Podcasts about Vase

Oh Lord(e) have mercy! Um Ouschtersonnde sinn de Johannes den Täufer an d' nei BFF vum Bibél-Timur nees fir iech do an hunn net nëmmen Easter Eggs am Gepäck, mee och Foreshadowing. Mir feieren e Familientreffen am "Verso", Frëndschaftsoofbroch um "Coachella" a Musical-Ikonen bei "Drag Race". Et gëtt eng Wiederauferstehung mam Missy, Landflucht op de Cap Vert an eng Schnitzeljagd aus dem Jenseits. Mat dobäi sinn haut ënner anerem den Til Schweiger an d'Charlotte Gainsbourg, Gruppeleit, UK-Idiotien a Feminismus op der falscher Plaz. Den Ouschtermenu besteet aus bloem Matcha, Bärlauch a Kamellen-ASMR (méi oder manner). An och um Feierdag ginn sech natierlech eng jett Froe gestallt: Wat ass eng Tyrolienne? Wisou leie Batterien an der Vase? A ween ass den Härgottsblieschen? Abracadabra!

Matt Beall is the host of the Limitless Podcast, where he explores everything from the impossibly precise predynastic vases, to ancient civilizations, planetary catastrophes, nuclear explosions on Mars and, most recently, the suspicious circumstances of Kurt Cobain's death. Our conversation spans the meta of the weird space we all find ourselves in as people who are willing to play with ideas that we don't necessarily believe are totally correct - but find intriguing enough to spend our days wrestling with them. MAKE HISTORY WITH US THIS SUMMER:https://demystifysci.com/demysticon-2025PATREON https://www.patreon.com/c/demystifysciPARADIGM DRIFThttps://demystifysci.com/paradigm-drift-show00:00 Go!00:06:37 Matt's Theory Collection Journey00:10:28 Challenges in Artifact Authenticity00:22:06 Vase dating technology00:22:49 Expanding interests in mysteries00:26:02 Geopolymer theory00:36:00 MH370 disappearance theories00:41:22 Moon Landing Controversy00:45:49 Doubts About Moon Missions00:49:20 Global Reaction to Moon Landing Theories00:53:16 Legitimacy and Limits of UAP Discussions00:56:51 Unexplained Encounters01:00:51 Psychological Factors in UAP Experiences01:03:35 UFO Sighting Experience01:06:06 Mars Anomalies and Theories01:09:47 Alternative Earth History Theories01:24:13 Glaciation Anomalies01:27:53 Catastrophism vs. Gradualism01:31:07 Mass Extinction Theories01:35:13 Outsider's Perspective01:39:13 Evolution of Discourse01:45:01 Building Intellectual Networks01:46:34 Kurt Cobain: A Different Perspective01:49:30 Investigating Kurt Cobain's Death02:01:35 Theories and Unanswered Questions02:05:53 Re-opening the Investigation into Kurt Cobain's Death02:13:16 The Mythos and Its Impact02:15:28 Law and Theory02:18:28 Objective Exploration and Societal Insights #ancientartifacts, #uap, #alternativehistory, #hiddenknowledge, #unexplainedphenomena, #mysterypodcast, #catastrophy , #ancientcivilizations , #kurtcobainforever, #truthseeker, #openminds, #philosophypodcast, #sciencepodcast, #longformpodcast ABOUS US: Anastasia completed her PhD studying bioelectricity at Columbia University. When not talking to brilliant people or making movies, she spends her time painting, reading, and guiding backcountry excursions. Shilo also did his PhD at Columbia studying the elastic properties of molecular water. When he's not in the film studio, he's exploring sound in music. They are both freelance professors at various universities. PATREON: get episodes early + join our weekly Patron Chat https://bit.ly/3lcAasBMERCH: Rock some DemystifySci gear : https://demystifysci.myspreadshop.com/allAMAZON: Do your shopping through this link: https://amzn.to/3YyoT98DONATE: https://bit.ly/3wkPqaDSUBSTACK: https://substack.com/@UCqV4_7i9h1_V7hY48eZZSLw@demystifysciBLOG: http://DemystifySci.com/blog RSS: https://anchor.fm/s/2be66934/podcast/rssMAILING LIST: https://bit.ly/3v3kz2S SOCIAL: - Discord: https://discord.gg/MJzKT8CQub- Facebook: https://www.facebook.com/groups/DemystifySci- Instagram: https://www.instagram.com/DemystifySci/- Twitter: https://twitter.com/DemystifySciMUSIC: -Shilo Delay: https://g.co/kgs/oty671

Harriet has decided to redecorate based on a vase she purchased. One problem, Ozzie finds it awful.; Now he's off to try to get rid of it.

durée : 00:52:20 - Le Cours de l'histoire - par : Xavier Mauduit, Anne-Toscane Viudes, Maïwenn Guiziou - De siècle en siècle, la figure historique de Clovis a servi les discours politiques. De la dynastie mérovingienne qui forge sa renommée autour du roi franc aux mythifications de l'Église ou de la république, décryptage d'une icône française. - réalisation : Alexandre Manzanares - invités : Régine Le Jan Historienne médiéviste, professeure émérite à l'Université Paris 1 Panthéon-Sorbonne, spécialiste du haut Moyen Âge; Laurent Theis Historien, éditeur et critique

Que sera sera! Whitstable Town have booked their spot at Wembley after a goalless draw with Hartpury University - and the man who kept the home side at bay, keeper Dan Colmer talks us through his delight as the Oystermen secure their spot at the national stadium. Deal Town are the only Kent side to win the Vase, 25 years ago - but their current crop are having great fun on their Step 4 debut, with 160 goals in their 38 games so far - boss Steve King discusses his team's impressive campaign, summer recruitment plans and progress off the pitch. We discuss the new chairman and relegation at Hythe, and the title in the SCEFL is all but done too as we rush headlong into the business end of the season. But we still have all the usual chat and nonsense too, including juggling, Matt's Spanish adventure and people who can't read signs... Hosted on Acast. See acast.com/privacy for more information.

