Podcasts about tennyson

Solvonis Therapeutics PLC CEO Anthony Tennyson talked with Proactive's Stephen Gunnion about the company's transformation and its strategy moving into 2025. Tennyson explained that the company, formerly known as Graft Polymer, exited its industrial plastics business in 2024 to focus entirely on biotechnology, particularly mental health and addiction treatments. "These are segments which have large addressable markets, poor current standards of care and therefore significant unmet medical needs," he said. He outlined how the company raised £1.8 million in mid-2024 to support its new growth strategy, which includes partnerships, joint ventures, and acquisitions. A central part of this strategy is the pending acquisition of Awakn Life Sciences, a clinical-stage biotech company focused on alcohol use disorder (AUD) and PTSD. Solvonis is acquiring Awakn in an all-paper deal valued between £3 million and £5 million. Tennyson said this represented significant value, highlighting that similar assets could command substantially higher valuations. Awakn's AWKN-001, targeting severe AUD, is in phase 3 trials in the UK and EU. AWKN-002, for the US market, has received FDA support for a faster 505(b)(2) development pathway, allowing the use of Johnson & Johnson's SPRAVATO® data to accelerate progress. Tennyson said the top priority for 2025 is closing and integrating the acquisition and executing on the clinical programs. He emphasised plans to file for FDA approval of a phase 2B trial and to continue to work with Awakn's existing UK partners. Visit Proactive's YouTube channel for more updates like this. Don't forget to like the video, subscribe to the channel, and enable notifications for future content. #Solvonis #BiotechNews #MentalHealthTreatment #AddictionRecovery #PTSDResearch #AlcoholUseDisorder #PharmaInvesting #AwaknAcquisition #ClinicalTrials #HealthcareInnovation

Today we are sharing the first of our Blister Summit 2025 panel sessions, and we've got a great one to kick things off. We're asking the pros — Hoji, Ted, Anne, and Jess — how they go about assessing and testing ski and snowboard gear, and what advice they have for the rest of us? Plus you'll hear Ted share one of his favorite (but questionable??) ways of testing skis.RELATED LINKS:Get Yourself Covered: BLISTER+ BLISTER YouTube ChannelTOPICS & TIMES:BLISTER+ Updates (00:00)Intros (5:34)Evaluating Prototypes (8:21)Assessing Gear for Yourself (11:35)Going in Blind vs Getting Info First (18:05)Gear You Liked but Didn't Expect to? (23:29)Advice on How to Evaluate (28:41)Trickiest Variables when Testing? (34:10)Ted's Favorite Testing Method (38:55)Audience Q&A:Evaluating Pow Skis Outside of Pow? (46:26)Intuitive Products vs. Adapting to Them (49:27)Personal Preference vs. Objective Performance (54:00)How to Rule Out a Bad Tune? (55:29)How Many Runs Should You Take? (56:48)What Notes Do You Take? (1:00:16)CHECK OUT OUR OTHER PODCASTS:Blister CinematicCRAFTEDBikes & Big IdeasBlister Podcast Hosted on Acast. See acast.com/privacy for more information.

Solvonis Therapeutics PLC (LSE:SVNS) CEO Anthony Tennyson talked with Proactive about the company's strategic move to commercialise two clinical-stage assets targeting alcohol use disorder (AUD). Tennyson explained that Solvonis has engaged PharmaVentures to support valuation and potential out-licensing for two lead programs—AWKN-001 and AWKN-002. PharmaVentures was chosen based on its three-decade track record in biopharma M&A advisory, with over 1,000 deals completed. Tennyson noted, “We've selected them for three reasons: their expertise, their experience, and their reach.” The two assets originated from Solvonis's planned acquisition of Awakn Life Sciences, a transaction expected to be completed in the second quarter. AWKN-001, now in Phase 3 trials, targets severe AUD in the UK and EU. PharmaVentures estimates the asset could yield around £60 million in upfront and milestone payments, plus significant double-digit royalties. AWKN-002, focused on moderate to severe AUD in the US, is in Phase 2B planning. This program could generate approximately £150 million, based on comparable transactions. Tennyson emphasised the unmet medical need, citing a 75% relapse rate within a year for current AUD treatments. “That represents a significant commercial opportunity for Solvonis,” he said. For more interviews like this, visit Proactive's YouTube channel. Give this video a like, subscribe, and enable notifications to stay updated. #SolvonisTherapeutics #AlcoholUseDisorder #BiotechNews #ClinicalTrials #AWKN001 #AWKN002 #AddictionTreatment #PharmaVentures #MentalHealthInnovation #BiopharmaDeals #InvestorUpdate #HealthcareStocks #Phase3Trial #Outlicensing #Q2Milestones

Could ending division help cut waiting lists, improve education and provide better services? An Alliance motion is drawing attention to the near £1bn cost of a divided society. Frank spoke to the party's finance spokesman Eóin Tennyson Hosted on Acast. See acast.com/privacy for more information.

Anchored in Worship // Pastor Joe Tennyson by Fellowship Church

Each year on the first Friday of the month of March, World Day of Prayer is held throughout the world. Women of every nation, creed and color, gather together in a place of worship to offer their prayers in word and song. They offer their prayers for peace and reconciliation and have become God's ambassadors and prayer warriors to the world. World Day of Prayer has touched the hearts of many throughout the world. I believe it was Tennyson who once said, "More things are wrought by prayer than this world ever dreams of." So let your voice rise like a fountain night and day. Frank Laubach also stated, "Prayer is the mightiest power in the world. Throughout this world, many men and women are becoming more and more aware of the tremendous power in prayer." An unknown author once wrote, "When we depend upon organizations, we get what organizations can do. When we depend upon education, we get what education can do. When we depend on man, we get what men can do. But when we depend upon prayer, we get what God can do." May every day be a World Day of Prayer!Warm Thoughts on Prayer: If you are going to pray, don't worry. Pray often, for prayer is a shield to the soul. The fewer the words, the better the prayer. Martin Luther. The family who prays together, stays together. May each day be a World Day of Prayer!Warm Thoughts from the Little Home on the Prairie Over a Cup of Tea written by Dr. Luetta G. WernerPublished in the Marion Record March 15th, 1996Download the Found Photo Freebie and cherish your memories of the past.Enjoy flipping through the Vintage Photo Book on your coffee table.I hope you enjoyed this podcast episode! Please follow along on this journey by going to visualbenedictions.com or following me on Instagram, Facebook, and Pinterest. You can listen to the podcast on Apple Podcast,Spotify,Stitcher, and Overcast. And don't forget to rate and review so more people can tune in! I'd greatly appreciate it.Till next time,Trina

Solvonis Therapeutics PLC (LSE:SVNS) CEO Anthony Tennyson talked with Proactive's Stephen Gunnion about the company's strategic move to acquire Awakn Life Sciences. Tennyson outlined how this acquisition aligns with Solvonis' vision of becoming a leader in the treatment of addiction and mental health disorders. He emphasised the significant commercial opportunity presented by Awakn's advanced clinical programs, particularly for alcohol use disorder and post-traumatic stress disorder. "Awakn Life Sciences has a leading position in the research and development of therapeutics for the treatment of alcohol use disorder and post-traumatic stress disorder," Tennyson noted. Highlighting the groundbreaking results of Awakn's AWKN-001 asset, he explained how clinical trials showed a jump from 2% to 86% sobriety among participants with severe alcohol use disorder. The acquisition is valued at approximately £5 million and is expected to strengthen Solvonis' foothold in the UK biotechnology ecosystem, offering near to medium-term commercial opportunities. Tennyson expressed confidence in the strategic value of the deal, describing it as "pretty good value for Solvonis and Solvonis shareholders. For more interviews and updates from leading companies, visit Proactive's YouTube channel. Don't forget to like the video, subscribe to the channel, and enable notifications for future content! #SolvonisTherapeutics #AnthonyTennyson #AwaknLifeSciences #Biotechnology #AddictionTreatment #MentalHealth #AlcoholUseDisorder #InvestmentNews #ClinicalTrials #ProactiveInvestors

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

The Charge of the Light Brigade was written in 1854 by Alfred Lord Tennyson, inspired by the disastrous cavalry charge at the Battle of Balaclava in the Crimean War. Tennyson was one of the greatest poets of the Victorian era. You probably know this poem. It's loved and and recited still around the world.

