Podcasts about William Hazlitt

En este episodio de #PodcastLaTrinchera, Christian Sobrino entrevista al Lcdo. Juan Frontera Suau, uno de los fundadores del Proyecto Dignidad y actual asesor legislativo de la Senadora Joanne Rodríguez Veve. En la conversación, Sobrino y Juan discuten las diferencias entre su trabajo en la Legislatura este término versus el anterior, su rol en la fundación del Proyecto Dignidad en el 2019, las campañas del 2020 y 2024, el rol de la familia en la sociedad contemporánea, el proyecto de libertad religiosa y los asuntos de género, conservadurismo económico, su decisión de salir del consejo general del Proyecto Dignidad al vences su término y mucho más. El Lcdo. Frontera Suau es hoy parte del consejo de gobierno del Proyecto Dignidad y en el pasado ha fungido como su Vicepresidente y Comisionado Electoral.Por favor suscribirse a La Trinchera con Christian Sobrino en su plataforma favorita de podcasts y compartan este episodio con sus amistades.Para contactar a Christian Sobrino y #PodcastLaTrinchera, nada mejor que mediante las siguientes plataformas:Facebook: @PodcastLaTrincheraTwitter: @zobrinovichInstagram: zobrinovichThreads: @zobrinovichBluesky Social: zobrinovich.bsky.socialYouTube: @PodcastLaTrinchera "Los dos grandes manantiales de la vida, la Esperanza y el Miedo." - William Hazlitt 

Esta semana temos na estante “Do Prazer de Odiar e Outros Ensaios”, de William Hazlitt, que escreveu há 200 anos que “só o ódio é imortal”; dois livros com a homossexualidade como denominador comum: “A Homossexualidade no Tempo de Salazar”, de António João, e “Estar Além - A Persona Queer de António Variações”, de António Fernando Cascais; um romance - “2084 - O Fim do Mundo” - de um escritor argelino - Boualrm Sansal - condenado a cinco anos de prisão por, alegadamente, “pôr em causa a união nacional”; e a memória autobiográfica de um cientista que foi considerado, no seu tempo, “o homem mais inteligente do mundo”: o físico Ricardo Feynman, autor do livro “Nem Sempre a Brincar, Sr. Feynman”.See omnystudio.com/listener for privacy information.

Daily QuoteThe soul of a journey is liberty, perfect liberty, to think, feel, do just as one pleases. (William Hazlitt)Poem of the Day别顾城Beauty of WordsThe Monkey GardenSandra Cisneros