“It is not about fixing or mending, but about celebrating the vulnerability of the object and ultimately myself.” - Yee Sookyung Shattered porcelain is impossible to repair. As impossible as fully, and accurately, reconstructing the past. But who needs that pressure? What if, instead of tossing those shards in the dustbin of history, we acknowledged that the thing will never be what it once was? Maybe then we appreciate the beauty, and the human resilience, of what new things it could be, in the now. See the images: https://www.thelonelypalette.com/episodes/2025/2/26/episode-69-yee-sookyungs-translated-vase-2011 Music used: Billy Joel, “You May Be Right” The Blue Dot Sessions, “Littl Jon,” “The Dustbin,” “BlueGarden,” “Nesting,” “A Rush of Clear Water,” “A Common Pause” Leonard Cohen, “Anthem”

This weekend the FA Vase semi-finals play their second legs to a finish and the FA Trophy have their one-off semis. The teams beginning with W take leads into the weekend and Phil Annets, our man with the stats, reveals the chances of a comeback and why Wembley way is never a straight road. One of those dreaming of Wembley is Aldershot Town gaffer Tommy WIddrington. His club has never been there, but he's experienced the magic and he wants his players, off the field team and fans to enjoy the same.  Matt Badcock is on hand with the Non League Paper Round Up we have the big cup games and chairmen stepping down adding to the management merrygoround madness.

Kevin and Kieran look into the finances behind FA Trophy and FA Vase finals day, and Kieran reveals the craziest club expenses he's ever seen. Follow Kevin on X - @kevinhunterday Follow Kieran on X - @KieranMaguire Follow Producer Guy on X - @guykilty Follow The Price of Football on X - @pof_pod Send in a question: questions@priceoffootball.com Join The Price of Football CLUB: https://priceoffootball.supportingcast.fm/ Check out the Price of Football merchandise store: https://the-price-of-football.backstreetmerch.com/ Visit the website: https://priceoffootball.com/ For sponsorship email - info@adelicious.fm The Price of Football is a Dap Dip production: https://dapdip.co.uk/ contact@dapdip.co.uk Learn more about your ad choices. Visit podcastchoices.com/adchoices

This weekend the FA Vase semi finals get underway. They are two-legged affairs starting this weekend and we speak to Phil Annets with his @FAVaseFactfile hat on about who is in it and why magically, somebody new will win it. One of those hoping to do so is AFC Whyteleafe, and their story for sure will be magical even if they weren't to progress into the final. It's less than four years since they were even formed - effectively as a phoenix club - but initially, they were a club with no players, no sponsor, no league,e and effectively just an agreement to play at a ground. Now, under founder, chair, owner, and joint manager Kelly Waters they are just 180 minutes from Wembley. Jon Couch returns to the show to help round up the news and give an insight into the big stories in this weekend's Non League Paper, a tome that itself is celebrating 25 years in publication.

Tous les matins, 6h35 sur Chérie FM, vous répondez avec nous au Sondage du Réveil Chérie !

There's a famous saying - “In F1, you are either giving pain or taking it.” And after just two rounds of the World Championship there are plenty of examples of that. We'll dig into what's gone wrong for Liam Lawson and why, after just two races, he will no longer be Max Verstappen's team-mate at Red Bull. And we'll look ahead, based at some of the key talking points from China: We'll get into Oscar Piastri's complete weekend, Lando Norris's “will they or won't they work?” brake dramas. Where do Ferrari go from here after a sprint win and a double disqualification? Why George Russell will keep up the scoreboard pressure on the leaders.. while his rookie team-mate Antonelli proves he is no slouch either. Why four penalty points don't make prizes for Jack Doohan. And we say goodbye to the inimitable Eddie Jordan. With James in the studio are Motorsport and Autosport F1 correspondents Jake Boxall-Legge and Ronald Vording, who was one of the team in Shanghai that broke the Lawson story. Remember to take part in the Global F1 Fan Survey, which we are running together with F1. Make your voice heard about F1, what you like and what you'd like to change and who your favourite teams and drivers are. Go to https://fansurvey2025-formula1.motorsportnetwork.com/ And don't miss the chance to compete against our writers on Motorsport's hugely popular F1 Fantasy League. https://www.motorsport.com/f1/news/race-our-writers-motorsport-launches-its-first-ever-featured-league-on-f1-fantasy/10702182/ Send your comments or questions to: @jamesallenonf1 on X/Twitter or jamesallenonf1@autosport.com. Producer: Dre Harrison A Motorsport Studios production for Autosport

Les premiers ministres vont rencontrer Mark Carney cet après-midi. Québec solidaire misera sur Ruba Ghazal en 2026. Élargissement de l’interdiction des signes religieux dans nos établissements scolaires. Licenciement majeur chez groupe CH. Promédia en faillite. Tout savoir en quelques minutes avec Alexandre Dubé, Isabelle Perron et Mario Dumont.Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