In this episode, James Marriott and I discuss who we think are the best twenty English poets. This is not the best poets who wrote in English, but the best British poets (though James snuck Sylvia Plath onto his list…). We did it like that to make it easier, not least so we could base a lot of our discussion on extracts in The Oxford Book of English Verse (Ricks edition). Most of what we read out is from there. We read Wordsworth, Keats, Hardy, Milton, and Pope. We both love Pope! (He should be regarded as one of the very best English poets, like Milton.) There are also readings of Herrick, Bronte, Cowper, and MacNiece. I plan to record the whole of ‘The Eve of St. Agnes' at some point soon.Here are our lists and below is the transcript (which may have more errors than usual, sorry!)HOGod Tier* Shakespeare“if not first, in the very first line”* Chaucer* Spenser* Milton* Wordsworth* Eliot—argue for Pope here, not usually includedSecond Tier* Donne* Herbert* Keats* Dryden* Gawain poet* Tom O'Bedlam poetThird Tier* Yeats* Tennyson* Hopkins* Coleridge* Auden* Shelley* MarvellJMShakespeareTier* ShakespeareTier 1* Chaucer* Milton* WordsworthTier 2* Donne* Eliot* Keats* Tennyson* Spencer* Marvell* PopeTier 3* Yeats* Hopkins* Blake* Coleridge* Auden* Shelley* Thomas Hardy* Larkin* PlathHenry: Today I'm talking to James Marriott, Times columnist, and more importantly, the writer of the Substack Cultural Capital. And we are going to argue about who are the best poets in the English language. James, welcome.James: Thanks very much for having me. I feel I should preface my appearance so that I don't bring your podcast and disrepute saying that I'm maybe here less as an expert of poetry and more as somebody who's willing to have strong and potentially species opinions. I'm more of a lover of poetry than I would claim to be any kind of academic expert, just in case anybody thinks that I'm trying to produce any definitive answer to the question that we're tackling.Henry: Yeah, no, I mean that's the same for me. We're not professors, we're just very opinionated boys. So we have lists.James: We do.Henry: And we're going to debate our lists, but what we do agree is that if we're having a top 20 English poets, Shakespeare is automatically in the God Tier and there's nothing to discuss.James: Yeah, he's in a category of his own. I think the way of, because I guess the plan we've gone for is to rather than to rank them 1, 2, 3, 4, 5, 6, 7 into sort of, what is it, three or four broad categories that we're competing over.Henry: Yes, yes. TiersJames: I think is a more kind of reasonable way to approach it rather than trying to argue exactly why it should be one place above Shelly or I don't know, whatever.Henry: It's also just an excuse to talk about poets.James: Yes.Henry: Good. So then we have a sort of top tier, if not the first, in the very first line as it were, and you've got different people. To me, you've got Chaucer, Milton, and Wordsworth. I would also add Spenser and T.S. Eliot. So what's your problem with Spenser?James: Well, my problem is ignorance in that it's a while since I've read the Fairy Queen, which I did at university. Partly is just that looking back through it now and from what I remember of university, I mean it is not so much that I have anything against Spenser. It's quite how much I have in favour of Milton and Wordsworth and Chaucer, and I'm totally willing to be argued against on this, but I just can't think that Spenser is in quite the same league as lovely as many passages of the Fairy Queen are.Henry: So my case for Spenser is firstly, if you go through something like the Oxford Book of English Verse or some other comparable anthology, he's getting a similar page count to Shakespeare and Milton, he is important in that way. Second, it's not just the fairy queen, there's the Shepherd's Calendar, the sonnets, the wedding poems, and they're all highly accomplished. The Shepherd's Calendar particularly is really, really brilliant work. I think I enjoyed that more as an undergraduate, actually, much as I love the Fairy Queen. And the third thing is that the Fairy Queen is a very, very great epic. I mean, it's a tremendous accomplishment. There were lots of other epics knocking around in the 16th century that nobody wants to read now or I mean, obviously specialists want to read, but if we could persuade a few more people, a few more ordinary readers to pick up the fairy queen, they would love it.James: Yes, and I was rereading before he came on air, the Bower of Bliss episode, which I think is from the second book, which is just a beautifully lush passage, passage of writing. It was really, I mean, you can see why Keats was so much influenced by it. The point about Spenser's breadth is an interesting one because Milton is in my top category below Shakespeare, but I think I'm placing him there pretty much only on the basis of Paradise Lost. I think if we didn't have Paradise Lost, Milton may not even be in this competition at all for me, very little. I know. I don't know if this is a heresy, I've got much less time for Milton's minor works. There's Samuel Johnson pretty much summed up my feelings on Lycidas when he said there was nothing new. Whatever images it can supply are long ago, exhausted, and I do feel there's a certain sort of dryness to Milton's minor stuff. I mean, I can find things like Il Penseroso and L'Allegro pretty enough, but I mean, I think really the central achievement is Paradise Lost, whereas Spenser might be in contention, as you say, from if you didn't have the Fairy Queen, you've got Shepherd's Calendar, and all this other sort of other stuff, but Paradise Lost is just so massive for me.Henry: But if someone just tomorrow came out and said, oh, we found a whole book of minor poetry by Virgil and it's all pretty average, you wouldn't say, oh, well Virgil's less of a great poet.James: No, absolutely, and that's why I've stuck Milton right at the top. It's just sort of interesting how unbelievably good Paradise Lost is and how, in my opinion, how much less inspiring the stuff that comes after it is Samson Agonistes and Paradise Regained I really much pleasure out of at all and how, I mean the early I think slightly dry Milton is unbelievably accomplished, but Samuel Johnson seems to say in that quote is a very accomplished use of ancient slightly worn out tropes, and he's of putting together these old ideas in a brilliant manner and he has this sort of, I mean I guess he's one of your late bloomers. I can't quite remember how old he is when he publishes Paradise Lost.Henry: Oh, he is. Oh, writing it in his fifties. Yeah.James: Yeah, this just extraordinary thing that's totally unlike anything else in English literature and of all the poems that we're going to talk about, I think is the one that has probably given me most pleasure in my life and the one that I probably return to most often if not to read all the way through then to just go over my favourite bits and pieces of it.Henry: A lot of people will think Milton is heavy and full of weird references to the ancient world and learned and biblical and not very readable for want of a better word. Can you talk us out of that? To be one of the great poets, they do have to have some readability, right?James: Yeah, I think so, and it's certainly how I felt. I mean I think it's not a trivial objection to have to Milton. It's certainly how I found him. He was my special author paper at university and I totally didn't get on with him. There was something about his massive brilliance that I felt. I remember feeling like trying to write about Paradise Lost was trying to kind of scratch a huge block of marble with your nails. There's no way to get a handle on it. I just couldn't work out what to get ahold of, and it's only I think later in adulthood maybe reading him under a little less pressure that I've come to really love him. I mean, the thing I would always say to people to look out for in Milton, but it's his most immediate pleasure and the thing that still is what sends shivers done my spine about him is the kind of cosmic scale of Paradise Lost, and it's almost got this sort of sci-fi massiveness to it. One of my very favourite passages, which I may inflict on you, we did agree that we could inflict poetry on one another.Henry: Please, pleaseJames: It's a detail from the first book of Paradise Lost. Milton's talking about Satan's architect in hell Mulciber, and this is a little explanation of who or part of his explanation of who Mulciber is, and he says, Nor was his name unheard or unadoredIn ancient Greece; and in Ausonian landMen called him Mulciber; and how he fellFrom Heaven they fabled, thrown by angry JoveSheer o'er the crystal battlements: from mornTo noon he fell, from noon to dewy eve,A summer's day, and with the setting sunDropt from the zenith, like a falling star,On Lemnos, th' Aegaean isle. Thus they relate,ErringI just think it's the sort of total massiveness of that universe that “from the zenith to like a falling star”. I just can't think of any other poet in English or that I've ever read in any language, frankly, even in translation, who has that sort of scale about it, and I think that's what can most give immediate pleasure. The other thing I love about that passage is this is part of the kind of grandeur of Milton is that you get this extraordinary passage about an angel falling from heaven down to th' Aegean Isle who's then going to go to hell and the little parenthetic remark at the end, the perm just rolls on, thus they relate erring and paradise lost is such this massive grand thing that it can contain this enormous cosmic tragedy as a kind of little parenthetical thing. I also think the crystal battlements are lovely, so wonderful kind of sci-fi detail.Henry: Yes, I think that's right, and I think it's under appreciated that Milton was a hugely important influence on Charles Darwin who was a bit like you always rereading it when he was young, especially on the beagle voyage. He took it with him and quotes it in his letters sometimes, and it is not insignificant the way that paradise loss affects him in terms of when he writes his own epic thinking at this level, thinking at this scale, thinking at the level of the whole universe, how does the whole thing fit together? What's the order behind the little movements of everything? So Milton's reach I think is actually quite far into the culture even beyond the poets.James: That's fascinating. Do you have a particular favourite bit of Paradise Lost?Henry: I do, but I don't have it with me because I disorganised and couldn't find my copy.James: That's fair.Henry: What I want to do is to read one of the sonnets because I do think he's a very, very good sonnet writer, even if I'm going to let the Lycidas thing go, because I'm not going to publicly argue against Samuel Johnson.When I consider how my light is spent,Ere half my days, in this dark world and wide,And that one Talent which is death to hideLodged with me useless, though my Soul more bentTo serve therewith my Maker, and presentMy true account, lest he returning chide;“Doth God exact day-labour, light denied?”I fondly ask. But patience, to preventThat murmur, soon replies, “God doth not needEither man's work or his own gifts; who bestBear his mild yoke, they serve him best. His stateIs Kingly. Thousands at his bidding speedAnd post o'er Land and Ocean without rest:They also serve who only stand and wait.”I think that's great.James: Yeah. Okay. It is good.Henry: Yeah. I think the minor poems are very uneven, but there are lots of gems.James: Yeah, I mean he is a genius. It would be very weird if all the minor poems were s**t, which is not really what I'm trying… I guess I have a sort of slightly austere category too. I just do Chaucer, Milton, Wordsworth, but we are agreed on Wordsworth, aren't we? That he belongs here.Henry: So my feeling is that the story of English poetry is something like Chaucer Spenser, Shakespeare, Milton, Wordsworth, T.S. Eliot create a kind of spine. These are the great innovators. They're writing the major works, they're the most influential. All the cliches are true. Chaucer invented iambic pentameter. Shakespeare didn't single handedly invent modern English, but he did more than all the rest of them put together. Milton is the English Homer. Wordsworth is the English Homer, but of the speech of the ordinary man. All these old things, these are all true and these are all colossal achievements and I don't really feel that we should be picking between them. I think Spenser wrote an epic that stands alongside the works of Shakespeare and Milton in words with T.S. Eliot whose poetry, frankly I do not love in the way that I love some of the other great English writers cannot be denied his position as one of the great inventors.James: Yeah, I completely agree. It's funny, I think, I mean I really do love T.S. Eliot. Someone else had spent a lot of time rereading. I'm not quite sure why he hasn't gone into quite my top category, but I think I had this—Henry: Is it because he didn't like Milton and you're not having it?James: Maybe that's part of it. I think my thought something went more along the lines of if I cut, I don't quite feel like I'm going to put John Donne in the same league as Milton, but then it seems weird to put Eliot above Donne and then I don't know that, I mean there's not a very particularly fleshed out thought, but on Wordsworth, why is Wordsworth there for you? What do you think, what do you think are the perms that make the argument for Wordsworth having his place at the very top?Henry: Well, I think the Lyrical Ballads, Poems in Two Volumes and the Prelude are all of it, aren't they? I'm not a lover of the rest, and I think the preface to the Lyrical Ballads is one of the great works of literary criticism, which is another coin in his jar if you like, but in a funny way, he's much more revolutionary than T.S. Eliot. We think of modernism as the great revolution and the great sort of bringing of all the newness, but modernism relies on Wordsworth so much, relies on the idea that tradition can be subsumed into ordinary voice, ordinary speech, the passage in the Wasteland where he has all of them talking in the bar. Closing time please, closing time please. You can't have that without Wordsworth and—James: I think I completely agree with what you're saying.Henry: Yeah, so I think that's for me is the basis of it that he might be the great innovator of English poetry.James: Yeah, I think you're right because I've got, I mean again, waiting someone out of my depth here, but I can't think of anybody else who had sort of specifically and perhaps even ideologically set out to write a kind of high poetry that sounded like ordinary speech, I guess. I mean, Wordsworth again is somebody who I didn't particularly like at university and I think it's precisely about plainness that can make him initially off-putting. There's a Matthew Arnold quote where he says of Wordsworth something like He has no style. Henry: Such a Matthew Arnold thing to say.James: I mean think it's the beginning of an appreciation, but there's a real blankness to words with I think again can almost mislead you into thinking there's nothing there when you first encounter him. But yeah, I think for me, Tintern Abbey is maybe the best poem in the English language.Henry: Tintern Abbey is great. The Intimations of Immortality Ode is superb. Again, I don't have it with me, but the Poems in Two Volumes. There are so many wonderful things in there. I had a real, when I was an undergraduate, I had read some Wordsworth, but I hadn't really read a lot and I thought of I as you do as the daffodils poet, and so I read Lyrical Ballads and Poems in Two Volumes, and I had one of these electrical conversion moments like, oh, the daffodils, that is nothing. The worst possible thing for Wordsworth is that he's remembered as this daffodils poet. When you read the Intimations of Immortality, do you just think of all the things he could have been remembered for? It's diminishing.James: It's so easy to get into him wrong because the other slightly wrong way in is through, I mean maybe this is a prejudice that isn't widely shared, but the stuff that I've never