Podcasts about shalott

Subscriber-only episodeSend us a textOne of the last projects recorded by singer/actress Marianne Faithfull (who passed away in January) was a 2021 spoken word album of English Romantic poetry, including a hauntingly beautiful 12-minute recitation of Tennyson's “Lady of Shalott.” After exploring Faithfull's passion for (and family connections to) classic literature, Amy finds new meaning in this poem about an exiled woman fated to forever view life through a mirror's reflection. This episode includes accounts of several other doomed and exiled noblewomen in history — Lucrezia de Medici and Marguerite de la Rocque — and the books their lives inspired.Mentioned in this episode:She Walks in Beauty by Marianne Faithfull“As Tears Go By” by Marianne Faithfull“The Lady of Shalott” by Alfred, Lord TennysonVenus in Furs by Leopold von Sacher-MasochVenus in Furs by The Velvet UndergroundThe Marriage Portrait by Maggie O'FarrellLucrezia de MediciPortrait of Lucrezia de Medici at North Carolina Museum of Art“My Last Duchess” by Robert BrowningIsola by Allegra GoodmanMarguerite de la RocqueThe Heptameron by Marguerite de NavarreFor episodes and show notes, visit: LostLadiesofLit.comDiscuss episodes on our Facebook Forum. Follow us on instagram @lostladiesoflit. Follow Kim on twitter @kaskew. Sign up for our newsletter: LostLadiesofLit.com Email us: Contact — Lost Ladies of Lit Podcast

Trastienda 77: De la leyenda a la partida, con Tomás Sendarrubias. Nos ponemos legendarios en este capítulo de la Trastienda de Shadowlands, con la visita de Tomás Sendarrubias, historiador, novelista y autor de El Rey del Invierno. Hablamos de tomar las leyendas y el folclore como fuentes de inspiración para aventuras de rol y analizamos un ejemplo concreto: 'El lay del Caballero Verde'. Encontrarás 'El lay del caballero verde' y los personajes pregenerados para El Rey del Invierno en nuestra página de descargas. https://shadowlands.es/descargas/ Tomás ha escrito otras aventuras a partir de cuentos, como 'El canto de la dama de Shalott' y 'La última marcha de los deisi', disponibles en nuestros shadowshots. https://shadowlands.es/shadowshots/ Partida de demostración de El Rey del Invierno.https://youtu.be/SWksDbSMFBo 'Tres gorriones negros', aventura gratuita de Fran Kane que adapta el mito de la Güestia (o Santa Compaña).https://abrolapuertaymiro.blogspot.com/2019/06/dia-del-rol-gratis-modulo-gratuito.htm Music from #Uppbeat: The horseman by nigth drift License code: XGUNKD5PG9ROKUS6 Music from #Uppbeat (free for Creators!): Lets good times roll by RALicense code: YUHJBIKTMVWNODBV

“Don't read the last page” This week we're joined by Rachel Feder and Tiffany Tatreau, authors of the new release Taylor Swift By the Book. In their incredible new release, Rachel and Tiffany go song by song through Taylor's discography and discover the literature behind the lyrics, from fairy tales to tortured poets. They join us to share what inspired them to write this book, the themes and narratives that came up most often in Taylor's music, and so much more!   Mentioned in this episode:  Taylor Swift by the Book by Rachel Feder and Tiffany Tatreau Frankenstein by Mary Shelley Jane Eyre by Charlotte Brontë The Picture of Dorian Gray by Oscar Wilde Florida by Lauren Groff Shakespeare's works, including Romeo and Juliet, A Midsummer Night's Dream, Hamlet The Yellow Wallpaper by Charlotte Perkins Gilman Lady of Shalott, Alfred Tennyson The Odyssey by Homer Mary Wollstonecraft Who's Afraid of Virginia Woolf? by Edward Albee The Secret Garden by Frances Hodgson Burnett Works of Plato Into the Woods by Stephen Sondheim The Phantom of the Opera by Andrew Lloyd Webber   Affiliate Codes:  Krowned Krystals - krownedkrystals.com use code APTS at checkout for 10% off!  Libro.fm - Looking for an audiobook? Check out our Libro.fm playlist and use code APTS30 for 30% off books found here tinyurl.com/aptslibro   ***   Episode Highlights:  [00:58] Introduction to Taylor Swift by the Book [9:36] The process of deciding what went into the book [22:10] Taylor Swift and the poetess tradition  [37:08] Taylor Swift's literary eras [45:48] The songs that made Tiffany and Rachel swifties    Subscribe to get new episode updates: aptaylorswift.substack.com/subscribe   Follow us on social!  TikTok → tiktok.com/@APTaylorSwift Instagram → instagram.com/APTaylorSwift YouTube → youtube.com/@APTaylorSwift Link Tree →linktr.ee/aptaylorswift Bookshop.org → bookshop.org/shop/apts Libro.fm →  tinyurl.com/aptslibro Contact us at aptyalorswift@gmail.com This podcast is neither related to nor endorsed by Taylor Swift, her companies, or record labels. All opinions are our own. Intro music produced by Scott Zadig aka Scotty Z.

Hero or Villain? These archetypal characters are the stock-in-trade of the fantasy genre, and so you’ll definitely enjoy this newest poetry anthology compiled by Ana Sampson, an experienced curator of poetry collections, and illustrated by the instantly recognizable pencil of Chris Riddell, multi-award-winning illustrator and former UK Children's Laureate.   Today on Mythmakers, in conversation with Julia Golding, Ana and Chris journey through history and genres, unearthing the gems. They reflect on the poems that inspired them as children, the role of compendiums in nurturing the artistic imagination, and why different approaches are often used to tell the same tale. They also explore the influence of politics on the anthology—and vice versa, and so much more. And if that wasn’t enough, Chris treats us to a live dragon sketch while several poems are read aloud—making this a truly unmissable episode!   Their book, Heroes and Villains: Poems about Legends (Macmillan), is available for purchase now. Credits for the poems read in full are: 'Nan Hardwicke Turns into a Hare' by Wendy Pratt, 'St Margaret of Antioch Speaks' by Jan Dean, 'If...' by James Carter, and 'The Dragons are Hiding' by Brian Moses.   For more information on the Oxford Centre for Fantasy, our writing courses, and to check out our awesome social media content visit: Website: https://centre4fantasy.com/website Instagram: https://centre4fantasy.com/Instagram Facebook: https://centre4fantasy.com/Facebook TikTok: https://centre4fantasy.com/tiktok   0:10 Welcome to Mythmakers 1:32 Childhood Poems That Shaped Us 5:27 The Lady of Shalott and Lockdown 10:15 The Role of Poetry Anthologies 12:05 Creating the Heroes and Villains Anthology 16:40 Exploring Heroes and Villains Through Poetry 20:2Research Gems in Poetry 36:19 Creative Tips for Aspiring Writers 39:04 Contemporary Issues in Fantasy 43:01 Collaborating with Publishers 46:56 The Intersection of Politics and Fantasy 52:46 Closing Thoughts and Inspiration

Today's poem is the fourth and final section of Tennyson's Arthurian ballad. I have been reading his 1842 version and (I think) the final stanza is where it differs most from the 1832 original. You can compare both below to see for yourself how Tennyson's alteration ramps up the pathos. Happy reading!1832 conclusion:They cross'd themselves, their stars they blest, Knight, minstrel, abbot, squire, and guest. There lay a parchment on her breast, That puzzled more than all the rest,        The wellfed wits at Camelot. 'The web was woven curiously, The charm is broken utterly, Draw near and fear not,—this is I,        The Lady of Shalott.'1842 conclusion:Who is this? and what is here? And in the lighted palace near Died the sound of royal cheer; And they cross'd themselves for fear,        All the knights at Camelot: But Lancelot mused a little space; He said, "She has a lovely face; God in his mercy lend her grace,        The Lady of Shalott." Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Today we come to the turning point for the Lady of Shalott. Happy reading. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

In part two, the “Lady” sits, weaving, in a world of images but pines for the world of solid realities. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Today is the first of four in which we'll wend our way through Tennyson's tragic Arthurian ballad. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

In this episode, Nikki Gamble talks to award-winning poet, novelist, playwright, and literary critic Clare Pollard about her debut children's novel, The Untameables.About the UntameablesUnder the bloody rule of King Arthur – as the cruel Knights of the Round Table wage wars and hunt magical creatures – the ordinary people of Camelot are getting sick. Really sick. Something is poisoning the land. No one in Arthur's court seems to care, but a spark of hope remains... The Holy Grail could save them all, and two children embark on a quest to find it.Shy, gentle Roan, a young dog keeper who works for the knights, is desperate to find a cure for his mum. He befriends Elva, a generous and outspoken kitchenhand with her own reasons for seeking the elusive Grail. Together, can they beat the knights to find it? And will drinking from it save Roan's mum? Clare says, 'Writing The Untameables was the most fun I've ever had with a laptop. I've always loved Arthurian myth – from Sir Gawain and the Green Knight to the legend of Holy Grail; Morgan le Fay to Questing Beasts – and wanted to subvert and reclaim these tales for contemporary children (including my own), starting from the premise that maybe the knights of the round table were the bad guys. From a cameo by the Lady of Shalott to medieval riddles to solve, this is a love letter to our literary history, whilst – through the perspectives of Roan and Elva, children who work below-stairs at Camelot – it is also an attempt to look at it afresh. I'm so pleased to be with Emma Press for my first children's novel and to be part of their thoughtful, beautiful list.Support the Show.Thank you for listening. If you enjoyed this podcast, please support us by subscribing to our channel. And if you are interested in the books we have featured, purchasing from our online bookshop Bestbooksforschools.comIn the Reading Corner is presented by Nikki Gamble, Director of Just Imagine. It is produced by Alison Hughes.Follow us on Youtube for more author events YouTube.com/@nikkigamble1For general news and updates, follow us on Twitter @imaginecentreFull details about the range of services we provide can be found on our website www.justimagine.co.uk

Tennyson's poem “Lancelot and Elaine” plays a huge part in the plot of Anne of Green Gables by Lucy Maud Montgomery. Anne and her friends decide to act out the scene where the Lady of Shalott dies and floats downriver to Camelot, where the court of King Arthur mourn her. However, Anne learns the hard … Continue reading "132 – “Lancelot and Elaine” in Anne of Green Gables"

We are pleased to welcome the Pre-Raphaelite Society's poet-in-residence Sarah Doyle for something a little different. Sarah reads and explores two poems that have influenced Pre-Raphaelite works, 'La Belle Dame sans Merci' by John Keats and the iconic 'The Lady of Shalott' by Alfred Lord Tennyson. Sarah also reads her own wonderful work 'Cursed'. We hope you enjoy this episode and we will welcome Sarah back for more readings in the future.    For more information and to subscribe to the Pre-Raphaelite Society, please visit www.pre-raphaelitesociety.org    All donations towards the maintenance of this podcast are gratefully received: https://gofund.me/60a58f68     

Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings   TRANSCRIPT   Kathleen Parlow Part 1  Welcome to this very first episode of the Historical Strings Recording Podcast.  A show that gives you a chance to hear rare and early recordings of great masters and their stories.  Hello, my name is Linda Lespets. I'm a violin maker and restorer in Sydney, Australia, and I'm also the host of another podcast called ‘The Violin Chronicles',  a show about the lives of historically important violin makers and their instruments. But today we have a different podcast and telling this incredible story with me is my co-host Eric Wen. Hello, my name is Eric Wen, and I'm the producer at Biddulph Recordings, which is a label that focuses upon reissuing historic recordings, particularly those by famous string players of the past.  I also teach at the Curtis Institute of Music in Philadelphia, where I've been for the past 24 years. In this first episode, we will be looking at an incredibly talented violinist called Kathleen Parlow, who, in her time, took Europe and the world by storm, giving even Fritz Kreisler a run for his money in the popularity department. She was described in the media as being ‘One of the phenomena of the musical world' on par with Mischa Elman, or the ‘greatest lady violinist in the world', and ‘the girl with the golden bow'.  She was treated with superstar status wherever she went, which begs the question as to why she is so little known today? Well, join us to discover her incredible story, the events of her career and her violin. A violin which would eventually financially ruin one man and divide his family. We will take a closer look at high hat kicking breakdancers, militant fascists, scandalous theatre directors, impossible love, a score ripping composer, and all this revolving around one of the world's most expensive violins and the incredible means one man went to get it into his hot little hands and then give it away. This is the story of Kathleen Parlow.  And all of the pieces you will be hearing in this podcast are of Kathleen Parlow playing her violin. Kathleen Parlow was born into a modest family in Calgary on the Canadian prairies in 1890.  Her mother, Minnie, was a violinist. So, at a young age at four, she gave her daughter a violin and started teaching her. When she was six years old, the family, Kathleen, Minnie, and her father, Charlie, they moved to San Francisco where her talent was immediately recognized. And well, this is probably because of the, the mom. And she was having lessons with her cousin called Conrad Coward in San Francisco.  Very soon, still aged six, she gave her first recital in San Francisco.  So is six, is six a reasonable age for a child to give a recital? What do you think? It's extremely young. In fact, that is truly prodigious. I mean, people don't even begin the violin till six and that's an early beginning of an instrument. Most people start around seven or eight, but to begin much earlier and to even be playing a concert at the age of six. That's really quite phenomenal. So with her burgeoning talent, she now started having lessons with Henry Holmes, who was a pupil of Louis Spohr, the well-known German composer and violinist. And he's a conductor and who he's the man who apparently invented the chin rest.  So where would we be without the chin rest, really? He's attributed with inventing it.  Well, Spohr was a fine violinist, German violinist. He was also a quite prominent composer. He was quite a conservative composer. So, I believe he wasn't that fond of the music of Beethoven. In other words, there were people like Spohr, Von Weber, and they represented a much more conservative branch of the sort of German composition.  of the German composers. And basically, they looked upon Beethoven as such a wild revolutionary in his music, so daring that I think they were almost a little offended by it. So Spohr, if you could say, is primarily a kind of conservative, very well-schooled, excellent composer. He wrote many, many violin concertos, the most famous of which is No. 8 in A minor, which is written in the form of an operatic scene. Full of violin solo recitatives and arias for the violin. Oh, wow. Yeah, that's interesting. So they were, there was like very shocked by Beethoven. They were, apparently. Was he a contemporary of Beethoven? Because I, because sometimes you go back pretty quickly, don't you? Like the teacher of the teacher of and all of a sudden you're in like the Well, Spohr was born 14, he's 14 years younger than Beethoven. Oh, okay. So, he was born in 1784, but he lived a lot longer. He lived over 20 years longer than Beethoven. Oh, wow. And that's fascinating. So, Henry Holmes, Kathleen Parlow's teacher, was taught by this guy who would have known Beethoven? Yes, absolutely. And objected to Beethoven.  Was shocked by his music. Well, I mean, I think sort of the, you might say the more mature Beethoven or the more daring Beethoven. But I think, you know, I'm sure maybe some of Beethoven's early works were much more acceptable. They were more normative, so to speak. Oh, okay.  So Kathleen's in San Francisco and her parents' marriage is breaking down. Her father, Charlie, moves back to Calgary where he dies of tuberculosis the year after. But Kathleen, she rockets on and is becoming more and more well known. Her new teacher sees real talent in the girl, and this teacher, Henry Holmes, he has contacts to make things happen. And he helps arrange a tour for her and playing engagements in England. So for this to happen, Kathleen's mum, she's, she's I'm getting stage mum vibes. Yes.  Because she's still very, still very young. Oh, yeah. I mean, I can't believe she wasn't playing with dolls.  And this would have been a conversation between Minnie, Kathleen's mum, and the teacher. It probably wouldn't have been a conversation with her as a child. No, probably not.  You don't really choose much when you're six, seven. No, that's true. So the problem they have is that they have no money. So, so what do you do, Eric? You have no money, you have a prodigy. You exploit the prodigy by having them play and make an income for you, which is something that happens unfortunately to many, many talented musicians coming from, you might say, less well-off families. They end up becoming the breadwinner. All their focus gets put upon these, these kids. And so not only do they have the added burden of playing and making sure they keep up They're playing well, but they also have the burden of making sure that they play well enough to make an income so that their families can survive. I mean, that's a very familiar story, and it's a story that has more failures than winners, I'm afraid, because you do hear about the winners. You do hear about the Misha Elmans or the Yasha. Well, Heifetz is a little different because he had a more middle-class family, but you do hear of Oskar Shumsky, for example, who I know I knew personally, he says, don't believe that these violence that you hear about having normal childhood behind every great violence, there's always a mama or a papa. And I think he himself endured that kind of pressure, the pressure to somehow become. The breadwinner, or let's say the some, the pressure to become a great violinist, primarily because he would serve as the breadwinner for the family. Well, if you think about it, you could say that.  Violin playing in the early 20th century was very dominated by Russians, particularly Russian Jews. And one of the reasons for that was that in Russia, all the Jews were confined to an area known as the Pale of Settlement.  In other words, a designated area that they could live in, but they could not leave that particular area. And basically, some very gifted young students could get into university or could go into a conservatory, and one of the big examples was Misha Elman, and Misha Elman, you might say left the Pale of Settlement to go study with Leopold Auer in St Petersburg. And they had to get all sorts of permission to do that. Well, the success of Misha Elman, the global success, the international success, I think resonated so well. with the people in the ghetto that they sort of saw, wow, this is one of our boys and look what he's done. He's now playing for the crowned heads of Europe. So I think for them, they felt this was a way out. And if you think about it, the film, Fiddler on the Roof,  which is a famous musical and it was adapted as a famous film. And basically, that film, just the very title, talks about the Fiddler on the Roof. And the setting is in the Pale of Settlement, the Jewish ghetto in Russia. They're often subjected to random attacks by the Cossacks and all sorts of difficulties. But here, despite all that, you know they manage to survive. And of course the image of the Fiddler on the Roof. The violinist is exemplified, you might say, by Misha Elman, who literally grew up in the Russian ghetto. Yeah, and Misha Elman, he'll, he'll become, he He'll become important in our story, yeah. The money. This is not a problem. There is a wealthy admirer called Harriet Pullman, Carolan, in San Francisco. And she pays for Kathleen and her mother to take the trip to England. And in 1904, at the age of 14, Kathleen plays for King Edward VII at Buckingham Palace. And then in the next year in 1905, she and her mother, they come back to England. This tour marks the beginning of a life that she would lead for years to come of performing and playing. And so by the time she was 15, she was touring and playing with the London Symphony. And it was in a concert at the Wigmore Hall in London that she really shoots to fame.  So is the Wigmore Hall, is that, is that still today an important place to play? Oh, extremely so. It's funny because the Wigmore Hall was originally called the Bechstein Hall, and obviously during the wars, it became a much more the name was more neutralized to become less dramatic, and it became named after the street it's on, which is Wigmore Street. It was always a very important venue, but around the sort of 60s In the 70s it had declined a bit in its status because the South Bank had been built and so the Wigmore Hall was a little bit relegated to a sort of a little second class status. But in the past 20 years or so the Wigmore Hall has catapulted to  fame again and it's today one of the most distinguished halls. In London. All right. Okay. And this is, this is pre war. So it's, it would have been called? Bechstein. Okay. So it would have been called the Bechstein Hall when she played? Probably. Oh yeah, definitely. So the Bechstein Hall was, I think first opened in 1901 and it was built by the piano manufacturers, the German manufacturers Bechstein, hence the name. And after the First World War, I believe it was changed to a more neutral sounding, less Germanic name, and it adopted the name of the street that it's currently on, which is Wigmore Street. Incidentally, the first concert at Wigmore Hall was actually performed, was a violin and piano recital, performed by Eugene Ysaye and Federico Busoni.  And then one night in London, Kathleen and her mother went to another concert of another child prodigy called Mischa Elman. And he was, so he's the fiddler on the roof guy, and he was almost exactly the same age as Kathleen. He was just a few months there's just a few months difference between them. And she, she hears him playing this concert and she's, she's just blown away. Blown away, and after the concert, she and her mother decide that Kathleen, she just has to go and have lessons from the same teacher as this, as this, as Mischa. So the only thing, only little thing about Mischa Elman's teacher is that he is in Russia. And as far as anyone knows, no foreigners study in the St. Petersburg Conservatorium, but that is about to change. Definitely no ladies. So, Kathleen and her mother had arrived in England with 300 raised by their church in San Francisco and this was, it just wasn't enough to get them to Russia and to the conservatorium where the famed Leopold Auer was a professor, but get there they would because Kathleen's mum, Minnie, still had a few tricks up her sleeve. She went and petitioned the Canadian High Commissioner.  So she must have been, I feel like Minnie, she must have been very persuasive. Like there was nothing was getting in between, you know, her daughter and this career. Forceful, a task to be reckoned with, certainly. Yeah. She's like we'll get to England, we have no money. Not a problem. We're gonna, we're gonna get this teacher. He's in Russia. Not a problem. No foreigners. It, you know, it doesn't, it doesn't seem to be a problem for her, no girls. Not a problem. No foreigner has ever studied in this St. Petersburg conservatorium. Not daunted. They're off. They go. So to pay the cost travel, Minnie managed to get a loan from Lord Strathconia, the Canadian high commissioner.  And from there, mother and daughter travelled to Russia. And in October of 1906, Kathleen becomes the first foreigner to attend the St. Petersburg Conservatorium. And in her class are 45 Students and she's the only girl. And we have to remember this is pre-revolutionary Russia. So there's still the Tsar Nicholas the second at this point. Yeah. She's mixing in, in that set. So it's an interesting place to be as a musician. Cause you're frequenting the sort of the upper classes but you can come from, from nothing and arrive there. Her professor was the famed teacher, Leopold Auer, who had a knack of discovering talent. Leopold Auer was actually a Hungarian violinist, and he was trained in Vienna, and he also studied with Joachim.  And what happened was Russia has always had a sort of love for the violin, and they employed many people to teach at the conservatory, because they really embraced Western culture. They had A number of important French violinists come, but their big, you might say, catch was to get Vieuxtemps, Henri Vieuxtemps,  to teach for a number of years at, in St. Petersburg. And after Henry Vieuxtemps, they actually got Henry Wieniawski to teach at the conservatory. And when Wieniawski decided to go back to Europe, they employed Leopold Auer to take his place at St Petersburg. Right. So he's up there with the big names. Well, they were a little bit let down. I mean, that's what they were, I think, a little bit disappointed to replace Wieniawski with Leopold Auer because Wieniawski was such a major violinist. So he had initially a little rough time, but he was adored by Tchaikovsky and Tchaikovsky loved Auer's playing, dedicated a number of works for him, including the famous serenade melancholic, and wrote a lot number of ballet scores, which Leopold Auer played the solos for. But of course, they had a big rift when Tchaikovsky wrote his violin concerto for Auer, because Auer said it was unplayable.  And that really hurt Tchaikovsky's feelings. And it laid dormant for several years before another Russian violinist. Brodsky took it up, learned it, and. Premiered it in Europe first, and only after its success in Europe did he bring it back to Russia, where it became a big success, and Auer felt very bad about that, and in fact, just before Tchaikovsky died, a few months before Tchaikovsky died, story has it that Auer went to Tchaikovsky and apologized to Tchaikovsky for his initial mistrust of the concerto. In fact, by that time, Auer himself had actually performed the concerto, championed it, and taught it to many of his students.  Yeah, and we'll see in this story how sensitive composers are, and how easy it is to hurt their feelings and really create. Like a lot of emotional turmoil. That's coming up. So Auer, like he might not have been their first choice for replacing, but he did have a knack of finding star pupils. That is something that we see, that I see in the conservatorium. Every now and then you have a teacher who's very talented at finding talent. Absolutely. And I know in Australia you have one very distinguished teacher who I think now has been poached by the Menuhin School in, in England. Yes. And we're not going to talk about that. Yes, we won't.  Because it's Must be a sore point.  But we do see, we do see him every now and then when he comes back. So along with Elman and Efren Zimbalist, Parlow becomes one of Auer's star pupils and Auer was so taken with her playing that he often called her Elman in a skirt, which I think is supposed to be a compliment. And in Auer's biography, he writes, he says, “It was during this year that my first London pupil came to me, Kathleen Parlow, who has since become one of the first, if not the first, of women violinists”.  And that, he says that in his biography, My Long Life in Music.  So, Every year, Auer had a summer school in Kristiana, which is Oslo today. And Parlow spent her summers there and became a great favourite in Norway, which leads us to the next and perhaps one of the most marking events in her career and life. At 17, having spent a year at the conservatory in Russia, Kathleen begins to put on public performances she gives solo performances in both St. Petersburg and Helsinki. So these are two places she knows quite well by now. And these concerts were, they were very important as Kathleen's mother really had no money to support them. And so, with but you know, Minnie doesn't bother her, she just ploughs on. And so with the money from these concerts this would have to tide her over.  From letters that I've read, they were living in like this small apartment and then another friend writes, you know this other person, they've been saying you live in a tiny little place, but I'm not going to spread that rumor. And, and so it was a, it was a thing on the radar that they didn't have much money and they were scraping by and they were like frequenting people of much more wealthier than they were, so they were sort of on the fringes of society, but with her talent that was sort of pushing, people wanted to know her. So she makes her professional debut in Berlin and then began, she begins a tour of Germany and the Netherlands and Norway. And in Norway, she performs for the King Hakon and Queen Maud. Of whom she'll become a favorite. And, and her touring schedule was phenomenal. It was just like nonstop. So, yeah. For a 17-year-old that's, you know, she's going all over the world. And you were saying that Auer knew . Do Tchaikovsky do you think Auer, was he was giving her these pieces that did, that influenced him? Yes.  I mean, Tchaikovsky  wrote a number of violin, solo violin works before the concerto, the most famous of which is, of course, the Waltz Scherzo and the Serenade  Melancholique. One is a fast, virtuoso piece, the other is a slow, soulful piece. And I know that Auer was the dedicatee of certainly the Serenade Melancholique, which she did play. So, so Auer's giving her stuff from, you know, his friend Tchaikovsky to play. Now she's 17 and she's touring to support herself and her mother and she has an amazing teacher who probably understands her circumstances all too well because Auer growing up also found himself in her position, supporting his father in his youth with his playing. So she's studying in St. Petersburg, which is an incredible feat in itself. So she must have had quite a strong character and her mother, Minnie, also appears to be very ambitious for her daughter. We're talking about her mother being ambitious, but for Kathleen to, you know, she's her daughter, she, she must've had quite a strong wheel as well. Yes. Well, she certainly did.  I wish we knew more about her because maybe she was very subservient, you know, we have no idea. Maybe she didn't have, I mean, it's a speculation, of course. Yeah. We do have like hundreds of letters from Kathleen and there's a lot between her and Auer, and there's a real sort of paternal, he really sort of  cared for her like a daughter almost and she looked up to him like a father and he was always very correct about it, you know, he would always write the letter to her. To Minnie, her mother the correspondents, it was, and it was always very, everything was very above board, but a very, they were very close. Kathleen later says that after expenses, her Berlin debut netted her exactly 10 pounds.  She didn't know it at the time, but this was an indication of what her future would be like, and she would be sort of financially in a precarious state most of her life, and she would so her routine was she studies with Auer every summer in order to prepare, like they were preparing her repertoire for the next season of touring. So now she has a tour  in 1908, so she's still 17, almost 18. It's in Norway, and to understand just a little bit of the political climate in the country, We can see that Norway, only three years earlier, had become independent of Sweden and had basically become its own country. So there's this this great sense of nationalism and pride in being Norwegian. And they have a newly minted king, King Hakon, who she's played for, and his queen, who was, He was in fact a Danish prince. And then when Norway, the Norwegian parliament asked him if he would like to become the king of Norway when they had their independence. And he said, why not? As part of this great sense of nationalism Norwegian musicians, composers, writers, and poets, they were celebrated and became superstars. And, oh gosh, yes, We can sort of understand. Poets have sort of dropped off the list, but back then poets, they were a big deal.  So you add to this a young, fresh faced, talented Canadian girl who knows and understands their country. She arrives in Oslo to play in the National Theatre, where Norway's very own Johan Halvorsen who's conductor and composer and violinist, he's conducting the country's largest professional orchestra. And that night for Kathleen's concert, she plays Brahms and some of  Halvorsen's compositions and the two, Kathleen Parloe and Halvorsen, they would go on to become quite good friends and Halvorsen regarded her very highly in saying, he said that her playing was superior almost to all the other famous soloists who made guest appearances in the city. So, I mean, a lot of people went through Oslo, so that was, you know, high praise.  And Kathleen quickly Becomes a admirer of his and she would become a driving factor in him finishing his violin concerto that he'd been dithering over for a very long time.  And this is Kathleen playing one of Halvorsen's compositions. It's not his concerto, it's Mosaic No. 4. So back to the theatre. And it was a magical night with the romantic music of Brahms to make you fall in love. And everyone did, just some more than others. And to finish off, there's music from their very own Johan Halvorsen to celebrate you know, a Norwegian talent. So Kathleen plays her heart out and when the concert ended, the crowd goes wild and the 17 year old soaks up the thunderous applause. She's holding on tight to her violin as she bows to adoring fans. Tonight she is the darling of Oslo.  In the uproarious crowd stands a man unable to take his eyes off this young woman. Her playing has moved him and her talent is unbelievable.  This man makes a decision that will change both their lives forever. So, Einar Bjornsson had fallen head over heels for the 17 year old Canadian there and then. She would turn 18 in a few months. And in that moment, he decided to give her the most beautiful gift she would ever receive.  So, who is Einar Bjornsson?  So what we were saying, poets, poets are less of a, you know, a hot shot today, but Einar was the son of a very, very famous poet. A Norwegian businessman and son of one of the most prominent public figures of the day, Bjørnstan Bjørnsson. He was a poet, a dramatist, a novelist, a journalist, an editor, a public speaker, and a theatre director. Five years earlier, in 1903, he was awarded the Nobel Prize for Literature, and one of his poems, called ‘Yes, We Love This Land', was put to music and is the Norwegian national anthem up to this day. So, you could say he was kind of famous in these parts, and his personality alone would have easily filled. A concert hall, that one in Oslo.  Einar's father here, we're talking about Einar's father, he's the poet. Einar himself doesn't appear to have written any poetry. And this, so this situation could have been just fine the whole infatuation, love at first sight thing, except for a few things that put a spanner in the works. To begin with, Einar Björnsson is somewhat older than the youthful Kathleen he's 26 years older.  Then her, in fact, and for a 17 year old, that is a big age gap. So he's 45, but that aside, there is a problem that he's also married and has two children. His daughter is actually almost the same age as Kathleen she's 16, but he doesn't really seem to  see that. All he can see is this violinist and her talent. And he's been just, he's besotted and he's going to make a grand gesture. So obviously, one way to support the arts is to, what patrons do is they will buy, a lovely instrument and lend it to someone. So that's your normal affair. Obviously, one way to show his devotion to her is to find her a better violin. Hers is absolutely not good enough for someone of her talent. And he has to find her something amazing because she is amazing. He's determined to give her the most wonderful gift she has ever received.  So he goes out and he's a businessman. And so he goes to his businessman contacts. And Kathleen would have spoken to her entourage. I imagine, and I now finally finds a violin worthy of Kathleen's virtuosity, and it happens to be one of the most expensive violins on the market in 1908, and it's a 1735 Giuseppe Guarneri Del Gesu violin. It had previously belonged to great violinists  such as Giovanni Battista Viotti and Pierre Baillot. So just to clarify in the violin making world Antonio Stradivari and Guarneri del Gesù are the two top makers. If you're comparing two instruments, if one was owned by no one not anyone that you know. And then another one was owned by Viotti and Pierre Baillot . The one that's owned by Viotti and Pierre Baillot is probably going to be worth more. Yeah. So Viotti, he was just huge. He had a lot of instruments. I think he did a little bit of teaching and dealing on the side, Viotti. Like with the number of instruments named after him, or he just went through a lot of instruments. So she buys this violin, and it's not all smooth sailing to get the violin. Because she, there's this, there's a big correspondence between her and Auer, and we see that actually there's this letter where it says from Auer saying, I saw Hamming very cross.  He says that the violin is compromised if he takes it back. So at one point, I think she may have changed her mind about this violin, but Hamming the dealer was not okay with this. All the I'm just trying to read his writing, it's not that easy. All the papers brought the news That Kathleen bought it so the newspapers have already, so the, you've got Hamming, that's annoyed, the papers have already said they've bought this violin and he could not, it says he could not sell it soon and repeat the sale, waiting till he finds something equal to the Guarneri. He showed me a Strad, indeed wonderful, asking 60, 000 livres, which must be pounds, right?  A nice fellow, isn't he?  And now, goodbye, write to me.  Love, Auer.  They do end up getting the violin. They, they don't get the 60, 000 Strad that Hamming Gets all upset about and offers, which I think he might have been exaggerating the price just to make him calm down about and to keep the del Gesu. Then Einar gives this to Kathleen. So this is a very kind of strange situation because normally you don't, you don't actually give, the patrons don't actually give their instrument to the No, absolutely. That's a remarkable gift. Just in terms of, I mean, the gesture is very magnanimous, but in terms of financial, there's just a financial cost or value of the gift is quite enormous. And  so really after only knowing her for a month, Einar transfers this money into her account and she travels, Kathleen travels to Germany to the Hamming workshop and purchases her del Gesu violin for two thousand pounds  and in today's money  according to an inflation calculator, that is three hundred thousand pounds. Almost four hundred thousand US dollars. More than half a million Australian dollars, which at the time was a lot for a violin as well. So we're not I mean, I, today you'd be kind of happy to buy a Del Gesu for half a million, but then it was, it'd be a bargain. So, it's interesting this, like, he buys this, this young violinist this very expensive present and it's a, and it's a grey area and it's fraught with debate ethically, really. And I feel like today musicians find themselves sometimes in this position where they're sort of indebted to the, to a benefactor. It's almost feudal. I I feel cause at the same time you're very happy that they're lending it to you, but got to keep an eye on if it's a healthy relationship to. To get the money he had to get, you know, half a million pounds pretty quickly. If you remember, Ina's father was a very famous poet who'd won a Nobel Prize in literature and part of the prize is that you win a large sum of money. And so, what does Einar do? He goes and asks Dad. So he asks, he borrows, he borrows most of the money actually. Goodness knows how he convinced him, but you know, he's a businessman. And also for the remaining, he's married, remember, and he's married to, actually, to an heiress, and he takes a bunch of her, her dowry money and transfers this to essentially a teenager he met a month ago. The purchase of this incredibly expensive violin attracted, it attracted the attention of the press internationally, but journalists It's never really questioned the fact that this, this gift was given to a young woman by a, by an established family man. So everyone was just like, Oh, isn't it amazing? Because normally in this circumstance, people don't often give the instrument. You buy it as an investment and you'll lend it to someone. I think I've heard of like very few, very few cases of things being gifted, but actually normally your standard practice is to, to lend it to people. And most people playing on strads, that's, that's what it is, someone's lent it to them. How would you feel about someone giving a 300, 000 instrument to your daughter, who's a teenager? Well, I'd be, I mean, I'd just hate the sort of obligation that would involve, because On one hand, it is a very wonderful gift if it is a gift, but you almost expect that  there is some expectation in return, don't you? Yeah. It's like he's bought her almost.  Kind of.  So, Einar, as, as I mentioned, he's, he's from a well known Norwegian family. They're very patriotic. His father's writings really established a sense of pride and meaning to what it was to be Norwegian. And he was. Like his father was this beloved figure in the country and he was quite frankly a hard act to follow. But his children gave it a good shot.  You have Einar was one of five children. His father Bjornstein Bjornsson was the poet and public figure. He worked in a theatre. His mother was an actress when he'd met her. Which is a little bit risque also for the time. So they're a bit more of sort of an acting bohemian theatre family. His older brother Bjorn Bjornsson, just to be complicated here, his brother's called Bjorn Bjornsson.  And not to be confused with Bjornstein Bjornsson, his father. So he was a stage actor and a theatre director.  Like his dad. He was a playwright and he was the first theatre director of the National Theatre. And that was the big theatre in Oslo where Kathleen played. He was also quite busy in his personal life, because his first wife was Jenny Bjornsson. I mean, another Bjornsson. Boarding house owner. So he married her for four years. So this is Einars older brother. He married her for four years, then he divorced her, then he married an opera singer. Called Gina Oselio for 16 years, but then he, they, they got divorced, and then he married in 1909 Aileen Bendix, who was actually Jewish, and that's an important point, that she was Jewish, because at this time, things are kind of soon things will start heating up in Europe. And then he was, then there was Einar's younger brother called Erling Bjørnson, and he was a farmer and a politician for the Norwegian Far Right Party. So he was extreme right. Bit of a fascist. The other brother. So he was elected to the parliament of Norway and he was very active during World War II. So his two brothers have very, like, polarized opinions. Einar himself, he was a passive member of the far right party, but during the war years at that time that was the only party that people were allowed to be part of, so you can't, it's hard to tell his political leanings from that. Then he has a younger sister.  Bergliot Bjornson, and she was a singer and a mezzo soprano, and she was married to a left wing politician Sigurd Ibsen, who was, he was the son of a playwright, and he becomes the Norwegian Prime Minister, so he plays a central role in Norway getting its independence. He met Einar's sister because he's a big patriot. Einar's father is a big patriot and that's how they were kind of family friends. It's not bad, you know, having your husband as the prime minister. Then he has another little sister called Dagny Bjornson and she was 19 when she marries a German publisher called Albert Langdon and so they're sort of like leftish as well. So Einar, he marries the sister of Albert Langdon. So they have this joint brother sister wedding. On the same day, the Bjornson brothers sisters marry the Langdon brothers sisters. But, the important thing to know is that the Langdons are very, very wealthy. They're orphans and they, they've inherited a lot of money. And so, but then Dagny, she ends up leaving her husband. Goes to Paris and works at another newspaper. And this is all in the, you know, the early 1900s.  So she had this amazing life and then and then she marries another man, a French literate called Georges Sartreau well he comes also from a very wealthy family. Then you have Einar, who's a businessman, and he marries Elizabeth and they have two children, and his life is like not that remarkable. I think the most exciting thing he does is fall in love with Kathleen, I suppose, and sort of runs after her and her violin. From Kathleen's diaries, we can see the day after this concert in Oslo on the 10th of January, it's written 10th January, Mr Bjornson, 11;30am She meets with him the day after skiing and tobogganing with the Bjornsons. She has a concert the next day, but the day after that it's dinner with the Bjornsons, then another concert. And then she plays for the King. Then she goes to dinner with the Bjornsons. So this is just an excerpt from her diary for those weeks. And the next day, it's just Mr. Bjornson. That's just her meeting him not with the family. And maybe this is where he says, you know, I'll get you a violin. Maybe that was that meeting. And then on the 28th of February, she's in Germany and, and he's there. Einar is there. He goes to see her. Then on the 6th of March, she's in Amsterdam and in her diaries, you know, Mr Bjornson, he's there. He's kind of like, I don't know if this is creepy. He's following her around and then, and it's around about this time that he buys the violin for her. So she finishes her tour and she goes back to England and a month later in her diary, who rocks up?  I know, he's there.  In England, and she's still only 17 there. It's like he's kind of shadowing her a bit. Yes, it's that next level patronage.  And then there's the, the aesthetic at the time, the, the pre-Raphaelite willowy type woman, which she fits perfectly into. And Kathleen, if you, if you see Kathleen, it's kind of like. John William Waterhouse, his paintings. There's women in these long flowy robes with flowers in their hair and long willowy postures and, they're often like, you know, they're flopping about on something like a chair or there's this one holding this pot of basil. And there's that famous painting, The Lady of Shalott, where you've got this woman float, is she, is she dead? She's floating in the water with her hair and, and all this fabric and flowers and.  In a promotional article, there was this quote from a review in the Evening Sun. “Kathleen Parlow, tall, straight, slim, and swaying as the white birch sapling of her native Canada, but a spring vision, but a spring vision all in pink from her French heels to her fiddle chin rest and crowned with parted chestnut hair of a deeper auburn than any Stradivarius violin made an astonishing impression of masterful ease”. I don't know if men were described like this, but they loved her. She's like a white birch.  Well she's very slender, she had beautiful long hair she was very thin, very fragile, and I think she sort of exemplified this pre Raphaelite beauty basically and that was so enchanting to have someone who  was almost from another world playing the violin divinely. I think she must have cut an incredibly attractive image  for the day. Absolutely. Yeah. And then she would have been like playing these like incredible romantic pieces. It would be juxtaposed with her playing. Yeah. And yeah. Yes. So she was this real William Waterhouse figure with her violin.  So she's lithe and willowy, and she has her touring schedule, which was phenomenal. She, so she tours England, Finland, Belgium, Germany, Poland, Denmark, Sweden, Norway. Just to name a few. It just kind of stopped after that. It was just never ending. And you have to remember it's the beginning of the 20th century,  and traveling, it's not like it is today. It was much more. Uncomfortable. I mean, it's incredible. You see one day she's in one country, the next day in another country. So this must have been quite fatiguing. And she's just playing night after night. Her mother, Minnie, she's her, she's, they're quite close. She's, and often like with these, with prodigies, often their parents. They're best friends, like they're the only constant in their life. So in the summers, she returns to Oslo every year for the summer school hour that's helping her for the next concerts. She spends quite a lot of time with Halverson, going to lunches and teas and rehearsals with him. You can see this in her diaries.  But is this, is this kind of the life of a musician as well? Like you have to, you have to go to a lot of teas and lunches with people to please patrons and so on. Yes, I think you do because musicians don't normally have much money and so to ingratiate themselves to patrons and sponsors they really had to coax them into help Yeah, because she's living this life sort of beyond her means, going to the theater, going to concerts and things, and sort of a balancing act. Back in Norway, and a week after she turns 18, there's an entry in her diary, play for Mr. Bjornson, and the next month her entries, they change slightly, and she'll now just call him E. B. For Einar Bjornson and the entries will say things like E. B. arriving and then often like a week later It's E. B. leaving and in her diaries, it's intermittently always though he'll be there for a week wherever she is often in England or and every few months He'll just pop up, you know in London in Germany in the Netherlands And he just always happens to be happens to be there and what's interesting is she has these hundreds of letters archived Of her writing to friends, to family, to her pianist. And it's really interesting that there's zero letters to Einar. There's no correspondence between them, which I think is maybe on purpose, they may be, they have to have been removed because she just writes letters to everyone, but we don't have these, any letters from them, so it just leaves things up to speculation. This brings us to the end of part one in the story of Kathleen Parlow. I would encourage you to keep listening to the music of Kathleen. To do this, Biddulph Recordings have released two CDs that you can listen to on Apple Music, Spotify, or any other major streaming service. You can also buy the double CD of her recordings if you prefer the uncompressed version. I hope you have enjoyed her story so far, but stick around for part two to find out what will happen with her career, the violin, the man who gave it to her, and the mystery behind a missing concerto that Kathleen would, in part, help solve after her death.  Goodbye for now.   ​ 