„Derby lässt grün-weißes BandWieder flattern durch die Lüfte;Bratwurst-, Bier- und PyrodüfteStreifen ahnungsvoll das Land.Chemie-Fans träumen schon,Wollen balde kommen.– Horch, von fern ein leises Megafon!Derby, ja du bist's!Dich hab ich vernommen!”Frei nach Eduard Mörike (Fuß-ball-gott!) gehen wir in die erste Derbywoche des Jahres 2025: Wir halten unsere Nasen einmal tief rein in einen duftenden Strauß an Analysen, Takes und Halbwahrheiten aus dem Spiel gegen die Blumenstädter.Für den Stilblütenhonig aus dem Leutzscher Holz suchen wir Erbauliches wie die Biene den Nektar und hören nicht auf, bis die kleine Blumenwiese dieser Woche abgearbeitet ist. Ob Honig ums Maul oder durch die Blume gesprochen, es gibt wieder alles zu rosigen Aussichten und dornigen Chancen — und das auch noch zum Selberpflücken.Die Wald- und Wiesenexperten eures Vertrauens jäten kurz das Unkraut auf der der Sonne abgewandten Seite des Leipziger Fußballs und kompostieren dann sachgerecht die blau-gelben Stilblüten. Für den ganzen Rest dann einfach Kick- und Medientipps mit in die Vase geben und schon hat man bestimmt eine ganze Woche Freude daran.Bräuchten auch mal wieder ein bisschen Wasser: Wald-Akelei Bastian, Drachenwurz Jonas und der Rundblättrige Sonnentau Kilian, eure Blumen des Jahres im Chemischen Element #174! Shownotes:Spieltage 28 bis 30 terminiertRegionalliga Nordost - Fairnesstabelle 24/25 | transfermarktRegionalliga Nordost: Die bisher (un)fairsten Teams | fupaCarl Zeiss Jena: Uluc kehrt als Bürger-Nachfolger an die Kernberge zurück | MDR.DEMedientipps:Bartels, Durm, Mittag – Ex-Profis im Amateurfußball |  Sportclub Story | NDR DokuGeldwäsche-Bekämpfung - Was gegen Finanzkriminalität hilft Die Pionierinnen des Fahrrads | Doku HD | ARTE 

Send us a textClassical education has declined and fallen before - as the Roman Empire succumbed to internal weakness and external threats, so did its bilingual educational regime. Humanists in the Renaissance revived the ancient world's Greek and Latin literary paideia, or at least created a new system of education modelled on it, which flourished for centuries, well into the modern era. But it fell apart once again after the catastrophe of the First World War. In Chapter Two of Climbing Parnassus, Tracy Lee Simmons give an account of classical education's many lives.Tracy Lee Simmons' Climbing Parnassus: https://bookshop.org/a/25626/9781933859507Cicero's Pro Archia Poeta: https://bookshop.org/a/25626/9780674991743John Henry Newman's The Idea of a University: https://bookshop.org/a/25626/9780268011505Micah Meadowcroft's Classical Education's Aristocracy of Anyone: https://nationalaffairs.com/publications/detail/classical-educations-aristocracy-of-anyoneDavid Sider's Greek Verse on a Vase by Douris: https://www.ascsa.edu.gr/uploads/media/hesperia/41012854.pdfNew Humanists is brought to you by the Ancient Language Institute: https://ancientlanguage.com/Links may have referral codes, which earn us a commission at no additional cost to you. We encourage you, when possible, to use Bookshop.org for your book purchases, an online bookstore which supports local bookstores.Music: Save Us Now by Shane Ivers - https://www.silvermansound.com

La Bible nous compare à des vases de terre fragiles (2 Corinthiens 4.7). Comme un objet en céramique formé sur le tour du potier, nous sommes faits d'argile (Esaïe 64.8). Dieu a formé Adam à partir de "la poussière de la terre" selon Genèse 2.7, et le Psaume 103.14 dit "Car il sait de quoi nous sommes formés, Il se souvient que nous sommes poussière." Malgré le fait que nous soyons faibles et imparfaits, nous devenons porteurs de la bénédiction de Dieu et nous sommes prêts à la répandre, lorsque nous remplissons nos vases (c'est-à-dire nous-même) de la Parole de Dieu. Nous avons tous une grande valeur pour Dieu - il peut même utiliser des pots cassés ! Mais nous devons tout d'abord lui être pleinement consacrés. Deux Timothée 2.21 nous rappelle : "Eh bien, si quelqu'un se garde pur de tout ce dont j'ai parlé, il sera un vase destiné à un noble usage, purifié, utile à son propriétaire, disponible pour toutes sortes d'œuvres bonnes." Aujourd'hui, alors que vous devenez petit à petit un vase consacré, Dieu va faire des choses merveilleuses au travers de vous.

It's the quarter-final stage of both the FA Trophy and the FA Vase. We turn to the ever faithful, the never inexact, master of the stats Mr Phil Annets. He wears three hats this week @FATrophyFacts @FAVaseFactffile and @FACupFactfile inspiring us all with records, patterns, and with connections that would leave Victoria Coren Mitchell swooning if Non League was ever a category on Only Connect. Our managerial insight this week comes from the manager of Midland Premier side Whitchurch Alport. Not only does he know the quirky history of his wonderful club, but Adam Shillcock is also at the heart of the revolution that will see a second FA Vase quarter-final within a handful of years and is bringing the town and the community together across the ages. Matt Badcock is our man from the Non League Paper this week. He has his own Trophy and Vase insights, ground grading foresight and managerial movement background knowledge that he brings to the table along with another packed Non League Paper this weekend.