particularly managed to really enjoy is all the slightly worthy stuff about beggars and deformed people and maimed soldiers. Wandering around on roads in the lake district has always been less appealing to me, and that was maybe why I didn't totally get on with 'em at first, and I mean, there's some bad words with poetry. I was looking up the infamous lines from the form that were mocked even at the time where you know the lines that go, You see a little muddy pond Of water never dry. I've measured it from side to side, 'Tis three feet long and two feet wide, and the sort of plainness condescend into banality at Wordsworth's worst moments, which come more frequently later in his career.Henry: Yes, yes. I'm going to read a little bit of the Intimations ode because I want to share some of this so-called plainness at its best. This is the third section. They're all very short Now, while the birds thus sing a joyous song,And while the young lambs boundAs to the tabor's sound,To me alone there came a thought of grief:A timely utterance gave that thought relief,And I again am strong:The cataracts blow their trumpets from the steep;No more shall grief of mine the season wrong;I hear the Echoes through the mountains throng,The Winds come to me from the fields of sleep,And all the earth is gay;Land and seaGive themselves up to jollity,And with the heart of MayDoth every Beast keep holiday;—Thou Child of Joy,Shout round me, let me hear thy shouts, thou happy Shepherd-boy.And I think it's unthinkable that someone would write like this today. It would be cringe, but we're going to have a new sincerity. It's coming. It's in some ways it's already here and I think Wordsworth will maybe get a different sort of attention when that happens because that's a really high level of writing to be able to do that without it descending into what you just read. In the late Wordsworth there's a lot of that really bad stuff.James: Yeah, I mean the fact that he wrote some of that bad stuff I guess is a sign of quite how carefully the early stuff is treading that knife edge of tripping into banality. Can I read you my favourite bit of Tintern Abbey?Henry: Oh yes. That is one of the great poems.James: Yeah, I just think one of mean I, the most profound poem ever, probably for me. So this is him looking out over the landscape of Tinton Abbey. I mean these are unbelievably famous lines, so I'm sure everybody listening will know them, but they are so good And I have feltA presence that disturbs me with the joyOf elevated thoughts; a sense sublimeOf something far more deeply interfused,Whose dwelling is the light of setting suns,And the round ocean and the living air,And the blue sky, and in the mind of man:A motion and a spirit, that impelsAll thinking things, all objects of all thought,And rolls through all things. Therefore am I stillA lover of the meadows and the woodsAnd mountains; and of all that we beholdFrom this green earth; of all the mighty worldOf eye, and ear,—both what they half create,And what perceive; well pleased to recogniseIn nature and the language of the senseThe anchor of my purest thoughts, the nurse,The guide, the guardian of my heart, and soulOf all my moral being.I mean in a poem, it's just that is mind blowingly good to me?Henry: Yeah. I'm going to look up another section from the Prelude, which used to be in the Oxford Book, but it isn't in the Ricks edition and I don't really know whyJames: He doesn't have much of the Prelude does he?Henry: I don't think he has any…James: Yeah.Henry: So this is from an early section when the young Wordsworth is a young boy and he's going off, I think he's sneaking out at night to row on the lake as you do when you with Wordsworth, and the initial description is of a mountain. She was an elfin pinnace; lustilyI dipped my oars into the silent lake,And, as I rose upon the stroke, my boatWent heaving through the water like a swan;When, from behind that craggy steep till thenThe horizon's bound, a huge peak, black and huge,As if with voluntary power instinct,Upreared its head. I struck and struck again,And growing still in stature the grim shapeTowered up between me and the stars, and still,For so it seemed, with purpose of its ownAnd measured motion like a living thing,Strode after me. With trembling oars I turned,And through the silent water stole my wayBack to the covert of the willow tree;It's so much like that in Wordsworth. It's just,James: Yeah, I mean, yeah, the Prelude is full of things like that. I think that is probably one of the best moments, possibly the best moments of the prelude. But yeah, I mean it's just total genius isn't it?Henry: I think he's very, very important and yeah, much more important than T.S. Eliot who is, I put him in the same category, but I can see why you didn't.James: You do have a little note saying Pope, question mark or something I think, don't you, in the document.Henry: So the six I gave as the spine of English literature and everything, that's an uncontroversial view. I think Pope should be one of those people. I think we should see Pope as being on a level with Milton and Wordsworth, and I think he's got a very mixed reputation, but I think he was just as inventive, just as important. I think you are a Pope fan, just as clever, just as moving, and it baffles me that he's not more commonly regarded as part of this great spine running through the history of English literature and between Milton and Wordsworth. If you don't have Pope, I think it's a missing link if you like.James: I mean, I wouldn't maybe go as far as you, I love Pope. Pope was really the first perch I ever loved. I remember finding a little volume of Pope in a box of books. My school library was chucking out, and that was the first book of poetry I read and took seriously. I guess he sort of suffers by the fact that we are seeing all of this through the lens of the romantics. All our taste about Shakespeare and Milton and Spenser has been formed by the romantics and hope's way of writing the Satires. This sort of society poetry I think is just totally doesn't conform to our idea of what poetry should be doing or what poetry is. Is there absolutely or virtually nobody reads Dryden nowadays. It's just not what we think poetry is for that whole Augustine 18th century idea that poetry is for writing epistles to people to explain philosophical concepts to them or to diss your enemies and rivals or to write a kind of Duncia explaining why everyone you know is a moron. That's just really, I guess Byron is the last major, is the only of figure who is in that tradition who would be a popular figure nowadays with things like English bards and scotch reviewers. But that whole idea of poetry I think was really alien to us. And I mean I'm probably formed by that prejudice because I really do love Pope, but I don't love him as much as the other people we've discussed.Henry: I think part of his problem is that he's clever and rational and we want our poems always to be about moods, which may be, I think why George Herbert, who we've both got reasonably high is also quite underrated. He's very clever. He's always think George Herbert's always thinking, and when someone like Shakespeare or Milton is thinking, they do it in such a way that you might not notice and that you might just carry on with the story. And if you do see that they're thinking you can enjoy that as well. Whereas Pope is just explicitly always thinking and maybe lecturing, hectoring, being very grand with you and as you say, calling you an idiot. But there are so many excellent bits of Pope and I just think technically he can sustain a thought or an argument over half a dozen or a dozen lines and keep the rhyme scheme moving and it's never forced, and he never has to do that thing where he puts the words in a stupid order just to make the rhyme work. He's got such an elegance and a balance of composition, which again, as you say, we live under romantic ideals, not classical ones. But that doesn't mean we should be blind to the level of his accomplishment, which is really, really very high. I mean, Samuel Johnson basically thought that Alexander Pope had finished English poetry. We have the end of history. He had the end of English poetry. Pope, he's brought us to the mightiest of the heroic couplers and he's done it. It's all over.James: The other thing about Pope that I think makes us underrate him is that he's very charming. And I think charm is a quality we're not big on is that sort of, but I think some of Pope's charm is so moving. One of my favourite poems of his is, do you know the Epistle to Miss Blount on going into the country? The poem to the young girl who's been having a fashionable season in London then is sent to the boring countryside to stay with an aunt. And it's this, it's not like a romantic love poem, it's not distraught or hectic. It's just a sort of wonderful act of sympathy with this potentially slightly airheaded young girl who's been sent to the countryside, which you'd rather go to operas and plays and flirt with people. And there's a real sort of delicate in it that isn't overblown and isn't dramatic, but is extremely charming. And I think that's again, another quality that perhaps we're prone not to totally appreciate in the 21st century. It's almost the kind of highest form of politeness and sympathyHenry: And the prevailing quality in Pope is wit: “True wit is nature to advantage dressed/ What often was thought, but ne'er so well expressed”. And I think wit can be quite alienating for an audience because it is a kind of superior form of literary art. This is why people don't read as much Swift as he deserves because he's so witty and so scornful that a lot of people will read him and think, well, I don't like you.James: And that point about what oft was thought and ne'er so well expressed again, is a very classical idea. The poet who puts not quite conventional wisdom, but something that's been thought before in the best possible words, really suffers with the romantic idea of originality. The poet has to say something utterly new. Whereas for Pope, the sort of ideas that he express, some of the philosophical ideas are not as profound in original perhaps as words with, but he's very elegant proponent of them.Henry: And we love b******g people in our culture, and I feel like the Dunciad should be more popular because it is just, I can't remember who said this, but someone said it's probably the most under appreciated great poem in English, and that's got to be true. It's full of absolute zingers. There's one moment where he's described the whole crowd of them or all these poets who he considers to be deeply inferior, and it turns out he was right because no one reads them anymore. And you need footnotes to know who they are. I mean, no one cares. And he says, “equal your merits, equal is your din”. This kind of abuse is a really high art, and we ought to love that. We love that on Twitter. And I think things like the Rape of the Lock also could be more popular.James: I love the Rape of the Lock . I mean, I think anybody is not reading Pope and is looking for a way in, I think the Rape of the Lock is the way in, isn't it? Because it's just such a charming, lovely, funny poem.Henry: It is. And probably it suffers because the whole idea of mock heroic now is lost to us. But it's a bit like it's the literary equivalent of people writing a sort of mini epic about someone like Elon Musk or some other very prominent figure in the culture and using lots of heroic imagery from the great epics of Homer and Virgil and from the Bible and all these things, but putting them into a very diminished state. So instead of being grand, it becomes comic. It's like turning a God into a cartoon. And Pope is easily the best writer that we have for that kind of thing. Dryden, but he's the genius on it.James: Yeah, no, he totally is. I guess it's another reason he's under appreciated is that our culture is just much less worshipful of epic than the 18th century culture was. The 18th century was obsessed with trying to write epics and trying to imitate epics. I mean, I think to a lot of Pope's contemporaries, the achievement they might've been expecting people to talk about in 300 years time would be his translations of the Iliad and the Odyssey and the other stuff might've seen more minor in comparison, whereas it's the mock epic that we're remembering him for, which again is perhaps another symptom of our sort of post romantic perspective.Henry: I think this is why Spenser suffers as well, because everything in Spenser is magical. The knights are fairies, not the little fairies that live in buttercups, but big human sized fairies or even bigger than that. And there are magical women and saucers and the whole thing is a sort of hodgepodge of romance and fairy tale and legend and all this stuff. And it's often said, oh, he was old fashioned in his own time. But those things still had a lot of currency in the 16th century. And a lot of those things are in Shakespeare, for example.But to us, that's like a fantasy novel. Now, I love fantasy and I read fantasy, and I think some of it's a very high accomplishment, but to a lot of people, fantasy just means kind of trash. Why am I going to read something with fairies and a wizard? And I think a lot of people just see Spenser and they're like, what is this? This is so weird. They don't realise how Protestant they're being, but they're like, this is so weird.James: And Pope has a little, I mean, the Rape of the Lock even has a little of the same because the rape of the lock has this attendant army of good spirits called selfs and evil spirits called gnomes. I mean, I find that just totally funny and charming. I really love it.Henry: I'm going to read, there's an extract from the Rape of the Lock in the Oxford Book, and I'm going to read a few lines to give people an idea of how he can be at once mocking something but also quite charming about it. It's quite a difficult line to draw. The Rape of the Lock is all about a scandalous incident where a young man took a lock of a lady's hair. Rape doesn't mean what we think it means. It means an offence. And so because he stole a lock of her hair, it'd become obviously this huge problem and everyone's in a flurry. And to sort of calm everyone down, Pope took it so seriously that he made it into a tremendous joke. So here he is describing the sort of dressing table if you like.And now, unveil'd, the Toilet stands display'd,Each silver Vase in mystic order laid.First, rob'd in white, the Nymph intent adores,With head uncover'd, the Cosmetic pow'rs.A heav'nly image in the glass appears,To that she bends, to that her eyes she rears;Th' inferior Priestess, at her altar's side,Trembling begins the sacred rites of Pride.What a way to describe someone putting on their makeup. It's fantastic.James: It's funny. I can continue that because the little passage of Pope I picked to read begins exactly where yours ended. It only gets better as it goes on, I think. So after trembling begins the sacred rites of pride, Unnumber'd treasures ope at once, and hereThe various off'rings of the world appear;From each she nicely culls with curious toil,And decks the Goddess with the glitt'ring spoil.This casket India's glowing gems unlocks,And all Arabia breathes from yonder box.The Tortoise here and Elephant unite,Transformed to combs, the speckled, and the white.Here files of pins extend their shining rows,Puffs, Powders, Patches, Bibles, Billet-doux.It's just so lovely. I love a thing about the tortoise and the elephant unite because you've got a tortoise shell and an ivory comb. And the stuff about India's glowing gems and Arabia breathing from yonder box, I mean that's a, realistic is not quite the word, but that's a reference to Milton because Milton is continually having all the stones of Arabia and India's pearls and things all screwed through paradise lost. Yeah, it's just so lovely, isn't it?Henry: And for someone who's so classical and composed and elegant, there's something very Dickensian about things like the toilet, the tortoise and the elephant here unite, transform to combs. There's something a little bit surreal and the puffs, powders, patches, bibles, it has that sort of slightly