The complete audiobook is available for purchase at Audible.com: voicesoftoday.net/shorter Shorter Poems and Lyrics By Alfred, Lord Tennyson Narrated by Denis Daly and Erin Grassie This collection of 16 poems features several notable examples of his early work, including Oenone and The May Queen, as well as two of his most iconic works, The Lady of Shalott and The Lotus Eaters. All the poems are marked by the euphony and ease of versification for which Tennyson has become famous.

Bu bölümle birlikte sanat sohbetimize kaldığımız yerden devam ediyoruz. Eser John William Waterhouse tarafından 1888 yılında resmedilmiştir. Ressama Tennyson'un 'Shalott'un Leydisi' adlı eserinin IV. bölümünden aşağıdaki satırlar ilham olmuştur: Ve nehrin loş genişliğinde Transa geçmiş cesur bir kahin gibi, Kendi talihsizliğini görerek - Cam gibi bir yüzle Camelot'a baktı Ve günün kapanışında Zinciri çözdü ve yere uzandı; Geniş dere onu uzaklara taşıdı, Shalott'un Leydisi. Umarız bölümü keyifle dinlersin. Bölümde önerdiğimiz video: https://youtu.be/6a_b7jSEeB0 İletişim için: twitter: https://twitter.com/bi_dusunsenee mail: bidusunsene01@gmail.com youtube: https://www.youtube.com/channel/UCD5utv5AgBp_D0nf14r-wBg Bize destek olmak istersen Patreon linki: https://www.patreon.com/user?u=47030685

In this week's episode, we talk about Lord Alfred Tennyson's The Lady of Shalott, plus wall repair and artificial intelligence.

Six more of Aesop's Fables. Then I share the longer poem The Lady of Shalott by Alfred, Lord Tennyson.

¡Ultimo episodio de la temporada! Anne Shirley, de trenzas rojas y un mar de palabras en su interior, llegó a la vida de Marilla y Matthew Cuthbert para cambiar por completo sus perspectivas de la vida y la infancia. Fue tal su impacto, que también traspasó las páginas para quedarse en la vida real, en la mente de cada uno de los que la leyeron o la vieron en alguna de las tantas adaptaciones de los libros que protagonizó. Esta es la historia de Anne Shirley, pero no solo de ella, sino también de su creadora, Lucy Maud Montgomery, quien basó grandes elementos de su vida en esta magnífica novela que reimagina la infancia. Nos volvemos a ver en noviembre para una tercera temporada. ATRIBUCIONES Imagen de Portada: The Lady of Shalott (1888) - John William Waterhouse Intro: Pure Imagination - Future James Soundcloud: https://soundcloud.com/futurejames​ Música: Castles in The Sky - Scott Buckley www.scottbuckley.com.au Adrift Among Infinite Stars by Scott Buckley | www.scottbuckley.com.au Music promoted by https://www.chosic.com/free-music/all/ Creative Commons CC BY 4.0 https://creativecommons.org/licenses/by/4.0/ Serial Killer by John Bartmann The Butterfly. Kid on the Mountain by Sláinte | https://freemusicarchive.org/music/Slinte Music promoted by https://www.chosic.com/free-music/all/ Creative Commons CC BY-SA 3.0 https://creativecommons.org/licenses/by-sa/3.0/ Seguime en mis redes Instagram: @cronicasdelcosmolibros.podcast

In this light-and-fluffy episode Madi reads "The Lady of Shalott", a Victorian poem about Arthurian legend. Does it get any better than that? Sip (or spill) some mead and enjoy this cool/creepy/sweet story.Join our Patreon for extra content! patreon.com/spillthemeadMusic is composed by Nicholas Leigh nicholasleighmusic.comFind us on Instagram, TikTok, Twitter, and Facebook @spillthemeadpodcastFind Madi @myladygervais on Instagram and @ladygervais on TikTokFind Emily @ladybourdon on Instagram and @lady.bourdon on TikTok

Agatha Christie  The Mirror Crack'd from Side to Side From the book first published in 1962  Dramatised by Michael Bakewell. Lines from Tennyson's poem The Lady of Shalott form a vital clue to a murder. After her husband died, Dolly Bantry sold Gossington Hall to ex-film star Marina Gregg and her husband. When the glamorous couple throw a benefit for the local hospital, the grounds are thronged with curious visitors, but for one of them, the day ends in tragedy. It is up to sharp-witted sleuth Miss Marple to discover who was really meant to take the poison that killed the poor victim... --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ang189/support

Have you ever wondered if photography could capture the same vision and tone as a classical piece of art? Mikayla Smith is a photographer from Idaho Falls who is hosting an ethereal photoshoot based upon a classically-styled oil painting portraying an old English tale of a woman with a desire to see Camelot. “My inspiration came from a painting called “The Lady of Shalott,” said Mikayla Smith in an interview with BYU-Idaho Radio. Smith was initially inspired to pursue photography by her eighth grade teacher. “When I was in eighth grade I had an English teacher who was really passionate about photography and she shared her passion with the students and was really encouraging,” Smith said. Smith has an extensive portfolio and particularly enjoys doing photo shoots for weddings and engagements that you can see by visiting the links to her social media shown below. “I really love some bridals that I did in Palisades a couple of weeks ago, just a beautiful area, the water was crystal clear and it was just as the sun was coming up,” Smith said. The photoshoot is described as an opportunity to escape and relax and get some unique photos to hang on your walls. “My models are going to be getting into the water and have this dreamy and carefree almost frivolous experience. Just to experience life the way you want to,” Smith said. You can sign up for the ethereal photoshoot and see more examples of Smith's work by visiting her social media and sending her a message on Facebook, or Instagram. Facebook: https://www.facebook.com/Mikayla-Smith-Photo-101738288778519 Instagram: https://www.instagram.com/mikaylasmithphoto/?hl=en

Frank meets Alfred Lord Tennyson's Lady of Shalott and finds out why Camelot is a bit of a lottery. The poems referenced are The Charge Of The Light Brigade and The Lady Of Shalott both by Tennyson.

The complete audiobook is available for purchase at Audible.com: voicesoftoday.net/early Early Poems By Alfred, Lord Tennyson Narrated by Denis Daly The selection of eighteen poems is taken from Tennyson's first collection published in 1830. The most famous poem in the collection is Mariana, a dramatic narrative, which, like The Lady of Shalott, describes the tragic fate of an abandoned woman. All the poems feature the elegant euphony for which Tennyson's verse has become famous.

If you’ve seen artwork starring a knight and a redhead, you’re probably looking at a Pre-Raphaelite painting. Once all the rage in the Victorian era, the Pre-Raphaelites were a sometimes-weird group of artistic dudes who loved medieval painting and poetry. Today, learn all the juicy details about their lives, loves, and art! Later, take a quiz entitled “The New Romantics.”. . . [Music: 1) Loreena McKennitt, “The Lady of Shalott,” 1991; 2) Frau Holle, “Ascending Souls,” 2017. Courtesy of Frau Holle, CC BY-NC 3.0 license.]

On today's poetry interlude, I'll be discussing the Victorian poet Alfred, Lord Tennyson and his famous work "The Lady of Shalott". Named poet laureate of Britain, Tennyson was a leading figure in Victorian poetry and his work encapsulates the entire era. If you'd like to learn more, hit play. Note: There's a mistake at 7:14, it should be “artists” not “authors”.

Tennyson's famous poem.

A painting based on a drawing based on a poem based on a legend… this week Phil & Laura discuss Hunt's rendition of the legend of the Lady of Shalott, an Alfred, Lord Tennysonpoem used with great enthusiasm by the Pre-Raphaelites.For more information and to see the artwork being discussed please visit www.seventh-art.com/podcast

The complete audiobook is available for purchase at Audible.com: voicesoftoday.net/lst0723e8 The Lady of Shalott By Alfred, Lord Tennyson Narrated by Denis Daly This lyrical ballad is one Tennyson's most famous poems. The subject, the tragic passing of a reclusive noblewoman, was suggested by a Thirteenth Century Italian romance, the Donna di Scalotta.

More great books at LoyalBooks.com

Loreena McKennitt shares the story about how Alfred Lord Tennyson's poem “The Lady of Shalott” became a song on her 1991 album The Visit. Classic poetry and books are often used as inspiration for modern songs. Marc Gunn shares why he wrote a song inspired by Anne of Green Gables. It's all on Pub Songs & Stories #245. WHO'S PLAYING IN THE PUB TODAY Welcome to Pub Songs & Stories. This is the Virtual Public House for musicians to share the stories and inspiration behind their music with your host Marc Gunn. Subscribe to the podcast and download free music at PubSong.com. 0:32 -  WHAT'S NEW? Today's show is brought to you by my Gunn Runners on Patreon. Thanks to our newest Patrons: Expat Fledgling, Krory D, Ryan and Kelly M, John M I have a new Christmas single out. In fact, it's another hobbit Christmas single. The song is called “Yuletide”. Join the Gunn Runners Club on Patreon to download it now. I'll tell you more about the song on the next show. What are you doing while listening to Pub Songs & Stories? I'd love your thoughts and feedback. So take a picture of yourself or where you are or what one of these stories reminds you of. Post it on social media. Use the hashtag #pubstories so I can find it and share your story. 4:11 - UPCOMING SHOWS DEC 8: Coffee with The Celtfather @ 11 AM EST DEC 15: Coffee with The Celtfather @ 11 AM EST DEC 16: Celtfather Live @ 7 PM EST 4:44 - STORY OF THE LADY OF SHALOTT Arthurian mythology shows up a lot in my life. Whether it's the Chalice Well that accidentally became a part of the Brobdingnagian Bards logo or my very first Renaissance festival, Excalibur Fantasy Faire. I love stories about life during the time of Camelot. So I guess it wasn't much of a surprise that I fell in love with Loreena McKennitt's song “Lady of Shalott” 30 years ago. Her song was written based on a poem by Alfred Lord Tennyson. I have my own connection to it too which I'll tell you more about in a bit. But first, I'm extremely pleased to have Loreena McKennitt share her story about how and why “The Lady of Shalott” also became a song. In September, she re-released a 30th anniversary edition of her 1991 album The Visit. The album has sold more than two million copies. It features all of the original songs remastered, plus, a bunch of live performances, alternate mixes, and even some interviews she's done about the album. 8:11 - “The Lady Of Shalott Live Trio - October 28, 2016 Gaillard Centre” by Loreena McKennitt from The Visit - The Definitive Edition You can find out more about Loreena McKennitt at https://loreenamckennitt.com/. You'll also find her all over streaming. This story was released along with other stories as promo for The Visit, The Definitive Edition. So you can find out more about the songs from that album. I gotta say I love her description of this song. I feel like she beautifully captured the imagery of the pastoral English countryside. In the fall of 2019, McKennitt put her career on hold to place more time and attention on civic matters and climate change, while also advocating for stronger legislation to protect artists' rights and encouraging people to buy their music directly from the artist whenever possible. That's fantastic. We need more people to work on the Climate Renaissance. 16:20 - SUPPORT WHAT YOU LOVE The musicians on this podcast are happy to share their music freely with you. You can find their music on streaming music sites. But streaming is a way to sample the music. If you hear something you love, these artists need your support. Please visit their website, sign up to their mailing list and buy something. The holiday season is nearly here. If you're looking for gifts, why not a classic physical CD. I know, I know. Fewer people are buying CDs these days. But that doesn't mean it won't be a great gift for some people. If that's not good enough, you can also buy a shirt, a sticker, a pin, a songbook, jewelry, or even digital downloads for you or a friend. Your purchase allows musicians to keep making music. If you're not into the physical stuff, many artists accept tips or are on Patreon. So please support the arts. If this show made you happy, then you can also join the Gunn Runners Club on Patreon. Your support pays for the production and promotion of my music and this podcast. If you have questions or comments, drop me an email.  Save 15% with an annual membership. 18:24 - STORY OF DREAMERS AND THAT ANNE GIRL Before I fell in love with Loreena McKennitt's song I had already fallen in love with “The Lady of Shalott”. That was because of a TV mini-series called Anne of Green Gables. The show was based on the books by Lucy Maud Montgomery. There's a wonderful scene in the series where Anne Shirley and some friends reenact the story of “The Lady of Shalott” using a boat. Anne is lying in the boat with flowers across her chest. Her friends push her out onto the river as she recites the poem. The boat slowly glides downstream before it springs a leak. She sits up and tries her best to scoop water out of the sinking boat. Eventually, she is rescued at a bridge by her love interest, the dashing Gilbert Blythe. My mom introduced me to the VHS of the mini-series during my senior year of high school. I don't know why the show resonated so much with me. Maybe it had a lot to do with the beautiful imagery of Prince Edward Island and the wild imagination and creativity of “that Anne-Girl.” It still delights me to this day, though I haven't seen the show in probably a decade. In college, I read all of Montgomery's books and even devoured a book of poetry by her. I remember one poem resonated a LOT at the time. But I can't for the life of me remember what it was. By 2004, Anne of Green Gables was sort of a comfort show for me. I used to watch shows on repeat while I worked. This one regularly made it into rotation for me. One evening I was watching it. I paused the show and picked up the autoharp. I wrote a tribute to dreamers like Anne. The song was sadly short-lived at shows. But I eventually recorded it for my CD, A Tribute to Love. 20:49 - “Here's to the Dreamers” by Marc Gunn from A Tribute to Love 23:02 - One final question: What song would you like to hear more about? Pub Songs & Stories was produced by Marc Gunn. The show is edited by Mitchell Petersen with graphics by Miranda Nelson Designs. You can subscribe and listen wherever you find podcasts. You can also subscribe to my mailing list. You will get regular updates of new music, podcasts, special offers, and you'll get 21 songs for free. Welcome to the pub at www.pubsong.com! #loreenamckennitt #theladyofshalott #anneofgreengables #pubsongs 

Jenny Qi is the author of Focal Point, winner of the 2020 Steel Toe Books Poetry Award. Her essays and poems have been published in The New York Times, The Atlantic, Tin House, ZYZZYVA, Rattle, and elsewhere, and she has received fellowships and support from Tin House, Omnidawn, Kearny Street Workshop, and the San Francisco Writers Grotto. Born in Pennsylvania to Chinese immigrants, she grew up mostly in Las Vegas and Nashville and now lives in San Francisco. She completed her Ph.D. in Biomedical Science (Cancer Biology) from UCSF, where she studied novel drug candidates in preclinical models of pancreatic neuroendocrine tumors. She currently works with life science and biopharma groups as a competitive intelligence manager, with a focus on ovarian cancer. Find the book and more at: https://jqiwriter.com/ As always, we'll also include live open lines for responses to our weekly prompt or any other poems you'd like to share. For details on how to participate, either via Skype or by phone, go to: https://www.rattle.com/rattlecast/ This Week's Prompt: A ballad is a music-based poem that tells a story. This form isn't especially complicated but it does have very specific requirements. Webexhibits.org has great instructions on how to write your own ballad. (If you google “webexhibits” and “ballad,” webexhibit.org's “Make Your Own Ballad” page will be the first hit.) “The Lady of Shalott” by Alfred Tennyson and “Casey at the Bat” by Ernest Thayer are examples of ballad poems. Next Week's Prompt: Write a spooky poem for Halloween. The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.