Join Eric, @TimAndrewsHere, @Autopritts, @JaredYamamoto, George, and Greg in their newly extended timeslot from 3pm-7pm as they chat about White House visits, hopping cars, pickle elbow, and so much more! *New episodes of our sister shows: The Popcast with Tim Andrews and The Nightcap with Jared Yamamoto are available as well!*

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

Featuring Willard Waterman. Gildy is surprised at home when Leila pops in as he is taking his tool kit to the basement. She marvels at his tools, and wants him…

The Southern Counties East League takes centre stage this week, with three interviews from our Step Five league - including two post-match on Wednesday night. It was a fine evening for VCD Athletic as they ran out 5-0 winners at Sutton Athletic, and with leaders Faversham dropping points, the title race is really hotting up - joint Vickers boss Danny Joy reflects on the win, bouncing back from their Vase heartache and the benefits of momentum. It was Sutton's first league loss in almost three months, and manager Pete Nolan, while disappointed with the loss, was able to reflect on a brilliant run for his side and looks ahead to continuing to progress in his first season at the club. Also relatively new to the dugout is Micky Phillips - but the Larkfield & New Hythe chief has already led his charges into a cup final. He looks back at their penalty win at Bearsted, ahead to the season run-in and discusses the club's ambitious new stadium plans. Dover's wait for a home win goes on, and it's now three straight defeats after losing to Whitehawk - manager Jake Leberl gives us his thoughts. There's all the rest of the news from across the county, plus we talk mini-breaks, stomach bugs, EastEnders and more besides. Hosted on Acast. See acast.com/privacy for more information.

JD Vance SHAMES European Leaders In Munich SpeechBecome a supporter of this podcast: https://www.spreaker.com/podcast/radio-baloney-the-richie-baloney-show--4036781/support.

Zum Valentinstag am 14. Februar haben insbesondere die Anemonen ihren grossen Auftritt. Sie sind von einer beschwingten Leichtigkeit, die den nahenden Frühling erahnen lässt. Anemonen (Anemone coronaria) werden kombiniert mit Ranunkeln und Tulpen zu einem Frühlingsstrauss gebunden. Gezogen werden sie energieeffizient in Norditalien kühl unter Tunnels. Ursprünglich stammt die Anemone aus dem Mittelmeergebiet. Dort kommt sie bis auf 1200 Meter über Meer vor. In tieferen Lagen überwiegen die roten Blüten. Sie werden von bestimmten Käfern bestäubt. In höheren Lagen dominieren blaue, violette, rosarote und weisse Farben. Ihre Blüten werden von Wild- und Honigbienen bestäubt. So hält der Blumenstrauss mit Anemonen länger Vase nur zur Hälfte mit Wasser füllen und täglich wechseln. Über Nacht an einen kühleren Ort stellen. .

In this Deep Dive episode, Chrissie shares a week by week look at a weird books unit with 4th and 5th grade students in the library.Resources Mentioned on the Show:"Let the Kids Get Weird" by Janet Manely on LitHub"Goodnight Moon" on Looking at Picture Books Substack by Mac Barnett and Jon Klassen Mac Barnett on NPR: "Are picture books undervalued? This new ambassador of children's literature thinks so"Books Discussed on the Show:Tumblebaby by Adam Rex and Audrey Helen WeberThe Cat Way by Sara Lundberg, translated by BJ WoodsteinGoodnight Moon by Margaret Wise Brown, illustrated by Clement HurdLet's Be Bees by Shawn HarrisWhere the Wild Things Are by Maurice SendakI Want to Be a Vase by Julio Torres, illustrated by Julian GlanderSam and Dave Dig a Hole by Mac Barnett and Jon KlassenThe Pineapple Princess by Sabina HahnI Do Not Eat Children by Marcus CutlerThe Teeny Weeny Unicorn by Shawn HarrisA Sleepless Night by Micaela Chirif, illustrated by Joaquin Camp, translated by Jordan LandsmanPretty Ugly by David Sedaris, illustrated by Ian FalconerPepper and Me by Beatrice AlemagnaTove and the Island with No Address by Lauren SoloyBe sure to subscribe to the show wherever you get your podcasts. You can follow the show on Instagram @bookdelightpod, follow Chrissie on Instagram @librarychrissie, and subscribe to Chrissie's kidlit newsletter at librarychrissie.substack.com.If you want to support the show, please consider becoming a paid subscriber on Substack. For $7/month, you are helping to pay the costs of the show and receive exclusive content like extra booklists, live video Q&As with Chrissie, reviews of books Chrissie did not like, and more. Visit librarychrissie.substack.com to subscribe.

Words and music - Was können Worte ausdrücken, wo Musik still sein muss, was Musik, wo Worte wie Wörter stumm ... Das Komponisten- und Hörspielmacherduo Milliken und Wiesner umkreist hierzu die Poesie der Moderne. Im Zentrum stehen Prosagedichte aus Gertrude Steins Buch "Tender Buttons" von 1914 sowie Lyrik von William Carlos Williams. Sie hinterfragen amüsant wie sprachspielerisch den von Gefühlen geleiteten Blick auf die Alltagsdinge - von der Vase, dem Wohnzimmer bis zur Obstschale. Und die Musik antwortet über eine Palette von Instrumenten und Stilen, die von Leidenschaften erzählt. Mit: Dagmar Manzel (Deutsche Stimme) Julian Day, Brett Dean, Cathy Milliken, Michael Schiefel und Vanessa Tomlinson (Englische Stimmen) Musikaufnahme: Lutz Glandien Wortaufnahme und Final Mix: Jean Szymczak Komposition: Cathy Milliken Musik-Arrangements und Regie: Dietmar Wiesner Produktion: SWR 2022