hectic, frantic,James: That's sort of Victorian materialism, wealth of material objects,Henry: But also that famous thing that was said of Dickens, that the people are furniture and the furniture's like people. He can bring to life all the little bits and bobs of the ordinary day and turn it into something not quite ridiculous, not quite charming.James: And there is a kind of charm in the fact that it wasn't the sort of thing that poets would necessarily expect to pay attention to the 18th century. I don't think the sort of powders and ointments on a woman's dressing table. And there's something very sort of charming in his condescension to notice or what might've once seemed his condescension to notice those things, to find a new thing to take seriously, which is what poetry or not quite to take seriously, but to pay attention to, which I guess is one of the things that great perch should always be doing.Henry: When Swift, who was Pope's great friend, wrote about this, he wrote a poem called A Beautiful Young Lady Going to Bed, which is not as good, and I would love to claim Swift on our list, but I really can't.James: It's quite a horrible perm as well, that one, isn't it?Henry: It is. But it shows you how other people would treat the idea of the woman in front of her toilet, her mirror. And Swift uses an opportunity, as he said, to “lash the vice” because he hated all this adornment and what he would think of as the fakery of a woman painting herself. And so he talks about Corina pride of Drury Lane, which is obviously an ironic reference to her being a Lady of the Night, coming back and there's no drunken rake with her. Returning at the midnight hour;Four stories climbing to her bow'r;Then, seated on a three-legged chair,Takes off her artificial hair:Now, picking out a crystal eye,She wipes it clean, and lays it by.Her eye-brows from a mouse's hide,Stuck on with art on either side,Pulls off with care, and first displays 'em,Then in a play-book smoothly lays 'em.Now dexterously her plumpers draws,That serve to fill her hollow jaws.And it goes on like this. I mean, line after this is sort of raw doll quality to it, Pope, I think in contrast, it only illuminates him more to see where others are taking this kind of crude, very, very funny and witty, but very crude approach. He's able to really have the classical art of balance.James: Yes. And it's precisely his charm that he can mock it and sympathise and love it at the same time, which I think is just a more sort of complex suite of poetic emotions to have about that thing.Henry: So we want more people to read Pope and to love Pope.James: Yes. Even if I'm not letting him into my top.Henry: You are locking him out of the garden. Now, for the second tier, I want to argue for two anonymous poets. One of the things we did when we were talking about this was we asked chatGPT to see if it could give us a good answer. And if you use o1 or o1 Pro, it gives you a pretty good answer as to who the best poets in English are. But it has to be told that it's forgotten about the anonymous poets. And then it says, oh, that was stupid. There are quite a lot of good anonymous poets in English, but I suspect a lot of us, a lot of non artificial intelligence when thinking about this question overlook the anonymous poets. But I would think the Gawain poet and the Tom O' Bedlam poet deserve to be in here. I don't know what you think about that.James: I'm not competent to provide an opinion. I'm purely here to be educated on the subject of these anonymous poets. Henry: The Gawain poet, he's a mediaeval, assume it's a he, a mediaeval writer, obviously may well not be a man, a mediaeval writer. And he wrote Sir Gawain and The Green Knight, which is, if you haven't read it, you should really read it in translation first, I think because it's written at the same time as Chaucer. But Chaucer was written in a kind of London dialect, which is what became the English we speak. And so you can read quite a lot of Chaucer and the words look pretty similar and sometimes you need the footnotes, but when you read Gawain and The Green Knight, it's in a Northwestern dialect, which very much did not become modern day English. And so it's a bit more baffling, but it is a poem of tremendous imaginative power and weirdness. It's a very compelling story. We have a children's version here written by Selena Hastings who's a very accomplished biographer. And every now and then my son remembers it and he just reads it again and again and again. It's one of the best tales of King Arthur in his knights. And there's a wonderful book by John Burrow. It's a very short book, but that is such a loving piece of criticism that explicates the way in which that poem promotes virtue and all the nightly goodness that you would expect, but also is a very strange and unreal piece of work. And I think it has all the qualities of great poetry, but because it's written in this weird dialect, I remember as an undergraduate thinking, why is this so bloody difficult to read? But it is just marvellous. And I see people on Twitter, the few people who've read it, they read it again and they just say, God, it's so good. And I think there was a film of it a couple of years ago, but we will gloss lightly over that and not encourage you to do the film instead of the book.James: Yeah, you're now triggering a memory that I was at least set to read and perhaps did at least read part of Gawain and the Green Knight at University, but has not stuck to any brain cells at all.Henry: Well, you must try it again and tell me what you think. I mean, I find it easily to be one of the best poems in English.James: Yeah, no, I should. I had a little Chaucer kick recently actually, so maybe I'm prepared to rediscover mediaeval per after years of neglect since my degree,Henry: And it's quite short, which I always think is worth knowing. And then the Tom Bedlam is an anonymous poem from I think the 17th century, and it's one of the mad songs, so it's a bit like the Fool from King Lear. And again, it is a very mysterious, very strange and weird piece of work. Try and find it in and read the first few lines. And I think because it's anonymous, it's got slightly less of a reputation because it can't get picked up with some big name, but it is full of tremendous power. And again, I think it would be sad if it wasn't more well known.From the hag and hungry goblinThat into rags would rend ye,The spirit that stands by the naked manIn the Book of Moons defend ye,That of your five sound sensesYou never be forsaken,Nor wander from your selves with TomAbroad to beg your bacon,While I do sing, Any food, any feeding,Feeding, drink, or clothing;Come dame or maid, be not afraid,Poor Tom will injure nothing.Anyway, so you get the sense of it and it's got many stanzas and it's full of this kind of energy and it's again, very accomplished. It can carry the thought across these long lines and these long stanzas.James: When was it written? I'm aware of only if there's a name in the back of my mind.Henry: Oh, it's from the 17th century. So it's not from such a different time as King Lear, but it's written in the voice of a madman. And again, you think of that as the sort of thing a romantic poet would do. And it's strange to find it almost strange to find it displaced. There were these other mad songs. But I think because it's anonymous, it gets less well known, it gets less attention. It's not part of a bigger body of work, but it's absolutely, I think it's wonderful.James: I shall read it.Henry: So who have you got? Who else? Who are you putting in instead of these two?James: Hang on. So we're down to tier two now.Henry: Tier two.James: Yeah. So my tier two is: Donne, Elliot, Keats, Tennyson. I've put Spenser in tier two, Marvell and Pope, who we've already discussed. I mean, I think Eliot, we've talked about, I mean Donne just speaks for himself and there's probably a case that some people would make to bump him up a tier. Henry: Anybody can read that case in Katherine Rudell's book. We don't need to…James: Yes, exactly. If anybody's punching perhaps in tier two, it's Tennyson who I wasn't totally sure belonged there. Putting Tenon in the same tier as Donne and Spenser and Keets. I wonder if that's a little ambitious. I think that might raise eyebrows because there is a school of thought, which I'm not totally unsympathetic to this. What's the Auden quote about Tennyson? I really like it. I expressed very harshly, but I sort of get what he means. Auden said that Tennyson “had the finest ear perhaps of any English poet who was also undoubtedly the stupidest. There was little that he didn't know. There was little else that he did.” Which is far too harsh. But I mentioned to you earlier that I think was earlier this year, a friend and I had a project where we were going to memorise a perva week was a plan. We ended up basically getting, I think three quarters of the way through.And if there's a criticism of Tennyson that you could make, it's that the word music and the sheer lushness of phrases sometimes becomes its own momentum. And you can end up with these extremely lovely but sometimes slightly empty beautiful phrases, which is what I ended up feeling about Tithonus. And I sort of slightly felt I was memorising this unbelievably beautiful but ever so slightly hollow thing. And that was slightly why the project fell apart, I should say. Of course, they absolutely love Tennyson. He's one of my all time favourite poets, which is why my personal favouritism has bumped him up into that category. But I can see there's a case, and I think to a lot of people, he's just the kind of Victorian establishment gloom man, which is totally unfair, but there's not no case against Tennyson.Henry: Yeah, the common thing is that he has no ideas. I don't know if that's true or not. I'm also, I'm not sure how desperately important it is. It should be possible to be a great poet without ideas being at the centre of your work. If you accept the idea that the essence of poetry is invention, i.e. to say old things in a fantastically new way, then I think he qualifies very well as a great poet.James: Yes..Henry: Well, very well. I think Auden said what he said because he was anxious that it was true of himself.James: Yeah, I mean there's a strong argument that Auden had far too many ideas and the sorts of mad schemes and fantastical theories about history that Auden spent his spare time chasing after is certainly a kind of argument that poets maybe shouldn't have as many ideas, although it's just reading. Seamus Perry's got a very good little book on Tennyson, and the opening chapter is all about arguments about people who have tended to dislike Tennyson. And there are all kinds of embarrassing anecdotes about the elderly Tennyson trying to sort of go around dinner parties saying profound and sage-like things and totally putting his foot in it and saying things are completely banal. I should have made a note that this was sort of slightly, again, intensifying my alarm about is there occasionally a tinsely hollowness about Tennyson. I'm now being way too harsh about one of my favourite poets—Henry: I think it depends what you mean by ideas. He is more than just a poet of moods. He gives great expression, deep and strongly felt expression to a whole way of being and a whole way of conceiving of things. And it really was a huge part of why people became interested in the middle ages in the 19th century. I think there's Walter Scott and there's Tennyson who are really leading that work, and that became a dominant cultural force and it became something that meant a lot to people. And whether or not, I don't know whether it's the sort of idea that we're talking about, but I think that sort of thing, I think that qualifies as having ideas and think again, I think he's one of the best writers about the Arthurian legend. Now that work doesn't get into the Oxford Book of English Verse, maybe that's fair. But I think it was very important and I love it. I love it. And I find Tennyson easy to memorise, which is another point in his favour.James: Yeah.Henry: I'm going to read a little bit of Ulysses, which everyone knows the last five or six lines of that poem because it gets put into James Bond films and other such things. I'm going to read it from a little bit from earlier on. I am become a name;For always roaming with a hungry heartMuch have I seen and known; cities of menAnd manners, climates, councils, governments,Myself not least, but honour'd of them all;And drunk delight of battle with my peers,Far on the ringing plains of windy Troy.I am a part of all that I have met;Yet all experience is an arch wherethro'Gleams that untravell'd world, whose margin fadesFor ever and for ever when I move.I think that's amazing. And he can do that. He can do lots and lots and lots of that.James: Yeah, he really can. It's stunning. “Far on the ringing planes of windy Troy” is such an unbelievably evocative phrase.Henry: And that's what I mean. He's got this ability to bring back a sort of a whole mood of history. It's not just personal mood poetry. He can take you into these places and that is in the space of a line. In the space of a line. I think Matthew Arnold said of the last bit of what I just read is that he had this ability in Ulysses to make the lines seem very long and slow and to give them this kind of epic quality that far goes far beyond the actual length of that poem. Ulysses feels like this huge poem that's capturing so much of Homer and it's a few dozen lines.James: Yeah, no, I completely agree. Can I read a little bit of slightly more domestic Tennyson, from In Memoriam, I think his best poem and one of my all time favourite poems and it's got, there are many sort of famous lines on grief and things, but there's little sort of passage of natural description I think quite near the beginning that I've always really loved and I've always just thought was a stunning piece of poetry in terms of its sound and the way that the sound has patented and an unbelievably attentive description natural world, which is kind of the reason that even though I think Keats is a better poet, I do prefer reading Tennyson to Keats, so this is from the beginning of In Memoriam. Calm is the morn without a sound,Calm as to suit a calmer grief,And only thro' the faded leafThe chesnut pattering to the ground:Calm and deep peace on this high wold,And on these dews that drench the furze,And all the silvery gossamersThat twinkle into green and gold:Calm and still light on yon great plainThat sweeps with all its autumn bowers,And crowded farms and lessening towers,To mingle with the bounding main:And I just think that's an amazing piece of writing that takes you from that very close up image that it begins with of the “chestnut patterning to the ground” through the faded leaves of the tree, which is again, a really attentive little bit of natural description. I think anyone can picture the way that a chestnut might fall through the leaves of a chestnut tree, and it's just an amazing thing to notice. And I think the chestnut pattern to the ground does all the kind of wonderful, slightly onomatopoeic, Tennyson stuff so well, but by the end, you're kind of looking out over the English countryside, you've seen dew on the firs, and then you're just looking out across the plane to the sea, and it's this sort of, I just think it's one of those bits of poetry that anybody who stood in a slightly wet and romantic day in the English countryside knows exactly the feeling that he's evoking. And I mean there's no bit of—all of In Memoriam is pretty much that good. That's not a particularly celebrated passage I don't think. It's just wonderful everywhere.Henry: Yes. In Memoriam a bit like the Dunciad—under appreciated relative to its huge merits.James: Yeah, I think it sounds, I mean guess by the end of his life, Tennyson had that reputation as the establishment sage of Victorian England, queen of Victoria's favourite poet, which is a pretty off-putting reputation for to have. And I think In Memoriam is supposed to be this slightly cobwebby, musty masterpiece of Victorian grief. But there was just so much, I mean, gorgeous, beautiful sensuous poetry in it.Henry: Yeah, lots of very intense