"The Lady of Shalott" tells the cursed tale of Elaine of Astolate, a noblewoman who lives up the river from Camelot.**BEST ENJOYED WITH HEADPHONES**Intro Music:Title: “Dark Classics Piano Progression”Creator: Jonathan HamlettSource: Direct PermissionLicense: Direct PermissionTitle: “Dark Smile”Creator: CrowanderSource: Free Music Archive (https://freemusicarchive.org/music/crowander/atmosphears-experimental-atmos/09-dark-smilemp3)License: CC BY-NC 4.0 (https://creativecommons.org/licenses/by-nc/4.0/)Title: “Thunderstorm - higlights”Creator: Thalamus LabSource: freesound.org (https://freesound.org/people/Thalamus_Lab/sounds/234079/)License: CC BY 3.0 (https://creativecommons.org/licenses/by/3.0/)Musical ScoreTitle: "Dark Classics IV"Creator: Jonathan HamlettSource: Direct PermissionLicense: Direct PermissionOutro Music:Title: “Dark Classics in Reverse”Creator: Jonathan HamlettSource: Direct PermissionLicense: Direct Permission

Joseph Fasano is a writer and educator. He studied mathematics and astrophysics at Harvard University before changing his course of study and earning a degree in philosophy, with a focus on philosophy of language after Wittgenstein. He did his graduate study in poetry at Columbia University, where he now teaches. Fasano is the author of the novel The Dark Heart of Every Wild Thing (Platypus Press, 2020), which was named one of the "20 Best Small Press Books of 2020." His books of poetry are The Crossing (Cider Press Review, 2018), praised by Ilya Kaminsky for its "lush drive to live, even in the darkest moments"; Vincent (2015); and Fugue for Other Hands (2013), which won the Cider Press Review Book Award. A winner of the Rattle Poetry Prize, he serves on the Editorial Board of Alice James Books, and he is the Founder of the Poem for You Series, a digital space offering recitations of listeners' favorite poems by request. He is also a songwriter, and his songs and performances can be found on his social media platforms. Find these books and more at: http://josephfasano.net/ As always, we'll also include live open lines for responses to our weekly prompt or any other poems you'd like to share. For details on how to participate, either via Skype or by phone, go to: https://www.rattle.com/rattlecast/ This Week's Prompt: Write a poem in second person. (One of the most famous poems written in second person: “Wild Geese” by Mary Oliver.) Next Week's Prompt: A ballad is a music-based poem that tells a story. This form isn't especially complicated but it does have very specific requirements. Webexhibits.org has great instructions on how to write your own ballad. (If you google “webexhibits” and “ballad,” webexhibit.org's “Make Your Own Ballad” page will be the first hit.) “The Lady of Shalott” by Alfred Tennyson and “Casey at the Bat” by Ernest Thayer are examples of ballad poems. The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.

»Im achtzigsten Stockwerk« von Hildegard Knef gehört zu den schönsten und seltsamsten Liedern in deutscher Sprache. Die Sängerin beschreibt ein Mädchen, das in einem Wolkenkratzer »auf den Mann« wartet. Ein älteres Bild schwingt hier mit: das von der Frau, die in den Turm verbannt wurde. Gibt es geschlechtsspezifische Formen der Einsamkeit: Männer reiten durch den Wald, Frauen warten im Turm? Prägen uns solche Muster heute noch? Diesen Fragen geht der Podcast »Zeitgeister« nach, hier zum ersten Mal live beim »Kultursommer Special auf Kampnagel – präsentiert von NDR und ZEIT-Stiftung«. Gast: Ebba Durstewitz (*1971 Nordhorn) ist Musikerin, Texterin und Literaturwissenschaftlerin. Sie studierte Lusitanistik und Anglistik und promovierte zur Dr. phil. mit einer Arbeit über das schriftstellerische Werk des brasilianischen Autors und Musikers Chico Buarque. Sie arbeitete als Lehrbeauftragte für portugiesischsprachige Literaturwissenschaft an der Universität Hamburg und ist als freie Autorin, Vortragende und als Übersetzerin aus dem Portugiesischen tätig. Mit Jakobus Durstewitz bildet sie den Kern der Band JaKönigJa, die bislang sechs Alben veröffentlicht hat. Shownotes: Website JaKönigJa: http://www.jakoenigja.de Angesprochene Bilder: John William Waterhouse, »The Lady of Shalott«: https://www.tate.org.uk/art/artworks/waterhouse-the-lady-of-shalott-n01543 Gustave Cailebotte, »Junger Mann am Fenster«: http://www.gustavecaillebotte.org/young-man-at-his-window/ Broschüre des World Trade Center: https://artsandculture.google.com/asset/pamphlet-the-closest-some-of-us-will-ever-get-to-heaven-the-world-trade-center-new-york/vQEfTKXFtkDYcA?hl=en Edward Hopper, »Morning Sun«: https://www.columbusmuseum.org/blog/2020/05/12/pocketguide-to-cma-edward-hoppers-morning-sun/ Literatur: Rapunzel, Märchen der Gebrüder Grimm, diverse Ausgaben Alfred Tennyson, The Lady of Shalott, diverse Ausgaben Deutsch: Die Dame von Shalott Mehr über den Podcast gibt‘s auch zu hören bei ByteFM: https://www.byte.fm/sendungen/bytefm-magazin/ Weitere Podcasts der ZEIT-Stiftung: https://www.zeit-stiftung.de/mediathek/videoundpodcast/podcast/

»Im achtzigsten Stockwerk« von Hildegard Knef gehört zu den schönsten und seltsamsten Liedern in deutscher Sprache. Die Sängerin beschreibt ein Mädchen, das in einem Wolkenkratzer »auf den Mann« wartet. Ein älteres Bild schwingt hier mit: das von der Frau, die in den Turm verbannt wurde. Gibt es geschlechtsspezifische Formen der Einsamkeit: Männer reiten durch den Wald, Frauen warten im Turm? Prägen uns solche Muster heute noch? Diesen Fragen geht der Podcast »Zeitgeister« nach, hier zum ersten Mal live beim »Kultursommer Special auf Kampnagel – präsentiert von NDR und ZEIT-Stiftung«. Gast: Ebba Durstewitz (*1971 Nordhorn) ist Musikerin, Texterin und Literaturwissenschaftlerin. Sie studierte Lusitanistik und Anglistik und promovierte zur Dr. phil. mit einer Arbeit über das schriftstellerische Werk des brasilianischen Autors und Musikers Chico Buarque. Sie arbeitete als Lehrbeauftragte für portugiesischsprachige Literaturwissenschaft an der Universität Hamburg und ist als freie Autorin, Vortragende und als Übersetzerin aus dem Portugiesischen tätig. Mit Jakobus Durstewitz bildet sie den Kern der Band JaKönigJa, die bislang sechs Alben veröffentlicht hat. Shownotes: Website JaKönigJa: http://www.jakoenigja.de Angesprochene Bilder: John William Waterhouse, »The Lady of Shalott«: https://www.tate.org.uk/art/artworks/waterhouse-the-lady-of-shalott-n01543 Gustave Cailebotte, »Junger Mann am Fenster«: http://www.gustavecaillebotte.org/young-man-at-his-window/ Broschüre des World Trade Center: https://artsandculture.google.com/asset/pamphlet-the-closest-some-of-us-will-ever-get-to-heaven-the-world-trade-center-new-york/vQEfTKXFtkDYcA?hl=en Edward Hopper, »Morning Sun«: https://www.columbusmuseum.org/blog/2020/05/12/pocketguide-to-cma-edward-hoppers-morning-sun/ Literatur: Rapunzel, Märchen der Gebrüder Grimm, diverse Ausgaben Alfred Tennyson, The Lady of Shalott, diverse Ausgaben Deutsch: Die Dame von Shalott Mehr über den Podcast gibt‘s auch zu hören bei ByteFM: https://www.byte.fm/sendungen/bytefm-magazin/ Weitere Podcasts der ZEIT-Stiftung: https://www.zeit-stiftung.de/mediathek/videoundpodcast/podcast/

The Lady of Shalott is a magical and mystical piece from Tennyson. I will not dare to analyse the deeper meanings of the work, that is best left to others. I will only say that I appreciate the movement in the poem. There is often meaning, depth and morality in poetry, there is thought and change and hope, yet not always movement...These poems are to be appreciated, constantly...relived, revived and remembered and so it is important that even those such as I throw a hand (or a voice) at them and reproduce them for general consumption. Thanks Greg for the suggestion. I hope you find the poem pleasing...

A lyrical ballad describing the story of the Lady of Shalott with supernatural undertones.

What better way to celebrate both our first Birthday and our 50th episode than with a podcast devoted to a beloved plant, the Rose. Most of us have at least one in our garden, they feature in bouquets, in perfume...but how do you possibly choose which one to grow? And what are the tricks to getting the best out of them? This week Alan Gray and Thordis are joined by someone who knows his Roses inside out - Rosarian Michael Marriott. From his favourite varieties for fragrance, form and flower to tips for avoiding Blackspot and life-changing pruning advice, we've got as many bases covered as we could fit into the hour (and you'll notice we went over a little!) If you're looking to add Roses to your garden, you need look no further than this podcast and its plant list... PLANT LIST Rosa rugosa Rosa 'Kew Gardens' Rosa 'Mortimer Sackler' Rosa 'Graham Thomas' Rosa 'Rambling Rector' Rosa 'The Lady of the Lake' Rosa 'The Albrighton Rambler' Rosa 'Open Arms' Rosa 'Warm Welcome' Rosa 'Francis E. Lester' Rosa 'Wickwar' Rosa 'Vanessa Bell' Rosa 'Desdemona' Rosa 'Lady of Shalott' Aster x frikartii 'Mönch' Rosa 'Buttercup' 'Aspirin® Rose' Paeonia lactiflora 'Sarah Bernhardt'  Dracunculus vulgaris Rosa 'Adélaïde d'Orléans' Rosa 'The Generous Gardener' Rosa 'Eustacia Vye' Rosa 'The Shepherdess' Rosa 'Phyllis Bide' Rosa 'Maigold' Rosa 'Koko Loco' Rosa 'Munstead Wood' Rosa 'Florence Mary Morse' Rosa 'Climbing Pompon de Paris' Rosa 'Gloire de Dijon'

Victorian artist John William Waterhouse used many myths and legends to inspire his work. Greek goddess Circe, the Lady of Shalott, Pandora, and Odysseus all appear in his paintings, often more than once. Let's explore the link between folklore and art in his work in this week's episode of Fabulous Folklore! YouTube version: https://youtu.be/sWzul5nKuWE Find the images, videos and references on the blog post: https://www.icysedgwick.com/John-William-Waterhouse/ Get your free guide to home protection the folklore way here: https://www.icysedgwick.com/fab-folklore/ Drop your topic requests here: https://forms.gle/kNGir7TSGiJ54UjCA Become a Patron for bonus exclusive episodes at https://patreon.com/bePatron?u=2380595 Enjoyed this episode and want to show your appreciation? Support Fabulous Folklore at https://paypal.me/FabulousFolklore  Or buy Icy a coffee to say 'thanks' at: https://ko-fi.com/icysedgwick Tweet Icy at https://twitter.com/IcySedgwick Get extra snippets of folklore on Instagram at https://instagram.com/icysedgwick 'Like' Fabulous Folklore on Facebook: https://www.facebook.com/fabulousfolklore/

A Dream Within a Dream by Edgar Allan Poe; She Walks in Beauty by George Gordon, Lord Byron; La Belle Dame Sans Merci by John Keats; and The Lady of Shalott by Alfred, Lord Tennyson. Read and edited by Tracey Carvill Music by https://www.purple-planet.com/ Classical music from https://musopen.org/music/?instrument=piano&period=classical . We used: Nocturne in B flat minor, Op. 9 no. 1 by Chopin Sergio DuBois - Piano sonata 13, 2nd by Mozart Sicilienne in E-flat major by Maria Theresia von Paradis Backgrounds and sounds from https://freesound.org/ : 13fpanska-cerny-jan: crack-glass Baumstumpf: forest-meadow-on-a-summer-morning Cueckermann: by-a-pond-ambience Mrfossy: outdoors-day-lightrain-01 Comments? Suggestions? Requests? Get in touch: On Facebook: @ReadingGothic On Twitter: @smiley_goth7 On Wattpad: https://www.wattpad.com/user/TraceyMary7 Want to help fund the project? Here's my Ko-Fi page: https://ko-fi.com/traceymary7

Hannah Brown selects the small but beautiful poem by WH Auden ‘As I Walked Out One Evening'. Written in 1937, it is preoccupied with questions of the eternal, focussing on love versus time. It travels through younger days and the excitement of new loves to a more settled life, when kisses are replaced by health, when the focus of wondering is on how things may have been different and culminates in one's final moments. HANNAH BROWN hannahbrown.co.uk Hannah Brown, confirmed British landscape painter, introduces us to her love of fiction, reading excerpts from her selected poem. In our discussion she relays the importance of fiction, giving up television, sudden changes brought about by lockdown, connections between a time of world wars and the global pandemic, the range of experiences for those of us untouched by illness, missing friends, the blow up of Black Lives Matter and the sense of powerlessness when it comes to the changes needed for the wellbeing of our planet. She describes her art practice, detailing the witnessing of changes in the landscape from the west country to East London, what makes a site compelling for a landscape painter, how the presence of human life is portrayed without figures, the sublime tinged with fear, staying true to one's own temperament and passion, being genuine and authentic, attempts to domesticate nature and how she cried when Victoria Park was closed to the public. Together we wonder is love eternal or only time? Is it sudden endings which punctuate time, leading to its reassertion as a pivotal marker in our lives? Can we rely on nature itself to continue or is this also a thing of the past? When we look about, how much do we really see that is present and how much is imposed from our childhood past? Is the end of young love depressing or is it a relief to grow up and worry about a pension? Will worry take over our conscious life as it slips away? Is having less time a better condition for decisiveness? For taking risks in the studio? Is seeing less exhibitions better for looking more thoroughly?   FEMALE BRITISH WRITERS around the time of THE AUDEN GROUP and The Great War! Alice Meynell 1847-1922 Cicily Isabel Fairfield 1892-1983 Jessie Pope 1868-1941 Millicent Garrett Fawcett 1847-1929 Margaret Sackville 1881-1963 Margaret Postaget Cole 1893-1980 May Wedderburn Cannan 1893-1973 Rose MaCaulay 1881-1958 Vera Brittain 1893-1970   BOOKS ‘A God in Ruins' 2015 by Kate Atkinson ‘After the End' 2019 by Clare MacIntosh ‘Girl, Woman, Other' 2019 by Bernardine Evaristo ‘My Dark Vanessa' by Kate Elizabeth Russell 2020 ‘Nobody Told Me: poetry and Parenthood' 2016 by Hollie McNish  ‘Patrick Melrose' 2016 by Edward St Aubyn ‘Take Nothing with You' 2018 and ‘Notes From an Exhibition' 2007 by Patrick Gale ‘Queenie' 2019 by Candice Carty-Williams Robert Goddard   ARTISTS & GALLERIES & DESIGNERS ‘Ambit' magazine Ansel Adams Ellen Altfest ‘Forest, Rocks, Torrents: Norwegian and Swiss Landscapes from the Lunde Collection', 2011, The National Gallery George Shaw Graeme Sutherland Guy Oliver Jerwood FVU Awards John Constable John Everett Millais, Ophelia' 1852 John William Waterhouse, ‘The Lady of Shalott' 1888 Liberty Paul Nash Reman Sadani, ‘Walkout 1' 2020 Samuel Palmer The John Moores Painting Prize, Walker Art Gallery Liverpool, 12 Feb – 27 June 2021 Union Gallery White Cube, ‘In the Studio' William Morris