A bumper show this week as the FA Trophy and FA Vase reach the last 16. Phil Annets is on hand to give us the lowdown on the stats and facts for both competitions with his @fatrophyfacts and his @favasefactfile hats on. Then we focus on one of those FA Vase ties but not just on the game itself. Caroline Bone lives and breathes Fleet Town. A family connection was the original pull but from a club that could very easily have been just a dusty history book memory, it's now a thriving community hub across the sexes and with a men's team into the last 16 of the Vase and eyes on promotion. Fleet's recording-breaking trip this weekend is to another club who have never reached this stage of the competition before. Their manager acknowledges that but it's not something to de-rail Jamie Coyle, who as a player, manager and still player manager has seen pretty much all there is to see in non league. Matt Badcock is back with the non league round up. The ever-changing National League, managerial moves and non league finals are all in the mix. Plus what is to come in this weekend's Non League Paper.

Text Agony Aunt Roz with your Cutflower Questions.

This week, Barney & Michael discuss Barney's Slow Decline, Vase or Vase, Strip Clubs, Sweets, Top 5 Tops & the first Wipeout Round of 2025... Hosted on Acast. See acast.com/privacy for more information.

Melvyn Bragg and guests discuss eighteenth century 'vase-mania'. In the second half of the century, inspired by archaeological discoveries, the Grand Tour and the founding of the British Museum, parts of the British public developed a huge enthusiasm for vases modelled on the ancient versions recently dug up in Greece. This enthusiasm amounted to a kind of ‘vase-mania'. Initially acquired by the aristocracy, Josiah Wedgwood made these vases commercially available to an emerging aspiring middle class eager to display a piece of the Classical past in their drawing rooms. In the midst of a rapidly changing Britain, these vases came to symbolise the birth of European Civilisation, the epitome of good taste and the timelessness that would later be celebrated by John Keats in his Ode on a Grecian Urn.WithJenny Uglow Writer and Biographer Rosemary Sweet Professor of Urban History at the University of LeicesterAndCaroline McCaffrey-Howarth Lecturer in the History of Art at the University of EdinburghProducer: Eliane GlaserReading list:Viccy Coltman, Fabricating the Antique: Neoclassicism in Britain 1760–1800 (University of Chicago Press, 2006)David Constantine, Fields of Fire: A Life of Sir William Hamilton (Phoenix, 2002)Tristram Hunt, The Radical Potter: Josiah Wedgwood and the Transformation of Britain (Allen Lane, 2021)Ian Jenkins and Kim Sloan (eds), Vases and Volcanoes: Sir William Hamilton and his Collection (British Museum Press, 1996)Berg Maxine, Luxury and Pleasure in Eighteenth-Century Britain (Oxford University Press, 2005)Iris Moon, Melancholy Wedgwood (MIT Press, 2024)Rosemary Sweet, Grand Tour: The British in Italy, c.1690–1820 (Cambridge University Press, 2012)Jenny Uglow, The Lunar Men: The Friends who Made the Future (Faber and Faber, 2003)In Our Time is a BBC Studios Audio production

My guest on this episode, Sarina, bought an expensive Moroccan vase that she loved, until her husband said it looked like dragon skin. Now she sees the vase as ugly and longs to see it as beautiful again. Is it possible to make such a mind switch? Join Sarina and me as she finds out. Let's do The Work!   Don't miss Byron Katie every M-T-W, 9-10 am Pacific Time. Register: athomewithbk.com   If you enjoy this podcast, please give us a five-star rating and review on iTunes, subscribe wherever you listen to podcasts, and invite your friends to join us. Follow Byron Katie on Instagram, Facebook, and LinkedIn. Byron Katie's Books: “Loving What Is” (New Revised Edition) “I Need Your Love—Is That True?” “A Thousand Names for Joy” “A Mind at Home with Itself”   The Work App is available in the Apple App Store and Google Play Store. The Work of Byron Katie is available at thework.com.

A reduced show this week with Matt Badcock from the Non League Paper our sole guest. After the weather intervened last weekend 24 clubs compete in the FA Vase round 4, for a place in the fifth round drawn this week. We reflect on the FA Cup 3rd round and the end of non league involvement plus there's more managerial merry-go-round moves and previews of the weekend's Non League Paper.

Meet Joe Sanok Joe Sanok helps counselors to create thriving practices that are the envy of other counselors. He has helped counselors to grow their businesses by 50-500% and is proud of all the private practice owners who are growing their income, influence, and impact on the world. Click here to explore consulting with Joe. […] The post Even Better Year Series: Breaking the Vase – Forgiveness, Healing, and Empowerment; lessons from Diwa Ghawi | POP 1154 appeared first on How to Start, Grow, and Scale a Private Practice | Practice of the Practice.

A few techie issues this week but a bumper show no less. We start off with Phil Annets. Two hats as we look at the double representatives in the FA Cup Third Round and the last 32 clubs in the FA Vase as that hits round 4.  Then a lovely tale of one of those making history in the FA Vase and hopefully likely to beat the weather this weekend with a 3G pitch. Roger Hudd wasn't around when the club in its oldest form was born but he was one of a handful of lads who started the club it later merged with and bears its name now. He's been a player, manager and now a proud Chairman of a club with some great history and he is hoping to make even more at Roman Glass St George this weekend Jon Couch is literally our roving reporter this week on his way back from Tamworth's pre-FA Cup Press Conference and helps round up the rest of the non league news of the week and what we can read in this weekend's Non League Paper.