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Tyler and I spoke about view quakes from fiction, Proust, Bleak House, the uses of fiction for economists, the problems with historical fiction, about about drama in interviews, which classics are less read, why Jane Austen is so interesting today, Patrick Collison, Lord of the Rings… but mostly we talked about Shakespeare. We talked about Shakespeare as a thinker, how Romeo doesn't love Juliet, Girard, the development of individualism, the importance and interest of the seventeenth century, Trump and Shakespeare's fools, why Julius Cesar is over rated, the most under rated Shakespeare play, prejudice in The Merchant of Venice, Shakespeare as an economic thinker. We covered a lot of ground and it was interesting for me throughout. Here are some excerpts. Full transcript below.Henry Some of the people around Trump now, they're trying to do DOGE and deregulation and other things. Are there Shakespearean lessons that they should be bearing in mind? Should we send them to see the Henriad before they get started?Tyler Send them to read the Henriad before they get started. The complicated nature of power: that the king never has the power that he needs to claim he does is quite significant. The ways in which power cannot be delegated, Shakespeare is extremely wise on. And yes, the DOGE people absolutely need to learn those lessons.Henry The other thing I'd take from the Henriad is time moves way quicker than anyone thinks it does. Even the people who are trying to move quite quickly in the play, they get taken over very rapidly by just changing-Tyler Yes. Once things start, it's like, oh my goodness, they just keep on running and no one's really in control. And that's a Shakespearean point as well.And.Henry Let's say we read Shakespeare in a modern English version, how much are we getting?Tyler It'll be terrible. It'll be a negative. It will poison your brain. So this, to me, will be highly unfortunate. Better to learn German and read the Schlegel than to read someone turning Shakespeare into current English. The only people who could do it maybe would be like the Trinidadians, who still have a marvelous English, and it would be a completely different work. But at least it might be something you could be proud of.Transcript (prepared by AI)Henry Today, I am talking to Tyler Cowen, the economist, blogger, columnist, and author. Tyler works at George Mason University. He writes Marginal Revolution. He is a columnist at Bloomberg, and he has written books like In Praise of Commercial Culture and The Age of the Infovore. We are going to talk about literature and Shakespeare. Tyler, welcome.Tyler Good to chat with you, Henry.Henry So have you ever had a view quake from reading fiction?Tyler Reading fiction has an impact on you that accumulates over time. It's not the same as reading economics or philosophy, where there's a single, discrete idea that changes how you view the world. So I think reading the great classics in its entirety has been a view quake for me. But it's not that you wake up one morning and say, oh, I turned to page 74 in Thomas Mann's Magic Mountain, and now I realize that, dot, dot, dot. That's a yes and a no for an answer.Henry So you've never read Bleak House and thought, actually, I do see things slightly differently about Victorian London or the history of the –?Tyler Well, that's not a view quake. Certainly, that happens all the time, right? Slightly differently how you see Victorian London. But your overall vision of the world, maybe fiction is one of the three or four most important inputs. And again, I think it's more about the entirety of it and the diversity of perspectives. I think reading Proust maybe had the single biggest impact on me of any single work of fiction if I had to select one. And then when I was younger, science fiction had a quite significant impact on me. But I don't think it was the fictional side of science fiction that mattered, if that makes sense to you. Yeah, yeah, yeah. It was the models embodied in the stories, like, oh, the three laws of robotics. Well, I thought, well, what should those laws be like? I thought about that a good deal. So that would be another part of the qualified answer.Henry And what was it with Proust? The idea that people only care about what other people think or sexuality or consciousness?Tyler The richness of the internal life, the importance of both expectation and memory, the evanescence of actual events, a sense of humor.Henry It showed you just how significant these things are.Tyler And how deeply they can be felt and expressed. That's right. And there were specific pages early on in Swan's Way where it just hit me. So that's what I would say. Bleak House, I don't think, changed my views at all. It's one of my three or four favorite novels. I think it's one of the great, great, greats, as you have written yourself. But the notion that, well, the law is highly complex and reality is murky and there are all these deep mysteries, that all felt very familiar to me. And I had already read some number of newer sort of pseudo-Victorian novels that maybe do those themes in a more superficial way, but they introduce those themes to you. So you read Bleak House and you just say, well, I've imbibed this already, but here's the much better version of it.Henry One of the things I got from Bleak House, which it took me a couple of reads to get to, was how comfortable Dickens was with being quite a rational critic of the legal system and quite a credulous believer in spontaneous combustion and other things.Tyler Did Dickens actually believe in spontaneous combustion or is that a plot device? Like Gene Roddenberry doesn't actually believe in the transporter or didn't, as far as weHenry know. No, I think he believed. Yeah. Yeah. He defends it in the preface. Yeah.Tyler So it's not so confusing that there's not going to be a single behavioral model that captures deviations from rationality. So you end up thinking you ought to travel more, you ought to take in a lot of diverse different sources about our human beings behave, including from sociology, from anthropology. That makes it harder to be an economist, I would say it scatters your attention. You probably end up with a richer understanding of reality, but I'm not sure it's good for your research. It's probably bad for it.Henry It's not a good career move.Tyler It's not good for focus, but focus maybe can be a bit overrated.Henry Why are you more interested in fiction than other sort of people of a broadly rational disposition?Tyler Well, I might challenge the view that I'm of a broadly rational disposition. It's possible that all humans are roughly equally irrational, madmen aside, but if you mean the rationality community as one finds it in San Francisco, I think they're very mono in their approach to reasoning and that tends to limit the interests of many of them, not all, in fiction and travel. People are regional thinkers and in that region, San Francisco, there is incredible talent. It's maybe the most talented place in the world, but there's not the same kind of diversity of talents that you would find in London or New York and that somehow spreads to the broader ethos and it doesn't get people interested in fiction or for that matter, the visual arts very much.Henry But even in London, if I meet someone who's an economist or has an economics degree or whatever, the odds that they've read Bleak House or something are just so small.Tyler Bleak House is not that well read anymore, but I think an economist in London is likely to be much more well read than an economist in the Bay Area. That would be my prediction. You would know better than I would.Henry How important has imaginative literature been to you relative to other significant writers like philosophers or theoretical economists or something?Tyler Well, I'm not sure what you mean by imaginative literature. I think when I was 17, I read Olaf Stapleton, a great British author and Hegelian philosopher, and he was the first and first man and star maker, and that had a significant impact on me. Just how many visions you could put into a single book and have at least most of them cohere and make sense and inspire. That's one of the most imaginative works I've ever read, but people mean different things by that term.Henry How objectively can we talk about art?Tyler I think that becomes a discussion about words rather than about art. I would say I believe in the objective when it comes to aesthetics, but simply because we have no real choice not to. People actually, to some extent, trust their aesthetic judgments, so why not admit that you do and then fight about them? Trying to interject some form of extreme relativism, I think it's just playing a game. It's not really useful. Now, is art truly objective in the final metaphysical sense, in the final theory of the universe? I'm not sure that question has an answer or is even well-formulated, but I would just say let's just be objectivists when it comes to art. Why not?Henry What is wrong with historical fiction?Tyler Most of it bores me. For instance, I don't love Hilary Mantel and many very intelligent people think it's wonderful. I would just rather read the history. It feels like an in-between thing to me. It's not quite history. It's not quite fiction. I don't like biopics either when I go to the cinema. Yeah, I think you can build your own combination of extremes from history and fiction and get something better.Henry You don't have any historical fiction that you like, Penelope Fitzgerald, Tolstoy?Tyler Any is a strong word. I don't consider Tolstoy historical fiction. There's a historical element in it, as there is with say Vassily Grossman's Life and Fate or actually Dickens for that matter, but it's not driven by the history. I think it's driven by the characters and the story. Grossman comes somewhat closer to being historical fiction, but even there, I wouldn't say that it is.Henry It was written so close to the events though, right?Tyler Sure. It's about how people deal with things and what humanity means in extreme circumstances and the situations. I mean, while they're more than just a trapping, I never feel one is plodding through what happened in the Battle of Stalingrad when I read Grossman, say.Henry Yeah. Are there diminishing returns to reading fiction or what are the diminishing returns?Tyler It depends what you're doing in life. There's diminishing returns to most things in the sense that what you imbibe from your teen years through, say, your 30s will have a bigger impact on you than most of what you do later. I think that's very, very hard to avoid, unless you're an extreme late bloomer, to borrow a concept from you. As you get older, rereading gets better, I would say much better. You learn there are more things you want to read and you fill in the nooks and crannies of your understanding. That's highly rewarding in a way where what you read when you were 23 could not have been. I'm okay with that bargain. I wouldn't say it's diminishing returns. I would say it's altering returns. I think also when you're in very strange historical periods, reading fiction is more valuable. During the Obama years, it felt to me that reading fiction was somewhat less interesting. During what you might call the Trump years, and many other strange things are going on with AI, people trying to strive for immortality, reading fiction is much more valuable because it's more limited what nonfiction can tell you or teach you. I think right now we're in a time where the returns to reading more fiction are rapidly rising in a good way. I'm not saying it's good for the world, but it's good for reading fiction.Henry Do you cluster read your fiction?Tyler Sometimes, but not in general. If I'm cluster reading my fiction, it might be because I'm cluster reading my nonfiction and the fiction is an accompaniment to that. Say, Soviet Russia, I did some reading when I was prepping for Stephen Kotkin and for Russ Roberts and Vasili Grossman, but I don't, when it comes to fiction per se, cluster read it. No, I don't think you need to.Henry You're not going to do like, I'm reading Bleak House, so I'll do three other 1852 novels or three other Dickens novels or something like that.Tyler I don't do it, but I suspect it's counterproductive. The other Dickens novels will bore you more and they'll seem worse, is my intuition. I think the question is how you sequence works of very, very high quality. Say you just finished Bleak House, what do you pick up next? It should be a work of nonfiction, but I think you've got to wait a while or maybe something quite different, sort of in a way not different, like a detective story or something that won't challenge what has been cemented into your mind from Bleak House.Henry Has there been a decline of reading the classics?Tyler What I observe is a big superstar effect. I think a few authors, such as Jane Austen and Shakespeare, are more popular. I'm not completely sure they're more read, but they're more focal and more vivid. There are more adaptations of them. Maybe people ask GPT about them more. Really quite a few other works are much less read than would have been the case, say as recently as the 1970s or 1980s. My guess is, on the whole, the great works of fiction are much less read, but a few of them achieve this oversized reputation.Henry Why do you think that is?Tyler Attention is more scarce, perhaps, and social clustering effects are stronger through the internet. That would just be a guess.Henry It's not that we're all much more Jane Austen than we used to be?Tyler No, if anything, the contrary. Maybe because we're less Jane Austen, it's more interesting, because in, say, a Jane Austen novel, there will be sources of romantic tension not available to us through contemporary TV shows. The question, why don't they just sleep together, well, there's a potential answer in a Jane Austen story. In the Israeli TV show, Srugim, which is about modern Orthodox Jews, there's also an answer, but in most Hollywood TV, there's no answer. They're just going to sleep together, and it can become very boring quite rapidly.Henry Here's a reader question. Why is the market for classics so good, but nobody reads them? I think what they're saying is a lot of people aren't actually reading Shakespeare, but they still agree he's the best, so how can that be?Tyler A lot of that is just social conformity bias, but I see more and more people, and I mean intellectuals here, challenging the quality of Shakespeare. On the internet, every possible opinion will be expressed, is one way to put it. I think the market for classics is highly efficient in the following sense, that if you asked, say, GPT or Claude, which are the most important classics to read, that literally everything listed would be a great book. You could have it select 500 works, and every one of them would really be very good and interesting. If you look at Harold Bloom's list at the back of the Western canon, I think really just about every one of those is quite worthwhile, and that we got to that point is, to me, one of the great achievements of the contemporary world, and it's somewhat under-praised, because you go back in earlier points of time, and I think it's much less efficient, the market for criticism, if you would call it that.Henry Someone was WhatsAppping me the other day that GPT's list of 50 best English poets was just awful, and I said, well, you're using GPT4, o1 gives you the right list.Tyler Yeah, and o1 Pro may give you a slightly better list yet, or maybe the prompt has to be better, but it's interesting to me how many people, they love to attack literary criticism as the greatest of all villains, oh, they're all frustrated writers, they're all post-modernists, they're all extreme left-wingers. All those things might even be true to some extent, but the system as a whole, I would say completely has delivered, and especially people on the political and intellectual right, they often don't realize that. Just any work you want to read, if you put in a wee bit of time and go to a shelf of a good academic library, you can read fantastic criticism of it that will make your understanding of the work much better.Henry I used to believe, when I was young, I did sort of believe that the whole thing, oh, the Western canon's dying and everyone's given up on it, and I'm just so amazed now that the opposite has happened. It's very, very strong.Tyler I'm not sure how strong it is. I agree its force in discourse is strong, so something like, well, how often is it mentioned in my group chats? That's strongly rising, and that delights me, but that's a little different from it being strong, and I'm not sure how strong it is.Henry In an interview about your book Talent, you said this, “just get people talking about drama. I feel you learn a lot. It's not something they can prepare for. They can't really fake it. If they don't understand the topic, you can just switch to something else.”Tyler Yeah, that's great advice. You see how they think about how people relate to each other. It doesn't have to be fiction. I ask people a lot about Star Wars, Star Trek, whatever it is they might know that I have some familiarity with. Who makes the best decisions in Star Wars? Who gives the best advice? Yoda, Obi-Wan, Luke, Darth Vader, the Emperor?Henry It's a tough question.Tyler Yeah, yeah.Henry I don't know Star Wars, so I couldn't even answer that.Tyler You understand that you can't fake it. You can't prepare for it. It does show how the person thinks about advice and also drama.Henry Right. Now, you're a Shakespeare fan.Tyler Well, fan is maybe an understatement. He's better. He deserves better than fans.Henry How much of time, how much of your life have you spent reading and watching this work?Tyler I would say most of the plays from, say, like 1598 or 99 and after, I've read four to five times on average, some a bit more, some like maybe only three times. There's quite a few I've only read once and didn't like. Those typically are the earlier ones. When it comes to watching Shakespeare, I have to confess, I don't and can't understand it, so I'm really not able to watch it either on the stage or in a movie and profit from it. I think I partially have an auditory processing disorder that if I hear Shakespeare, you know, say at Folger in DC, I just literally cannot understand the words. It's like listening to Estonian, so I've gone some number of times. I cannot enjoy what you would call classic Shakespeare movies like Kenneth Branagh, Henry V, which gets great reviews, intelligent people love it. It doesn't click for me at all. I can't understand what's going on. The amount of time I've put into listening to it, watching it is very low and it will stay low. The only Shakespeare movies I like are the weird ones like Orson Welles' Chimes at Midnight or Baz Luhrmann's Shakespeare's Romeo and Juliet. I think they're fantastic, but they're not obsessed with reciting the text.Henry So, you're reading with notes and you're piecing it together as you go.Tyler I feel the versions in my head are better than anything I see on the screen also, so that's another reason. I just think they're to be read. I fully understand that's not how Shakespeare seemed to view them, but that's a way in which we readers, in a funny way, can improve on Shakespeare's time.Henry No, I agree with you. The thing I get the most pushback about with Shakespeare is when I say that he was a great thinker.Tyler He's maybe the best thinker.Henry Right. But tell us what you mean by that.Tyler I don't feel I can articulate it. It's a bit like when o3 Pro gives you an answer so good you don't quite appreciate it yourself. Shakespeare is like o7 Pro or something. But the best of the plays seem to communicate the entirety of human existence in a way that I feel I can barely comprehend and I find in very, very little else. Even looking at other very great works such as Bleak House, I don't find it. Not all of the plays. There's very, very good plays that don't do that. Just say Macbeth and Othello. I don't feel do that at all. Not a complaint, but something like Hamlet or King Lear or Tempest or some of the comedies. It's just somehow all laid out there and all inside it at the same time. I don't know any other way of putting it.Henry A lot of people think that Shakespeare is overrated. We only read him because it's a status game. We've internalized these snobbish values. We see this stated a lot. What's your response to these people?Tyler Well, I feel sorry for them. But look, there's plenty of things I can't understand. I just told you if I go to see the plays, I'm completely lost. I know the fault is mine, so to speak. I don't blame Shakespeare or the production, at least not necessarily. Those are people who are in a similar position, but somehow don't have enough metarationality to realize the fault is on them. I think that's sad. But there's other great stuff they can do and probably they're doing it. That's fine.Henry Should everyone read Shakespeare at school?Tyler If you say everyone, I resist. But it certainly should be in the curriculum. But the real question is who can teach it? But yeah, it's better than not doing it. When I was in high school, we did Taming of the Shrew, which I actually don't like very much, and it put me off a bit. We did Macbeth, which is a much better play. But in a way, it's easy to teach. Macbeth, to me, is like a perfect two-minute punk rock song. It does something. It delivers. But it's not the Shakespeare that puts everything on the table, and the plot is easy to follow. You can imagine even a mediocre teacher leading students through it. It's to me still a little underwhelming if that's what we teach them. Then finally, my last year, we did Hamlet, and I'm like, whoa, okay, now I get it. Probably we do it wrong in a lot of cases, would be my guess. What's wrong with the Taming of the Shrew? It's a lot of yelling and screaming and ordinary. To me, it's not that witty. There's different views, like is it offensive to women, offensive to men? That's not my main worry. But those questions, I feel, also don't help the play, and I just don't think Shakespeare was fully mature when he wrote it. What was the year on that? Do you know offhand?Henry It's very early.Tyler It's very early. Very early, yeah. So if you look at the other plays that surround it, they're also not as top works. So why should we expect that one to be?Henry What can arts funding learn from the Elizabethan and Jacobean theatres?Tyler Current arts funding? I don't think that much. I think the situation right now is so different, and what we should do so depends on the country, the state, the province, the region. Elizabethan times do show that market support at art can be truly wonderful. We have plenty of that today. But if you're just, say, appointed to be chair of the NEA and you've got to make decisions, I'm not sure how knowing about Elizabethan theatre would help you in any direct way.Henry What do you think of the idea that the long history of arts funding is a move away from a small group, an individual patronage where taste was very important, towards a kind of institutional patronage, which became much more bureaucratic? And so one reason why we keep arguing about arts funding now is that a lot of it exhibits bad taste because the committee has to sort of agree on various things. And if we could reallocate somewhat towards individual patronage, we'd do better.Tyler I would agree with the latter two-thirds of that. How you describe earlier arts funding I think is more complicated than what you said. A lot of it is just people doing things voluntarily at zero pecuniary cost, like singing songs, songs around the campfire, or hymns in church, rather than it being part of a patronage model. But I think it's way overly bureaucratized. The early National Endowment for the Arts in the 1960s just let smart people make decisions with a minimum of fuss. And of course we should go back to that. Of course we won't. We send half the money to the state's arts agencies, which can be mediocre or just interested in economic development and a new arts center, as opposed to actually stimulating creativity per se. More over time is spent on staff. There are all these pressures from Congress, things you can't fund. It's just become far less effective, even though it spends somewhat more money. So that's a problem in many, many countries.Henry What Shakespeare critics do you like reading?Tyler For all his flaws, I still think Harold Bloom is worthwhile. I know he's gotten worse and worse as a critic and as a Shakespeare critic. Especially if you're younger, you need to put aside the Harold Bloom you might think you know and just go to some earlier Bloom. Those short little books he edited, where for a given Shakespeare play he'll collect maybe a dozen essays and write eight or ten pages at the front, those are wonderful. But Bradley, William Hazlitt, the two Goddard volumes, older works, I think are excellent. But again, if you just go, if you can, to a university library, go to the part on the shelf where there's criticism on a particular play and just pull down five to ten titles and don't even select for them and just bring those home. I think you'll learn a lot.Henry So you don't like The Invention of the Human by Bloom?Tyler Its peaks are very good, but there's a lot in it that's embarrassing. I definitely recommend it, but you need to recommend it with the caveat that a lot of it is over the top or bad. It doesn't bother me. But if someone professional or academic tells me they're totally put off by the book, I don't try to talk them out of that impression. I just figure they're a bit hopelessly stuck on judging works by their worst qualities.Henry In 2018, you wrote this, “Shakespeare, by the way, is Girard's most important precursor. Also throw in the New Testament, Hobbes, Tocqueville, and maybe Montaigne.” Tell us what you mean by that.Tyler That was pretty good for me to have written that. Well, in Shakespeare, you have rivalrous behavior. You have mimetic desire. You have the importance of twinning. There's ritual sacrifice in so many of the plays, including the political ones. Girard's title, Violence and the Sacred, also comes from Shakespeare. As you well know, the best Gerard book, Theater of Envy, is fully about Shakespeare. All of Girard is drenched with Shakespeare.Henry I actually only find Girard persuasive on Shakespeare. The further I get away from that, the more I'm like, this is super overstated. I just don't think this is how humans ... I think this is too mono-explanation of humans. When I read the Shakespeare book, I think, wow, I never understood Midsummer Night's Dream until I read Girard.Tyler I think it's a bit like Harold Bloom. There's plenty in Girard you can point to as over the top. I think also for understanding Christianity, he has something quite unique and special and mostly correct. Then on other topics, it's anthropologically very questionable, but still quite stimulating. I would defend it on that basis, as I would Harold Girard.Henry No, I like Gerard, but I feel like the Shakespeare book gets less attention than the others.Tyler That's right. It's the best one and it's also the soundest one. It's the truly essential one.Henry How important was Shakespeare in the development of individualism?Tyler Probably not at all, is my sense. Others know more about the history than I do, but if I think of 17th century England, where some strands of individualist thought come from, well, part of it is coming from the French Huguenots and not from Shakespeare. A lot of it is coming from the Bible and not from Shakespeare. The levelers, John Locke, some of that is coming from English common law and not from Shakespeare. Then there's the ancient world. I don't quite see a strong connection to Shakespeare, but I'd love it if you could talk me into one.Henry My feeling is that the 1570s are the time when diaries begin to become personal records rather than professional records. What you get is a kind of Puritan self-examination. They'll write down, I said this, I did this, and then in the margin they'll put, come back and look at this and make sure you don't do this again. This new process of overhearing yourself is a central part of what Shakespeare's doing in his drawing. I think this is the thing that Bloom gets right, is that as you go through the plays in order, you see the very strong development of the idea that a stock character or someone who's drawing on a tradition of stock characters will suddenly say, oh, I just heard myself say that I'm a villain. Am I a villain? I'm sort of a villain. Maybe I'm not a villain. He develops this great art of self-referential self-development. I think that's one of the reasons why Shakespeare became so important to being a well-educated English person, is that you couldn't really get that in imaginative literature.Tyler I agree with all that, but I'm not sure the 17th century would have been all that different without Shakespeare, in literary terms, yes, but it seemed to me the currents of individualism were well underway. Other forces sweeping down from Europe, from the further north, competition across nations requiring individualism as a way of getting more wealth, the beginnings of economic thought which became individualistic and gave people a different kind of individualistic way of viewing the world. It seems so over-determined. Causally, I wouldn't ascribe much of a role to Shakespeare, but I agree with every sentence you said and what you said.Henry Sure, but you don't think the role of imaginative literature is somehow a fundamental transmission mechanism for all of this?Tyler Well, the Bible, I think, was quite fundamental as literature, not just as theology. So I would claim that, but keep in mind the publication and folio history of Shakespeare, which you probably know better than I do, it's not always well-known at every point in time by everyone.Henry I think it's always well-known by the English.Tyler I don't know, but I don't think it's dominant in the way that, say, Pilgrim's Progress was dominant for a long time.Henry Sure, sure, sure. And you wouldn't then, what would you say about later on, that modern European liberalism is basically the culture of novel reading and that we live in a society that's shaped by that? Do you have the same thing, like it's not causal?Tyler I don't know. That's a tricky question. The true 19th century novel I think of as somewhat historicist, often nationalist, slightly collectivist, certainly not Marxist, but in some ways illiberal. And so many of the truly great novel writers were not so liberal. And the real liberal novels, like Mancini's The Betrothed, which I quite enjoy, but it's somewhat of a slight work, right? And it might be a slight work because it is happy and liberal and open-minded. There's something about the greatest of creators, they tend to be pessimistic or a bit nasty or there's some John Lennon in them, there's Jonathan Swift, Swift, it's complicated. In some ways he's illiberal, but he's considered a Tory and in many ways he's quite an extreme reactionary. And the great age of the novel I don't think of is so closely tied to liberalism.Henry One of the arguments that gets made is like, you only end up with modern European liberalism through a culture where people are just spending a lot of time reading novels and imagining what it is like to be someone else, seeing from multiple different perspectives. And therefore it's less about what is the quote unquote message of the story and more about the habitual practice of thinking pluralistically.Tyler I think I would be much more inclined to ascribe that to reading newspapers and pamphlets than novels. I think of novels as modestly reactionary in their net impact, at least in the 19th century. I think another case in point, not just Tolstoy, Thomas Mann, one of the great novelists, had bad politics, right, was through Germany in the first world war. So if you look at the very greatest novels, there's something a bit problematic about many of their creators. They're not Nazis, they're