Welcome to our 100th episode! Wahooo! To celebrate, we turned the show over to you, our listeners. We answer YOUR questions in this special edition episode to mark a great beginning. Don't forget to comment and let us know how we can learn to celebrate our accomplishments a bit better. What do you to mark a special achievement? And if you want to check out the Fantasy Author Roundtable that Autumn was just a part of, head over to https://youtu.be/ZaDTNJcu2tI! Tune in for new episodes EVERY single Monday.   SUPPORT THE AM WRITING FANTASY PODCAST! Please tell a fellow author about the show and visit us at Apple podcast and leave a rating and review.   Join us at www.patreon.com/AmWritingFantasy. For as little as a dollar a month, you'll get awesome rewards and keep the Am Writing Fantasy podcast going.  Read the full transcript below. (Please note that it's automatically generated and while the AI is super cool, it isn't perfect. There may be misspellings or incorrect words on occasion). Narrator (2s): You're listening to the Am Writing Fantasy podcast in today's publishing landscapes. You can reach fans all over the world. Query letters are a thing of the past. You don't even need a literary agent. There is nothing standing in the way of making a living from Writing Join two best selling authors who have self-published more than 20 books between them now onto the show with your hosts, autumn Birt and Jesper Schmidt Jesper (30s): Hello I'm Jesper Autumn (31s): and I'm Autumn. Jesper (34s): This is episode 100 of The Am Writing Fantasy Podcast imagine that you made it to 100 Episode Autumn (43s): Oh, I just tickled it. That's pretty much the success story right there. Jesper (48s): Yeah I actually prepared a suitable some clips are you ready for it? Autumn (53s): Yeah. Sure, sure. Jesper (56s): OK. Here we go. Autumn (1m 3s): That is, it's a, that's a pretty amazing, I dunno what to say. A a hundred episodes. It's it's a good thing. I mean, this has then the dedicated ask us anything Episode in celebration of it being number 100. So thank you. Jesper (1m 17s): Two, all of you who sent in some questions, it was great. And we are looking forward to dive in. So yeah, this is going to be good. Autumn (1m 25s): Yes. I can't wait a day. We got some good question. Jesper (1m 28s): So we have all of that lined up and like I said, I've just so excited and it's not because I've had like six cups of tea today where I'm just thrilled that we actually made it to a hundred episodes. Yeah. But before we get into all of that, all of that, how, how are things with you? Autumn (1m 46s): And I want to be good. Would you believe, and this is a huge confession. So I'm writing my 23rd book. I finally, for the first time ever in my life, I joined nano right now. So I saw that. Yeah. So are you posting about it? Yeah, I, I joined seven days late. Well, I know for some people that would be pretty much a death knell, but I just, I figured I finished the plotting. It's the first time in my life that I had a book, a new book. I was going to start and it was November. So I went for it and we'd just pass while we are recording this, we just passed in the middle of the month and get my word count. Jesper (2m 31s): Ahh, 25. Autumn (2m 33s): Oh, you are so close. I was a 22,000. So I've, I've made up at least I'm pretty close to making up that first week where I didn't do any writing. I just did plotting. So I think I'm going to survive my first nano right. Mo and hopefully get my badge and I'll at least have to be able to say finally that I did one. Oh yeah. Cool. Yeah. I have never done that. So that's pretty cool. Yeah, it is. It's actually been a lot of fun. I've met some other authors in a Vermont where I'm living and other ones online. I've got some Writing buddies and people that can chat with which we all need more or less there's this week and chat with us and share. Well, it was so it's been really a ton of fun and I'm glad I joined. Autumn (3m 13s): So how are things on your side of the Atlantic? Jesper (3m 18s): Well, it's a good, I can normally I would probably complaining because a All senior soccer matches has been canceled due to COVID-19 Again so normally I would be complaining about that, but actually I think it's a good thing because it makes me, it gives you a more time to prepare to move houses or, you know, at least Now, I don't spend for, for hours every Saturday in, in refereeing. So it's sort of, that's true. Autumn (3m 45s): You go out to your plate pretty much full between the stuff that we've got going on. All of our family, a job moving. So you might have been a bit, a little bit too much of a crunch time for you. Jesper (3m 59s): Hey, it is a bit crazy. I must admit even the boys felt that there was a bit of, it was, they were all there. The youngest almost got a bit stressed to set the other day on getting stressed. You said, because they've been busy organizing all the Lego because they have a ton of it and they are getting older. So they are not, they don't really play with it. So they decided that they wanted to put it up for sale, which was fine. So, but then they have to organize it all and put it in bags, everything that belongs together and stuff like that. So, so they've been pretty busy and they've been trying to get it done before we move. So yeah, that was why the youngest set I'm getting stressed. I had to tell him about Lego. I have to work. Jesper (4m 39s): Oh, the woes and problems of a child. I just loved the yeah. Yeah. But in mid December we need to be out of the house, but we do get access to the apartment that 1st of December. So I actually am looking forward to the move, even though we are going to have a lot less space in the new place, but the, yeah. But Hey, the apartment is the next to the beach. So I plane. Right? Autumn (5m 5s): I know I will be angry at you if you complain. I have spent one winter next to the ocean and Myrtle beach and I miss it very nostalgically now. So I think that, that is so awesome. Narrator (5m 18s): A week on the internet with The Am Writing Fantasy Podcast Jesper (5m 23s): So we never ever talked politics on this podcast and I'm not going to do it now. Narrator (5m 29s): Okay. My heart just skipped a beat and I was going no, no, no, no, no. I'm not going to do it. Jesper (5m 35s): I just wanted to mention that I have really noticed how the us election impacted the activity and the Am Writing Fantasy Oh yeah. But I think that it is true. It is they've no one has been unhappy with each other, but I've definitely seen some stuff online where even book sales in the 20 to 50 K a Facebook group has mentioned that a lot of people have seen some tanking in lots of Yeah less activity going on. Autumn (6m 4s): So I, I do think that is what is going on in the world. Yeah. Jesper (6m 9s): Yeah, exactly. It's not because anybody has been arguing in the Facebook. That's what it is. Not what I meant by more than just meant that there's a lot less posts and comments in there. And normally that's perfectly understandable, but it just stood out to me so much that I noticed it. Autumn (6m 25s): Yeah. Jesper (6m 25s): Yeah. But if, if your deal is going to have not joined the group yet, and by the way, normally it is very active over there Autumn (6m 34s): Normally. Yeah. Jesper (6m 35s): So head on over to Facebook and type in Am Writing Fantasy in the search field among the groups and the, you know, Autumn (6m 41s): You will find us. Yes. Yes. And it's definitely, I mean, I'm not a huge Facebook fan, but I would stay on Facebook just for Am Writing Fantasy because there are some great folks over there and fantastic questions and interactions. So I do love, what did I get a chance? What I do turn it on Facebook and put it on my Facebook corral before going in. I get to spend some time in there, which is lovely. Yeah. Jesper (7m 5s): You don't like Facebook either, but I like the group and I liked to run ads pretty much. Autumn (7m 11s): Is it okay. So that's pretty much Yeah keeps us all we're there because we are all authors and who we are. We end up being There. Yeah. Jesper (7m 20s): Okay. So anything else to mention Autumn before we dive in to all our wonderful question? Autumn (7m 24s): Well, not only that, if you happened to go into the group or look me up on Instagram or Twitter or wherever you want to try to find me, because I swear were like, I had just joined discord because there are no right. Mo So, I just what I needed was another social media account. But if you look me up cause you can't find it on Facebook, they just released the Fantasy Roundtable I was a part of it and that was a lot of fun. So if you're a new author and you're looking for some fancy writing tips from three Fantasy authors, you know, give me a shout out and I will send you the link it's on YouTube. So do you know, it's a fun thing to check out and get some advice and laugh with us as we share. Autumn (8m 4s): Yeah. And it is, Jesper (8m 5s): If you remember to do so Autumn you could also add the link to the show notes. Autumn (8m 9s): Yeah. I will do my best. Yeah. Jesper (8m 17s): So we have some great questions lined up. Yeah. But before we get into those, I thought it would be fun if we each reflected a bit on what it feels like to have reached 100 episodes. Autumn (8m 33s): Why do you think I am so thrilled? I mean, I've written, I remember when I finished, like my first series, that's what it reminds me of is when you hit that kind of a milestone, your like, gosh, darted, I did it. And why are we so obsessed as humans with round numbers? But besides that, I think it's so amazing. We managed to hit a hundred. I did. We, we didn't count you tube videos. Did we, do you know how many you had published? Yeah. So I think the first something like probably 25 ish, a YouTube video or was it actually YouTube videos that we turn into the Podcast but before then that's probably a hundred YouTube videos even before then. Autumn (9m 19s): So, so we were technically at 200 as what you were saying. Yeah. I know what, that's a huge accomplishment. I I'm just, it makes me feel real, I guess is maybe the theory, not professional. I already feel felt, but you know, like I'm not a newbie anymore. We, we deserve like the ones with the little birthday cake with the candle and all of that. Yeah. So how did it make you feel? Yeah. Well, I know I asked this question, you know, I wrote to you and said, well, let let's, let's talk about a bit about this in the beginning, before we get into the actual questions that people have posted. And, and then afterwards, so when I started thinking about it, well, what do I actually feel? Autumn (10m 3s): And then I, I got a bit confused with myself. This is like, ah, I don't, I don't know. Maybe, maybe it sounds a bit weird. I don't know. But you know, I, I am happy. Of course we reached episode 100 and, and I know it is not a small feet to have half the Podcast running for this long. There is a lot of PODCAST out there that never even make it to episode 10. Yeah. So of course that part I am happy about. So I'm not trying to say that I'm not, but there's a, but here you can probably guess I think I might have noticed that. Yeah. Yeah. It is. It's just tell me if I'm wrong. Autumn (10m 43s): Maybe I'm a bit weird. Right. But it's just like, I don't quite feel it being such a huge accomplishment in, and I, I can not put my finger on Y I mean, perhaps if you just say something about my lack of ability to choose, to do, to celebrate to, I did recently hear that your, your birthday, it was a little bit tone down. So no, while I go ahead and get, you know, it's just like when I finished the writing project, this is what I would just jump on to the next one. So when we finish, we just touched one. We never stop. And I do it and I was going to say that's, I would definitely say, like, it feels, it doesn't feel like an ending. Autumn (11m 24s): It feels like just the beginning. I mean, we were in the seven stages. We might have past the intro and maybe were being on the inciting incident, who knows, but it's a lot more to go. So it's a Hill. It's not Everest yet, but it's kind of cool. Talk to us. So we hit a thousand. How are you doing? Oh my God, you'd better have let us celebrate. We will have to get together for the, a thousands, thousands. Episode if I could say that we really do podcasting and I can't talk. Yeah. Jesper (11m 59s): It's usually, well, I'm usually the one who can't talk, but Autumn (12m 4s): No, but Jesper (12m 5s): I think actually rather than waiting for 1000, I think the real lesson here is that I really need to learn how to celebrate it Autumn (12m 12s): Accomplishments. So I'm not good at it. I'm good at it. Oh, well, we'll have to find something to celebrate them and, and plan a party. Or if everyone joins Patreon, we have, we guaranteed everyone that if we had hit so many members, we would have a party. So that would be the other way to make you celebrate is that for every one went and joined Patrion for a dollar and we'd have to have a party. And there you go. Oh yeah, that would be awesome. Jesper (12m 36s): I think also just between the two of us, you know, Autumn, once we finished building a course or we finished writing a book or something, we need to find a way to, at least in one way or another, celebrate a bit more that we accomplished something because I dunno, I, I never do it. I just jumped straight onto the next thing on my to-do list. And I sort of already forgot all of the stuff I already did. Autumn (12m 56s): It is. I think you also forgot that you're talking to the author who finished one book and started the next one's in the exact same day. But I think you're right. I think maybe we will have to rope in our spouses. Maybe we can reopen our listeners. How do you, when we are on different continents, this is not like we're in different States because goodness knows I'm a long distance traveler. If there was a way to drive to where you are, I would have driven there by now because I've gone over a hundred thousand miles in my car. So I can do that. But there is that ocean. It's a very pesky, but I don't have a sailboat at the moment, but how do we need a way of celebrating virtually? So if anyone has fantastic celebration ideas, you know, let us know in the comments we're, we're open to learning too. Autumn (13m 39s): We both need rehabilitation to be more celebratory. You know, I like that idea. All right. Okay. Yeah. Jesper (13m 48s): Well, I might not be a very good at celebrating. I do love recording this podcast and I had to have a question for you on it. Autumn (13m 55s): All right. Ooh. Yeah, Jesper (13m 58s): Because I, I feel like we've had some great conversations on this, on this podcast and we've also had some great guests on, I was wondering which one of the past 99 episodes was one of one, which one was your favorite and why? Autumn (14m 15s): Oh, that's a good question. You know, off the top of my head, I would say if you talked about ones I'm most proud of when you interviewed Joanna Penn, my heart to like, Oh my God, that's so amazing that she was on as our guest, but honestly sincerely from my heart. My favorite episode was 69 and my journey as an author of the good and the bad. Jesper (14m 37s): And do you want to know what else? Yeah, Autumn (14m 40s): For sure. Because that's one, where are you listed us as teaming up as one of your highlights as an author? And I just love that. So Oh yeah. I have sent a mental that way, so I just thought, well, that's good. No, I actually forgot about that. No, no, no. That's good. That's good. Jesper (15m 0s): A good pick. That's a good pick now. I don't, I don't let your, I can do the same. So Autumn (15m 5s): That's how I got to go first. Yeah. Jesper (15m 8s): But now, you know, and how you make my life difficult. Autumn (15m 12s): That is partially my role. Yeah. Jesper (15m 15s): Yeah. I noticed I should have asked Autumn (15m 18s): The question. You should've made me ask you that question, I guess. Jesper (15m 24s): Yeah. I don't know. I mean, we've had so many good guests on and they were so many to pick from. I mean, you mentioned Joanna Penn where you've had Oh yeah. Mike, Leslie live fav, who am I forgetting? Sasha, a black. We had our own of course Alexa, big Muff. I guess that's how you say it. Yeah, yeah, yeah. I could go on and on Kristen Oliphant as well. I know I've probably forgotten a few names. Do you have, and, and I don't mean to, so sorry, if any of the guests or a past guest are listening here, there's just so many to choose from. Yeah. There, there was also the kinds of episodes where you are and I do alternating lists. Autumn (16m 5s): I like those as well. Yeah. Yeah. Jesper (16m 8s): So there's a lot to choose Sean, but if I have to choose only one, I think I would say probably Episode 34. Do you know which one that is? Autumn (16m 19s): No. No. Which one is about wine Jesper (16m 22s): Is actually not covered by covering any topic at all. And it is not having any particularly important guest on either Autumn (16m 32s): Or what are you doing? Yeah, Jesper (16m 35s): Well, I actually chose it because it was the episode where we announced that we were going to stop creating YouTube videos and turn this into, Oh, well, that's a good one that I think that was the best one because I thought that I think that's the best decision we made. Autumn (16m 53s): Well, I am not complaining. I really enjoy the podcast format more than I expected I would, but it's, it's a wonderful, and it's a great working with you. And so I think that one's a fantastic one. Yeah. Yeah. Jesper (17m 8s): I still don't feel it's sort of, it's a script. Autumn (17m 13s): Yeah. Well, you know, I have one of the last couple of our recent contests, so it's just the way it goes. Jesper (17m 20s): So I guess, yeah. I can just feel honored that I'm doing the Podcast with you since you were so good at it. Autumn (17m 26s): Well, thank you. Well, I wouldn't be doing it at all if it wasn't for you. So there you go. There it's a party. Jesper (17m 35s): Well, yeah, indeed. So we have, we have some good questions because some people gave us some audio files and those great. So we are going to play those today. Yes. And we also got quite a number of questions Autumn (17m 51s): Sent in via a text or emails or somebody field in the Google form that we announced previous page and so on. So it was Jesper (17m 59s): Thinking we were just going to go through them one by one, and then we can see it, Autumn (18m 4s): Both reply to all of the questions and that's it for today. Oh, all right. Well that sounds almost too easy, but I can't wait. Yeah. Jesper (18m 13s): So, okay. I'll try to, just to be a bit of a, in the driver's seat here. Not because I want it to be a, A control freak, but just because then we make sure that we got, we get through all of them in, in a bit of an order. So that's the only reason and without taking an hour and a half, so yeah. But okay. Let's, let's get started here. And the first question is from seed and a safe asks, what single work has most direct, directly influenced your Fantasy Writing. Hm. And what did he say about that? I would say that's a tough one. I, the one thing that I can say came up to me is simply the short story, ah, by Anne McCaffrey on dragon impression, I can't even remember the name of it. Autumn (19m 4s): And I know its just a short story. So if you Google it short story on McCaffrey, the dragon impression and it it's funny because that's really not changing my Fantasy Writing. But if I hadn't read that, that is the story that hooked me on Fantasy and dragons. And I took me on as a reader and opened up the whole genre to me. So if it wasn't for that one eye to eye, it could be writing my best friend, loved mystery and Nancy drew. So who knows I could have fallen into that, but no, I write Fantasy because of that story. How about you? I don't think I Jesper (19m 39s): Have, it is an old won the order Autumn (19m 41s): Or it's a bit older than you are. So yes, it has an old way and I was right in and like elementary school is, it is. And I, I would have to, Again go. It was in a compilation, but I think you can actually find it a solo online now it's that old or is it one of Jesper (20m 5s): Those words? It was good back then, but no, not anymore. Autumn (20m 8s): I haven't re-read it honestly, I just know it's I just absolutely fell in love. I mean, it was a little boy who wanted to become a, a dragon rider and he ended up getting the bronze dragon witch next to the queen is like the top dragging to get it. But I mean, it, it's just, it's sweet and it has dragons. You get to choose, you know, a dragon Bond's with you and it's so I don't want to reread it. Its just the memories of it is wonderful. Like, okay, well, Jesper (20m 35s): So for me I would say, well the, the question is influenced my writing and, and then I would probably say a lot of the rings. Autumn (20m 43s): I know that that's not very original. I dunno. I really liked Jesper (20m 49s): Talking's WRITING well everything except Tom Bombadil Autumn (20m 58s): I really liked his writing, but yeah. Jesper (21m 2s): Yeah. You were talking about getting hooked on FANTASY as my love for the fence has shown WRA was not talking. It actually started off with the ranking lands. Autumn (21m 14s): Yeah. Those Jesper (21m 14s): Books really got me hooked on Fantasy and it's actually quite funny last week. This is not an a, a, a new book either, but last week I was going through on the Kindle books on Amazon Autumn (21m 27s): And I was there. I can't remember why, Jesper (21m 28s): But I was looking for some, some of the old dragon lands books, maybe it's because I'm reading them with the, with the, Autumn (21m 35s): So with my kids. So maybe that's why while I was looking through it But but then Jesper (21m 39s): All of the sudden I noticed that there was a book Autumn (21m 42s): About race Lim, you know, he, he, he he's like, yeah. So I bought that. I haven't started Jesper (21m 49s): Reading it yet, but I I'm really looking forward to reading Autumn (21m 51s): That one. It's a new me who I just hadn't noticed it before, you know, because I had read all of those up until I think we got into the forgotten realms or whatever. And at some point in the 20th book, I, I stopped reading and so I've drifted away, but yeah, you'll have to let me know how that is because I might want to revisit that world. Yeah, yeah, for sure. Jesper (22m 15s): Okay. So the next one, I have an audio recording, so let's listen what Micah has to do. Micah (22m 23s): How do you guys get and keep your inspiration? Jesper (22m 27s): So that was a, maybe a bit low. So let me just repeat it. So Micah asked, how do we get and keep our inspiration. Autumn (22m 36s): All right. Oh, that's Hmm, because I, yeah, I, I was looking at to see that his entire one, you want to know that, especially to complete a novel. So that is a tough one, I guess. I think it's part of my personality. I am a task oriented and I like to finish anything. I start. And when I was at a studio artist, because I was painting way before I was writing, I would always finish anything that I started because I just, I started it. Of course we are going to finish it, but to keep the inspiration going, I think you have to, for me to keep it alive is I fall in love with the characters to the point where they wake up me off and in the middle of the night. And it's sometimes more alive to me than the world around me, which I actually think is a flaw. Autumn (23m 20s): I have to, I think, goodness, I have a husband in a dog because I don't know. I'd be, I'd be like the lady of Shalott up in my tower and like daydreaming all day, instead of actually remembering that there was an actual world outside my door that I should go visit occasionally. So to me, I just live in my stories. I love my stories and they just, I was meant to be a writer and to tell these stories. And so that is how I keep the going is by feeding them frequently with ideas and sing songs. And even with my husband, we play word games all the time. Thank goodness. He's like, he likes literary things. Are we probably spend one or two together after 20 years or so that's a good sign, but that's how I to beat at you. Autumn (24m 3s): You have to feed your idea's, you feed your stories, you let your characters become. So Real that to let go of them to not spend time with them hurts. And so you keep writing. Yeah, that's a good answer. I might be slightly, you know, Jesper (24m 24s): I think for me in terms of getting inspiration, I get it from everywhere. You know, sometimes I can wake up in the morning and then there was some sort of scene playing in my head and I quickly have to write it down. So I always have a notepad next to my bed because then I often good idea. So w when I sleep in, when I wake up other times, maybe I'm reading something or watching the movie, or there's just something that triggers me and then write that down as well. It can also be a Podcast that I'm listening to. I I must say that Yeah my inspiration, mostly comm in the form of scenes or like concepts that I think are cool. Jesper (25m 9s): And then I built from there. But I, I think as far as keeping the inspiration going, I, I have to do a bit of a shameless plug here, because if you think of the inspiration and going, we actually cover this in quite some detail, and I've got in a guidebook about story ideas. And so that one can be found on Amazon or everywhere else that you buy books a day. And by the way, if you, instead of buy the plotting book, it's called plot development, you can get the story idea of a book for free. There was a link inside that plodding book for it. But I am saying all of that 'cause once we have solid premise, which was what we discussed and that book, how to develop, then once that is done, then we also know that we have something that is interesting enough to keep the story going until to the end. Jesper (25m 60s): So yeah, I just have to do that block there because I really do think that really answers the question. That's how, that's how we keep it going. That's true. It's a very good point. Yeah. So we also had a question from Lisa. Perhaps you can read that one. All of them. Autumn (26m 14s): Yes. I will read the, the question park so that she had sent it on a little bit of a fun story as well, but we'll go with the question, Alyssa, and I often wonder what it is like to be so immersed in a story and then keep going. I know you have to decide to pull the plug because you would become sick of eating and drinking and sleeping about it. I'm sure. But don't you ever come up with another idea or a thought and wanting to go back or do you just move on? So what do you want to start with that one? Yeah. I mean, Jesper (26m 44s): It does happen more often than not that I get another idea or think of a way to maybe it could be a full of the story idea, but it could also be just a way to expand on something that I'm already writing. You know, that, Oh, it would be cool if, if it was like this and data as well, and then that sort of, Spock's a side story or something almost. But I think I found that it is far more efficient to avoid the temptation in this situation. Just write it down and that idea that you got, so you don't forget about it and then keep going with what you originally were working upon. Because unless it's something that I can fix like, and a few minutes, do you, like, if it's just an idea like, Oh, okay, cool. Jesper (27m 27s): Not cool if I did like this and that. And I, I can just add one more paragraph or something that is fine, then I'll do it right away. But otherwise I'll leave it for the editing stages. So I think when first drafting, at least it saves a lot of time and the fast I can make the Writing go during the first draft, the better for me. But I also think for the reader 'cause at the end of the day to that the book will be done more quickly that way. So I know exactly what you mean and what Lisa means. I know what you mean by the question Lisa But, but I think it's best to avoid the temptation, but I don't know if you agree with that. All of them. Autumn (28m 4s): No, I agree. Because I was going to say just sort of like what I said, I don't mind eating and drinking and just living in this story to the point where sometimes I forget the real world exists. So it wasn't like being in having to adult occasionally and make money. And those sorts of things go to the grocery store. I if I did well, if I wasn't a cook in the family, I would probably forget to eat occasionally. I honestly would. I can get so wrapped up in this stuff, but yeah, I do sometimes think of other ideas or like if I'm writing, if its an idea for the current book I'm writing, I will go back. And if it's something that I've already written, I'll just highlight and do a comment. If it's something that's further ahead, because I have all my stories in chapters outlined, I'll just put a note in that chapter outline and I want to get there, I'll put it in where it needs to be or I'll fix it in the editing. Autumn (28m 50s): But if it's a completely different story, because I'm a bit of a pantser slash Potter, a plotter, I'm a hybrid. So I will just simply take a note. There's nothing, there's no idea they can come to me. That is so fully fledged that I can just jump to it because I would want to spend time with it. I want to get to know the character as I need to plot it out. I need to figure it out the world and world build and develop. There's so much work that goes into wanting to start a story that I don't ever just jumped to It eggs. So if I happened to be getting close to finishing a series, I have learned it's a lot less painful if I let go of my characters gently and I've already started world-building and Writing and developing the other story. Autumn (29m 35s): So I, I, this is me. I have written three books, three, like, you know, three things at the same time. So, but I have one main story and I started on a second plot. You and I are going to be writing together, plus I'm writing on my own. So it's I do a lot of Writing, but I find that it works. I'm very compartmentalized in my mind. So I can just, you know, open up that file cabinet and go write in and spend a lots of time in this wonderful they're magical filing cabinets. Do you don't want to sound boring? They're like you open it up and there's a whole little world in their, and it's really exciting and you know, they were stars. So if it's not really, it's not one of those boring office ones, it's a magical, but that's so that's how I do it. If it's a really good idea, I take copious notes. Autumn (30m 