Sonnet 40, 1800 Tequila, "One fell swoop," and Sesame Street's "Follow That Bird."

Shakespeare's Sonnet 38, Kelly Clarkson, garbage disposals and "the whole shebang." 

Special guest Jim Bruce stops by to help us analyze Shakespeare's Sonnet 37.  We also discuss Jurassic Park, Venn diagrams and Shelly Duvall.

Shakespeare's Sonnet 35, misquoted movie lines and Atari's River Raid.

Shakespeare's Sonnet 34, Presidential football players and Butterflies are Free.

Shakespeare's Sonnet 33, retired jersey numbers and "Midnight in Paris."

Shakespeare's Sonnet 32, rodeo clowns, the origins of Jeoparady, and Woody Allen.

Shakespeare's Sonnet 31, the Carebear Cousins, the record for most strikes in a row, and getting swept away.

Shakespeare's Sonnet 29, Main Street Electrical Parade, I Love Lucy and a Terrible, Horrible, No Good, Very Bad Day on this week's Mike and Scott Read a Poem.

Shakespeare's Sonnet 28, the top 5 singles of all time and Necessary Roughness.

Shakespeare's Sonnet 27, juggling on trampolines, Gregor Mendel and the Punnett Square.

Mike and Scott analyze Shakespeare's Sonnet 26.  They also discuss Spaceballs, Cupid, and slaughterhouses.

Mike and Scott analyze Shakespeare's Sonnet 23.  They also discuss ASMR and Choose Your Own Adventure books.

Mike and Scott analyze Shakespeare's Sonnet 22.  They also discuss badminton, Pokemon and Ducktails.

Mike and Scott analyze Shakespeare's Sonnet 21.  They also discuss Walter Cronkite and triple plays.

Mike and Scott analyze Shakespeare's Sonnet 20.  They also discuss Fabio and the screenwriter of The Empire Strikes Back.