not Stalinists, but they're not where I'm at either.Henry Now in 2017, a lot of people were complaining about Donald Trump as Julius Caesar and there was some farce about a production, I think it was put on in New York or DC maybe. And you said, no, no, no, he's not Caesar. He's more like a Shakespearean fool because he's the truth teller. What do you think of that view now?Tyler That was a Bloomberg column I wrote, I think in 2017. And I think that's held up quite well. So there's many criticisms of Trump that he's some kind of fascist. I don't think those have held up very well. He is a remarkable orator, coiner of phrase, coiner of insults, teller of truths, combined with a lot of nonsense and just nonsense talk, like the Covfefe tweet or whatever it was. And there's something tragic about Trump that he may well fail even by his own standards. He has a phenomenal sense of humor. I think people have realized that more and more. The fact that his popularity has persisted has forced a lot of people to reexamine just Trump as an individual and to see what a truly unique talent he is, whether you like him as your president or not. And that, I think, is all Shakespearean.Henry Some of the people around Trump now, they're trying to do DOGE and deregulation and other things. Are there Shakespearean lessons that they should be bearing in mind? Should we send them to see the Henriad before they get started?Tyler Send them to read the Henriad before they get started. The complicated nature of power: that the king never has the power that he needs to claim he does is quite significant. The ways in which power cannot be delegated, Shakespeare is extremely wise on. And yes, the DOGE people absolutely need to learn those lessons.Henry The other thing I'd take from the Henriad is time moves way quicker than anyone thinks it does. Even the people who are trying to move quite quickly in the play, they get taken over very rapidly by just changing-Tyler Yes. Once things start, it's like, oh my goodness, they just keep on running and no one's really in control. And that's a Shakespearean point as well.Henry Yeah. Here's another quote from the Bloomberg column, “given Shakespeare's brilliance in dramatizing the irrational, one of my biggest fears is that Shakespeare is indeed still a thinker for our times.” Has that come more true in recent years?Tyler I think more true. So from my point of view, the world is getting weirder in some very good ways and in some very bad ways. The arbitrary exercise of power has become more thinkable. You see this from Putin. We may see it from China. In the Middle East, it's happened as well. So the notion also that rulers can be their own worst enemies or human beings can be their own worst enemies. I think we see more when the world is volatile than when the world is stable, almost definitionally.Henry You once said Julius Caesar was an overrated play. Tell us why.Tyler You know, I read it again after I wrote that and it went up in my eyes. But I suppose I still think it's a bit overrated by people who love it. It's one of these mono plays like Macbeth or Othello. It does one thing very, very well. I think the mystical elements in it I had underappreciated on earlier readings and the complexity of the characters I had underappreciated. So I feel I was a little harsh on it. But I just wouldn't put it in the underrated category. Julius Caesar is such a well-known historical figure. It's so easy for that play to become focal. And Brutus and, you know, the stabbing, the betrayal, it's a little too easy for it to become famous. And I guess that's why I think within the world of Shakespeare fans, it still might be a little overrated.Henry It's written at a similar time to Hamlet and Twelfth Night, and I think it gets caught up in the idea that this was a great pivotal moment for Shakespeare. But actually I agree, over the years I've come to think it's really just not the equal of the other plays it's surrounded by.Tyler Yeah, that's still my view. Absolutely. Not the equal of those two, certainly.Henry What is the most underrated play?Tyler I'm not sure how they're all rated. So I used to think Winter's Tale, clearly. But I've heard so many people say it's the most underrated, including you, I think. I don't know if I can believe that anymore. So I think I have to go with The Henriad, because to me that's the greatest thing Shakespeare ever did. And I don't think it's commonly recognized as such. I mean, Hamlet or King Lear would typically be nominated. And those are top, top, top, top. But I'll still go with The Henriad.Henry You are saying Henriad above Hamlet, above Lear, above Twelfth Night.Tyler Maybe it's not fair because you have multiple plays, right? What if, you know, there were three Hamlets? Maybe that would be better. But still, if I have to pick, no one of The Henriad comes close to Hamlet. But if you can consider it as a whole in the evolution of the story, for me it's a clear winner. And it's what I've learned the most from. And a problem with Hamlet, not Shakespeare's fault, but Hamlet became so popular you hear lesser versions of themes and ideas from Hamlet your whole life. It's a bit like seeing Mondrian on the shopping bag. That does not happen, really, with The Henriad. So that has hurt Hamlet, but without meaning it's, you know, a lesser play. King Lear, you have less of that. It's so bleak and tragic. It's harder to put on the shopping bag, so to speak. In that sense, King Lear has held up a bit better than Hamlet has.Henry Why do you admire The Winter's Tale so much? What do you like about it?Tyler There's some mysterious sense of beauty in it that even in other Shakespearean plays I don't feel. And a sense of miracle and wonder, also betrayal and how that is mixed in with the miracle and wonder. Somehow he makes it work. It's quite an unlikely play. And the jealousy and the charge of infidelity I take much more seriously than other readers of the play do. I don't think you can say there's a Straussian reading where she clearly fooled around on the king. But he's not just crazy, either. And there are plenty of hints that something might have happened. It's still probably better to infer it didn't happen. But it's a more ambiguous play than it is typically read as.Henry Yes, someone said to me, ask if he thinks Hermione has an affair. And you're saying maybe.Tyler Again, in a prediction market, I'll bet no, but we're supposed to wonder. We're not supposed to just think the king is crazy.Henry I know you don't like to see it, but my view is that because we believe in this sudden jealousy theory, it's often not staged very well. And that's one reason why it's less popular than it ought to be.Tyler I've only seen it once. I suspect that was true. I saw it, in fact, last year. And the second half of the play was just awful. The first half, you could question. But it was a painful experience. It was just offensively stupid. One of the great regrets of my life is I did not drive up to New York City to see Bergman present his version of Winter's Tale in Swedish. And I'm quite sure that would have been magnificent and that he would have understood it very deeply and very well. That was just stupid of me. This was, I think, in the early 90s. I forget exactly when.Henry I think that's right. And there's a theater library where if you want to go and sit in the archive, you can see it.Tyler I will do that at some point. Part of my worry is I don't believe their promise. I know you can read that promise on the internet, but when you actually try to find the person who can track it down for you and give you access, I have my doubts. If I knew I could do it, I would have done it by now.Henry I'll give you the email because I think I actually found that person. Does Romeo actually love Juliet?Tyler Of course not. It's a play about perversion and obsession and family obligation and rebellion. And there's no love between the two at all. And if you read it with that in mind, once you see that, you can't unsee it. So that's an underrated play. People think, oh, star-crossed teen romance, tragic ending, boo-hoo. That's a terrible reading. It's just a superficial work of art if that's what you think it is.Henry I agree with you, but there are eminent Shakespeare professors who take that opinion.Tyler Well maybe we're smarter than they are. Maybe we know more about other things. You shouldn't let yourself be intimidated by critics. They're highly useful. We shouldn't trash them. We shouldn't think they're all crummy left-wing post-modernists. But at the end of the day, I don't think you should defer to them that much either.Henry Sure. So you're saying Juliet doesn't love Romeo?Tyler Neither loves the other.Henry Okay. Because my reading is that Romeo has a very strong death drive or dark side or whatever.Tyler That's the strong motive in the play is the death drive, yeah.Henry And what that means is that it's not his tragedy, it's her tragedy. She actually is an innocent young girl. Okay, maybe she doesn't love him, it's a crush or it's whatever, but she actually is swept up in the idea of this handsome stranger. She can get out of her family. She's super rebellious. There's that wonderful scene where she plays all sweetness and light to her nurse and then she says, I'm just lying to you all and I'm going to get out of here. Whereas he actually is, he doesn't have any romantic feeling for her. He's really quite a sinister guy.Tyler Those are good points. I fully agree. I still would interpret that as she not loving him, but I think those are all good insights.Henry You've never seen it staged in this way? You've never seen any one?Tyler The best staging is that Baz Luhrmann movie I mentioned, which has an intense set of references to Haitian voodoo in Romeo and Juliet when you watch the movie. The death drive is quite clear. That's the best staging I know of, but I've never seen it on the stage ever. I've seen the Zeffirelli movie, I think another film instance of it, but no, it's the Haitian voodoo version that I like.Henry He makes it seem like they love each other, right?Tyler In a teenage way. I don't feel that he gets it right, but I feel he creates a convincing universe through which the play usefully can be viewed.Henry The Mercutio death, I think, is never going to be better than in that film. What do you like about Antonin Cleopatra?Tyler It's been a long time since I've read that. What a strong character she is. The sway people can exercise over each other. The lines are very good. It's not a top Shakespeare favorite of mine, but again, if anyone else had done it, you would just say this is one of the greatest plays ever, and it is.Henry I think it's going to be much more of a play for our times because many people in the Trump administration are going to have that. They're torn between Rome and Egypt, as it were, and the personal conflicts are going to start getting serious for them, if you like.Tyler There's no better writer or thinker on personal conflict than Shakespeare, right?Henry Yes. Now, you do like Measure for Measure, but you're less keen on All's Well That Ends Well. Is that right?Tyler I love Measure for Measure. To me, it's still somewhat underrated. I think it's risen in status. All's Well That Ends Well, I suspect you need to be good at listening to Shakespeare, which as I've already said, I'm not. It's probably much better than I realize it is for that reason. I'm not sure on the printed page it works all that well.Henry Yeah. That's right. I think it's one of the most important plays. Why? Because I think there are two or three basic factors about Shakespeare's drama, which is like the story could often branch off in different directions. You often get the sense that he could swerve into a different genre. The point Samuel Johnson made about whenever someone's running off to the tavern, someone else is being buried, right? And a lot of the time he comes again and again to the same types of situations, the same types of characters, the same types of family set up. And he ends the plays in different ways and he makes it fall out differently. And I think Helena is very representative of a lot of these facets. Everyone thinks she's dead, but she's not dead. Sometimes it looks like it's going badly for her when actually it's going well. No one in the play ever really has an honest insight into her motives. And there comes a point, I think, when just the overall message of Shakespeare's work collectively is things go very wrong very quickly. And if you can get to some sort of happy ending, you should take it. You should be pragmatic and say, OK, this isn't the perfect marriage. This isn't the perfect king. But you know what? We could be in a civil war. Everyone could be dead. All's well that ends well. That's good advice. Let's take it.Tyler I should reread it. Number one in my reread pile right now is Richard II, which I haven't read in a long time. And there's a new biography out about Richard II. And I'm going to read the play and the biography more or less in conjunction. And there's a filming of Richard II that I probably won't enjoy, but I'll try. And I'm just going to do that all together, probably sometime over this break. But I'll have all's well that ends well is next on my reread list. You should always have a Shakespeare to reread list, right?Henry Always. Oh, of course. Is Shakespeare a good economic thinker?Tyler Well, he's a great thinker. I would say he's better than a good economic thinker. He understands the motive of money, but it's never just the motive of money. And Shakespeare lowers the status of economic thinking, I would say, overall, in a good way. He's better than us.Henry What are your thoughts on The Merchant of Venice?Tyler Quite underrated. People have trouble with it because it is very plausibly anti-Semitic. And everyone has to preface any praise they give it with some kind of disavowal or whatever. The way I read the play, which could be wrong, but it's actually more anti-anti-Semitic than it is anti-Semitic. So the real cruel mean people are those who torment the Jew. I'm not saying Shakespeare was not in some ways prejudiced against Jews and maybe other groups, but actually reading it properly should make people more tolerant, not because they're reacting against Shakespeare's anti-Semitism, but because the proper message of the play understood at a deeper level is toleration.Henry You teach a law and literature class, I think.Tyler Well, I did for 20 years, but I don't anymore.Henry Did you teach Merchant of Venice?Tyler I taught it two or three times, yes.Henry How did your students react to it?Tyler Whenever I taught them Shakespeare, which was actually not that much, they always liked it, but they didn't love it. And there's some version of Shakespeare you see on the screen when it's a decent but not great filmed adaptation where there's the mechanics of the plot and you're held in suspense and then there's an ending. And I found many of them read Shakespeare in those terms and they quite enjoyed it, but somehow they didn't get it. And I think that was true for Merchant of Venice as well. I didn't feel people got hung up on the anti-Semitism point. They could put that aside and just treat it as a play, but still I didn't feel that people got it.Henry Should we read Shakespeare in translation?Tyler Well, many people have to. I've read some of the Schlegel translations. I think they're amazing. My wife, Natasha, who grew up in the Soviet Union, tells me there are very good Russian language translations, which I certainly believe her. The Schlegels are different works. They're more German romantic, as you might expect, but that's fine, especially if you know the original. My guess is there are some other very good translations. So in that qualified way, the translations, a few of them can be quite valuable. I worry that at some point we'll all need to read it in some sort of translation, as Chaucer is mostly already true for Chaucer. You probably don't have to read Chaucer in translation, but I do.Henry I feel like I shouldn't read it in translation, I think.Tyler But you do, right? Or you don't?Henry No, I read the original. I make myself do the original.Tyler I just can't understand the original well enough.Henry But I put the time in when I was young, and I think you retain a sense of it. Do you think, though, if we read, let's say we read Shakespeare in a modern English version, how much are we getting?Tyler It'll be terrible. It'll be a negative. It will poison your brain. So this, to me, will be highly unfortunate. Better to learn German and read the Schlegel than to read someone turning Shakespeare into current English. The only people who could do it maybe would be like the Trinidadians, who still have a marvelous English, and it would be a completely different work. But at least it might be something you could be proud of.Henry I'd like to read some of that. That would be quite an exciting project.Tyler Maybe it's been done. I don't know. But just an Americanized Hollywood version, like, no, that's just a negative. It's destructive.Henry Now, you're very interested in the 17th century, which I think is when we first get steady economic growth, East India Company, England is settling in America.Tyler Political parties. Some notion of the rule of law. A certain theory of property rights. Very explicit individualism. Social contract theories. You get Hobbes, Isaac Newton, calculus. We could go on. Some people would say, well, Westphalia, you get the modern nation state. That to me is a vaguer date to pin that on. But again, it's a claim you can make of a phenomenal century. People aren't that interested in it anymore, I think.Henry How does Shakespeare fit into this picture?Tyler Well, if you think of the years, if you think of the best ones, they start, like what, 1598, 1599. And then by 1600, they're almost all just wonderful. He's a herald. I don't think he's that causal. But he's a sign, the first totally clear sign that all the pieces have fallen into place. And we know the 17th century gave us our greatest thinker. And in terms of birth, not composition, it gave us our greatest composer, Bach.Henry So we can't have Shakespeare without all of this economic and philosophic and political activity. He's sort of, those things are necessary conditions for what he's doing.Tyler He needed the 16th century, and there's some very good recent books on how important the 16th century was for the 17th century. So I think more and more, as I read more, I'll come to see the roots of the 17th and the 16th century. And Shakespeare is reflecting that by bridging the two.Henry What are the recent books that you recommend about the 16th century?Tyler Oh, I forget the title, but there's this book about Elizabethan England, came out maybe three or four years ago, written by a woman. And it just talks about markets and commerce and creativity, surging during that time. In a way, obvious points, but she put them together better than anyone else had. And there's this other new German book about the 16th century. It's in my best of the year list that I put up on Marginal Revolution, and I forget the exact title, but I've been reading that slowly. And that's very good. So I expect to make further intellectual moves in that direction.Henry Was Shakespeare anti-woke?Tyler I don't know what that means in his context. He certainly understands the real truths are deeper, but to pin the word anti on him is to make him smaller. And like Harold Bloom, I will refuse to do that.Henry You don't see some sense in which ... A lot of people have compared wokeness to the Reformation, right? I mean, it's a kind of weak comparison.Tyler Yes, but only some strands of it. You wouldn't say Luther was woke, right?Henry But you don't see some way in which Shakespeare is, not in an anti way, in a complicated way, but like a reaction against some of these forces in the way that Swift would be a reaction against certain forces in his time.Tyler Well I'm not even sure what Shakespeare's religion was. Some people claim he was Catholic. To me that's plausible, but I don't know of any clear evidence. He does not strike me as very religious. He might be a lapsed Catholic if I had to say. I think he simply was always concerned with trying to view and present things in a deeper manner and there were so many forces he could have been reacting against with that one. I don't know exactly what it was in the England of his time that specifically he was reacting against. If someone says, oh, it was the strand of Protestant thought, I would say fine, it might have been that. A la Peter Thiel, couldn't you say it's over determined and name 47 other different things as well?Henry Now, if you were talking to rationalists, effective altruists, people from Silicon Valley, all these kinds of groups, would you say to them, you should read Shakespeare, you should read fiction, or would you just say, you're doing great, don't worry that you're missing out on this?Tyler Well, I'm a little reluctant to just tell people you should do X. I think what I've tried to do is to be an example of doing X and hope that example is somewhat contagious. Other people are contagious on me, as for instance, you have been. That's what I like to do. Now, it's a question, if someone needs a particular contagion, does that mean it's high marginal value or does it mean, in some sense, they're immue from the bug and you can't actually get them interested? It can go either way. Am I glad that Peter Singer has specialized in being Peter Singer, even though I disagree with much of it? I would say yes. Peter had his own homecoming. As far as I know, it was not Shakespearean, but when he wrote that book about the history of Vienna and his own family background, that was in a sense Peter doing his version of turning Shakespearean. It was a good book and it deepened his thought, but at the end of the day, I also see he's still Peter Singer, so I don't know. I think the Shakespearean perspective itself militates a bit against telling people they should read Shakespeare.Henry Sure. Patrick Collison today has tweeted about, I think, 10 of the great novels that he read this year. It's a big, long tweet with all of his novels.Tyler Yeah, it's wonderful.Henry Yeah, it's great. At the end, he basically says the reason to read them is just that they're great. Appreciation of excellence is a good thing for its own sake. You're not going to wrench a utilitarian benefit out of this stuff. Is that basically your view?Tyler I fully agree with that, but he might slightly be underrating the utilitarian benefits. If you read a particular thing, whatever it is, it's a good way of matching with other people who will deepen you. If it's Shakespeare, or if it's science fiction, or if it's economics, I think there's this big practical benefit from the better matching. I think, actually, Patrick himself, over time in his life, he will have a different set of friends, somewhat, because he wrote that post, and that will be good.Henry There's a utilitarian benefit that we both love Bleak House, therefore we can talk about it. This just opens up a lot of conversation and things for us that we wouldn't otherwise get.Tyler We're better friends, and we're more inclined to chat with each other, do this podcast, because we share that. That's clearly true in our case. I could name hundreds of similar cases, myself, people I know. That's important. So much of life is a matching problem, which includes matching to books, but also, most importantly, matching to people.Henry You're what? You're going to get better matching with better books, because Bleak House is such a great book. You're going to get better opportunities for matching.Tyler Of course, you'll understand other books better. There's something circular in that. I get it. A lot of value is circular, and the circle is how you cash in, not leaving the circle, so that's fine.Henry You don't think there's a ... I mean, some of the utilitarian benefits that are claimed like it gives you empathy, it improves your EQ or whatever, I think this is all complete rubbish.Tyler I'd love to see the RCTs, but in the prediction markets, I'll bet no. But again, I have an open mind. If someone had evidence, they could sway me, but I doubt it. I don't see it.Henry But I do think literature is underrated as a way of thinking.Tyler Yes, absolutely, especially by people we are likely to know.Henry Right. And that is quite a utilitarian benefit, right? If you can get yourself into that mindset, that is directly useful.Tyler I agree. The kind of career I've had, which is too complicated to describe for those of you who don't know it, but I feel I could not have had it without having read a lot of fiction.Henry Right. And I think that would be true for a lot of people, even if they don't recognize it directly in their own lives, right?Tyler Yes. In Silicon Valley, you see this huge influence of Lord of the Rings. Yes. And that's real, I think. It's not feigned, and that's also a great book.Henry One of the best of the 20th century, no doubt.Tyler Absolutely. And the impact it has had on people still has. It's an example of some classics get extremely elevated, like Shakespeare, Austen, and also Tolkien. It's one of them that just keeps on rising.Henry Ayn Rand is quite influential.Tyler Increasingly so. And that has held up better than I ever would have thought. Depends on the book. It's complicated, but yes, you have to say, held up better than one ever would have thought.Henry Are you going to go and do a reread?Tyler I don't think I can. I feel the newspaper is my reread of Atlas Shrugged, that suffices.Henry Is GPT good at Shakespeare, or LLMs generally?Tyler They're very useful for fiction, I've found. It was fantastic for reading Vassily Grossman's Life and Fate. I have never used them for Shakespeare, not once. That's an interesting challenge, because it's an earlier English. There's a depth in Shakespeare that might exceed current models. I'd love to see a project at some point in time to train AI for Shakespeare the way some people are doing it for Math Olympiads. But finding the human graders would be tough, though not impossible. You should be one of them. I would love that. I hope some philanthropist makes that happen.Henry Agreed. We're here, and we're ready.Tyler Yes, very ready.Henry What do you think about Shakespeare's women?Tyler The best women in all of fiction. They're marvelous, and they're attractive, and they're petulant, and they're romantic, and they're difficult, and they're stubborn, or whatever you want, it's in there. Just phenomenal. It's a way in which Shakespeare, again, I don't want to say anti-woke, but he just gives you a much deeper, better vision than the wokes would give you. Each one is such a distinctive voice. Yeah, fantastic. In a funny way, he embodies a lot of woke insights. The ways in which gender becomes malleable in different parts of stories is very advanced for his time.Henry It's believable also. The thing that puzzles me, so believable. What puzzles me is he's so polyphonic, and he represents that way of thinking so well, but I get the sense that John Stuart Mill, who wrote the Bentham essay and everything, just wasn't that interested in Shakespeare relative to the other things he was reading.Tyler He did write a little bit on Shakespeare, didn't he? But not much. But it wasn't wonderful. It was fine, but not like the Bentham Coleridge.Henry I think I've seen it in letters where he's like, oh, Shakespeare, pretty good. This, to me, is a really weird gap in the history of literature.Tyler But this does get to my point, where I don't think Shakespeare was that important for liberalism or individualism. The people who were obsessed with Shakespeare, as you know, were the German romantics, with variants, but were mostly illiberal or non-liberal. That also, to me, makes sense.Henry That's a good point. That's a good challenge. My last question is, you do a lot of talent spotting and talent assessing. How do you think about Shakespeare's career?Tyler I feel he is someone I would not have spotted very well. I feel bad about that. We don't know that much about him. As you well know, people still question if Shakespeare was Shakespeare. That's not my view. I'm pretty orthodox on the matter. But what the signs would have been in those early plays that he would have, say, by so far have exceeded Marlowe or even equaled Marlowe, I definitely feel I would have had a Zoom call with him and said, well, send me a draft, and read the early work, and concluded he would be like second-tier Marlowe, and maybe given him a grant for networking reasons, totally missed the boat. That's how I assess, how I would have assessed Shakespeare at the time, and that's humbling.Henry Would you have been good at assessing other writers of any period? Do you think there are other times when you would have?Tyler If I had met young Thomas Mann, I think there's a much greater chance I would have been thrilled. If I had met young Johann Sebastian Bach, I think there's a strong chance I would have been thrilled. Now, music is different. It's like chess. You can excel at quite a young age. But there's something about the development of Shakespeare where I think it is hard to see where it's headed early on. And it's the other question, how would I have perceived Shakespeare's work ethic? There's different ways you could interpret the biography here. But the biography of Bach, or like McCartney, clearly just obsessed with work ethic. You could not have missed it if you met young Bach, I strongly suspect. But Shakespeare, it's not clear to me you would see the work ethic early on or even later on.Henry No, no. I agree with that, actually.Tyler Same with Goethe. If I met early Goethe, my guess is I would have felt, well, here's the next Klopstock, which is fine, worthy of a grand. But Goethe was far more than that. And he always had these unfinished works. And you would, oh, come on, you're going to finish this one. Like you'd see Werther. OK, you made a big splash. But is your second novel just going to bomb? I think those would have been my hesitations. But I definitely would have funded Goethe as the next Klopstock, but been totally wrong and off base.Henry Right. And I think the thing I took away from the A.N. Wilson biography, which you also enjoyed recently, was I was amazed just how much time Goethe didn't spend working. Like I knew he wasn't always working, but there was so much wasted time in his life.Tyler Yes, but I do wonder with that or any biography, and I don't mean this as a criticism of Wilson, I think we know much less than we think we do about earlier times in general. So he could have been doing things that don't turn up in any paperwork. Sure, sure, sure. So I'm not sure how lazy he was, but I would just say, unlike Bach or say Paul McCartney, it's not evident that he was the world's hardest worker.Henry And Mozart, would you have? How do you feel about Mozart's early career?Tyler Well, Mozart is so exceptional, so young, it's just very easy to spot. I don't I don't even think there's a puzzle there unless you're blind. Now, I don't love Mozart before, I don't know, like the K-330s maybe, but still as a player, even just as a lower quality composer, I think you would bet the house on Mozart at any age where you could have met him and talked to him.Henry So you think K-100s, you can see the beginnings of the great symphonies, the great concertos?Tyler Well, I would just apply the Cowen test at how young in age was this person trying at all? And that would just dominate and I wouldn't worry too much about how good it was. And if I heard Piano Concerto No. 9, which is before K-330, I'm pretty sure that's phenomenal. But even if I hadn't heard that, it's like this guy's trying. He's going to be on this amazing curve. Bet the house on Mozart. It's a no-brainer. If you don't do that, you just shouldn't be doing talent at all. He's an easy case. He's one of the easiest cases you can think of.Henry Tyler Cowen, this was great. Thank you very much.Tyler Thank you very much, Henry. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