Pastor Jared uses a metaphor of roses in a vase to draw comparison to our current context of people desiring a return to morality, but not yet seeking the full truth of God. Submit your ideas for Off Script topics at https://www.kirbywoods.org/offscript. Follow us online! Facebook: https://www.facebook.com/kirbywoodsmemphis Instagram: https://www.instagram.com/kirbywoodsmemphis YouTube: https://www.youtube.com/@kirbywoods Podcast: https://kirbywoodspodcast.buzzsprout.com

Nick is joined by writer and broadcaster Lydia Hislop to discuss the latest from around the racing world. While reviewing the weekend's jumps action, they are joined by Richie Deegan - luckless to depart from Banbridge at the final fence at Cork - and Dan Skelton, again the beneficiary of a fine weekend, but whose Protektorat will now not head to the King George. Also on today's show, all the wrap from Hong Kong, including a chat with Vase winning rider Oisin Murphy, and reflections on the astonishing turnover figures. Plus, Lydia has a firm take on the need for padded hurdles at all racecourses following research published last week that is outlined by BHA Director of Equine Health and Welfare James Given, while Tabitha Worsley joins the show to discuss just how slow and unacceptable the progress has been in modernising jockeys' changing facilities.

Nick is joined by writer and broadcaster Lydia Hislop to discuss the latest from around the racing world. While reviewing the weekend's jumps action, they are joined by Richie Deegan - luckless to depart from Banbridge at the final fence at Cork - and Dan Skelton, again the beneficiary of a fine weekend, but whose Protektorat will now not head to the King George. Also on today's show, all the wrap from Hong Kong, including a chat with Vase winning rider Oisin Murphy, and reflections on the astonishing turnover figures. Plus, Lydia has a firm take on the need for padded hurdles at all racecourses following research published last week that is outlined by BHA Director of Equine Health and Welfare James Given, while Tabitha Worsley joins the show to discuss just how slow and unacceptable the progress has been in modernising jockeys' changing facilities.

The FA Vase and the FA Trophy reach the third round this weekend. That's 64 clubs in 32 ties in each competition. Phil Annets is on hand thankfully with both hats on @fatrophyfacts and @favasefactfile to give us the runners the riders and the history makers taking part.  One chairman who has already seen this club make history in the competition this year is Edwin Slinn. Northampton ON Chenecks is effectively his schoolboy club, and as he explains, there is a fantastic tale behind their name. A home tie awaits, and there is lots to play for, but Wembley is just a few short hops away. Jon Couch rounds up the week's news. There's plenty of FA Cup reaction coming in this weekend's Non-League paper, but as we discuss, there will be plenty from the Vase, the Trophy, the league, and more managerial movements if we can beat Storm Darragh.

Drei Wochen vor Neujahr ist es Zeit die Zweige für die Tischdekoration zu schneiden: es eignen sich Gehölze, welche vor dem Blattaustrieb blühen oder besonders zartgrüne, kleinere Blätter entfalten Gehölze mit Blüten vor Blattaustrieb Ziersträucher: Spierstrauch, Zierquitte, Kornelkirsche, Zierpflaume, Zierkirsche, Mandelbäumchen, Kätzchenweide Obstgehölze: Zwetschgen, Pflaumen, Kirschen, Nektarinen, Pfirsich Wildgehölze: Kornelkirschen, Schlehen, Wildkirsche Gehölze mit schönen Blättern Feldahorn, Birke, Buche, Eiche, Erle, Hartriegel Schnitt und Pflege Zweige mit Baumschere abschneiden, dann das Zweigende mit einem scharfen, geraden Messer 3-5cm schräg anschneiden und in der Mitte spalten, in grosse Vase mit viel kaltem Wasser stellen, an einem hellen, nicht zu warmen Ort platzieren, bei trockener Luft mit Wassersprayer befeuchten, Wasser alle 3 Tage wechseln Tischdekoration gestalten Kugelige, kleine Vasen wählen und nur wenige Zweige mit Blüten oder sich entfaltenden Blättern einstellen

My conversation with two remarkable Australian artists, Robert Malherbe and Keith Burt was in front of a fabulous audience at the Tweed Regional Gallery. Robert and Keith completed residencies at the gallery's Nancy Fairfax Artist in Residence Studio, drawing inspiration from objects in Margaret Olley's recreated home studio at the gallery. The result of their residencies is A Dictionary for Painting, a stunning exhibition on display until March 2, 2025. In this episode, Robert and Keith share their creative highs and lows, offering an intimate glimpse into the making of their works. Special thanks to Tweed Regional Gallery for recording this event and sound engineer Dan Harcombe for his expertise. A video version of this interview will be online soon - and don't miss my earlier interview with Robert from 2021, linked below. Links Podcast listeners click here to see images of the works Robert Malherbe Keith Burt Tweed Regional Gallery and Margaret Olley Art Centre Ep 162 - Ingrid Hedgcock  Ep 161 - Sophie Perez and Sarah McDonald  Ep 120 - Robert Malherbe Robert Malherbe on the YouTube channel John Honeywill  Sarah MacDonald Instagram reel - what to take on a residency Sign up to my monthly Newsletter TWP Instagram TWP Facebook My LinkedIn Selection of work by Robert Malherbe Selection of work by Keith Burt Robert Malherbe (b.1965)Olley's table 09 2024oil on linen81 x 66 cmCourtesy of the artist and Jan Murphy Gallery© The artist Keith Burt (b.1969)Bird 2024oil on canvas30 x 25cmCourtesy of the artist and Jan Murphy Gallery© The artist Keith Burt (b.1969)Floral jug 2024oil on canvas40 x 40cmCourtesy of the artist and Jan Murphy Gallery© The artist Robert Malherbe (b.1965)Olley's table 06 2024oil on linen81 x 66 cmCourtesy of the artist and Jan Murphy Gallery© The artist Margaret Olley (1923–2011)Still life with cornflowers 1995oil on board66.9 x 90.1 cmOn loan from University Art Collection, Chau Chak Wing Museum, The University of SydneyDonated through The Hon R P Meagher bequest 2011© Margaret Olley Art Trust Keith BurtUrban ArtistsOil on canvasWinner 2020 Brisbane Portrait Prize84 x 66cm Robert MalherbeThe Stoic, 2011oil on linen76 x 61cm(Portrait of Nicholas Harding) Keith Burt (b.1969)Jar 2024oil on canvas40 x 40cmCourtesy of the artist and Jan Murphy Gallery© The artist Keith Burt (b.1969)Vase 2024oil on canvas40 x 40cmCourtesy of the artist and Jan Murphy Gallery© The artist Robert Malherbe (b.1965)Olley's table 12 2024oil on polyester51 x 41 cmCourtesy of the artist and Jan Murphy Gallery© The artist  