17s): I put it aside. I start developing it on the side and if it's really, really good, eventually it becomes a side project. And when the main one finishes, it becomes the next one. Jesper (30m 29s): Very good. So next question is from Mark, Justin. So Mark says one time I show up someone, my writing, they said it felt more fitting to call it a visual novel script than a traditional story. What's one way to make the Writing Flo better and not feel like a bunch of texts. This is right down your alley. Autumn (30m 53s): It is, it's also a tough one. But so the thing is, it just depends on what, what they meant by a visual novel. I mean, do you have mostly dialog? Do you have mostly information, but to bring it alive is to bring the world to live, to bring, do you want to just kind of suck the reader into a character's head? So you need to choose a point of view and we call it a deep point of view that you feel like you are sitting inside of a character is head and you sense whatever they sent. So that's not just seeing which is where the visual it comes from, but you want to know what they're smelling, what are they touching, tasting? What do they feel? You want to know that you have demotions. So that other sense as well as there, once you can pull that world and bring it to life so that you can describe the character walking through the forest and they hear the crunch of the leaves, they smell the wet earth, one of the ferns in the Moss and they feel the wind on their skin. Autumn (31m 50s): When you have that texts that is building those layers of the world up to the reader and you're sharing the dialogue and you're having all of that. That's going to make it flesh out that world really well. Jesper (32m 4s): Yeah, all of the stuff around the a M emotion or like the census and stuff. That was also where I was going. But I would say on top of that, I encourage you to listen to a recent episode 98 actually, because we talked about the new top mistakes that new authors make in that episode. And there's quite a few tips and tricks there that I think you will find that useful. He Mark, you also said that, that it should not feel like a bunch of text and this might not have been what you meant by it. But when you said that, it, it sort of made me think about infidelity. Jesper (32m 44s): You know what, these lots of blocks of text where you just explain something to the reader at that might not be at all what you meant by a bunch of text, but, but on top of the situation around the census that the order, or just explain it so well, I think it is important that you also find ways in which to deliver those kind of world-building information through the actions of the characters or through dialog, because at least when it comes to making the writing flow better, that makes a huge difference. Yes. Just we could be just before we started recording, I was just talking to Autumn about a book that I recently, I'm not going to say what to type, which book it, because then somebody might get mad with that chapter's of chapters of info dumping at the time. Jesper (33m 36s): It's really not, it does not flow where we will. Yeah. And I checked some of the, some of the Amazon reviews as well. And they pointed that out. Not always so politely, but that's exactly what they read about it. Yeah. But okay. I think that one is probably covered there. So a, we have another audio files I'm going to play now. James (34m 0s): Autumn and Yesper congratulations on your 100th Podcast you guys are really dedicated and you are an inspiration, I think to us all you are to me anyway, I've got a question. What methods do you have to turn to, to de-stress or at least try to when taking a break during a particularly difficult period of problematic Writing Jesper (34m 31s): Mm that's a good one. Do you stress? We live on stress. Well, you know, honestly, I was just thinking, I don't know if I'm the best one to answer this one because I really never struggled that much with feeling stressed. I know I'm lucky in that way, but I really don't feel it. Maybe I'm wrong. Maybe I'm just not in tune with them on my own emotions or something. I don't know, but I don't really feel stressed. But what I can say though, is I do like to go for a walk and I try to do that most days of the week. And I also three times a week in the morning before I do anything else, I run five kilometers before I start my Workday. Jesper (35m 16s): And then in the evenings, I do like to relax watching Netflix, HBO, Amazon, or something like this. And so I guess you could say that that helps to distress myself, but I don't know, as I said, I'm not the best one to answer this one. So I hope you will have some I'm starting with you now. Yeah, it was gonna say I was starting to think of my writing partner is actually an AI, but I, that you're not. So Autumn (35m 40s): Oh, that's a tough one and it really depends on what's causing stress. I am definitely a little bit of a masochist. So if something is bothering me, I sometimes dig in my mom calls it stubborn. I call it a dedicated. So sometimes, you know, if I'm really hitting a wall, but I, I just, haven't been trying that long. And you know, maybe they've been sitting down for 15 minutes and I'm like, you know, I, I am a writer and this is my job. This is my career. So I'll start doing like, what if questions are or write down the problem I'm having. And then I'll see, you know, do some brainstorming Writing right into the novel and then just delete it later of, you know, what needs to happen? Why am I stuck? But I agree. Autumn (36m 20s): It sometimes Writing up cooking. Obviously I loved food. So that is going to be very inspirational. And it does seem as soon as I get involved in something very complicated that, you know, my hands or covering guru and I'm like, Oh, well, that's the answer I need to do to take action on device. It's really messy. Sometimes. I don't mind a little bit of why is it a little bit of an eye like rum? And I like scotch. Those are a little go-tos, I'll sit down with that and stare at my computer a little bit longer. But yeah, sometimes it's like, you know, I look at the dog, the dog looks at me and I'm like, why don't we go for a walk into the world? All has been in a better place. And I forget about everything. Autumn (37m 1s): And once we're back from playing in the stream and hunting for frogs, we will, I'll get back to work. And it's usually a little bit better. I don't ever, I have hit a few spots if I've worked on a chapter and I'm on the same chapter for, I would say three days, three days. If I were on the same chapter for three days, I, I feel like it's been too long. It's going on forever and I'm stuck. And I also sometimes just write a couple sentences and just go to the next one and then come back and fix it later. And that it couldn't get it. Jesper (37m 28s): That picks out of my mind if it's just sitting there with a glass of wine staring at the screen this way. Autumn (37m 37s): Well, the next time it happened, so I'll have my husband takes a picture for you. Yeah. It just looks at me. Jesper (37m 42s): I've been here waiting for, for inspiration. I know what is going to come soon or later. Autumn (37m 47s): Cheers. No worries. Yeah. All right. Okay. So Jesper (37m 53s): Do we have another question from state and perhaps you can take this one. Autumn (37m 57s): Yeah. So we'd also ask which part of the journey from concept a publication two, you hate the most. Hmm. So what's your least favorite part. Yeah. This was not that difficult for me, but this was all Jesper (38m 14s): For why we have divided the workload between us the Autumn (38m 16s): Way we have, because I hate that. I hate the most of this editing. Its I really love it. Jesper (38m 25s): Like the results of the editing. I love when the first draft turns into something that flows really nicely and all the words are sounding good with that stuff. Autumn (38m 33s): No, I love it, but I hate going through it because it is so painfully slow and it annoys the crap out of me when I spent three hours and I've only edited one chapter. I hate it. That's why I get all of them to do the right thing. And that's why editing is not my answer. Yeah. And this one was a tough one for me because what I hate the most is after publication, I hate AMS ads or anything that requires going back. And fine-tuning, if you have to have read my pet Patrion post for today. Yeah. I was just, it happened to have resonated really well with this question. Autumn (39m 14s): I am just not that good at sitting down and fine tuning in looking at iteration after iteration, after iteration and just sticking with it and not feeling like I'm panicking because I'm wasting money or it's not going anywhere. I just spreadsheet results. Statistics, calculus, algebra. I love mathematics except for statistics. Statistics are not mathematics. They should just be burned. So when it comes to those stuff, when you're boiling down results into numbers and I know it's important, but my brain just goes with, it just goes up in flames. So that's why I have you. You handle it. But since I can, technically after the MOH, the publication and that's when he asked me, I would say for me to fit the parameters, I'll just say, it's a question. Autumn (40m 3s): I my least favorite part is simply the time it takes. I love the stories and I want to spend so much time and I'm task oriented and I, I just wanna sit down and it was like, by day on my birthday, you people have said, what do you want to do? I'm like, I'm going to write. I was like, well, that's not going to get me anywhere because it'll just be another 2000 words closer to my hundred thousand. And then I'm going to start a, another novel and I've never going to be done until I take my last breath. And then when I'm just aware of my ghost will keep writing. So it's the time I want to be able to write these stories out so much faster. I want that one hour extra hour is that I'm writing on my birthday, you know, to mean something more than a drop in a bucket, but it doesn't Yeah Jesper (40m 44s): There was a loop back to the conversation about celebration he has. Yeah. Autumn (40m 48s): Or there might be, Oh, we gotta work on that. Yeah. Okay. So, Jesper (40m 56s): So let's jump into next question. And this, the one is from Felipe a, so Phillip says, as I outlined cereal, the setting, I am drawn to keep them constantly morphing time period. Magic predominance levels of tech, aesthetics, et cetera, to the point that it halts progress, what to do. Should I commit to something? Even if something else is more interesting should how do I block the influx of influences? Autumn (41m 29s): Hmm Hmm. That's a good one. That is a good one. Can I just say yes, yes. Yeah. So that was my answer is yes. But yes. You have to choose one. You have to make that decision. And even if you doubt it later, you have to make it the best that you can. And it is an example. I was Writing the sixth book in one of my, my world of Mira, my elemental Magic series. And I think it was half way through. And I'm like, you know what? I really actually have started bonding with the villain who up until then, I didn't like in the sixth book and I suddenly saw his perspective and I thought, Oh my gosh, this book, I could tell it totally from his view, he is totally right. Autumn (42m 9s): Every one else is completely wrong for trying to stop him. And I'm like, why, why not rewriting in the entire series? That, that idea is still in me. And I still think, Oh, I could bring him back and do something so cool with him. But I had to let it go because I had to make that decision. You have to keep going. You ha, if you were going to write a book, you gotta write the book and take those ideas that you think are so cool. And put them aside and write a book with those. But you do just have to make that decision. You have to stick to it. You got to write the book and just trying to save up the other inspiration for something later. Jesper (42m 48s): Yeah. It almost sounds to me for sleep that you need to spend a bit of more time in that wonderful place of world building, because then, you know, if you were saying that your concepts aren't clear and you sort of come up with things on the fly that you struggle with consistencies, Well, you are going to create quite a lot of editing work for yourself. So I think it's probably better if you try to spend a bit more time in the world building phase here Autumn and I always complete the world-building, you know, nailing down in the setting before we started writing, because this is a lot of this allows us to inform the writing with details that are actually quite honestly, we could never thought of during the Autumn (43m 33s): Writing itself. Jesper (43m 37s): So try to separate the world building from your outline. It almost sounds like you were sort of doing both in parallel here, but see if you can just spread them or separate them. So when you do all of your world-building first, and then you worked on your outline, I think then you are your experience with everything keeps morphing won't happen so much now because then you already know your world, you know what your setting, you know what you want it to be there and then you can work on your outline and, and make that influence the outline. Autumn (44m 10s): So Jesper (44m 11s): Yeah. Mapping out your story. Once you have that from grass off your setting. I think that will help a lot. Autumn (44m 18s): Yeah, definitely. Okay. Jesper (44m 21s): We didn't have another question from Cory. Autumn (44m 24s): Yes. All right. Corey ask, what is the most effective way to overcome writer's block? I've tried reading and that I've trying to write right after listening to audio books. When I Writing listening to music, meditating, nothing seems to work. And I haven't written in a nearly three weeks now. So what are some tips you can give me? Jesper (44m 43s): Well, I'm sorry to hear that. Query I, yeah. I feel with you, a lot of authors are struggling with things like that. So please don't feel alone. I think my number one tip is outlining. I know some people don't like outlining. That's why we wrote a whole, a guide book on how to outline to, to help some of those people. Because if you try to map out your story in advance, I would say 99% of the times where authors experience writer's block it's because they don't know what needs to happen next. So they get stuck and they were like, well, I don't quite know where this is going. I don't know what I want that to happen. Jesper (45m 24s): And if I think if something, is that exciting enough, does it hit the right tropes or does it sync up with the character arc and so on and so on. So yeah, as you mentioned early in this episode, Autumn and I wrote a full step by step guide on how to plot a novel. So you can go and search for our name's on Amazon. If you want to have a check or check out that book, if you want, but you don't have to, you, you can also try to go about it all on your own if you want. But, but I would say try to spend some time, you know, outlining and understanding your story. Query I feel that that will probably help you. Autumn (46m 1s): Yes, I agree. Indefinitely. It's a, you know, I always love that. Quote, as an author who isn't writing is courting madness. I mean, it's just itches under our skin and it seems to reinforce itself. So, I mean, she's trying to, a lot of the things I suggest other than a little bit of line, but it works for me, but another good thing. So if nothing else was working, I agree with that, come up with some, what if questions, especially if you're, if you're stuck with a chapter, like what's supposed to happen in the chapter, you know, look at how to set up the chapter, what is happening and what's the hook, what is it going to be starting with the character's goals, look through all of that, do some brainstorming questions about what's going on, try to, you know, read whatever, think about this character, to think about the characters arc, what are they what'd they just do, what are they trying to accomplish? Autumn (46m 51s): Sometimes just a sink into their heads. I will switch if I'm writing at first third person, which was how I prefer to Wright. Maybe I'll do a quick sentences and first person try to talk about what they're seeing, feeling, thinking right then. And even if I end up cutting it later, just trying to force my head into this character's in the world and what is happening in the novel. And usually something in there will give finally, and that I can just go on and I we'll be able to. Right. And sometimes there was a few pieces of gold and you get to do some great setting or a world-building that you hadn't been, you know, you might not have come up with otherwise and you can keep, but honestly, a lot of the times you're just doing some brainstorming that you're probably gonna end up deleting, but you'll be writing. Autumn (47m 36s): So that's the important thing. Yeah. Jesper (47m 40s): Okay, good. We have another question from Anthony. So Anthony asks, I have heard a lot about barriers, points of views, but when I do research on them, I only find the basics. So the question is how do you decide which point of views best fit your story? And if you are using multiple point of views, which character is the best for that scene? As a second question, if you were writing in multiple point of views, how do you make sure your character voices are Autumn (48m 13s): Distinct? Right. That's a good question. There was a very good question as a, both a very good questions and it's, it's hard to break them down. And so I would say first, when you're writing your book, I know you and I both write in multiple points of view is that we love having different characters. Coz I think it, it adds too a complicated Plott, but there is nothing wrong with having just one point of view the Hobbit. It is a great example and it's in pretty much, at one point of view, its with stood this test of time. There is nothing wrong with that. So did you consider that if your feeling really challenged, try to stick to just one character point of view, try to do a deep point of view, which is your not omniscient. You don't know everything going around. You just know what it is that one character can look, see, feel, and here. Autumn (48m 57s): So you can't, you know, for shadow with anything that they wouldn't know, which is one reason you add another point of views 'cause then you can add those in other places and build tension for the reader of that way to choose which one to use. You know, you don't want to use too many U and I have written, you know, we have a course on this and we have a whole character development course so that it can really talk to you about how many characters you should have and how to develop their voice. But you don't want to have to many either. You don't want to be, you know, 12 characters in the first book or something, you know, For is a fine six. This is getting a little too many. Especially even if you have a, a a hundred thousand words, you don't want to have too many, the character is supposed to, the reader is supposed to bond with these characters. Autumn (49m 41s): If you have too many of your jumping all over, there are not going to know you don't want to, you know, if I'd want the reader confused, you want to give them very song, solid points of view so that they can bond with the characters that they feel the emotions or the characters or the rooting for the characters. And you can't do that when you have 16 different characters, unless your George R. Martin and you're writing something that takes for decades, then maybe you could do it, but otherwise know, and to choose which one you want to go with, whoever has the most impact. So you would choose a character who maybe is doing the action in the scene, or maybe the character who is going to have the most emotional cliffhanger at the end of it. Autumn (50m 25s): But you want it to make sure that its also the one that is going to tell this story and you wanna make sure that every character has a three to four to five chapters in their point of view, if your only having a one chapter point of view as a character, don't use it. You know, you, you can't tell a character arc in just one chapter and any character who has a point of view, definitely needs a character arcs. So you are going to have at least three to five chapters minimum for each of these point of view character. So that's going to flush out your novel really quick. They are going to have subplots are going to have things going on and its all going to tie back into the main plot. It's a lot of outlining. So one character, one point of view is fine for a novel. If you want to keep things simple and some have ways of keeping your character voices distinct, you're going to have to find out what works for you. Autumn (51m 12s): Some of the things that I've suggested is if you come up with a totem for each character or sometimes I've written in colors, this characters is always in red or even in Scrivener are all my characters. I actually use character colors. So I know whose point of view I'm in. So that's fine. You can choose colors. You can choose a totem. So you know, this one is wildly. So you are wasting called a Fox. I've had characters who, you know, I really listened to a song and it fits gets me into their mood and also think about, you know, distinct things that they would have either action's are phrases. If you have a sailor, they are going to call tension like a top rigging line where if someone else is a mercenary, there's always going to be referring to things as a way of battle taxes. Autumn (51m 56s): You know, once you learn to develop those character, two phases and lens that they see the world and then you're going to have the distinctive Voice coming out for each character. That was a long I'm sorry. Jesper (52m 9s): Well, I think you basically covered the entire thing. So that was good. I think the only thing I would add is a, well of course a that that plot development book, actually the entire first section of that book covers this questions. But the only thing I would add it on top of what you just said, which I fully agree with is that think a bit about which couches are going to spent a lot of time together in the same scene's for example, if you have like a Frodo and Sam kind of situation, where they spent most of this story together, then I would say avoid making Sam a character, like a point of view character, because it's simply gonna be challenging to keep it interesting because what, what are you going to do to explain the same, seen to a few times all the time, 'cause it? Jesper (52m 58s): You know, you'll see what I mean, write that, that it does not work. So just think of a bit about where our characters is going to be throughout the story and how much time are they going to spend together and where are you have them spending a lot of time together and avoid one of them being the point of view character or at least they agreed. But otherwise I agree with all this stuff that all of them said. Yeah. Okay. Final a good question. And also final audio clips of the day. Zhade (53m 27s): Hey guys, thanks so much for picking my question. It really appreciate it. And if I can, I just want to start by thanking you so much for running the PODCAST. It is pretty much the highlight of my week. Absolutely loving it. And the online community is that you were running on patchy on, on Facebook. I've helped me more than I can say over the last year. Thank you so much. Okay. So in terms of my question, it's this Yesper what are you most like in our Autumn is Writing and Autumn what do you most like about Yesper is Writing Autumn (53m 58s): Thank you for that question to say it. I really appreciate the kind words are not only from you, but also from, from James and everybody else who, who send us a really kind words. So, so thank you. For for data, but I really liked this question. When I say, when I heard it the first night, I was like, Oh, okay. That one's a good one. I didn't expect that. I like that one too. All right. So yeah, so I can actually mention two things. Oh, all right. Yeah, because there are two things I like the most about your writing Autumn is a first of all, I like how you describe scenery. Like, you know, you're really good at making it sound interesting at the same time, you are able to conjure up images in my mind about what the place has solved. Autumn (54m 47s): Look at what it looks like. So, that's something you are really good at. And I really like that, but even more probably I like your ability to do capture development. I feel like you, you were able to breathe a lot of life into the characters in a way that makes them come off as individuals, rather than just some cardboard people who run around doing some actions, they feel much more like real people with their own motivations. So yeah, you you're just a really good rider. Well, thank you very much. So that was good. I actually am going to actually mention, I like your characters to, because I like how we were both. Autumn (55m 27s): I'm a no nonsense people they think. And so your stories in your writing, it doesn't get bogged down. And I just told you before we started recording and that I had read a book and it was just, there was times at this character got so bogged down in dresses and things that I am just not that type of girl. And I like that. You do, you keep things moving. And I actually, I love that your first Trelegy has a, you know, women are the main character and it's, you know, you did that, that you did a great job with it. You went in for a lot of action and its interesting and it's a different world and we both made the funds, not quite mistake, mistake of a very different worlds in a very tough stories. Autumn (56m 9s): This is our first year we had some similar tactics and they were just like, this is, this is cool. I didn't know all of this. When we started out on this journey of Am Writing Fantasy together. It kind of, I don't know, we kind of looked out. I can't come. So yeah, I think so, but, and that's what I like is our, our storylines in our way of tackling things meshes incredibly well. And that to me is just so exciting. You can't, you talked to so many other authors and they have such differences that they can't have a hard time riding together. And I think we are going to be just fine because we like each other's style and we have very similar kind of action-based exciting adventures where gender isn't an issue and racism is an issue. Autumn (56m 60s): And we tend to think you might have a little bit more of a darker tone and mine goes more towards no bright, but I think we are going to combine this into something amazing. Jesper (57m 9s): Yeah. Yeah. I agree. So yeah, this was a lot of fun episode, 100 into QA session like this. I, I think that was good. Autumn (57m 17s): So this was a really good, it was a lot of fun And I yeah. Thank you so much for all the questions. And I did have one for you, even though we were running long on time, but recently you have discovered an Easter egg out of how I got into self writing and self-publishing I was wondering Now you know how I did, I was wondering how, what got you into self publishing and made you finally sit down and become a writer, Jesper (57m 46s): Right. Okay. Yeah. Fine. I will answer that, but, but actually you have to, you have to explain your own as well for them to do it because otherwise they have no idea. Yeah. Okay. So, so, but for me it was more like, so I've always had this idea for like many, many, not always, but for many, many, many years, I've had this idea that one day, once I retired, then I could write some stories. And then, you know, you should only most years, not every year, but most years we, our family goes to Finland for some of the occasion and in Finland, you know, we, we were in the summer cottage and there you spent quite a lot of time, you know, going and so on there and relaxing and stuff like that. Jesper (58m 34s): And then there was this one evening back in 2015 when I was sitting in that sauna, I don't remember if my wife was out swimming or whatever, but I was at Lee. I was alone in there and I were sitting down. I, I started thinking like, why is it that I've gotten into my head that I can only write once I get, I get to retirement? Why couldn't I just write something? You know, I might not be very fast at it because I have to do day jobs and whatnot, but I could just write a bit here and there. Well, why, why, why couldn't I just do that and why am I feeling limited? And actually the next morning I got an out, I got a laptop out and I started writing. Jesper (59m 18s): It was a complete nightmare and this, and it has been Autumn (59m 23s): Deleted many times over the same, but it's not letting the next day. And I never stopped since then. That was wonderful. I love that. All right. But yes. So to explain since no one else got a, you know, only a few people would have heard my other story, but I had something similar. I mean, I, I was actually a S an artist very long and my license, like it was for, I want it to be an artist, but I always actually wrote on the stock side all the way down to my mother, having recently shown me M a journal I'd kept actually as a kid and my husband then stole in secret away because I was going to burn. I was so horrible, but I didn't really take it seriously. Autumn (1h 0m 6s): But I had a habit of writing in notebooks in college because I was so bored in school. Even in college, I went with an English degree and I'd write stories in my notebook. And my husband found one and said, Oh my gosh, he wrote this. This is, this is fantastic. You should write. And he encouraged me. And he actually sent me an article on self publishing with a woman who is in a similar job. And so you have a similar agency as I was working in it at the time. And he was the reason I published my first book. Isn't that amazing? Isn't it? It's all his fault. Right? Autumn (1h 0m 46s): Okay. So the next Monday I have a great interview lined up for you and it's concerning one of my favorite topics. Not map kick this time. We'll be building. Narrator (1h 0m 57s): If you liked what you just heard, there is a few things you can do to support The Am Writing Fantasy Podcast please tell a fellow Author or about the show and visit us at Apple podcast and leave a rating and review. You can also join Autumn in Jesper on patrion.com/am Writing Fantasy for as little as a dollar a month. You'll get awesome rewards and keep The Am Writing Fantasy Podcast going to stay safe out there and see you next Monday.