El escritor argentino Edgardo Scott invita a darle libre curso al vagabundeo con su ensayo 'Du flâneur au vagabond, un essai littéraire sur la marche' o  'Caminantes', publicado ahora en francés por la editorial Riveneuve. En este "ensayo literario sobre la marcha", es posible encontrarse con Edgar Allan Poe, Alejandra Pizarnik, William Hazlitt y hasta con un santo, con Ignacio de Loyola. Se trata de un homenaje al caminar urbano, gratuito y sin rumbo desde la biblioteca personal del autor. 

El escritor y crítico literario Edgardo Scott nos invita a darle libre curso al vagabundeo con su ensayo 'Du flâneur au vagabond, un essai littéraire sur la marche' o  'Caminantes', publicado ahora en francés por la editorial Riveneuve. En este "ensayo literario sobre la marcha" nos encontramos con Edgar Allan Poe, Alejandra Pizarnik, William Hazlitt y hasta con un santo, con Ignacio de Loyola. Se trata de un homenaje al caminar urbano, gratuito y sin rumbo desde la biblioteca personal del autor. Un acto de resistencia en una sociedad que exige rapidez y eficiencia. 'Caminantes' en español o en francés 'Du flâneur au vagabond, un essai littéraire sur la marche', se inscribe gustosa y voluntariamente en una tradición literaria. "Lo que me interesa es caminar como leer, caminar como modo de lectura. Y también leer a la caminata misma de manera crítica. Por eso lo primero que hice en el libro fue establecer categorías para poder ver de qué hablamos cuando hablamos de caminar, porque hay muchas maneras de caminar y las hubo en la literatura y en la historia", nos cuenta el autor. Son seis categorías que permiten cuestionar y observar la figura del caminante o del autor caminante. Los "flâneurs" -en francés- abren la marcha, siguen los paseadores, los walkmans,  los vagabundos y los peregrinos.Vea también ► Edgardo Scott nos reconecta con los sentidos en su último libro 'Contacto'Edgardo Scott precisa que la caminata es un tema infinito de la literatura y así esas categorías fueron surgiendo "para entender un poco de qué hablamos cuando hablábamos de caminar. Si estábamos todos diciendo lo mismo y ahí me orientaron estas palabras."En esta clasificación que cumple también la función de mapa para el lector, Scott optó por palabras muy antiguas: "De hecho, la más nueva en la historia era flâneur. Mi idea era analizar a través de esas categorías y poder pensar a través de esas categorías los distintos modos de la caminata en la literatura."Objetivo alcanzado. Edgardo Scott nos deja pasear libremente entre las categorías y el sinnúmero de referencias literarias. Al lector que se sentiría apabullado por la erudición, le podemos asegurar que el propósito no es aprobar un examen sino adentrarse en la biblioteca del también crítico literario. Una biblioteca en la que nos cruzamos con monumentos de la literatura argentina y con íconos de la literatura universal como Jean-Jacques Rousseau, Marguerite Duras, William Hazlitt o Virginia Woolf. "Virginia, sobre todo a la luz de la época y de la reivindicación femenina y feminista, hoy es un ícono en muchos sentidos, además de que ya era una grandísima autora. Virginia tenía este modo de salir a pasear por Londres, cuenta. Como tantos otros escritores, era para tener ahí las antenitas sembrando y poder encontrar personajes, poder escuchar tramas en la ciudad. Y después venía y escribía. Para ella el paseo era un método de trabajo". Y en el método de Scott no se puede obviar la música. En el capítulo 'Walkmans' recuerda con un toque de nostalgia una fecha capital: el 24 de octubre del 2004 se cesa el Walkman y es el fin de una época. El primer modelo se había comercializado en 1979 y representó toda una revolución en la deambulación."Fue algo inédito y que sin embargo hoy estamos tan acostumbrados y por eso también lo quise incluir. Algunos me han dicho leyendo el libro que llevar algo en los oídos es un poco como aislarse, pero yo creo que es más bien musicalizar el paseo", precisa.Es como la banda sonora que "acompaña la percepción de la ciudad y del trayecto con alguna música, con alguna tonalidad". El universo literario y musical de Edgardo Scott también se puede descubrir en portugués y en italiano.'Du flâneur au vagabond, un essai littéraire sur la marche', editorial Riveneuve traducido del español por Magali Sequera.#EscalaenParís también está en redesUn programa coordinado por Florencia Valdés y Ana María Ospina. Realizado por Souheil Khedir y Stéphane Défossez.