Dans un podcast inédit, Stanislas Vignon, rédacteur en chef de "Ça peut vous arriver", vous dévoile chaque jour certains des cas qui seront abordés par son équipe à l'antenne dans l'émission le lendemain. Tous les jours, retrouvez en podcast les meilleurs moments de l'émission "Ça peut vous arriver", sur RTL.fr et sur toutes vos plateformes préférées.

One day, a family went to a museum. They looked at many old things. The family has a four-year-old boy. He saw a vase. It was three thousand five hundred years old! 一個四歲的小男孩跟他家人到博物館，他看到一個三千五百年前的古老瓶子。 Click HERE for full transcript!

On this episode of the Vacation Rental Revolution Podcast Shawn talks to Dr. Vase Bari, a physician turned real estate investor. Dr. Bari shares his journey from a traditional medical career to discovering the world of short-term rental investing. He discusses the importance of passion, the challenges of taking action, and the value of mentorship. Vase highlights his unique approach to creating memorable guest experiences and the strategic decisions behind his property investments.You can check out Vase's Properties here:https://www.airbnb.com/rooms/51927835?source_impression_id=p3_1731015802_P3SsjUeGcOk7jHsThttps://www.instagram.com/staysbynur/Or follow him on socials here:https://www.instagram.com/vase.bari/https://www.linkedin.com/in/vase-bari/If you like what we do here at the Vacation Rental Revolution Podcast, share an episode with a friend or give us a review and a thumbs up on your favorite podcast platform.As always-pick one thing you can do today to build a life you don't want to take a vacation from!Cheers,Shawn MooreFounder, Vodyssey.comGet your FREE Property Analysis Tools:STR DataSenseJoin Our FREE 5 yrs To Freedom Group, Your NO BS Group To Build The Life You Don't Want A Vacation From:5 Yrs To Freedom GroupBook a call with a Vodyssey Lifestyle Asset Pro:Strategy Session Application - Vodyssey

We're back on the FA Vase trail this week and what a bumper show we have. The Vase hits Round 2 and there are no more exemptions - the winner of this year's competition will be competing this weekend  Phil Annets is back with his @FaVaseFactfile and helps guide us through the stats, facts, records and the downright bizarre.  Then I get to speak to one of those managers looking to make history with his side in the Vase this weekend. Myles Hook is a bit different from most managers in national cup competitions and plying his trade at Step 5 however. Hands on doesn't give justice to the work he and the small team at Spelthorne Sports put in week in and week out. A club born from the community still with that community at its very heart. His tale is heartwarming and a contrast from some of those from the top level of over-inflated budgets and egos. A win against fellow step 5 club Holmesdale at the weekend would not only see the club's best FA Vase run but also put the club on the map and bring in some essential funds.  Rounding up the news of the week, Jon Couch  of the Non League Paper. He's back with news from around the beautiful game ahead of another bumper weekend of non league football.

Since the comedian Julio Torres came to America from El Salvador, more than a decade ago, his fantastical style has made him a singular presence in the entertainment landscape. An early stint writing for “Saturday Night Live” yielded some of the show's weirdest and most memorable sketches; soon after that, Torres's work on the HBO series “Los Espookys,” which he co-wrote and starred in, cemented his status as a beloved odd-child of the comedy scene. In his most recent work, he's applied his dreamy sensibility to very real bureaucratic nightmares. “Problemista,” his first feature film, draws on Torres's own Kafkaesque experience navigating the U.S. immigration system; in his new HBO show, “Fantasmas,” the protagonist considers whether to acquire a document called a “proof of existence,” without which everyday tasks like renting an apartment are rendered impossible. In a live taping at The New Yorker Festival, the hosts of Critics at Large talk with Torres about his creative influences, and about using abstraction to put our most impenetrable systems into tangible terms. “Life today is so riddled with these man-made labyrinths that are life-or-death … there's something very lonely about it,” Torres says. “These flourishes are there in service of the humanity.”Read, watch, and listen with the critics:“Problemista” (2023)“Fantasmas” (2024-)“Los Espookys” (2019-22)“I Want to Be a Vase,” by Julio Torres“My Favorite Shapes” (2019)“Saturday Night Live” (1975-)“Julio Torres's ‘Fantasmas' Finds Truth in Fantasy,” by Vinson Cunningham (The New Yorker)“The Hunchback of Notre Dame” (1996)“Charlie's Angels: Full Throttle” (2003)“The Substance” (2024)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Share your thoughts on Critics At Large. As a token of our appreciation, you will be eligible to enter a prize drawing up to $1,000 after you complete the survey.https://selfserve.decipherinc.com/survey/selfserve/222b/76152?pin=1&uBRANDLINK=4&uCHANNELLINK=2