The Lady of Shalott, Made of Stone and a Raging Bull. Play along on your own or with friends and family. You can find thousands of free to use quiz rounds at pubquizquestionshq.com. If you manage to get all ten correct, email me at adam@pubquizquestionshq.com and I'll give you a mention on the show.

It's official, Enkidu can't leave Camelot alone. In this bonus episode, we journey back to Camelot and climb a tower belonging to the Lady of Shalott. Socials: Facebook Group: https://www.facebook.com/groups/2692446804351470 YouTube: https://www.youtube.com/channel/UCFfVt7peE4ieOZxcf1ZuYZA?view_as=subscriber

"The Lady of Shalott" (1832) by Lord Alfred Tennyson, 1st Baron Tennyson. The 1842 version is not very good in my opinion, so this is the original.

Alfred Lord Tennyson (1809-1892) Another poem in which the poet has taken a story and adapted it. Tennyson was a great poet, if technique is a criteria of greatness. Try writing stanzas using the rhythm and rhyme scheme he does here and see how hard it is. He doesn't put a foot wrong if you pronounce glow'd/trode/flow'd/rode to rhyme. There's a sung version by Loreena Mckennit which brings out how melodious the lyric is far better than any reading can. But being a great technician is not everything and for all the memorable lines, there's something unpleasant about the story which is characteristic of Tennyson's treatment of Arthurian material in general and the women in the stories in particular. You are almost compelled to read the poem as a metaphor because as a story about people, even people in a fantasy pseudo-medieval world of magic, it doesn't work unlike Keats' ‘La Belle Dame Sans Merci'. The poem asks to be understood in a symbolic fashion. But precisely what is symbolised isn't clear and attempts to naturalise it, one essay on the web claims ‘she freezes to death as she floats down the river', emphasise how unreal it is. it's not irrelevant that so many male painters in the 19th century liked painting dead women or that this particular story was so attractive to them. (Do a google image and you'll see how popular the subject was.) There are two versions of the poem. One published in 1833, one in 1842. The earlier poem has an extra verse and ends: They cross'd themselves, their stars they blest,   Knight, minstrel, abbot, squire, and guest.    There lay a parchment on her breast,    That puzzled more than all the rest,                  The wellfed wits at Camelot.      'The web was woven curiously,       The charm is broken utterly,        Draw near and fear not,—this is I,                  The Lady of Shalott.' which is awful and a tribute to Tennyson that he cut it. Although it may not have been his source, it's revealing to compare this poem to Malory's story of Elaine of Ascolat. The comparison illuminates the limitations of Tennyson's version. Tennyson may have been a great technician, but Malory was great.

More great books at LoyalBooks.com

More great books at LoyalBooks.com

In which Charis and Sharon return from their short hiatus to talk about traaaaaiiiiinnnnssss. That's right, this is the first of two episodes on THE FIVE RED HERRINGS! Our friend Angela Hines joins us to represent the pro-timetables point of view. We discuss Sayers' correspondence about the novel with her publisher, as well as how the book differs from the previous Lord Peter mysteries. We also cover the scene of the murder, discuss a depiction of marriage in THE FIVE RED HERRINGS, and get ourselves tangled up trying to distinguish which Pre-Raphaelite Brotherhood version of "The Lady of Shalott" we're respectively referring to. This episode covers roughly the first half the novel and does not give away the whodunnit.

A lyrical ballad by the English poet Alfred, Lord Tennyson. It tells the story of a young noble woman imprisoned in a tower on an island near Camelot. She can only watch the outside world through a mirror and must weave what she sees. She has heard that if she looks at Camelot directly, she will be cursed. --- Support this podcast: https://anchor.fm/hmphaudiobooks/support

'The Lady of Shalott (after Tennyson)' by Becky Varley-Winter with excerpt from 'Aurora Leigh' by Elizabeth Barrett Browning read by Becky Varley-Winter. 'The Lady of Shalott (after Tennyson)' was published by V Press in 2019. For more information visit http://vpresspoetry.blogspot.com/p/heroines.html?m=1 'Aurora Leigh' was first published in 1856. A transcript with this extract can be found at https://books.google.co.uk/books?id=6AdwBAAAQBAJ&pg=PA22&lpg=PA22&dq=Aurora+Leigh+%22then+something+moved+me%22&source=bl&ots=L7OEcqCitV&sig=ACfU3U0ydV4e0eLgcMx7NnxLJ-kKZ4ISRQ&hl=en&sa=X&ved=2ahUKEwiA7eOi4sToAhWjsXEKHXmSCiQQ6AEwAHoECA0QKQ#v=onepage&q=Aurora%20Leigh%20%22then%20something%20moved%20me%22&f=false

The next chapter in the ongoing full cast fantasy adventures of The Immortal Legends of King Arthur and the Knights of the Table Round! This time with the timeless tale of Culhwch and Olwen!

The next chapter in the ongoing full cast fantasy adventures of The Immortal Legends of King Arthur and the Knights of the Table Round! This time with the timeless tale of Culhwch and Olwen! Learn more about your ad choices. Visit megaphone.fm/adchoices

Notes:Fable states that she believes the idea for the exercise of reading a poem and then attempting to recreate the work from memory came from Mary Oliver. This is correct, and the recommendation came from her book The Poetry Handbook.Fable uses poetry from Anis Mojgani’s book, In the Pockets of Small Gods as inspiration for the style behind her second poem.The Verbivore references a sentence from Naomi Novik’s Uprooted where all the words worked together to support an overarching feeling of solitude and emotional isolation. Here is that quote:“The bed was small and narrow, canopied and curtained in with red velvet; a single chair stood before the fireplace, beautifully carved, alone; a single book on the small table beside it with a single cup of wine, half-drunk”.The Verbivore mentions Jasper Fforde as a favorite (and absurdist) author that she may want to try to emulate in a future Prose imitation excercise. If you have not yet had a chance to read this author and would like to, The Eyre Affair is a good representation of his unique style and borrows from Jane Eyre with entertaining results.Poems mentioned:Today by Mary OliverThe Lady of Shalott by Alfred, Lord TennysonThe Red Wheelbarrow by William Carlos WilliamsBooks mentioned:A Poetry Handbook by Mary OliverLight Filters In: Poems by Caroline KaufmanA Thousand Mornings by Mary OliverUprooted by Naomi NovikIn the Pockets of Small Gods by Anis MojganiMusic from: https://filmmusic.io’Friendly day’ by Kevin MacLeod (https://incompetech.com) Licence: CC BY (https://creativecommons.org/licenses/by/4.0/)

Alfred Tennyson, 1st Baron Tennyson was a British poet. He was the Poet Laureate of Great Britain and Ireland during much of Queen Victoria's reign and remains one of the most popular British poets. Today we examine three of Tennyson's poems, “Ulysses,” “The Lady of Shalott, and “Tears, Idle Tears.”

Alfred Tennyson, 1st Baron Tennyson was a British poet. He was the Poet Laureate of Great Britain and Ireland during much of Queen Victoria's reign and remains one of the most popular British poets. Although decried by some critics as overly sentimental, his verse soon proved popular and brought Tennyson to the attention of well-known writers of the day, including Samuel Taylor Coleridge. Tennyson's early poetry, with its medievalism and powerful visual imagery, was a major influence on the Pre-Raphaelite Brotherhood, a group of Victorian-era painters. A number of phrases from Tennyson's work have become commonplaces of the English language, including "Nature, red in tooth and claw," “Tis better to have loved and lost / Than never to have loved at all," "Theirs not to reason why, / Theirs but to do and die," "My strength is as the strength of ten, / Because my heart is pure," "To strive, to seek, to find, and not to yield," "Knowledge comes, but Wisdom lingers," and "The old order changeth, yielding place to new.”  He is the ninth most frequently quoted writer in The Oxford Dictionary of Quotations. Today we examine three of Tennyson’s poems, “Ulysses,” “The Lady of Shalott, and “Tears, Idle Tears.”                  

We examine three readings of Tennyson's The Lady of Shalott, through the lenses of Creativity, Feminism, and Adolescence. 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/ Image: "The Lady of Shalott" by Walter Crane, 1862, oil on canvas. Public domain image, courtesy of Wikimedia.org

Spend some time contemplating an ambiguous curse as we listen to Alfred Tennyson's best-known narrative poem, "The Lady of Shalott" (1842 version). 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/ Image: Photo by Engin Akyurt from Pexels - www.pexels.com/photo/brown-knitted-textile-1487703/

Troostradio presents: Muziek Collage 025Troostradio.nl is the online radiostation with non-stop Sweet Memories music.- Where words fail , music speaks .- Musik spricht dort, wo worte versagen .- Qùand Les Mots échouent La Musique Parle ,- Waar woorden te kort schieten, spreekt de muziek.Naast een prachtig gedicht van Tom O'Bedlam komen de volgende artiesten non-stop voorbij: Chris Rea : Tell Me There's A Heaven - Claudia de Breij: Mag ik dan bij jou -Conny Vandenbos: Liefste - Dennie Christian: Als er nooit meer een morgen zou zijn - Departures: Okuribito (Memory) -Dinand Woesthoff: Slaap Zacht - Do: Engel zonder vleugels -Eagles: Love will keep us alive - Eric Weterings: De bloemen voor - George Michael: You Have Been Loved - Loreena McKennitt: The Lady of Shalott en Sting: Shape of My Heart** Troostradio.nl Apps are available in the Stores**** Troostradio.nl is also available on Spotify **follow us on https://troostradio.blogspot.com

A lyrical ballad by the English poet Alfred, Lord Tennyson. It tells the story of a young noble woman imprisoned in a tower on an island near Camelot. She can only watch the outside world through a mirror and must weave what she sees. She has heard that if she looks at Camelot directly, she will be cursed. --- Support this podcast: https://anchor.fm/hmphaudiobooks/support

To celebrate All Hallow's Eve and the Month of the Holy Souls, Michael welcomes historian and author Tom McDonald.It can be hard to think of saints having any opinions on ghostly apparitions or haunting dreams. However, as Tom makes clear, saints from Augustine to Thomas Aquinas shared their thoughts on the possibility of seeing spirits as well as their own experiences. Are they the souls of purgatory, angels, or devils? We'll discuss that as well as the new pop phenomenons surrounding Halloween.Other things we discuss in today's show:St. Gregory the Great's tales of spirits from Purgatory reaching out to the living for prayers.A purgatorial vision of the Wild Hunt.Why the modern world is fascinated by ghosts and what dangers this curiosity can pose.Prayers for the dead and why they are necessary.Resources we mentioned:Check out Weird Catholic to learn more about today's subject. Especially check out these articles:"The Wild Hunt and the Purgatorial Procession.""St. Augustine’s Ghost Story"You can also find Tom and Weird Catholic on Facebook and Twitter.Books we mentioned on the podcast:Lord of the World by Robert Hugh BensonA Mirror of Shalott by Robert Hugh BensonGhost Stories of an Antiquary by M. R. JamesSupport the show (https://catholicexchange.com/donate)

Bree Moore has been writing fantasy since the fourth grade. She lives in Ogden, is wife to an amazing husband, and the mother of four children. She writes fantasy novels between doling out cheerios and folding laundry. Her most recent book is Woven. In real-life, Bree works as a birth doula, attending women in pregnancy and labor, which is huge inspiration for her writing. Bree loves shopping for groceries like other women like shopping for shoes (no, seriously), movies that make her cry, and Celtic music. She likes both her chocolate and her novels dark.  Do you have an ‘elevator pitch’ for Woven, to summarize it for our audience members who maybe haven’t read it before? It's a retelling of the Arthurian legend, and it's got a lot of really neat twists and a female cast. I focus heavily on a mostly female characters because they get a little neglected sometimes when we're talking about King Arthur and the Round Table. I don’t recognize the characters of Sir Gereck or Winna — did you make those up?  Winna is made up because Sir Gereck needed a wife. Gereck is technically listed as one of those as a knight of the Round Table. I based him off of like some other stories from other knights. In my Arthurian legends studies I covered very little of the Lady of the Lake, Nimue. I didn’t realize she took physical form and wasn’t always in the lake! What were your sources on that? When I was writing woven I was really intrigued by how many different characters seem to have so many different names. And I really wanted to find a way to kind of include that in woven. Just the fact that these are all like the same people, but they have different aspects of themselves. I watched the BBC show “Merlin” a bunch of times as one main source! Tell me a little about your journey writing “Woven.” Where did the idea come from?And do you have a long-standing Arthurian legend obsession, or were the legends just necessary to the idea? A little bit, yeah. I think the first book I read in Arthurian legend was probably the Merlin series by TS White. Then in college actually had the opportunity to go on study abroad to Great Britain and did a tour of former sites potentially associated with the legends. Then my mom and I used to take turns trying to inspire each other with Arthurian legends, and she challenged me to write something on The Lady of Shalott. Probably one of the biggest reasons Elaina takes such a huge role is because the story started with her and I was halfway through the book before I realized that Guinevere needed a stronger part in the book. You’re self-published, right? I am kind hybrid published in a way. I work with an indie publisher, and there's some things that I do like other self published authors do. So I hired my own editor, I hire my own cover artists, and then I send it off to my publisher and they work with Ingram to distribute my books. So my book is treated like a traditionally published book, but I have a lot of say in my deadlines and what everything looks like and a lot of control over the final product and I really love that. But I'm like any author that isn't huge: I do the bulk of the marketing. What advice might you have for other self-published authors out there: what’s the most effective marketing strategy you’ve used to date? (Or perhaps the top three?) Well the very first one, and I only say this because I am not actually there yet, but it's what everyone tells me: write the next book. I've tried focusing on promoting Woven by itself, with mixed results, and it's kind of discouraging to not have something for, for readers to go to next. So I think I'd rather build up a backlist a little bit. What are you working on now? I'm working on a ton of things right now. I am a super busy mom, but I refuse to let go of my writing. I'm working on the sequel to Woven, it's called Bound and it comes out September 1. And then I just had a short story accepted to an anthology. I have two other anthologies that I'm working on, and one comes out in December. Then I've started an urban fantasy trilogy that I hope will be released next year. Who are some of your favorite authors/books that you would consider to be your inspirations? Brandon Sanderson is one of my favorites. Anything I haven’t asked you that you want to make sure you communicate to our audience? Summer is the best time to read. So I think everyone should read in the summer and find a new book!  