El escritor y crítico literario Edgardo Scott nos invita a darle libre curso al vagabundeo con su ensayo 'Du flâneur au vagabond, un essai littéraire sur la marche' o  'Caminantes', publicado ahora en francés por la editorial Riveneuve. En este "ensayo literario sobre la marcha" nos encontramos con Edgar Allan Poe, Alejandra Pizarnik, William Hazlitt y hasta con un santo, con Ignacio de Loyola. Se trata de un homenaje al caminar urbano, gratuito y sin rumbo desde la biblioteca personal del autor. Un acto de resistencia en una sociedad que exige rapidez y eficiencia. 'Caminantes' en español o en francés 'Du flâneur au vagabond, un essai littéraire sur la marche', se inscribe gustosa y voluntariamente en una tradición literaria. "Lo que me interesa es caminar como leer, caminar como modo de lectura. Y también leer a la caminata misma de manera crítica. Por eso lo primero que hice en el libro fue establecer categorías para poder ver de qué hablamos cuando hablamos de caminar, porque hay muchas maneras de caminar y las hubo en la literatura y en la historia", nos cuenta el autor. Son seis categorías que permiten cuestionar y observar la figura del caminante o del autor caminante. Los "flâneurs" -en francés- abren la marcha, siguen los paseadores, los walkmans,  los vagabundos y los peregrinos.Vea también ► Edgardo Scott nos reconecta con los sentidos en su último libro 'Contacto'Edgardo Scott precisa que la caminata es un tema infinito de la literatura y así esas categorías fueron surgiendo "para entender un poco de qué hablamos cuando hablábamos de caminar. Si estábamos todos diciendo lo mismo y ahí me orientaron estas palabras."En esta clasificación que cumple también la función de mapa para el lector, Scott optó por palabras muy antiguas: "De hecho, la más nueva en la historia era flâneur. Mi idea era analizar a través de esas categorías y poder pensar a través de esas categorías los distintos modos de la caminata en la literatura."Objetivo alcanzado. Edgardo Scott nos deja pasear libremente entre las categorías y el sinnúmero de referencias literarias. Al lector que se sentiría apabullado por la erudición, le podemos asegurar que el propósito no es aprobar un examen sino adentrarse en la biblioteca del también crítico literario. Una biblioteca en la que nos cruzamos con monumentos de la literatura argentina y con íconos de la literatura universal como Jean-Jacques Rousseau, Marguerite Duras, William Hazlitt o Virginia Woolf. "Virginia, sobre todo a la luz de la época y de la reivindicación femenina y feminista, hoy es un ícono en muchos sentidos, además de que ya era una grandísima autora. Virginia tenía este modo de salir a pasear por Londres, cuenta. Como tantos otros escritores, era para tener ahí las antenitas sembrando y poder encontrar personajes, poder escuchar tramas en la ciudad. Y después venía y escribía. Para ella el paseo era un método de trabajo". Y en el método de Scott no se puede obviar la música. En el capítulo 'Walkmans' recuerda con un toque de nostalgia una fecha capital: el 24 de octubre del 2004 se cesa el Walkman y es el fin de una época. El primer modelo se había comercializado en 1979 y representó toda una revolución en la deambulación."Fue algo inédito y que sin embargo hoy estamos tan acostumbrados y por eso también lo quise incluir. Algunos me han dicho leyendo el libro que llevar algo en los oídos es un poco como aislarse, pero yo creo que es más bien musicalizar el paseo", precisa.Es como la banda sonora que "acompaña la percepción de la ciudad y del trayecto con alguna música, con alguna tonalidad". El universo literario y musical de Edgardo Scott también se puede descubrir en portugués y en italiano.'Du flâneur au vagabond, un essai littéraire sur la marche', editorial Riveneuve traducido del español por Magali Sequera.#EscalaenParís también está en redesUn programa coordinado por Florencia Valdés y Ana María Ospina. Realizado por Souheil Khedir y Stéphane Défossez.

Además, Matías Rivas, Arturo Fontaine y Sofía García-Huidobro recomendaron dos libros de Ismaíl Kadaré, quien falleció esta semana, "Liber amoris" de William Hazlitt, "Federer: los últimos 12 días" de Asif Kapadia y Joe Sabia y "A vuelo de pájaro" de Marcela Serrano.

Además, Matías Rivas, Arturo Fontaine y Sofía García-Huidobro recomendaron dos libros de Ismaíl Kadaré, quien falleció esta semana, "Liber amoris" de William Hazlitt, "Federer: los últimos 12 días" de Asif Kapadia y Joe Sabia y "A vuelo de pájaro" de Marcela Serrano.

Iniciamos una nueva temporada de nuestro podcast con un tema nodal para la vida: la libertad. A través del tiempo, la humanidad ha buscado definir y dimensionar su ser libre desde diversas perspectivas y en este episodio repasamos algunas ideas sobre este valor universal, también te invitamos a escuchar, en voz de Juan Stack, el ensayo Dar un paseo, de William Hazlitt.

Length: 1 hourSynopsis: This evening (11/29/23), in our Wednesday night Tehilim shiur, we took up Al Naharos Bavel. After an introductory "myth-busters" mini-shiur on the REAL minhag of Shir ha'Maalos (which most people do NOT follow) and a methodological interlude from William Hazlitt, we translated the perek, identified the pivot point, and began raising questions and problems - especially with regards to the jarringly gruesome final pasuk. Our analysis of the ideas will commence next time (בג"ה).-----מקורות:תהלים פרק קלזשולחן ערוך אורח חיים א:גמשנה ברורה שם סעיף קטן יאWilliam Hazlitt, "On Poetry In General"-----This week's Torah Content is dedicated to all my generous friends and students who chipped in to get me a new laptop to replace my current one, which has been slowly getting slower and slower. Thank you SO MUCH for this Chanukah gift which literally makes it possible for me to continue giving free shiurim, writing articles, and making podcast episodes for all of you!-----If you've gained from what you've learned here, please consider contributing to my Patreon at www.patreon.com/rabbischneeweiss. Alternatively, if you would like to make a direct contribution to the "Rabbi Schneeweiss Torah Content Fund," my Venmo is @Matt-Schneeweiss, and my Zelle and PayPal are mattschneeweiss at gmail. Even a small contribution goes a long way to covering the costs of my podcasts, and will provide me with the financial freedom to produce even more Torah content for you.If you would like to sponsor a day's or a week's worth of content, or if you are interested in enlisting my services as a teacher or tutor, you can reach me at rabbischneeweiss at gmail. Thank you to my listeners for listening, thank you to my readers for reading, and thank you to my supporters for supporting my efforts to make Torah ideas available and accessible to everyone.-----Substack: rabbischneeweiss.substack.com/Patreon: patreon.com/rabbischneeweissYouTube Channel: youtube.com/rabbischneeweissInstagram: instagram.com/rabbischneeweiss/"The Stoic Jew" Podcast: thestoicjew.buzzsprout.com"Machshavah Lab" Podcast: machshavahlab.buzzsprout.com"The Mishlei Podcast": mishlei.buzzsprout.com"Rambam Bekius" Podcast: rambambekius.buzzsprout.com"The Tefilah Podcast": tefilah.buzzsprout.comOld Blog: kolhaseridim.blogspot.com/WhatsApp Content Hub (where I post all my content and announce my public classes): https://chat.whatsapp.com/GEB1EPIAarsELfHWuI2k0HAmazon Wishlist: amazon.com/hz/wishlist/ls/Y72CSP86S24W?ref_=wl_sharel

"Those who are constantly at war with others are seldom at peace with themselves." ~ William Hazlitt (https://www.billcrawfordphd.com/quote-video-blog/)

Welcome to season 5 of Books Broads and Booze! We continue with our theme of identity! This month's book is only an essay!! It is On the Pleasure of Hating by William Hazlitt. The author asserts his views on the way people need to hate, feel disgust, or bigotry to keep themselves entertained. Join Monica and I as we dive into the essay first published on January 1st, 1826. As always, drink responsibly. Questions and comments may be sent to broadsbookandbooze@gmail.com Theme music by Dee Yan-Kay

Un día como hoy, 10 de abril: Acontece: 1868: se estrena el Un réquiem alemán (Ein deutsches requiem) de Johannes Brahms. Nace: 1778: William Hazlitt, escritor británico (f. 1830). 1847: Joseph Pulitzer, periodista estadounidense (f. 1911). 1929: Max von Sydow, actor sueco-francés (f. 2020). Fallece: 1931: Gibrán Jalil Gibrán, poeta, pintor, novelista y ensayista libanés (n. 1883). 1979: Nino Rota (67), compositor italiano (n. 1911). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

Daily Quote Lost wealth may be replaced by industry, lost knowledge by study, lost health by temperance of medicine, but lost time is gone forever. (Samuel Smiles) Poem of the Day 六月二十七日望湖楼醉书 苏轼 Beauty of Words On Familiar Style William Hazlitt

Once Hazlitt and his friends took to discussing the famous people they would like to meet --- Guy Fawkes, Sir Isaac Newton, Chaucer, Boccaccio, Cromwell, Garrick, and Judas. (Volume 27, Harvard Classics)  

Introductory note on William Hazlitt (Volume 27, Harvard Classics)  

Un día como hoy, 10 de abril: Acontece: 1868: se estrena el Un réquiem alemán (Ein deutsches requiem) de Johannes Brahms. Nace: 1778: William Hazlitt, escritor británico (f. 1830). 1847: Joseph Pulitzer, periodista estadounidense (f. 1911). 1929: Max von Sydow, actor sueco-francés (f. 2020). Fallece: 1931: Gibrán Jalil Gibrán, poeta, pintor, novelista y ensayista libanés (n. 1883). 1979: Nino Rota (67), compositor italiano (n. 1911). Una producción de Sala Prisma Podcast. 2022