feelings. No, I agree. I have Tennyson my third tier because I had to have the Gawain poet, but I agree that he's very, very great.James: Yeah, I think the case for third tier is I'm very open to that case for the reasons that I said.Henry: Keats, we both have Keats much higher than Shelly. I think Byron's not on anyone's list because who cares about Byron. Overrated, badly behaved. Terrible jokes. Terrible jokes.James: I think people often think Byron's a better pert without having read an awful lot of the poetry of Byron. But I think anybody who's tried to wade through long swathes of Don Juan or—Henry: My God,James: Childe Harold, has amazing, amazing, beautiful moments. But yeah, there's an awful lot of stuff that you don't enjoy. I think.Henry: So to make the case for Keats, I want to talk about The Eve of St. Agnes, which I don't know about you, but I love The Eve of St. Agnes. I go back to it all the time. I find it absolutely electric.James: I'm going to say that Keats is a poet, which is kind of weird for somebody is sent to us and obviously beautiful as Keats. I sort of feel like I admire more than I love. I get why he's brilliant. It's very hard not to see why he's brilliant, but he's someone I would very rarely sit down and read for fun and somebody got an awful lot of feeling or excitement out of, but that's clearly a me problem, not a Keats problem.Henry: When I was a teenager, I knew so much Keats by heart. I knew the whole of the Ode to a Nightingale. I mean, I was absolutely steeped in it morning, noon and night. I couldn't get over it. And now I don't know if I could get back to that point. He was a very young poet and he writes in a very young way. But I'm going to read—The Eve of St. Agnes is great. It's a narrative poem, which I think is a good way to get into this stuff because the story is fantastic. And he had read Spenser, he was part of this kind of the beginning of this mediaeval revival. And he's very interested in going back to those old images, those old stories. And this is the bit, I think everything we're reading is from the Oxford Book of English Verse, so that if people at home want to read along they can.This is when the heroine of the poem is Madeline is making her escape basically. And I think this is very, very exciting. Her falt'ring hand upon the balustrade,Old Angela was feeling for the stair,When Madeline, St. Agnes' charmed maid,Rose, like a mission'd spirit, unaware:With silver taper's light, and pious care,She turn'd, and down the aged gossip ledTo a safe level matting. Now prepare,Young Porphyro, for gazing on that bed;She comes, she comes again, like ring-dove fray'd and fled.Out went the taper as she hurried in;Its little smoke, in pallid moonshine, died:She clos'd the door, she panted, all akinTo spirits of the air, and visions wide:No uttered syllable, or, woe betide!But to her heart, her heart was voluble,Paining with eloquence her balmy side;As though a tongueless nightingale should swellHer throat in vain, and die, heart-stifled, in her dell.A casement high and triple-arch'd there was,All garlanded with carven imag'riesOf fruits, and flowers, and bunches of knot-grass,And diamonded with panes of quaint device,Innumerable of stains and splendid dyes,As are the tiger-moth's deep-damask'd wings;And in the midst, 'mong thousand heraldries,And twilight saints, and dim emblazonings,A shielded scutcheon blush'd with blood of queens and kings.I mean, so much atmosphere, so much tension, so many wonderful images just coming one after the other. The rapidity of it, the tumbling nature of it. And people often quote the Ode to autumn, which has a lot of that.James: I have to say, I found that totally enchanting. And perhaps my problem is that I need you to read it all to me. You can make an audio book that I can listen to.Henry: I honestly, I actually might read the whole of the E and put it out as audio on Substack becauseJames: I would actually listen to that.Henry: I love it so much. And I feel like it gets, when we talk about Keats, we talk about, On First Looking into Chapman's Homer and Bright Star and La Belle Dame Sans Merci, and these are great, great poems and they're poems that we do at school Ode to a Nightingale because I think The Great Gatsby has a big debt to Ode to a Nightingale, doesn't it? And obviously everyone quotes the Ode to Autumn. I mean, as far as I can tell, the 1st of October every year is the whole world sharing the first stands of the Ode to Autumn.James: Yeah. He may be one of the people who suffers from over familiarity perhaps. And I think also because it sounds so much what poetry is supposed to sound like, because so much of our idea of poetry derives from Keats. Maybe that's something I've slightly need to get past a little bit.Henry: But if you can get into the complete works, there are many, the bit I just read is I think quite representative.James: I loved it. I thought it was completely beautiful and I would never have thought to ever, I probably can't have read that poem for years. I wouldn't have thought to read it. Since university, I don't thinkHenry: He's one of those people. All of my copies of him are sort of frayed and the spines are breaking, but the book is wearing out. I should just commit it to memory and be done. But somehow I love going back to it. So Keats is very high in my estimation, and we've both put him higher than Shelly and Coleridge.James: Yeah.Henry: Tell me why. Because those would typically, I think, be considered the superior poets.James: Do you think Shelly? I think Keats would be considered the superior poetHenry: To Shelly?James: Certainly, yes. I think to Shelly and Coleridge, that's where current fashion would place them. I mean, I have to say Coleridge is one of my all time favourite poets. In terms of people who had just every so often think, I'd love to read a poem, I'd love to read Frost at Midnight. I'd love to read the Aeolian Harp. I'd love to read This Lime Tree Bower, My Prison. I'd love to read Kubla Khan. Outside Milton, Coleridge is probably the person that I read most, but I think, I guess there's a case that Coleridge's output is pretty slight. What his reputation rest on is The Rime of the Ancient Mariner, Kubla Khan, the conversation poems, which a lot of people think are kind of plagiarised Wordsworth, at least in their style and tone, and then maybe not much else. Does anybody particularly read Cristabel and get much out of it nowadays? Dejection an Ode people like: it's never done an awful lot for me, so I sort of, in my personal Pantheon Coleridge is at the top and he's such an immensely sympathetic personality as well and such a curious person. But I think he's a little slight, and there's probably nothing in Coleridge that can match that gorgeous passage of Keats that you read. I think.Henry: Yeah, that's probably true. He's got more ideas, I guess. I don't think it matters that he's slight. Robert Frost said something about his ambition had been to lodge five or six poems in the English language, and if he'd done that, he would've achieved greatness. And obviously Frost very much did do that and is probably the most quotable and well-known poet. But I think Coleridge easily meets those criteria with the poems you described. And if all we had was the Rime of the Ancient Mariner, I would think it to be like Tom O' Bedlam, like the Elegy in a Country Churchyard, one of those great, great, great poems that on its own terms, deserves to be on this list.James: Yeah, and I guess another point in his favour is a great poet is they're all pretty unalike. I think if given Rime of the Ancient Mariner, a conversation poem and Kubla Khan and said, guess whether these are three separate poets or the same guy, you would say, oh, there's a totally different poems. They're three different people. One's a kind of creepy gothic horror ballad. Another one is a philosophical reflection. Another is the sort of Mad Opium dream. I mean, Kubla Khan is just without a doubt, one of the top handful of purposes in English language, I think.Henry: Oh yeah, yeah. And it has that quality of the Elegy in a Country Churchyard that so many of the lines are so quotable in the sense that they could be, in the case of the Elegy in a Country Churchyard, a lot of novels did get their titles from it. I think it was James Lees Milne. Every volume of his diaries, which there are obviously quite a few, had its title from Kubla Khan. Ancient as the Hills and so on. It's one of those poems. It just provides us with so much wonderful language in the space of what a page.James: Sort of goes all over the place. Romantic chasms, Abyssinian made with dulcimer, icy pleasure dome with caves of ice. It just such a—it's so mysterious. I mean, there's nothing else remotely like it at all in English literature that I can think of, and its kind strangeness and virtuosity. I really love that poem.Henry: Now, should we say a word for Shelly? Because everyone knows Ozymandias, which is one of those internet poems that goes around a lot, but I don't know how well known the rest of his body of work is beyond that. I fell in love with him when I read a very short lyric called “To—” Music, when soft voices die,Vibrates in the memory—Odours, when sweet violets sicken,Live within the sense they quicken.Rose leaves, when the rose is dead,Are heaped for the belovèd's bed;And so thy thoughts, when thou art gone,Love itself shall slumber on.I found that to be one of those poems that was once read and immediately memorised. But he has this very, again, broad body of work. He can write about philosophical ideas, he can write about moods, he can write narrative. He wrote Julian and Maddalo, which is a dialogue poem about visiting a madman and taking sympathy with him and asking the question, who's really mad here? Very Swiftian question. He can write about the sublime in Mont Blanc. I mean, he has got huge intellectual power along with the beauty. He's what people want Tennyson to be, I guess.James: Yeah. Or what people think Byron might be. I think Shelly is great. I don't quite get that Byron is so much more famous. Shelly has just a dramatic and, well, maybe not quite just as, but an incredibly dramatic and exciting life to go along with it,Henry: I think some of the short lyrics from Byron have got much more purchase in day-to-day life, like She Walks in Beauty.James: Yeah. I think you have to maybe get Shelly a little more length, don't you? I mean, even there's something like Ode to the West Wind is you have to take the whole thing to love it, perhaps.Henry: Yes. And again, I think he's a bit like George Herbert. He's always thinking you really have to pay attention and think with him. Whereas Byron has got lots of lines you can copy out and give to a girl that you like on the bus or something.James: Yes. No, that's true.Henry: I don't mean that in quite as rude a way as it sounds. I do think that's a good thing. But Shelly's, I think, much more of a thinker, and I agree with you Childe Harold and so forth. It's all crashing bore. I might to try it again, but awful.James: I don't want move past Coledridge without inflicting little Coledridge on you. Can I?Henry: Oh, yes. No, sorry. We didn't read Coledridge, right?James: Are just, I mean, what to read from Coledridge? I mean, I could read the whole of Kubla Khan, but that would be maybe a bit boring. I mean, again, these are pretty famous and obvious lines from Frost at Midnight, which is Coledridge sitting up late at night in his cottage with his baby in its cradle, and he sort of addressing it and thinking about it. And I just think these lines are so, well, everything we've said about Coledridge, philosophical, thoughtful, beautiful, in a sort of totally knockout, undeniable way. So it goes, he's talking to his young son, I think. My babe so beautiful! it thrills my heartWith tender gladness, thus to look at thee,And think that thou shalt learn far other lore,And in far other scenes! For I was rearedIn the great city, pent 'mid cloisters dim,And saw nought lovely but the sky and stars.But thou, my babe! shalt wander like a breezeBy lakes and sandy shores, beneath the cragsOf ancient mountain, and beneath the clouds,Which image in their bulk both lakes and shoresAnd mountain crags: so shalt thou see and hearThe lovely shapes and sounds intelligibleOf that eternal language, which thy GodUtters, who from eternity doth teachHimself in all, and all things in himself.Which is just—what aren't those lines of poetry doing? And with such kind of confidence, the way you get from talking to your baby and its cradle about what kind of upbringing you hope it will have to those flashes of, I mean quite Wordsworthian beauty, and then the sort of philosophical tone at the end. It's just such a stunning, lovely poem. Yeah, I love it.Henry: Now we both got Yeats and Hopkins. And Hopkins I think is really, really a tremendous poet, but neither of us has put Browning, which a lot of other people maybe would. Can we have a go at Browning for a minute? Can we leave him in shreds? James: Oh God. I mean, you're going to be a better advocate of Browning than I am. I've never—Henry: Don't advocate for him. No, no, no.James: We we're sticking him out.Henry: We're sticking him.James: I wonder if I even feel qualified to do that. I mean, I read quite a bit of Browning at university, found it hard to get on with sometimes. I think I found a little affected and pretentious about him and a little kind of needlessly difficult in a sort of off-puttingly Victorian way. But then I was reading, I reviewed a couple of years ago, John Carey has an excellent introduction to English poetry. I think it's called A Little History of Poetry in which he described Browning's incredibly long poem, The Ring in the Book as one of the all time wonders of verbal art. This thing is, I think it's like 700 or 800 pages long poem in the Penguin edition, which has always given me pause for thought and made me think that I've dismissed Browning out of hand because if John Carey's telling me that, then I must be wrong.But I think I have had very little pleasure out of Browning, and I mean by the end of the 19th century, there was a bit of a sort of Victorian cult of Browning, which I think was influential. And people liked him because he was a living celebrity who'd been anointed as a great poet, and people liked to go and worship at his feet and stuff. I do kind of wonder whether he's lasted, I don't think many people read him for pleasure, and I wonder if that maybe tells its own story. What's your case against Browning?Henry: No, much the same. I think he's very accomplished and very, he probably, he deserves a place on the list, but I can't enjoy him and I don't really know why. But to me, he's very clever and very good, but as you say, a bit dull.James: Yeah, I totally agree. I'm willing. It must be our failing, I'm sure. Yeah, no, I'm sure. I'm willing to believe they're all, if this podcast is listened to by scholars of Victorian poetry, they're cringing and holding their head in their hands at this—Henry: They've turned off already. Well, if you read The Ring and the Book, you can come back on and tell us about it.James: Oh God, yeah. I mean, in about 20 years time.Henry: I think we both have Auden, but you said something you said, “does Auden have an edge of fraudulence?”James: Yeah, I mean, again, I feel like I'm being really rude about a lot of poets that I really love. I don't really know why doesn't think, realising that people consider to be a little bit weak makes you appreciate their best stuff even more I guess. I mean, it's hard to make that argument without reading a bit of Auden. I wonder what bit gets it across. I haven't gotten any ready. What would you say about Auden?Henry: I love Auden. I think he was the best poet of the 20th century maybe. I mean, I have to sort of begrudgingly accept T.S. Eliot beside, I think he can do everything from, he can do songs, light lyrics, comic verse, he can do occasional poetry, obituaries. He was a political poet. He wrote in every form, I think almost literally that might be true. Every type of stanza, different lines. He was just structurally remarkable. I suspect he'll end up a bit like Pope once the culture has tur