On either side the river lie Long fields of barley and of rye, That clothe the wold and meet the sky; 河流的两岸，大麦和黑麦的农田，麦覆盖着平野，远接长天； And thro' the field the road runs by To many-tower'd Camelot; 还有一条路穿行田野间，通向古堡卡默洛特； And up and down the people go, Gazing where the lilies blow Round an island there below, The island of Shalott. 人们在那路上来来往往，把大片盛开的睡莲凝望，盛开在小岛的四面八方，那就是小岛夏洛特。 Willows whiten, aspens quiver, Little breezes dusk and shiver Thro' the wave that runs for ever 柳树泛白光，山杨在颤抖，拂过的风儿虽说极轻柔，也吹暗河面，把河水吹皱， By the island in the river Flowing down to Camelot. 而河水在岛旁流啊流，终年不息流往卡默洛特。 Four gray walls, and four gray towers, Overlook a space of flowers, And the silent isle imbowers The Lady of Shalott. 四面灰色的墙，四座灰色的塔，俯瞰...

Luke, Kiara & Victoria look at The Lady of Shalott, discussing the poem's focus on medieval technique, and what the team got out of the text. The post Catholics Read The Lady of Shalott appeared first on Cradio.

A reading and analysis of Tennyson's famous Arthurian poem.

A poem by Alfred Tennyson set in the time of King Arthur and Camelot.

Alfred, Lord Tennyson read by Classic Poetry Aloud: http://www.classicpoetryaloud.com Giving voice to the poetry of the past. --------------------------------------------- The Lady of Shalott by Alfred, Lord Tennyson (1809 – 1892) 1842 edition Part I. On either side the river lie Long fields of barley and of rye, That clothe the wold and meet the sky; And thro' the field the road runs by To many-tower'd Camelot; And up and down the people go, Gazing where the lilies blow Round an island there below, The island of Shalott. Willows whiten, aspens quiver, Little breezes dusk and shiver Thro' the wave that runs for ever By the island in the river Flowing down to Camelot. Four gray walls, and four gray towers, Overlook a space of flowers, And the silent isle imbowers The Lady of Shalott. By the margin, willow-veil'd Slide the heavy barges trail'd By slow horses; and unhail'd The shallop flitteth silken-sail'd Skimming down to Camelot: But who hath seen her wave her hand? Or at the casement seen her stand? Or is she known in all the land, The Lady of Shalott? Only reapers, reaping early In among the bearded barley, Hear a song that echoes cheerly From the river winding clearly, Down to tower'd Camelot: And by the moon the reaper weary, Piling sheaves in uplands airy, Listening, whispers "'Tis the fairy Lady of Shalott." Part II. There she weaves by night and day A magic web with colours gay. She has heard a whisper say, A curse is on her if she stay To look down to Camelot. She knows not what the curse may be, And so she weaveth steadily, And little other care hath she, The Lady of Shalott. And moving thro' a mirror clear That hangs before her all the year, Shadows of the world appear. There she sees the highway near Winding down to Camelot: There the river eddy whirls, And there the surly village-churls, And the red cloaks of market girls, Pass onward from Shalott. Sometimes a troop of damsels glad, An abbot on an ambling pad, Sometimes a curly shepherd-lad, Or long-hair'd page in crimson clad, Goes by to tower'd Camelot; And sometimes thro' the mirror blue The knights come riding two and two: She hath no loyal knight and true, The Lady of Shalott. But in her web she still delights To weave the mirror's magic sights, For often thro' the silent nights A funeral, with plumes and lights And music, went to Camelot: Or when the moon was overhead, Came two young lovers lately wed; "I am half-sick of shadows," said The Lady of Shalott. Part III. A bow-shot from her bower-eaves, He rode between the barley-sheaves, The sun came dazzling thro' the leaves, And flamed upon the brazen greaves Of bold Sir Lancelot. A redcross knight for ever kneel'd To a lady in his shield, That sparkled on the yellow field, Beside remote Shalott. The gemmy bridle glitter'd free, Like to some branch of stars we see Hung in the golden Galaxy. The bridle-bells rang merrily As he rode down to Camelot: And from his blazon'd baldric slung A mighty silver bugle hung, And as he rode his armour rung, Beside remote Shalott. All in the blue unclouded weather Thick-jewell'd shone the saddle-leather, The helmet and the helmet-feather Burn'd like one burning flame together, As he rode down to Camelot. As often thro' the purple night, Below the starry clusters bright, Some bearded meteor, trailing light, Moves over still Shalott. His broad clear brow in sunlight glow'd; On burnish'd hooves his war-horse trode; From underneath his helmet flow'd His coal-black curls as on he rode, As he rode down to Camelot. From the bank and from the river He flash'd into the crystal mirror, "Tirra lirra," by the river Sang Sir Lancelot. She left the web, she left the loom, She made three paces thro' the room, She saw the water-lily bloom, She saw the helmet and the plume, She look'd down to Camelot. Out flew the web and floated wide; The mirror crack'd from side to side; "The curse is come upon me," cried The Lady of Shalott. Part IV. In the stormy east-wind straining, The pale-yellow woods were waning, The broad stream in his banks complaining, Heavily the low sky raining Over tower'd Camelot; Down she came and found a boat Beneath a willow left afloat, And round about the prow she wrote The Lady of Shalott. And down the river's dim expanse-- Like some bold seër in a trance, Seeing all his own mischance-- With a glassy countenance Did she look to Camelot. And at the closing of the day She loosed the chain, and down she lay; The broad stream bore her far away, The Lady of Shalott. Lying, robed in snowy white That loosely flew to left and right-- The leaves upon her falling light-- Thro' the noises of the night She floated down to Camelot: And as the boat-head wound along The willowy hills and fields among, They heard her singing her last song, The Lady of Shalott. Heard a carol, mournful, holy, Chanted loudly, chanted lowly, Till her blood was frozen slowly, And her eyes were darken'd wholly, Turn'd to tower'd Camelot; For ere she reach'd upon the tide The first house by the water-side, Singing in her song she died, The Lady of Shalott. Under tower and balcony, By garden-wall and gallery, A gleaming shape she floated by, A corse between the houses high, Silent into Camelot. Out upon the wharfs they came, Knight and burgher, lord and dame, And round the prow they read her name, The Lady of Shalott. Who is this? and what is here? And in the lighted palace near Died the sound of royal cheer; And they cross'd themselves for fear, All the knights at Camelot: But Lancelot mused a little space; He said, "She has a lovely face; God in his mercy lend her grace, The Lady of Shalott." Reading © Classic Poetry Aloud, 2008.

In part four of 2011′s edition of Finding God On Your iPod, we look at the song "If I Die Young" by The Band Perry. The song is loosely based on the poem The Lady of Shalott by Lord Alfred Tennyson and deals with the subject of your own death. Modern society avoids speaking, or even thinking, about our own demise, but the undeniable reality is one day we are all going to die. And faced with that reality, one must wonder then what the meaning of life is; what is it all about? When death is imminent, there can come a clarity as to what really matters in life. The meaning of life is love. We are created by the God who is supremely identified with love. As you work out the equation for the meaning of life, if it doesn't add up to love, go back and recalculate. "Love bears all things, believes all things, hopes all things, endures all things. Love never ends. So now abide faith, hope, and love, these three; but the greatest of these is love."

Lord Tennyson read by Classic Poetry Aloud: http://www.classicpoetryaloud.com/ Giving voice to the poetry of the past. --------------------------------------------- The Lady of Shalott by Alfred, Lord Tennyson (1809 – 1892) 1842 edition Part I. On either side the river lie Long fields of barley and of rye, That clothe the wold and meet the sky; And thro' the field the road runs by To many-tower'd Camelot; And up and down the people go, Gazing where the lilies blow Round an island there below, The island of Shalott. Willows whiten, aspens quiver, Little breezes dusk and shiver Thro' the wave that runs for ever By the island in the river Flowing down to Camelot. Four gray walls, and four gray towers, Overlook a space of flowers, And the silent isle imbowers The Lady of Shalott. By the margin, willow-veil'd Slide the heavy barges trail'd By slow horses; and unhail'd The shallop flitteth silken-sail'd Skimming down to Camelot: But who hath seen her wave her hand? Or at the casement seen her stand? Or is she known in all the land, The Lady of Shalott? Only reapers, reaping early In among the bearded barley, Hear a song that echoes cheerly From the river winding clearly, Down to tower'd Camelot: And by the moon the reaper weary, Piling sheaves in uplands airy, Listening, whispers "'Tis the fairy Lady of Shalott." Part II. There she weaves by night and day A magic web with colours gay. She has heard a whisper say, A curse is on her if she stay To look down to Camelot. She knows not what the curse may be, And so she weaveth steadily, And little other care hath she, The Lady of Shalott. And moving thro' a mirror clear That hangs before her all the year, Shadows of the world appear. There she sees the highway near Winding down to Camelot: There the river eddy whirls, And there the surly village-churls, And the red cloaks of market girls, Pass onward from Shalott. Sometimes a troop of damsels glad, An abbot on an ambling pad, Sometimes a curly shepherd-lad, Or long-hair'd page in crimson clad, Goes by to tower'd Camelot; And sometimes thro' the mirror blue The knights come riding two and two: She hath no loyal knight and true, The Lady of Shalott. But in her web she still delights To weave the mirror's magic sights, For often thro' the silent nights A funeral, with plumes and lights And music, went to Camelot: Or when the moon was overhead, Came two young lovers lately wed; "I am half-sick of shadows," said The Lady of Shalott. Part III. A bow-shot from her bower-eaves, He rode between the barley-sheaves, The sun came dazzling thro' the leaves, And flamed upon the brazen greaves Of bold Sir Lancelot. A redcross knight for ever kneel'd To a lady in his shield, That sparkled on the yellow field, Beside remote Shalott. The gemmy bridle glitter'd free, Like to some branch of stars we see Hung in the golden Galaxy. The bridle-bells rang merrily As he rode down to Camelot: And from his blazon'd baldric slung A mighty silver bugle hung, And as he rode his armour rung, Beside remote Shalott. All in the blue unclouded weather Thick-jewell'd shone the saddle-leather, The helmet and the helmet-feather Burn'd like one burning flame together, As he rode down to Camelot. As often thro' the purple night, Below the starry clusters bright, Some bearded meteor, trailing light, Moves over still Shalott. His broad clear brow in sunlight glow'd; On burnish'd hooves his war-horse trode; From underneath his helmet flow'd His coal-black curls as on he rode, As he rode down to Camelot. From the bank and from the river He flash'd into the crystal mirror, "Tirra lirra," by the river Sang Sir Lancelot. She left the web, she left the loom, She made three paces thro' the room, She saw the water-lily bloom, She saw the helmet and the plume, She look'd down to Camelot. Out flew the web and floated wide; The mirror crack'd from side to side; "The curse is come upon me," cried The Lady of Shalott. Part IV. In the stormy east-wind straining, The pale-yellow woods were waning, The broad stream in his banks complaining, Heavily the low sky raining Over tower'd Camelot; Down she came and found a boat Beneath a willow left afloat, And round about the prow she wrote The Lady of Shalott. And down the river's dim expanse-- Like some bold seër in a trance, Seeing all his own mischance-- With a glassy countenance Did she look to Camelot. And at the closing of the day She loosed the chain, and down she lay; The broad stream bore her far away, The Lady of Shalott. Lying, robed in snowy white That loosely flew to left and right-- The leaves upon her falling light-- Thro' the noises of the night She floated down to Camelot: And as the boat-head wound along The willowy hills and fields among, They heard her singing her last song, The Lady of Shalott. Heard a carol, mournful, holy, Chanted loudly, chanted lowly, Till her blood was frozen slowly, And her eyes were darken'd wholly, Turn'd to tower'd Camelot; For ere she reach'd upon the tide The first house by the water-side, Singing in her song she died, The Lady of Shalott. Under tower and balcony, By garden-wall and gallery, A gleaming shape she floated by, A corse between the houses high, Silent into Camelot. Out upon the wharfs they came, Knight and burgher, lord and dame, And round the prow they read her name, The Lady of Shalott. Who is this? and what is here? And in the lighted palace near Died the sound of royal cheer; And they cross'd themselves for fear, All the knights at Camelot: But Lancelot mused a little space; He said, "She has a lovely face; God in his mercy lend her grace, The Lady of Shalott." First aired: 2 August 2008 For hundreds more poetry readings, visit the Classic Poetry Aloud index. Reading © Classic Poetry Aloud 2008

Lord Tennyson read by Classic Poetry Aloud: http://www.classicpoetryaloud.com/ Giving voice to the poetry of the past. --------------------------------------------- The Lady of Shalott by Alfred, Lord Tennyson (1809 – 1892) 1842 edition Part I. On either side the river lie Long fields of barley and of rye, That clothe the wold and meet the sky; And thro' the field the road runs by To many-tower'd Camelot; And up and down the people go, Gazing where the lilies blow Round an island there below, The island of Shalott. Willows whiten, aspens quiver, Little breezes dusk and shiver Thro' the wave that runs for ever By the island in the river Flowing down to Camelot. Four gray walls, and four gray towers, Overlook a space of flowers, And the silent isle imbowers The Lady of Shalott. By the margin, willow-veil'd Slide the heavy barges trail'd By slow horses; and unhail'd The shallop flitteth silken-sail'd Skimming down to Camelot: But who hath seen her wave her hand? Or at the casement seen her stand? Or is she known in all the land, The Lady of Shalott? Only reapers, reaping early In among the bearded barley, Hear a song that echoes cheerly From the river winding clearly, Down to tower'd Camelot: And by the moon the reaper weary, Piling sheaves in uplands airy, Listening, whispers "'Tis the fairy Lady of Shalott." Part II. There she weaves by night and day A magic web with colours gay. She has heard a whisper say, A curse is on her if she stay To look down to Camelot. She knows not what the curse may be, And so she weaveth steadily, And little other care hath she, The Lady of Shalott. And moving thro' a mirror clear That hangs before her all the year, Shadows of the world appear. There she sees the highway near Winding down to Camelot: There the river eddy whirls, And there the surly village-churls, And the red cloaks of market girls, Pass onward from Shalott. Sometimes a troop of damsels glad, An abbot on an ambling pad, Sometimes a curly shepherd-lad, Or long-hair'd page in crimson clad, Goes by to tower'd Camelot; And sometimes thro' the mirror blue The knights come riding two and two: She hath no loyal knight and true, The Lady of Shalott. But in her web she still delights To weave the mirror's magic sights, For often thro' the silent nights A funeral, with plumes and lights And music, went to Camelot: Or when the moon was overhead, Came two young lovers lately wed; "I am half-sick of shadows," said The Lady of Shalott. Part III. A bow-shot from her bower-eaves, He rode between the barley-sheaves, The sun came dazzling thro' the leaves, And flamed upon the brazen greaves Of bold Sir Lancelot. A redcross knight for ever kneel'd To a lady in his shield, That sparkled on the yellow field, Beside remote Shalott. The gemmy bridle glitter'd free, Like to some branch of stars we see Hung in the golden Galaxy. The bridle-bells rang merrily As he rode down to Camelot: And from his blazon'd baldric slung A mighty silver bugle hung, And as he rode his armour rung, Beside remote Shalott. All in the blue unclouded weather Thick-jewell'd shone the saddle-leather, The helmet and the helmet-feather Burn'd like one burning flame together, As he rode down to Camelot. As often thro' the purple night, Below the starry clusters bright, Some bearded meteor, trailing light, Moves over still Shalott. His broad clear brow in sunlight glow'd; On burnish'd hooves his war-horse trode; From underneath his helmet flow'd His coal-black curls as on he rode, As he rode down to Camelot. From the bank and from the river He flash'd into the crystal mirror, "Tirra lirra," by the river Sang Sir Lancelot. She left the web, she left the loom, She made three paces thro' the room, She saw the water-lily bloom, She saw the helmet and the plume, She look'd down to Camelot. Out flew the web and floated wide; The mirror crack'd from side to side; "The curse is come upon me," cried The Lady of Shalott. Part IV. In the stormy east-wind straining, The pale-yellow woods were waning, The broad stream in his banks complaining, Heavily the low sky raining Over tower'd Camelot; Down she came and found a boat Beneath a willow left afloat, And round about the prow she wrote The Lady of Shalott. And down the river's dim expanse-- Like some bold seër in a trance, Seeing all his own mischance-- With a glassy countenance Did she look to Camelot. And at the closing of the day She loosed the chain, and down she lay; The broad stream bore her far away, The Lady of Shalott. Lying, robed in snowy white That loosely flew to left and right-- The leaves upon her falling light-- Thro' the noises of the night She floated down to Camelot: And as the boat-head wound along The willowy hills and fields among, They heard her singing her last song, The Lady of Shalott. Heard a carol, mournful, holy, Chanted loudly, chanted lowly, Till her blood was frozen slowly, And her eyes were darken'd wholly, Turn'd to tower'd Camelot; For ere she reach'd upon the tide The first house by the water-side, Singing in her song she died, The Lady of Shalott. Under tower and balcony, By garden-wall and gallery, A gleaming shape she floated by, A corse between the houses high, Silent into Camelot. Out upon the wharfs they came, Knight and burgher, lord and dame, And round the prow they read her name, The Lady of Shalott. Who is this? and what is here? And in the lighted palace near Died the sound of royal cheer; And they cross'd themselves for fear, All the knights at Camelot: But Lancelot mused a little space; He said, "She has a lovely face; God in his mercy lend her grace, The Lady of Shalott." First aired: 2 August 2008 For hundreds more poetry readings, visit the Classic Poetry Aloud index. Reading © Classic Poetry Aloud 2008