There was a time when our leaders dived into the public discourse and embraced the world of ideas. Tripurdaman Singh and Adeel Hussain join Amit Varma in episode 262 of The Seen and the Unseen to describe four debates that Jawaharlal Nehru entered with Muhammad Iqbal, Muhammad Ali Jinnah, Sardar Patel and Syama Prasad Mookerjee. These old debates matter today, because those ideas are still being contested. Also check out: 1. Nehru: The Debates that Defined India -- Tripurdaman Singh and Adeel Hussain. 2. Sixteen Stormy Days -- Tripurdaman Singh. 3. The First Assault on Our Constitution -- Episode 194 of The Seen and the Unseen (w Tripurdaman Singh). 4. Jawaharlal Nehru on Amazon. 5. Shruti Rajagopalan's talk on the many amendments in our constitution. 6. Karl May on Amazon. 7. Christopher Bayly on Amazon. 8. Violent Fraternity -- Shruti Kapila. 9. Amit Varma's tweet about books read, a snarky response, and a, um, weird comment. 10. Jürgen Habermas on Amazon and Wikipedia. 11. Where Have All the Leaders Gone? -- Amit Varma. 12. On the Historical Unity of Russians and Ukrainians -- Vladimir Putin. 13. Roam Research -- and Zettelkasten. 14. Niklas Luhmann and his use of Zettelkasten. 15. Collected Works of Mahatma Gandhi: Volumes 1 to 98. 16. Emily Hahn on Amazon. 17. Ramachandra Guha on Amazon. 18. Episodes of The Seen and the Unseen featuring Ramachandra Guha: 1, 2, 3, 4. 19. Nehru: The Invention of India -- Shashi Tharoor. 20. The Art and Science of Economic Policy — Ep 154 of The Seen and the Unseen (w Vijay Kelkar & Ajay Shah). 21. In Service of the Republic — Vijay Kelkar & Ajay Shah. 22. William Hazlitt on Amazon. 23. Ernst Cassirer. 24. The Last Mughal -- William Dalrymple. 25. Zygmunt Bauman and Perry Anderson on Amazon. 26. The Clash of Economic Ideas -- Lawrence H White. 27. Hind Swaraj -- MK Gandhi. 28. Meghnad Desai on Amazon. 29. Nehru: A Contemporary's Estimate -- Walter Crocker. 30. Ayodhya - The Dark Night -- Krishna Jha and Dhirendra K Jha. 31. India's Greatest Civil Servant -- Episode 167 of The Seen and the Unseen (w Narayani Basu, on VP Menon). 32. Being Muslim in India -- Episode 216 of The Seen and the Unseen (w Ghazala Wahab). 33. The Impossible Indian: Gandhi and the Temptation of Violence -- Faisal Devji. 34. Creating a New Medina -- Venkar Dhulipala. 35. Swami Shraddhanand. 36. Modi's Domination - What We Often Overlook -- Keshava Guha. 37. Selected episodes of The Seen and the Unseen on China: 1, 2, 3, 4. 38. China's Good War -- Rana Mitter. 39. Sturgeon's Law. 40. Characters of Shakespeare's Plays -- William Hazlitt. 41. Preface to Shakespeare -- Samuel Johnson. 42. The Soong Sisters -- Emily Hahn. 43. Empire of Pain -- Patrick Radden Keefe. 44. Kings of Shanghai -- Jonathan Kaufman. 45. Collected Works of Ram Manohar Lohia. 46. Liquid Modernity -- Zygmunt Bauman. 47. The Anarchy -- William Dalrymple. 48. The Silent Coup: A History of India's Deep State — Josy Joseph. 49. India's Security State -- Episode 242 of The Seen and the Unseen (w Josy Joseph). 50. Great Expectations -- Charles Dickens. 51. The Rabbit and the Squirrel: A Love Story about Friendship -- Siddharth Dhanvant Shanghvi. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free!

"The art of living is to know how to enjoy a little and endure very much," claimed William Hazlitt. Join Joshua Gibbs as he mulls over this proverb. See acast.com/privacy for privacy and opt-out information.

"The art of living is to know how to enjoy a little and endure very much," claimed William Hazlitt. Join Joshua Gibbs as he mulls over this proverb. See acast.com/privacy for privacy and opt-out information.

Es probable que estés rodeado de este tipo de personas. Se trata de personas que, con su actitud y palabras te amargan la vida haciendo que te sientas inferior y criticando constantemente, aunque no tengan ni idea. Apeles de Colofón fue uno de los pintores más importantes y famosos de la Grecia Antigua, solía mostrar sus cuadros en público para saber si a la gente le gustaban y perfeccionar los detalles que no les convencieran. En una de esas exposiciones, un zapatero criticó la forma de las sandalias que lucía de uno de los personajes que había pintado. Apeles aceptó la crítica y decidió modificarlas. Cuando terminó, volvió a exponer el cuadro en la plaza. Cuando el zapatero lo vio, notó que el pintor había prestado atención a sus palabras, así que decidió criticar más elementos del retrato. Apeles se limitó a decirle: “Ne supra crepidam sutor iudicaret”, que vendría siendo: “No opines más arriba de los zapatos”. Los ultracrepidianos, lejos de estar en peligro de extinción, aparecen más cada día, la palabra fue acuñada en 1819 por William Hazlitt, es significativa puesto que en nuestra época casi todos somos ultracrepidarios, opinando en los foros abiertos de las redes sociales, consumiendo información superficial y generalmente ofendiéndonos cuando alguien más no opina como nosotros o como lo que ha sido denominado lo "políticamente correcto", Ultracrepidarios son los ciudadanos de Twitter y Facebook y otras redes sociales, que confunden la información con la auténtica sabiduría. Por supuesto, todos somos diferentes y, como tal, tenemos ideas diversas y muchas veces contrapuestas. Tenemos derecho a expresar nuestra opinión, pero debemos tener cuidado de que esta no se convierta en una crítica destructiva sobre un tema del que somos desconocedores. En ese punto traspasamos la sutil línea entre una opinión personal y una crítica desinformada y probablemente dañina. Te recomendamos el libro: "El traje nuevo del emperador" de Hans Christian Andersen. NOTA: Nosotros en MLP no estamos afiliados a Google, por lo tanto no ganamos nada en la compra del Audio Libro (si es que deciden comprarlo). RECUERDEN QUE NOS ENCUENTRAN EN LAS REDES SOCIALES COMO: @meloplaticaron --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Daily Quote We can be knowledgeable with other men's knowledge, but we can not be wise with other men's wisdom. (Michel de Montaigne) Poem of the Day 酬李郢夏日钓鱼回见示 鱼玄机 Beauty of Words On Going A Journey William Hazlitt

Actor, comedian and Author Ben Miller discusses the colourful, complicated and uncompromising life of William Hazlitt. Born in 1778 William Hazlitt is considered one of the greatest critics and essayists in the history of the English language, but for centuries, his life and works were lost in the shadows. He was an advocate of universal rights and civil liberties, and a fierce opponent of pomp and power. He railed against slavery, believed strongly in the power of the imagination, and said, 'The love of liberty is the love of others; the love of power is the love of ourselves'. But he wasn't without his own demons and fell out of public favour. Rumours of gambling, sex addiction and adultery challenged his reputation. In recent years scholars have debated his life and works and a renewed interest in his essays has emerged. Ben Miller plays Lord Featherington in Bridgerton, and he wrote and starred in The Armstrong and Miller Show on Channel Four. With expert contributions from Dr Uttara Nataragen, a founding organiser of The Hazlitt Society and editor of The Hazlitt Review. Presented by Matthew Parris Produced by Nicola Humphries for BBC Bristol

Bildungspodcast auf Radio Scheiße Geil! Herzlich willkommen auf der Cigarrencouch, dem öffentlichen Ärgernis zum Wohle der Gesellschaft. Gerry startet mit einem Zitat von William Hazlitt und wird dessen Weisheiten noch öfter in dieser Folge gebrauchen. Maria hat ein spannendes Thema mitgebracht, würde auch gerne schnell damit beginnen, wenn der Name ihrer Cigarre sich dabei nicht als unüberwindbare Hürde zeigen würde. Gerry, ganz Klavier, hilft ihr natürlich aus der artikulativen Sackgasse. Somit genießt Maria bei Bellini und Plemsensia den Fortgang dieser Folge. Mit einer Sons Of Anarchy Cigarre und Wild Turkey heilt Gerry sein Federnlassen im Beruf. Nun zum Thema der Folge: Wie unterscheiden sich Ego, Egoismus, Narzissmus und Abgrenzung/Achtsamkeit voneinander? Gar nicht so einfach! Maria und Gerry werfen auch schnell alle Zutaten in einen Topf, rühren durch, um sich dann die Mühe zu machen, alles wieder zu trennen und zu ordnen. Gerry dröselt dabei noch therapeutisch auf, dass das "Ich" als logischer Teil unseres psychischen Aufbaus nicht wegzudenken ist. Kein Außen ohne Innen. Keine Gemeinsamkeit ohne ein Ich als Kontrastmittel.  Mit Sicherheit ein streitbares und diskussionswürdiges Thema diese Woche. Wir wünschen Euch viel Anregung, gerne auch Widerspruch und mit etwas Glück auch Zustimmung. Hauptsache, wir alle denken gemeinsam nach, ohne Feindbilder zu entwickeln. Servus baba, küss´ die Hand. Ade. Shownotes: @die_cigarrrencouch @maria_macanudo Picture by @treeburn103 Intro: "Slinky" by Ron Gelinas Chillout Lounge Outro: "Landshark" by Roger Niewel Zitate von William Hazlitt

Introductory note on William Hazlitt (Volume 27, Harvard Classics)

Once Hazlitt and his friends took to discussing the famous people they would like to meet --- Guy Fawkes, Sir Isaac Newton, Chaucer, Boccaccio, Cromwell, Garrick, and Judas. (Volume 27, Harvard Classics)

Merriam-Webster's Word of the Day for May 1, 2021 is: fustian • FUSS-chun • noun 1 a : a strong cotton and linen fabric b : a class of cotton fabrics usually having a pile face and twill weave 2 : high-flown or affected writing or speech; broadly : anything high-flown or affected in style Examples: "In 1798, William Wordsworth arrived from Bristol at the cottage of his friend, Samuel Taylor Coleridge…. Twenty-five years later, William Hazlitt, who was also in residence at the time, still remembered his first sight of the future poet laureate, a tall 'Don Quixote-like' figure, quaintly dressed in a brown fustian jacket and striped pantaloons." — Rachel Cook, The Guardian, 14 Apr. 2020 "The last couple of Lyric 'Rigoletto' productions have ranged from muddled to disastrous, but this one, using handsome sets that originated at the San Francisco Opera in 1997 and deftly staged by revival director E. Loren Meeker, works to tell the story directly, without fuss or fustian." — John von Rhein, The Chicago Tribune, 9 Oct. 2017 Did you know? Fustian first entered English in the 13th century, by way of Anglo-French, as a term for a kind of fabric. (Its ultimate Latin source is probably the word fustis, meaning "tree trunk.") Several centuries into use as a noun and an attributive noun, fustian spread beyond textiles to describe pretentious writing or speech. Christopher Marlowe was a pioneer in the word's semantic expansion: in his 16th-century play Doctor Faustus, he employs the word in this new way when the student Wagner says, "Let thy left eye be diametarily [sic] fixed upon my right heel, with quasi vestigiis nostris insistere," and the clown replies, "God forgive me, he speaks Dutch fustian." And later, the titular doctor himself is called "Dr. Fustian" repeatedly by a horse dealer—an apt misnomer considering the Doctor's speech habits.

Un día como hoy, 10 de abril: Acontece: 1868: se estrena el Un réquiem alemán (Ein deutsches requiem) de Johannes Brahms. Nace: 1778: William Hazlitt, escritor británico (f. 1830). 1847: Joseph Pulitzer, periodista estadounidense (f. 1911). 1929: Max von Sydow, actor sueco-francés (f. 2020). Fallece: 1931: Gibrán Jalil Gibrán, poeta, pintor, novelista y ensayista libanés (n. 1883). 1979: Nino Rota (67), compositor italiano (n. 1911). Una producción de Sala Prisma Podcast. 2021

Today's meditation comes from The Gospel Of Mark in The New Testament, and from the writings of William Hazlitt.

Today's meditation comes from The Gospel Of Mark in The New Testament, and from the writings of William Hazlitt.

This week's proverb comes via William Hazlitt, a British essayist and philosopher who wrote that, "violent antipathies are always suspicious and betray a secret affinity." Join Joshua Gibbs as he contemplates what this proverb has to say to modern men and women. Proverbial is produced by Goldberry Studios for the CiRCE Podcast Network. See acast.com/privacy for privacy and opt-out information.

This week's proverb comes via William Hazlitt, a British essayist and philosopher who wrote that, "violent antipathies are always suspicious and betray a secret affinity." Join Joshua Gibbs as he contemplates what this proverb has to say to modern men and women. Proverbial is produced by Goldberry Studios for the CiRCE Podcast Network. See acast.com/privacy for privacy and opt-out information.