Guest: Jeff Tennyson, a Coach and Partner at CEO Coaching International and the former CEO of Lima One Capital, one of the country's leading lenders to real estate investors. Jeff is also a former coaching client of CEO Coaching International. Quick Background: Every entrepreneur dreams of a BIG exit. But having a dream isn't the same as having a plan. To attract an ideal buyer, owners and CEOs need to scale smart, assemble the right team, and adopt a strategic mindset that will turn their dream into a reality.  On today's show, Jeff Tennyson shares his blueprint for preparing yourself and your company for a BIG exit.

The panel reads Tennyson's Tiresias and considers its story of the blind prophet's extended (but not eternal) life in the context of what it reveals about the poet's struggle with human mortality, and about the role of prophecy and its reception.Continue reading

The idea of the "swan song" recurs from Aesop to Ovid to Plato to Tennyson. Ovid described it, "There, she poured out her words of grief, tearfully, in faint tones, in harmony with sadness, just as the swan sings once, in dying, its own funeral song." But it's based on a sweet fallacy – that a swan sings only when it nears death. And calling the sounds that a swan makes a "song" might be a bit off, too!More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks. BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible.

Today's poem is the final stanza of Tennyson's “Ulysses,” in which the hero of the Trojan war persuades his aging compatriots to wring out the last of their energies in a quest for the ends of the earth–“to strive, to seek, to find, and not to yield.” Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Will's channel and corresponding video: https://youtu.be/cuE5VHQYZoo?si=AcAU9Qxtqs-l-BS-

The panel reads Tennyson's Ulysses with special attention given to how the return to Ithaca changed Ulysses; how he may be compared to and contrasted with his son, Telemachus; and what the nature of his heroism is—narrow, selfish, noble, or courageous.Continue reading

durée : 00:55:18 - Very Good Trip - par : Michka Assayas - Au menu de ce Very Good Trip, la voix d'une femme qui ne ressemblait à aucune autre. Michka Assayas consacrait cette émission à Marianne Faithfull à l'occasion de la sortie d'un album ou elle ne chantait pas mais récitait ses poèmes anglais préférés, Tennyson, Wordsworth, Keats et Byron.

Should households left without power for a whole week be given compensation? If so, who should pay it? Frank spoke to Alliance MLA Eoin Tennyson and Cllr Gareth Wilson Hosted on Acast. See acast.com/privacy for more information.

Tennyson wrote a famous poem for New Year's Day, or any day. Jonathan Dove, a contemporary English composer, set it to music. This episode begins with that piece. There is also a song from the American Revolution, sometimes known as “Chester” (“Let tyrants shake their iron rod”). Jay further includes a little-known composer from Brazil with a flavorful name: Radamés Gnattali. Then you get Brahms and others. A nice, varied menu. Dove, “Ring Out, Wild Bells” Gnattali, Guitar Concerto No. 4 Brahms, Ballade in D, Op. 10, No. 2 Billings, “Chester” (“Let tyrants shake their iron rod”) Martucci, Nocturne, Op. 70, No. 1 Verdi, Ave Maria from Otello

The panel reads Tennyson's "Tithonus," a dramatic monologue written in 1833, and considers both what the poem suggests about the importance of mortality to the human condition, and its significance in the context of the death of Arthur Hallam.Continue reading

Is ChatGPT usurping the authority of the "Author"? Or is it just a pretender to the throne?We're opening up the question of "authority" to extend well beyond the usual suspects of kings, generals, or politicians. To borrow a line from Tennyson's poetry: “authority forgets the dying King.” That is, power begins to slip from the grasp of political authorities as they weaken, as respect for and obedience to them wanes.Now almost 60 years after Foucault announced the “death of the author,” we might actually be living through what he imagined. Full episode notes available at this link:https://hotelbarpodcast.com/podcast/episode-168-authority-------------------If you enjoy Hotel Bar Sessions podcast, please be sure to subscribe and submit a rating/review! Better yet, you can support this podcast by signing up to be one of our Patrons at patreon.com/hotelbarsessions!Follow us on Twitter/X @hotelbarpodcast, on Blue Sky @hotelbarpodcast.bsky.social, on Facebook, on TikTok, and subscribe to our YouTube channel! 

This Postmodern Realities episode is a conversation with JOURNAL author Louis Markos about his article, “How Greek Myth, Tragedy, And Philosophy Point to Christian Truth“. https://www.equip.org/articles/how-greek-myth-tragedy-and-philosophy-point-to-christian-truth/Related articles and podcasts by this author:Hank Unplugged:How to Explain Hell with Louis MarkosHow Dante's Inferno Can Help Explain Hell to Modern Seekers (article)Atheism on Trial with Dr. Louis MarkosPostmodern Realities podcastsEpisode 336 Athenagoras of AthensAthenagoras of AthensEpisode 332 Exhortations to College-bound StudentsSeven or So Exhortations to College-Bound StudentsEpisode 319 The Martyrdom of PolycarpThe Martyrdom of PolycarpEpisode 290 Just So ScienceEpisode 221: Tennyson on Theodicy: How a Victorian Poet Can Help Modern Christians Deal with the Problem of PainTennyson on Theodicy: How a Victorian Poet Can Help Modern Christians Deal with the Problem of PainEpisode 171 Why Christians Should Read the Pagan ClassicsWhy Christians Should Read the Pagan ClassicsC. S. Lewis on HellThe Legacy of G.K. Chesterton and Dorothy Sayers Don't miss an episode; please subscribe to the Postmodern Realities podcast wherever you get your favorite podcasts. Please help spread the word about Postmodern Realities by giving us a rating and review when you subscribe to the podcast. The more ratings and reviews we have, the more new listeners can discover our content.

Solvonis Therapeutics PLC (LSE:SVNS) CEO Anthony Tennyson talked with Proactive's Stephen Gunnion about the company's exciting developments regarding AWKN-002, a drug candidate targeting moderate to severe alcohol use disorder. Tennyson highlighted the significant unmet medical need in the US, where 29 million people suffer from alcohol use disorder and 75% relapse within a year after treatment. In December, Awakn Life Sciences, which Solvonis plans to acquire, received positive feedback from the FDA during a pre-IND meeting. The FDA approved the company's proposal to skip Phase 2a trials and proceed directly to Phase 2b. Furthermore, it supported Awakn's expedited regulatory pathway through the 505(b)(2) process, allowing reference to J&J's Spravato data. Tennyson explained that AWKN-002 is a repurposed version of esketamine delivered through an oral thin film for sublingual administration. He added, “This clarity from the FDA reduces time and provides a clear direction for the R&D program.” The next step involves establishing a scientific bridge to SPRAVATO before seeking Phase 2b approval. Watch the video for more updates, and don't forget to like, subscribe to Proactive's channel, and enable notifications for future videos! #SolvonisTherapeutics #AWKN002 #AlcoholUseDisorder #FDAApproval #PharmaceuticalInnovation #SKetamine #AddictionTreatment #BiotechUpdates #MedicalResearch #ProactiveInvestors

Solvonis Therapeutics CEO Anthony Tennyson talked with Proactive's Stephen Gunnion about the company's rebranding from Graft Polymer (UK) PLC (LSE:GPL) to Solvonis Therapeutics PLC, reflecting its commitment to advancing mental health and substance use disorder treatments. Tennyson highlighted Solvonis' plans to acquire Awakn Life Sciences in an all-stock deal, emphasising Awakn's promising data, experienced team, and valuation. Awakn's lead program targeting severe alcohol use disorder has entered Phase 3 trials with UK government funding, an achievement Tennyson described as “unheard of for a Phase 3 trial in this indication.” The program showed a 50% reduction in heavy drinking days and a remarkable 86% abstinence rate over six months post-treatment. or 2025, Solvonis aims to complete the acquisition efficiently, progress Awakn's lead program, and advance a secondary program targeting alcohol use disorder in the US. Tennyson stated, “We're very happy with what 2025 will hold for the company and our shareholders.” Stay tuned for more updates on Solvonis Therapeutics' innovative work in mental health. Visit Proactive's YouTube channel for more interviews, and don't forget to like, subscribe, and enable notifications for future updates. #SolvonisTherapeutics #MentalHealth #AlcoholUseDisorder #BiotechInnovation #AwaknLifeSciences #ClinicalTrials #SubstanceUseDisorders #Neuropsychology #HealthcareAdvances #InvestorUpdates#ProactiveInvestors#invest #investing #investment #investor #stockmarket #stocks #stock #stockmarketnews

"You just watched a man get devoured by a topiary nightmare, and you want to quote Tennyson?" It's said that the latest Godzilla/Kong team-up is trash, but does it truly deserve that reputation? Listen & find out! trashmoviepod@gmail.com Theme song by Kenneth Leeming Jr. Logo artwork by Joe Lane

Mark and Gray ring in the New Year with a discussion of the 1960s trend for… actually not being very 1960s at all! But just how much of Christie's 1960s writing harks back to the Edwardian and Victorian eras? Did they even ‘swing' back then?? You can listen to our guest spot on the All About Agatha podcast, here. You can read our special article for the Agatha Christie website here. You can read Mark's paper about Agatha Christie's Charles Dickens's Bleak House here. And tickets and info for The Mirror Crack'd at the Tower Theatre can be found here! You can find us on Instagram (as well as X) @Christie_Time. We are on BlueSky at christietime.bsky.social. Please do rate and review us wherever you get your podcasts. Our website is ChristieTime.com. The Swinging Christies is a Christie Time project by Mark Aldridge and Gray Robert Brown. Next episode: wait and see… 00:00:00 - Opening titles 00:00:51 - Introductory chat 00:04:29 - The Sixties weren't Swinging for everyone 00:15:38 - Old-new locations 00:58:02 - The Next Generation 01:04:28 - Servants and service 01:14:44 - Reviving the greats: Shakespeare, Tennyson, Austen, Brontë 01:22:37 - Bleak House by Agatha Christie 01:33:57 - Brave monkey puzzle: remembering Christie's childhood home 01:37:22 - Next episode, how to get in touch 01:38:33 - Closing titles 01:39:01 - Coda Solutions revealed! - The Mirror Crack'd from Side to Side, At Bertram's Hotel

Sometimes it feels like all we hear constantly is bad news and it can be quite draining. Thankfully Pastor Joe has some good news for everyone and it needs to be shared!