FA Trophy Round 1 this weekend and we speak with Phil Annets wearing his @fatrophyfacts hat, to find out the interesting, the unusual and the downright bizarre facts about the 32 ties and the clubs involved. One of those clubs hoping to make history and match their best-ever Trophy run is Brentwood Town. It's 6 months since we last spoke to Chairman Jez Dickinson and lots has gone on since then as he reveals, ahead of their Trophy tie. Jon Couch is back with us offering insight in The Non League Paper round-up this week. Trophy, Vase, FA Cup managerial moves, and plenty of reasons why we love non league.

Welcome to the latest in the Be Your Own Florist Mini-Series, this time showing you how to craft a stunning display in a vase.Any vase can be turned into a gorgeous arrangement, but Sarah shows how best to use the flared neck and wide belly of a vase like our own ‘Favourite Jade Vase', bringing bombastic structure to your arrangement both upwards and outwards.Products mentioned:Favourite Jade Vasehttps://www.sarahraven.com/products/favourite-jade-vaseEucalyptus Stemshttps://www.sarahraven.com/products/eucalyptus-stemsThalictrum delavayihttps://www.sarahraven.com/products/thalictrum-delavayiPersicaria orientalishttps://www.sarahraven.com/products/persicaria-orientalisDahlia 'Molly Raven'https://www.sarahraven.com/products/dahlia-molly-ravenDahlia 'Caitlin's Joy'https://www.sarahraven.com/products/dahlia-caitlins-joyDahlia 'Burlesca'https://www.sarahraven.com/products/dahlia-burlescaGet in touch: info@sarahraven.comShop on the Sarah Raven Website: http://bit.ly/3jvbaeuFollow Sarah: https://www.instagram.com/sarahravensgarden/Order Sarah's latest books: https://www.sarahraven.com/gifts/gardening-books?sort=newest

Welcome to our latest mini-series: Be your own florist - pick and arrange your own garden flowers, with Sarah Raven. Focused on the joys of floristry, Sarah will take you through the essential steps to bring the best of your garden to life in a vase.This first episode is a fantastic crash course in conditioning your cut flowers, following Sarah's 5 S's for giving plants the most impressive vase life possible, with guidance on the vital steps like searing stem ends, sterilising bulbs, and where to pick your flowers from.To get the most out of this episode, you watch Sarah in action over on the Sarah Raven YouTube channel: https://www.youtube.com/@sarahravenProducts mentioned:Dahlia ‘Penhill Watermelon': https://www.sarahraven.com/products/dahlia-penhill-watermelonDahlia ‘Molly Raven': https://www.sarahraven.com/products/dahlia-molly-ravenDahlia ‘Night Silence': https://www.sarahraven.com/products/dahlia-night-silenceLilium speciosum var. rubrum 'Uchida': https://www.sarahraven.com/products/lilium-speciosum-var-rubrum-uchidaHydrangea arborescens 'Incrediball' (Strong Annabelle): https://www.sarahraven.com/products/hydrangea-incrediballGet in touch: info@sarahraven.comShop on the Sarah Raven Website: http://bit.ly/3jvbaeuFollow Sarah: https://www.instagram.com/sarahravensgarden/

032: Russ Allen joins me for a road-sode from Sarasota, Florida where we discuss what we're there to do in terms of ancient hard stone vase research, and respond to listener emails!

Holmberg's Morning Sickness - Thursday August 29, 2024 Learn more about your ad choices. Visit megaphone.fm/adchoices

The Marbled Nut Vase | Son of a Boy Dad #228 -- Ad: Download the Gametime app today and use code BOYDAD to easily score great deals with the new Gametime Picks! -- Follow us on our socials: https://linktr.ee/sonofaboydad -- Merch: https://store.barstoolsports.com/collections/son-of-a-boy-dad -- SUBSCRIBE TO THE YOUTUBE #SonOfABoyDad #BarstoolSportsYou can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/sonofaboydad

How could Vincent have been a creative genius - yet also "insane?" Jeb and Blake take a look at Nimoy's very personal thoughts about this question. This episode deals with the topic of self-harm and suicide. If you're struggling with thoughts of self harm, please get help immediately.  You can reach trained and empathetic counselors (in the USA) by dialing 988 or 1-800-273-TALK.  We care about our listeners and want you to be around for many years to enjoy life - and our work.   Links for Show Notes: Nimoy's play VINCENT via Archive 81 Words - This American Life on the DSM  The Book of Kells Bullshit or Not? Was JTR really Nessie? Article on Jo Bonger The Golden Gate Quartet Weird Al's Skipper Dan (YouTube) Doctor Who clip of Vincent at the art gallery Early montage sequence shows: Self Portrait (1888) Starry Night (1889) Vase with 15 Sunflowers (1888) Bedroom at Arles (1888) Night Cafe in the Place Lamartine in Arles (1888) Encampment of gypsies with caravans (1888) Langlois Bridge at Arles (1888) Fishing boats on the beach at Saintes Maries  Wheat FIeld with Cypresses (1880)  You can find all these and more at the online Van Gogh museum.             Meanwhile... Could Manos be loosely based on Paul and Vincent?