자기 자신을 싸구려 취급하는 사람은 타인에게도 역시 싸구려 취급을 받을 것이다. -윌리엄 해즐릿 (William Hazlitt) - 1778년 4월 10일 - 1830년 9월 18일

자기 자신을 싸구려 취급하는 사람은 타인에게도 역시 싸구려 취급을 받을 것이다. -윌리엄 해즐릿 (William Hazlitt)-

“The art of conversation is the art of hearing as well as being heard.” William Hazlitt (1778-1830) Listening is a skill that we can develop and use to create a better and more engaging community- for ourselves and our friends. Here are some ideas to help listen- really listen. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Qu'est-ce que l’ultracrépidarianisme ? Merci d'avoir posé la question ! Un ultracrépidarien, c’est cette personne qui donne son avis sur tout mais sans, toujours, avoir de connaissances ou de compétences sur les sujets dont elle parle. Un comportement que l’on peut rapprocher du biais cognitif appelé lui, l’effet Dunning-Kruger en psychologie, une surconfiance en soi où les moins qualifiés dans un domaine surestiment leur compétence.Où est né ce fameux terme ? Le terme ultracrepidarian a été utilisé pour la première fois en 1819 par l'essayiste William Hazlitt dans une lettre ouverte au critique littéraire William Gifford. Son étymologie est relative à la locution latine Sutor, ne supra crepidam signifiant littéralement "cordonnier, pas plus haut que la chaussure". En français, cette locution est apparentée à l’expression populaire "chacun son métier et les vaches seront bien gardées" ! En France, est quelqu’un que l’on peut qualifier d’ultracrepidarien tellement il a défrayé récemment la chronique. Stéphane Bourgoin était considéré pendant des décennies comme le grand expert français des serials killers, occupant plateaux médiatiques et publiant livre sur livre. Il s’avère être un serial menteur ! Il a été démasqué et a fini par l’admettre.Les ultracrépidariens sont-ils plus nombreux aujourd'hui qu'hier avec la crise du coronavirus ? Comment faire le tri ? Comment savoir à qui nous devons faire confiance ? Qui croire ? Toutes les réponses sont dans cet épisode de "Maintenant vous savez". Toute l'actualité de "Maintenant vous savez" est à retrouver en cliquant ici.Les derniers épisodes à écouter en rapport avec ce thème en cliquant ci-dessous :Qu'est-ce qu'un pervers narcissique ?Qu'est-ce que le syndrome de Stendhal ?Qu'est-ce que l'effet Mozart ? See acast.com/privacy for privacy and opt-out information.

De engelska romantiska diktarna var inga världsfrånvända skönandar, utan politiska poeter som radikalt ville förändra samhället. Gabriella Håkansson berättar en historia som ofta glöms bort. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Essän sändes ursprungligen 2018. Tanken på att promenera har något idylliskt över sig. Ett slags frid förknippad med naturen kanske ser man en romantisk poet som William Wordsworth framför sig, som strövar runt i grönskan och stannar till för att besjunga en blomma eller en antik ruin vid vägkanten. Första gången jag hörde talas om den engelska romantiken var på gymnasiet, vi läste John Keats dikt Ode till en grekisk urna och diskuterade dess olika metapoetiska aspekter. Vi fick lära oss ord som ekfras och sonett, men inte i vilket sammanhang den här vackra poesin skrevs. Och visst fascinerades jag av lord Byrons incestuösa kärlekshistorier och Mary Shelleys tragiska liv men romantiken blev ändå för mig en estetisk, lite världsfrånvänd rörelse som målade upp ruiner i månljus, stilla promenader och vild natur, och jag tror att den här gymnasiala bilden av romantiken lever kvar hos många, ännu idag. Man brukar säga att startskottet för den engelska romantiken var diktsamlingen Lyrical Ballads. Den kom ut 1798, och skrevs gemensamt av Samuel Taylor Coleridge och William Wordsworth. Boken kom till medan de gick långa promenader i det engelska landskapet, och avhandlade Spinoza och tysk metafysik. Så sägs det i varje fall. Men Historien kan berättas på många sätt, och jag tänkte berätta en annan version, med mindre månljus och mer action, som tar sin utgångspunkt i Samuel Coleridge politiska engagemang. Redan som sjuttonåring skrev den unge poeten sin första prorevolutionära dikt "Bastiljens fall", och tre år senare år senare vann han en poesitävling med ett kritiskt Ode till slav-handeln. Hans rum på Cambridge blev snabbt ett centrum för den radikala studentrörelsen och han kom att umgås med den ökända klick ultraradikaler som kallades för de engelska jakobinerna. Bland dem fanns framstående författare som William Blake, filosofen Mary Wollstonecraft och hennes sambo William Godwin. Själva kallade de sig demokrater och ordnade massmöten där tiotusentals människor kom för att kräva allmän rösträtt. Staten fick kalla fötter och svarade med inskränkt mötesfrihet och gav kronan rätt att kasta vem som helst i fängelse. Konflikten mellan demokraterna och överhögheten förde England farligt nära  inbördeskrigets rand, och det var i de här kretsarna den 20-årige Coleridge befann sig när han formade som poet. Sommaren 1794 beslutade han sig för att prova den nya flugan att fotvandra. Att gå sågs inom rörelsen som det yttersta uttrycket för demokrati. Man klädde sig folkligt, hängde på lokala värdshus och umgicks med allmogen. Filosofiskt knöt man an till de antika vandrande föreläsarna, men promenaden var också ett sätt att återerövra den gamla medeltida idén om allmänningen, ja, att gå till fots var på alla sätt ett politiskt statement. Iklädd arbetarjacka, lösa byxor och ett bärbart bläckhorn vandrade Coleridge över 80 mil på en månad. Tillsammans med en annan radikal poet Robert Southey arbetade han därefter fram ett politiskt program där epokens alla progressiva idéer fördes samman till en messiansk häxbrygd. Under namnet Det pantisokratiska sällskapet skulle Coleridge och Southey  frälsa världen från sedelkapitalismens och civilisationens fördärv. Sällskapets syfte var att upprätta en självstyrande republik, där man och kvinna ska leva i enhet med naturen, dela makten och arbetet lika, och där allt privatägande är avskaffat. Pantisokratin får många anhängare, och 1796 lämnar Coleridge, Southey och en tredje kamrat storstan för att utropa den första pantisokratiska kommunen, i en liten lägenhet i Bristol. Men verkligheten kommer snart ikapp. Efter någon månad står man inte ut med varandra. Projektet kollapsar. karaktärerna hämtas från vardagslivet man skriver om barn, gamlingar och dårhjon  figurer som aldrig tidigare existerat i diktens värld. Men Coleridge ger inte upp. När han senare samma år gifter sig och bildar familj gör han ett nytt försök att realisera utopin, nu i mindre skala, på engelska landsbygden, och det är där han träffar William Wordsworth och dennes syster, Dorothy. Han ordnar ett hus åt syskonen bara ett stenkast från sitt eget, och fortsätter nu i deras sällskap sina radikala fotvandringar. I pantisokratisk anda diskuterar de tanken på att revolutionera litteraturen, och skapa ett verk som upplyser och förändrar människan i grunden. Wordsworth är entusiastisk, och 1797 påbörjas det gemensamma projektet med en diktsamling som ska komma att bryta med tidens alla estetiska ideal. Istället för högstämda parabler om grekiska gudar hämtar man stoff från balladen och folksagan, istället för hexameter använder man blankvers. Motiven lånas in från låga genrer som gotiken, och karaktärerna hämtas från vardagslivet man skriver om barn, gamlingar och dårhjon  figurer som aldrig tidigare existerat i diktens värld. Boken utkommer 1798 under titeln Lyrical Ballads och resten är historia. Men historien kan som sagt berättas på många olika sätt, och man kan undra varför just den här radikala, politiska bakgrunden till romantiken så ofta har hamnat i skymundan? Kanske för att författarna själva tog avstånd från sin radikalitet när franska revolutionen övergick i blodbad och Frankrike blev Englands ärkefiende. Man reviderade sina ungdomsdikter, och många vände kappan efter vinden och blev konservativa. Den ende som vägrade göra avbön var William Hazlitt, som dyrkade Napoleon ända till sin död. Som tack för det blev han bortglömd i 150 år. Men den förklaringen räcker ändå inte, för den andra generationens romantiker, med lord Byron och makarna Shelley i spetsen, var ju ännu mer avantgardistiska. De skrev en litteratur som öppet fördömde religionen, tog avstånd från äktenskapet och rasade över såväl kommersialismen som miljöförstöringen. Pantisokratin i all ära, men 1812 drog Percy Bysshe Shelley radikaliteten till sin yttersta spets och pekade ut köttätandet som roten till allt ont. Han förespråkade en vegetarisk kostreform som måste genomföras innan någon radikal utopi alls kunde bli verklighet. Shelley hade inte bara hämtat sitt tankegods från föregångarna Godwin och Wollstonecraft, han äktade också deras dotter, Mary. Hon, som 1814 i ett svar på makens subversiva dikt, Den befriade Prometheus, skriver romanen Frankenstein. Fem år senare sätter staten definitivt stopp för den radikala rörelsen genom att i Manchester skicka in kavalleriet när en folkmassa på 60 000 person i söndagskläder kräver rösträtt. Arton dör och 650 skadas i vad som kom att kallas för Peterloomassakern och med det är romantikens dagar räknade. Coleridge, Shelley och de andra börjar betraktas som mossiga, och det är inte förrän Viktorianerna långt senare försöker skapa en nationell kanon som de gamla romantikerna lyfts fram ur glömskan och nu påstås utgöra Englands guldålder. Men först dammas de av och skrubbas rena från obehagligt politiskt gods - och vips står den bildsköne lord Byron gipsbyst på var mans spiselhylla. Det är några av förklaringarna till hur en av Europas mest progressiva litterära rörelser kunde förvandlas till vacker, men uddlös estetik. Kanske kommer vi nu äntligen få se en renässans för alla de galna, visionära utopiska idéer som romantikerna också brann för? Gabriella Håkansson, författare

This week proverb comes by way of English essayist, William Hazlitt, who wrote that, "he will never have true friends who is afraid of making enemies." Join Joshua Gibbs as he contemplates what this proverb has to say for modern men. Remember, if you like this show you can help spread the word when you rate and review it. See acast.com/privacy for privacy and opt-out information.

This week proverb comes by way of English essayist, William Hazlitt, who wrote that, "he will never have true friends who is afraid of making enemies." Join Joshua Gibbs as he contemplates what this proverb has to say for modern men. Remember, if you like this show you can help spread the word when you rate and review it. See acast.com/privacy for privacy and opt-out information.