Transitions are a part of life. Throughout our lives we go through at least several major changes. Yet in many cases transitions take longer than expected or hoped for. Vanessa Tennyson has developed over the years a deep understanding of work and life transitions. At age 65, she is in her encore career as an executive and leadership coach. And as a transgender woman, she offers what she wrote on her website is “a rare perspective from experiencing both male and female gender roles as an employee, manager, executive and business owner.” In our series “Connect the Dots” we meet with people who have deep experiences in our community and ask them to share lessons learned about what really matters in life. MPR's senior economics contributor Chris Farrell recently met with Tennyson at her office in Minneapolis and joined host Nina Moini to talk about it.

Leadership Lessons From the Great Books #130 - Poems by Alfred, Lord Tennyson w/Ryan J. Stout & Moumin Quazi---00:00 Lifelong quest for knowledge and legacy fulfillment.18:53 Generational influence and struggle to pass legacy.30:33 Honoring language, nostalgia, poetry process, 17 years.41:43 Science clarifies understanding, not fragmenting knowledge.51:03 Debate: evolution vs. creationism and existence meaning57:36 America's lack of public grieving for disasters.01:11:02 Mythological past remains relevant and impactful today.01:20:18 Tiny Toons echoed Looney Tunes' classical elements.01:30:40 Tennyson's legacy is enduring; would embrace Internet.01:39:19 Focus long-term, not short-term. Prioritize independence.01:58:03 It's good to think and have consciousness.02:00:20 Tennyson's work profoundly impacted my understanding.---Opening and closing themes composed by Brian Sanyshyn of Brian Sanyshyn Music.---Pick up your copy of 12 Rules for Leaders: The Foundation of Intentional Leadership NOW on AMAZON!Check out the 2022 Leadership Lessons From the Great Books podcast reading list!--- ★ Support this podcast on Patreon ★ .Subscribe to the Leadership Lessons From The Great Books Podcast: https://bit.ly/LLFTGBSubscribe.Check out HSCT Publishing at: https://www.hsctpublishing.com/.Check out LeadingKeys at: https://www.leadingkeys.com/.Check out Leadership ToolBox at: https://leadershiptoolbox.us/.Contact HSCT for more information at 1-833-216-8296 to schedule a full DEMO of LeadingKeys with one of our team members.---Leadership ToolBox website: https://leadershiptoolbox.us/.Leadership ToolBox LinkedIn: https://www.linkedin.com/company/ldrshptlbx/.Leadership ToolBox YouTube: https://www.youtube.com/@leadershiptoolbox/videosLeadership ToolBox Twitter: https://twitter.com/ldrshptlbx.Leadership ToolBox IG: https://www.instagram.com/leadershiptoolboxus/.Leadership ToolBox FB: https://www.facebook.com/Ldrshp

Alfred Tennyson's ‘The Charge of the Light Brigade' was first published on 9th December, 1854, in The Examiner. Tennyson had penned the poem shortly after reading a dramatic account in The Times of the disastrous charge, which occurred during the Battle of Balaclava in the Crimean War.  Its rhythmic cadence, mimicking the galloping charge, made it both poignant and memorable, and the poem was an instant hit with the public - though critics were sniffy about the poet's rhyming of ‘blunder' and ‘hundred'... In this episode, Arion, Rebecca and Olly consider why Tennyson initially left his name off the poem, despite him being Queen Victoria's Poet Laureate; debate whether it is pro or anti-war; and try to establish exactly who blundered on the battlefield… Further Reading: • ‘The Charge of the Light Brigade' (Historic UK, 2019): https://www.historic-uk.com/HistoryUK/HistoryofBritain/Charge-Of-The-Light-Brigade/ • 'Poem of the week: The Charge of the Light Brigade by Alfred Tennyson' (The Guardian, 2014): https://www.theguardian.com/books/booksblog/2014/jan/20/poem-of-the-week-charge-light-brigade-tennyson • 'Alfred, Lord Tennyson Reading "The Charge of the Light Brigade"' (Thomas Edison, 1890):  https://www.youtube.com/watch?v=VLrJqhhR2G8 Love the show? Support us!  Join 

Grandpa Bill's Grunts & Groans@billholt8792 Grandpa Bill today talks about Ulysses-Embark on a literary odyssey with our exploration of Tennyson's "Ulysses." Through insightful commentary, we'll delve into the poem's rich symbolism, powerful imagery, and enduring message. Whether you're a seasoned reader or new to poetry, this episode will ignite your imagination and spark a love of literature.Grandpa Bill Asks: What does Ulysses' desire to "sail beyond the sunset" symbolize? How does Tennyson's poem reflect the human condition of longing for something more? What is the most powerful image in Tennyson's "Ulysses"? Why? How does the poem challenge traditional notions of aging and retirement? #Ulysses, #Tennyson, #poetryanalysis,#literarypodcast, #classicliterature, #bookworm,#literaturevideo #booktube #classicliteratureThe BH Sales Kennel Kelp Holistic Healing Hour Virtual Mall Welcome to the BH Sales Kennel Kelp Holistic Healing Hour Virtual Mall! Join Grandpa Bill, your friendly guide to holistic health and well-being, as he curates a collection of trusted resources for your journey towards a healthier, happier you. Here, you'll find links to some of Grandpa Bill's favorite vendors and guests who have shared their expertise on the BH Sales Kennel Kelp Holistic Healing Hour podcast and YouTube channel. Grandpa Bill: Website: https://www.7kmetals.com/grandpabill YouTube: Bill Holt@billholt8792 Social Media: https://www.facebook.com/bill.sales.524 Social Media: https://www.instagram.com/bradybrodyboy12/ Voicemail Message Board: https://podcasters.spotify.com/pod/show/bhsales About the BH Sales Kennel Kelp Holistic Healing Hour: Retired holistic health enthusiast, Grandpa Bill, shares his wisdom and experiences in the realms of health, wealth, and well-being. Join him on his journey of holistic health and personal growth. With over 45 years of experience in the industry, Grandpa Bill has a wealth of knowledge to share on topics ranging from nutrition and supplements, to meditation and spirituality. In his retirement, he's dedicated to sharing his insights and helping others achieve their full potential.    Disclaimer: This content is provided for informational purposes only and does not intend to substitute professional medical advice, diagnosis, or treatment.    Creative Solutions for Holistic Healthcare

Will Tennyson ROASTED our programs Here is what he missed  Grab my

In today's world of #hashtags, shortcuts and life hacks, our attention is sliced finer than the vellum folios of a 900-year-old grimoire. It takes will to cultivate consistent, in-depth practice. To illustrate this, I'd like to invoke the hidden devilish drive of determination in two of among the most famous English poems of all time (and a bonus poem), and why I always read and re-read them when preparing for evocatory procedures.✦

If you're enjoying the Hardcore Literature Show, there are two ways you can show your support and ensure it continues: 1. Please leave a quick review on iTunes. 2. Join in the fun over at the Hardcore Literature Book Club: patreon.com/hardcoreliterature Thank you so much. Happy listening and reading! - Benjamin

Will Tennyson is a YouTuber and an athlete. Taking a journey from fat to fit is a massive achievement in itself. Will then went on to become one of the best creators of positive fitness and mindset content on the internet and today we get to discover some of his best lessons from a decade of self-improvement. Expect to learn why Will decided to become morbidly obese for a day and what he learned, which diet allowed him to lose the most weight, his thoughts on the state of male body dysmorphia, what Will thinks of Nicocado Avocado's insane transformation, what Will's mental health journey looks like and much more... Sponsors: See discounts for all the products I use and recommend: https://chriswillx.com/deals Get expert bloodwork analysis and bypass Function's 300,000-person waitlist at https://functionhealth.com/modernwisdom (automatically applied at checkout) Get 5 Free Travel Packs, Free Liquid Vitamin D and more from AG1 at https://drinkag1.com/modernwisdom (automatically applied at checkout) Enroll in Hillsdale College's free online courses at https://hillsdale.edu/modernwisdom (automatically applied at checkout) Get 10% discount on all Gymshark's products at https://gym.sh/modernwisdom (use code MW10) Extra Stuff: Get my free reading list of 100 books to read before you die: https://chriswillx.com/books Try my productivity energy drink Neutonic: https://neutonic.com/modernwisdom Episodes You Might Enjoy: #577 - David Goggins - This Is How To Master Your Life: https://tinyurl.com/43hv6y59 #712 - Dr Jordan Peterson - How To Destroy Your Negative Beliefs: https://tinyurl.com/2rtz7avf #700 - Dr Andrew Huberman - The Secret Tools To Hack Your Brain: https://tinyurl.com/3ccn5vkp - Get In Touch: Instagram: https://www.instagram.com/chriswillx Twitter: https://www.twitter.com/chriswillx YouTube: https://www.youtube.com/modernwisdompodcast Email: https://chriswillx.com/contact - Learn more about your ad choices. Visit megaphone.fm/adchoices

This is Episode 48 – Slaves and Slavery in Texas Part 1 the early years -  I'm your host and guide Hank Wilson. And as always, brought to you by Ashby Navis and Tennyson Media Publishers, producers of  a comprehensive catalog of  audiobooks and high-quality games, productivity, and mental health apps. Visit AshbyNavis.com for more information. In this episode I'm going to talk about something that might make some folks a tad uncomfortable and that's because this will be the 1st of 2 parts where I'm going to talk about slaves and slavery in Texas. Slaves and slavery is a historical  reality, not only in Texas but around the world. This program is focused on the history of Texas, so I won't go into the world-wide history of slavery, or the fact that it still takes place around the world. I will also not discuss how the indigenous people who were on the continent before the Spanish bumped into it also made slaves out of their conquered enemies. That is for another episode that is in the planning stage that I'm working on about the history of the Americas before they became the Americas. No in this episode I will concentrate on the issue of the slaves and slavery of African people's first by the Spanish, Portuguese, and English, and in the next episode I'll discuss the issue as it took place under the Anglos who  took over Texas. The first slaves brought into what the Spanish called New Spain, now Mexico were in fact Africans taken from their homelands and brought to the continent as part of the 1519 invasion led by Hernán Cortés. After Cortes opened the door, after 1580 there was a steady stream of African slaves that were brought over because Portugal gave Spain easy access to the Portuguese slave network. By 1640 more that 275,000 Africans had been taken from their homelands and sent to New Spain. Since the slaves were considered commodities once it became less profitable the importing almost completely came to an end.  By 1646, in a total population of over 1.7 million, New Spain's African population, both native born and those born in New Spain, outnumbered Europeans 35,089 to 13,830. That's enough about what happened in Mexico now let's talk about Texas. The first slave brought into Texas was Esteban, or Estevanico. He was one of four survivors of the failed Pánfilo de Narváez expedition to Florida, remember from earlier broadcasts, they were heading to Florida but took left instead of a right and ended up wrecking on the Texas coast in 1528. Estaban was the slave of Andrés Dorantes de Carranza, and was described by Alvar Núñez Cabeza de Vaca, who kept track of what happened to the survivors' as they traveled through Texas and the Southwest, as a “Black Arab from Azamor.” Azamor is a Moroccan town on the coast that had been captured by the Portuguese in 1513.... To find out more, you have to listen to the broadcast...thanks Want to reach me - use this form Visit Ashby Navis & Tennyson for some great Audiobooks

Send us a textDr Tennyson Lee is a Consultant Psychiatrist in Psychotherapy and General Adult Psychiatry. He is a psychoanalyst and a member of the Institute of Psychoanalysis. He is a supervisor in Transference Focused Psychotherapy. He is presently clinical lead at the Dean Cross Personality Disorder Service in East London. He is Co-director of a research and training unit, the Centre for Understanding Personality (CUSP) which has a number of collaborations internationally, including with colleagues in China, Europe and South Africa.Dr Lee trained in Public Health before training in psychiatry and has a particular interest in the broader application of psychoanalytic thinking both clinically and within health systems. He has over 40 peer reviewed papers.You can find out more about the Dean Cross Personality Service Here:https://www.elft.nhs.uk/services/deancross-personality-disorder-serviceInterviewed by Dr. Anya Borissova - Give feedback here - thinkingmindpodcast@gmail.com Follow us here: Twitter @thinkingmindpod Instagram @thinkingmindpodcastIf you would like to enquire about an online psychotherapy appointment with Dr. Alex, you can email - alexcurmitherapy@gmail.comJoin Our Mailing List! - https://thinkingmindpod.aidaform.com/mailinglistsignupSUPPORT: buymeacoffee.com/thinkingmind

The Daily Quiz - Art and Literature Today's Questions: Question 1: What word describes a painting executed in a single color? Question 2: Which author wrote 'The Raven'? Question 3: Which artist painted "The Grand Odalisque" Question 4: In which book did Roald Dahl tell the story of a boy's adventure in a giant piece of fruit? Question 5: Who was the first ghost appear to scrooge in the dickens classic 'a Christmas Carol'? Question 6: Which Lady is imprisoned in a castle near Camelot in a Tennyson poem? Question 7: Which author wrote 'Vita Nuova'? Question 8: What nursery rhyme is about a couple who climbed a hill? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Let's get honest, you and I, about nature …It's Wednesday morning and I'm sitting at the dining room table writing some notes on excluding rodents from homes when our cat comes inside and proudly places at my feet a rodent he had just dispatched from the yard. Yes, irony. My notes on keeping rodents out of the house interrupted by a rodent brought into my house.And so you say, “See, that's the kind of stuff that happens when nature gets too close. Things gets messy.”I feel you. I've heard all the nature complaints. Many from my own mouth. You don't want the cat bringing in dead things. You don't want rats scurrying about, or bird droppings on the patio, or rabbits eating your flowers, or squirrels building nests in your trees, or ants in the kitchen or spiders in the bathtub. I feel you. We think ourselves children of the civilized world. Nature is something nice to look at, or voluntarily make contact with, but we don't want it touching us.We prefer Disney nature—bluebirds that land on our outstretched finger; sparrows carrying our freshly washed linens to the clothesline; mice with little vests and hats preparing our dinner and bushy squirrel tails sweeping up crumbs.In reality, nature can be, as Tennyson said, “red in tooth and claw.” Everything out there is struggling to survive. Trees are selfishly fighting to keep anything from growing under them. Roses grow wickedly sharp thorns. Bees fulfill their roles in the hive or suffer death at the hands of their sisters. We rarely know when one of our chickens is sick because the flock will often peck to death any weakness they perceive. And our songbirds. aren't just flitting casually about the feeders. Look closer and you see they're constantly fighting one another for best position. Meanwhile the squirrels and rats are obsessed with steeling that bird food, and keeping an eye on the cat who in turn is always keeping an eye on the dog.And I … I have encouraged it all. The whole endless messy struggle. I've not just tolerated it. I've welcomed it—beckoned it in and brought it close—and you deserve to know why I want you to do the same … Because we need it.Not just “need it” in the global environmental sense. We all know that's true. That's what wilderness funds are all about. I'll donate money to preserve it, but I don't need it touching me. But as it turns out, yes, yes I do. Our bodies, our minds, our emotions, have co-evolved with that beautiful mess for millions of years. And we've only tried to leave it behind for less than a hundred. It doesn't work. The very best brain science has now confirmed that we need it all close by. We're designed for it. Despite the mess, the more we separate ourselves from the rustling of leaves, the songs of birds, the chirps of crickets, the sound of moving of water, the hoots of owls, the yaps of coyotes, the smell of rich soil, the more we lose ourselves to the noise and stress and anxiety of our virtual realities instead of the soothing song of actual reality.The best news of all is, if you build it they will come. Nature abhors a vacuum. It wants back in. Your yard, your patio, your balcony—whatever you have to work with—can be reclaimed.Wendell Berry, Kentucky farmer and great American poet, put it like this: “There are no un-sacred places in the world; there are only sacred places and desecrated places.”That's how I see it too. Your home is not an un-sacred place, but it may be a desecrated one. As your builder and designer and friend, I want you to reclaim a desecrated place and make it sacred again. If not for the sake of the planet then for your own sake. A sacred place for you tothrive like you haven't in a long time. I promise you, if you build it they will come. And when they do, you'll be amazed how quickly they get to work building you a beautiful life.

Recently, I read a very interesting article on the challenges of aging. Studies by the experts state that "the generation who are celebrating their 50th, 60th and 70th anniversaries have succeeded in kicking the blabbers out of the stereotypes of aging." Perhaps this can be explained by one word - attitude. The experts stated, "the attitudes of a 70-year-old today are equivalent to those of a 50-year-old, but only a decade or two ago." It is interesting how many couples are in their 50th, 60th and even 70th wedding anniversaries. More individuals are also reaching that century mark. The late George Burns stated, "I see people who, the minute they get to be 60, start rehearsing to be old. They practice when they sit down and grunting when they get up, and by the time they get to be 70, they're a hit. They've got the part - they're old." I like to think that the streams of life bring depth and wisdom in our lives. Goth finished his Faust at 81. At 80, Verdi produced his famous Falstaff. Tennyson wrote "Crossing the Bar" at 83. Valtaire was still penning plays at 84. Monet was painting great pictures at 86. Marian Baininray in "The Stillness is Dancing" says, "At 50, the mind has yet to reach its zenith. At 60, it as at its best, and then declines gradually that at 80, those who have kept themselves mentally alert can be just as productive as at 30. Judgment and reason may have actually improved and creative imagination is scarcely touched by age. I think Mark Twain says it best, "Age is mind over matter. If you don't mind, it doesn't matter." Warm Thoughts: If you are too busy to laugh, you are too busy. The old are the precious gems in the center of the household. Chinese proverb. Have many warm thoughts every day! Warm Thoughts from the Little Home on the Prairie Over a Cup of Tea by Dr. Luetta G WernerPublished in the Marion Record, August 19, 1996.Download the Found Photo Freebie and cherish your memories of the past.Enjoy flipping through the Vintage Photo Book on your coffee table.I hope you enjoyed this podcast episode! Please follow along on this journey by going to visualbenedictions.com or following me on Instagram, Facebook, and Pinterest. You can listen to the podcast on Apple Podcast,Spotify,Stitcher, and Overcast. And don't forget to rate and review so more people can tune in! I'd greatly appreciate it.Till next time,Trina

WE SEEM TO HAVE HIT PEAK BREWERY And local breweries are struggling compared to the Glory Years a short time ago. One local brewery is doing something COMPLETELY different in an effort to keep chugging along (see what I did there?) and I'm talking to FlyteCo Brewing's new venture as FlyteCoworking Monday through Friday to create a work space in North Denver. Rarely does a co-working space have ample free nearby parking, an expansive outdoor patio and take place in an aviation-themed brewery space right off Tennyson. (Photos here.) The private co-working space will be open Monday-Friday. The space will transition to the normal FlyteCo open-to-the-public brewery starting at 2 p.m. Monday-Thursday and at 11 a.m. on Friday. Membership will be quite limited to ensure members will always have space for themselves and their guests. Of course, the space will have WiFi, on-site beverages, and affordable pricing. Find their location here. Owner Jason Slingsby joins me at 1 to discuss.

It's another weekly gimmerick here on the Daily Poem. Edward Lear (12 May 1812 – 29 January 1888) was an English artist, illustrator, musician, author and poet, who is known mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised.His principal areas of work as an artist were threefold: as a draughtsman employed to make illustrations of birds and animals, making coloured drawings during his journeys (which he reworked later, sometimes as plates for his travel books) and as a minor illustrator of Alfred, Lord Tennyson's poems.As an author, he is known principally for his popular nonsense collections of poems, songs, short stories, botanical drawings, recipes and alphabets. He also composed and published twelve musical settings of Tennyson's poetry.-bio via Wikipedia Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

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 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

Send us a Text Message.In this episode of the Love, Laugh, Let it Go podcast, I hang out with Dr. Rebekah Tennyson, a clinical psychologist from the UK and an Enneagram 2 who loves music, coffee, pastries, and Disney movies. Even though Rebekah and I have never met, chatting with her feels just like catching up with an old friend.We talk about the struggles women face when trying to take up space without being labeled "difficult." Rebekah shares her journey of doing what was expected of her and how she fit into those neat little boxes society loves. We dig into people-pleasing and how she's working on breaking free from that habit.Friendships come up a lot in our chat, too. We talk about how they evolve from childhood to adulthood and the importance of being intentional with our connections. Rebekah reminds us that some people are in our lives for a reason, a season, or forever, and keeping those relationships strong takes effort and communication.As an Enneagram 2, Rebekah knows all about caring too much about what others think. She opens up about learning to sit with the discomfort of not being liked by everyone and finding self-acceptance. We also touch on joy and happiness, and how we shouldn't feel guilty about feeling joyful.We share a laugh about how wild it is to be adults with real responsibilities. Rebekah points out that it's okay to cancel plans or not be your usual self without having to explain every detail. People aren't entitled to know everything going on in your life. We also discuss the frustration of feeling like other people are allowed to do certain things, but you aren't.One of my favorite parts of our chat is when Rebekah quotes Anne Lamott: "Expectations are resentments waiting to happen." We talk about the differences between expectations, hopes, and needs, and how managing them can help in our relationships.Towards the end, we talk about therapy and then things get really silly. We had a blast, but just a heads up: proceed with caution because we go off the rails a bit.Join us for an episode filled with laughs, deep insights, and a heartfelt conversation about living authentically and cherishing our friendships. You won't want to miss it!Trigger Warning: Pregnancy and MiscarriageConnect with Dr. Rebekah Tennyson on Instagram: @enneagrampsych Connect with Lindsey: @lovelaughletitgo

If you thought I was all patriotism-ed out...you'd be wrong! The banger of a July 4 poem we read on Tuesday is a perfect chance to learn more about the basics of poetry analysis. Turns out, Tennyson was pretty good at like, writing poetry and stuff. His ode to England and America is an absolutely metal fusion of old-timey balladeer adventure and statetly classical grandeur. A perfect mash-up, kind of like England and America themselves. If you struggle to get into poems, but want to start, here are three steps that can get you started reading the vibes. The Making of a Poem: https://wwnorton.com/books/The-Making-of-a-Poem/ Check out our sponsor, the Ancient Language Institute: https://ancientlanguage.com/youngheretics/ Pre-order my new book, Light of the Mind, Light of the World: https://a.co/d/2QccOfM Subscribe to be in the mailbag: https://rejoiceevermore.substack.com

It's not the most inspiring July 4 I've ever lived through, I'll say that much. But even after a thoroughly disorienting debate experience, and even with the Brits stealing thunder from our special day by hosting their own election (rude!), what we celebrate on the 4th isn't whatever happens to be going on at this particular moment, since in any given year it's likely to be grim. What we celebrate is the Anglo-American spirit of ordered liberty, which Alfred Lord Tennyson knew better than anyone how to salute. So raise a white claw to him this Thursday, and to our embattled old flag--she's still the best around. Check out our sponsor, the Ancient Language Institute: https://ancientlanguage.com/youngheretics/ I maked this: Light of the Mind, Light of the World: https://a.co/d/0fUMLN9f Gateway to the Epicureans: https://a.co/d/03RaCAP5 Subscribe to be in the mailbag: https://rejoiceevermore.substack.com Subscribe to my joint substack with Andrew Klavan (no relation): https://thenewjerusalem.substack.com Ongoing series on conservative art at The American Mind: https://americanmind.org/feature/how-the-right-recovers-art/

The conversation with Laura Tennyson explores the significance of Juneteenth and its connection to the history of slavery in America, particularly in New Orleans. Laura shares insights into the New Orleans Slave Trade Marker and App Project, shedding light on the deep history of slavery and the impact it had on the development of the United States.

The Aircraft Owners and Pilots Association (AOPA) COO talks Saturday's National Celebration of General Aviation DC Flyover and more.

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