 This episode is sponsored by Magic Monkey Films   Hello and welcome to Film Pro Productivity, the podcast which helps film professionals and other creatives to live a more focused, effective and HAPPY life. My name is Carter Ferguson and this is EPISODE 39 – DON’T… DO ME A FAVOUR   PLEASE NOTE THAT THROUGHOUT THIS TRANSCRIPT I AM USING THE UK SPELLING OF THE WORD. THIS IS EXACTLY THE SAME MEANING AS THE US SPELLING "FAVOR".   Today I’m going into another in my TELL IT LIKE IT IS series of shows which have proven to be very successful in the past – These are episodes where I talk about a problem which it’s likely we may all have come up against but which out of politeness or awkwardness or some other reason we just don’t discuss. This is one which has bit me in the ass a good few times over the years. Before I get into it though, I am increasingly conscious that I may come across as a moany old git, but I do draw upon my own experiences for these shows, and offer them up in good spirit not in the name of negativity but as signposts of danger, and with the hope that through my failures you will prosper. Benjamin Franklin said · Most people RETURN small favours, · ACKNOWLEDGE medium ones · and REPAY greater ones · with INGRATITUDE. - UNQUOTE For me, this has proven to be one of the greatest TRUTHS of life. Oh yes - today we are talking about FAVOURS.   We all know this of course: a favour is a common thing - the dictionary describes it as: an act of kindness beyond what is due or usual. Synonyms include a good turn, service, kind act, good deed, act of kindness, kindness, courtesy, indulgence. And let me add that it something that is given with no expectation of return. Today though, I need to dig deeper than that.   The first thing I want to say is that there’s a MARKETING RULE called the RULE OF RECIPROCITY – which says, “we should try to repay, in kind, what another person has provided for us.” If someone buys you a birthday gift therefor or invites you to a party, you’d do well to remember to invite them or buy them one in return. This isn’t necessarily because we are inherently good humans, but “by virtue of the reciprocity rule…we feel obligated to the future repayment of favours, gifts, invitations, and the like.” In other words, reciprocity is a deeply-ingrained human behaviour. It would appear in fact, that all people, from all societies, practice this rule.   So with a favour these days comes an unspoken, inference for some people of a return of that favour. In fact, we often hear a response of I owe you one when a favour is received. I just want to raise this here, as this is in fact where some of the muddiness in regard to favours is rooted. That muddiness of favours goes both ways btw. William Hazlitt said “Our friends are generally ready to do everything for us, except the very thing we wish them to do.” unquote I first realise that I had a problem with people “doing me a favour” when I was directing my first short film, a 3 part mini-series we called The Rage based on the 28 days later films – The film currently has millions of hits on Youtube incidentally, and voted 5th best fan film in the world by dreadcentral.com a few years back – so check it out. That all sounds great I know, but it was just a low budget film we did for fun, which people gave their time for free to complete and which we took very seriously.   One day, as a first time director, I was trying to deal with a problem of rain hitting the lens and a moving camera, which looks really bad btw, when an actor friend of mine who was part of a group in front of the camera got rather upset with me – probably for not explaining what the issue was. He pulled me aside and announced to me that he was doing me a FAVOUR in being in the film and he threatened to leave. In order to keep things moving, I apologised but I have been kinda reeling from it ever since.   You see that “friend” was doing me NO FAVOURS AT ALL by threatening to abandon the project if I didn’t, in effect, obey him. The whole thing was difficult and even now, 12 years on, I never forgot it.   This wasn’t the last time that someone let me down very badly as they were “doing me a favour” though. Another actor on another job didn’t realise, somehow, that he was being paid to act in one of my films. He turned up 2 hours late and put the whole days shooting in jeopardy. In his mind, it just wasn’t important and he was just “helping me out”. It was a big disappointment which nearly resulted in me playing his part as we got that close to the edge there something had to be done.   I’ve realised through happenings like this that I needed to introduce rules to protect myself in future. I’m going to share these rules with you today. Do with them as you will. The FIRST OF THESE RULES was based on the experiences I just described – It is …NEVER LET ANYONE ON BOARD WHO THINKS THAT THEY ARE JUST DOING YOU A FAVOUR, as in my experience they will let you down, and when that happens - they will be doing you no favour at all.   Regular listeners will know that as a result of many very disappointing experiences in film making such as this, I have currently given up on making films, but for arguments sake: If someone wanted to come on to one of my projects, whether a low to no budget or a commercial endeavour with fees attached, they have to do so because they genuinely want to be involved, because it interests them or because it benefits them in some way. I no longer let anyone on board if they are “doing me a favour”. If you do this, you are introducing a chaotic uncontrollable element to the production which could cause you an immense amount of trouble in the long run.   Things like this - as I never did have much of a budget - just made the whole thing even more difficult. Incidentally, I never use the FOR EXPOSURE argument when making films and I always played fair on low budget films. I poured my money, time and energy into them, ensured that cast and crew were treated well and I never walked away with anything more than those that took part. I also assumed the position of the rule of reciprocity and time and time and time again in return, I helped those that had helped me.   As an aside, I recently had to drop out of a low to no budget endeavour in which I had committed my time, energy and resources, including significant finance before discovering that the project leader was receiving fees when no one else was. I got absolutely scammed beyond belief on that one and I will be talking about scams in a future show, but please please please be careful out there and never assume that you are being treated fairly. This was yet another boot in the balls which led to my getting out of filmmaking. I honestly tell these stores on the show here and think, people must think me a total idiot, well, maybe I am, but this world that we live in is a damned dangerous place, even for the wary.   On the flip side btw I have also learned that when I am “doing someone a favour” a real favour not a fake favour, is not a contract for future return of favour. As I said before a favour is “something that is given with no expectation of return.“ If I ever do a favour for someone, I’ll first ensure that I can actually deliver it, and if not I’ll utilise that powerful productivity technique I detailed in episode 2 - by saying NO - and I’ll suggest alternatives. If, however, I do help someone out I’ll do so without expectation of any favour in return. I suppose I learned this one the hard way too – I noticed that it’s particularly prevalent if I do a film or TV production a FAVOUR by reducing my rates. I can’t recall a time where reducing my rates, or lending equipment or props has ever led to a proper wage somewhere down the line, or a return of that favour later. It’s in this form of kindness that I’ve been kinda burned many times in the past.   I once lent swords to the Brunton Theatre for their Christmas pantomime. When the show ended its run though, they didn’t return them to me. I chased them down and they eventually did drop them back, about 6 weeks later - with one of them broken beyond repair. That’s how my favour of lending swords rather than renting them was replaced. A feature film I was second unit director on in Glasgow did something similar. I lent their art department a cracking blunted butchers knife prop, and a US ARMY ID pass straight from the set of the 28 weeks later feature film with a value of over £200. I never saw them again. That’s how that favour was returned.   I lent a prop pistol to the ORAN MOR, a theatre in Glasgow for a show. That was about 6 years ago. They repaid that favour by losing it and never paying me for its loss. I chased down the director and they said I’m sorry it’s gone. Not even an offer of repayment. Like so many losses over the years, usually in padding that I have bought for actors in productions, I wrote the loss off. I in effect bankrolled their unprofessional-ism and they likely went off to fuck up someone else’s good will.   If I list any more examples or list the number of freebies I’ve done for companies that later turned out to have budgets etc you will think me an even bigger idiot than before - a kind idiot, but an idiot nonetheless – and you would be 100% correct. For years I was that idiot, but not so now.   So to reiterate THE SECOND RULE I now have about all this is an important one that DOING SOMEONE A FAVOUR IS NOT A CONTRACT FOR FUTURE RETURN ON FAVOUR. It’s also not a guarantee of any kind of future re-employment if you give someone a special deal on a freelancer daily rate etc or of return of respect. If you get your head into this space – you are setting yourself up for future disappointment.   My THIRD AND FINAL RULE is that if I ever lend someone something, for example, a film production, that an INDIVIDUAL – an actual responsible human being - MUST SIGN FOR IT, ACKNOWLEDGE ITS VALUE AND GUARANTEE TO TAKE CARE OF IT OR PAY FOR IT IF IT GETS BROKEN. More ideally they should RENT IT FROM ME WITH A DAILY OR WEEKLY RATE and an ACKNOWLEDGEMENT OF IT’S VALUE THAT THEY WILL REPAY IF THEY LOSE OR BREAK IT, OR PAY EXTRA RENT IF THEY RETURN IT LATE.   I think sometimes we can get a little confused in the creative industries and lose sight of the fact that show business is still a business. There are just too many unscrupulous people out there that will take advantage of us if we do not.   To sum all this up, you must never do anyone a favour with the expectation of gaining something in return or doing the favour without your true commitment to it in the first place.   A favour is just a favour– it does not legally create a debt of anything owed back to you in some way in return – or that you can later call upon to redeem. It’s just not a contract for future return of favour so don’t put any of your heart into it either as you will all too often be disappointed and that is bad for the soul. Bryant McGill says that “Giving is the master key to success, in all applications of human life.” So keep on giving back and helping others. This is not an order to deny kindness, or dismiss compassion, or even to avoid risk - far from it. “Kindness is a passport that opens doors and fashions friends. It softens hearts and molds relationships that can last lifetimes.” – Joseph B. Wirthlin unquote With that said though, I hope that my 3 rules will be helpful to you as you navigate your life and work. These are just my rules, but you may find them helpful. Never let anyone on board who thinks that they are just doing you a favour. Doing someone a favour is not a contract for future return on favour. If I ever lend something, that an individual – an actual responsible human being - must sign for it, acknowledge its value and guarantee to take care of it or pay for it if it gets broken. Call To Action Your call to action today is simply to consider what I’ve been talking about and take it forward into your life. Can you remember a time when one or all of these things have happened to you? Make a deal with yourself not to let it happen again. ________   I think as freelancers, creatives or just as human beings we often you do favours for people out of desperation – perhaps to be liked more or to be part of “the in-crowd” or because we are desperate to make the best impression or to feel more wanted or appreciated.   I did this episode as I felt this to be an oft-abused kindness which affects us all and I hope it’s been an interesting episode for you. Helping others is good for the soul, and is one of the 5 a day for good mental health that I keep mentioning here. Look back to episode 4 for information about that one.   Now big news here for all of your regular listeners. Over the next three weeks I’m releasing a special SERIES WITHIN THE SERIES of 6 connected episodes which will be released at 7pm on two consecutive nights SUNDAY AND MONDAY each week. In these shows I’ll be looking at NAPOLEON HILL’S book THE LAW OF SUCCESS IN 16 LESSONS and I will be giving you some of the most incredible advice on the topic of success that you will ever hear. As always it’s being delivered to you completely free so if you aren’t tuning in and listening then you are going to be missing out big time. As you know I try to make the shows accessible to all but this mini series in particular will be accessible to anyone from any walk of life so - if there’s a time to tell your friends to listen in IT’S NOW. If you want to know the secret of success, true success, not some made up fake sales programme about success, then the 3 hours of content that I will be releasing in those 6 episodes will lead you right there. And when that series within the series finishes I will be releasing the mail bag or listeners questions show which I’ve been talking about in four weeks time - so if you want advice with a productivity problem, or would like to get a tell it like it is type response on some relevant topic, please get in touch via the contact pages on the Film Pro Productivity website as soon as you can. Please also try out the speak pipe voice recorder on the websites contact page where if you can ask the question in 45 seconds, you can leave a voice message. It had been so long since I got a message through it that I checked last week that it was still working. It does work, and I’d love to hear from you on it. You can just access it through your phone, it’s dead easy. Surf via your phones browser to the websites contact page which is something like www.filmproproductivity.com/contact and hit Start Recording on the orange speakpipe button and you are off. If you don’t like it you can try again before sending. Finally thanks again to Ryan at Magic Monkey Films, he’s a magic guy and an awesome filmmaker and the sponsorship is greatly appreciated. There are still two episodes seeking sponsors this season so get in touch if you want to help.   For now though please - take control of your own destiny, keep on shootin’, and join me next time on Film Pro Productivity.   • The music you can hear right now is Adventures by A Himitsu • You can view the show notes for this episode on the official website filmproproductivity.com • You can follow my personal account on Twitter and Instagram @fight_director or follow the show on Twitter @filmproprodpod or on Facebook @Filmproproductivity • Please support the show by subscribing, spreading the word and leaving an AWESOME review.       Want to add a caption to this image? 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Sebastian Vargas, Leandro Diego y Nahuel von Karg intercambian 5 contraseñas culturales: libros, música, links, cualquier cosa. En este programa hablan de Midsommar, Ari Aster, Los Saicos, Bernardo Neustadt, Kristian Rodriguez, Jackass, William Faulkner, Haneke, Pasolini, Sobrecarga, Wos, Maradona, La García, Evangelion, los Romanov, Kubrick, Cecilia Pando, Mala Época, Mollo, Asif Kapadia, William Hazlitt, Spike Jonze, Soda Stereo, Carlos Tabío, Revista La Mano, Iorio, Steve O, Moebius, Tupac Shakur, Gaspar Noé, Isaac Rojas, Amy Winehouse, Daniel Scioli, Mundo grúa, Oscar Ivanissevich, Malafama, El guacho Martín Fierro, Raúl Portal, Bugs Bunny, Andrés Calamaro, Miguel Hernandez, Amy Winehouse, Mariano Grondona, Pizza birra faso, Dársena Sur, Johnny Knoxville, Weekend at Bernie`s, Ayrton Senna, Mientras agonizo, Tomás Gutierrez Alea, Pablo Marchetti, Paul Thomas Anderson, Sergio Massa, Simon Sebag Montefiori, Pedro el Grande, Luis Ventura, Hernán Coronel, y largos etcéteras.

De engelska romantiska diktarna var inga världsfrånvända skönandar, utan politiska poeter som radikalt ville förändra samhället. Gabriella Håkansson berättar en historia som ofta glöms bort. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Tanken på att promenera har något idylliskt över sig. Ett slags frid förknippad med naturen kanske ser man en romantisk poet som William Wordsworth framför sig, som strövar runt i grönskan och stannar till för att besjunga en blomma eller en antik ruin vid vägkanten. Första gången jag hörde talas om den engelska romantiken var på gymnasiet, vi läste John Keats dikt Ode till en grekisk urna och diskuterade dess olika metapoetiska aspekter. Vi fick lära oss ord som ekfras och sonett, men inte i vilket sammanhang den här vackra poesin skrevs. Och visst fascinerades jag av lord Byrons incestuösa kärlekshistorier och Mary Shelleys tragiska liv men romantiken blev ändå för mig en estetisk, lite världsfrånvänd rörelse som målade upp ruiner i månljus, stilla promenader och vild natur, och jag tror att den här gymnasiala bilden av romantiken lever kvar hos många, ännu idag. Sällskapets syfte var att upprätta en självstyrande republik, där man och kvinna ska leva i enhet med naturen, dela makten och arbetet lika, och där allt privatägande är avskaffat. Man brukar säga att startskottet för den engelska romantiken var diktsamlingen Lyrical Ballads. Den kom ut 1798, och skrevs gemensamt av Samuel Taylor Coleridge och William Wordsworth. Boken kom till medan de gick långa promenader i det engelska landskapet, och avhandlade Spinoza och tysk metafysik. Så sägs det i varje fall. Men Historien kan berättas på många sätt, och jag tänkte berätta en annan version, med mindre månljus och mer action, som tar sin utgångspunkt i Samuel Coleridge politiska engagemang. Redan som sjuttonåring skrev den unge poeten sin första prorevolutionära dikt "Bastiljens fall", och tre år senare år senare vann han en poesitävling med ett kritiskt Ode till slav-handeln. Hans rum på Cambridge blev snabbt ett centrum för den radikala studentrörelsen och han kom att umgås med den ökända klick ultraradikaler som kallades för de engelska jakobinerna. Bland dem fanns framstående författare som William Blake, filosofen Mary Wollstonecraft och hennes sambo William Godwin. Själva kallade de sig demokrater och ordnade massmöten där tiotusentals människor kom för att kräva allmän rösträtt. Staten fick kalla fötter och svarade med inskränkt mötesfrihet och gav kronan rätt att kasta vem som helst i fängelse. Konflikten mellan demokraterna och överhögheten förde England farligt nära  inbördeskrigets rand, och det var i de här kretsarna den 20-årige Coleridge befann sig när han formade som poet. Sommaren 1794 beslutade han sig för att prova den nya flugan att fotvandra. Att gå sågs inom rörelsen som det yttersta uttrycket för demokrati. Man klädde sig folkligt, hängde på lokala värdshus och umgicks med allmogen. Filosofiskt knöt man an till de antika vandrande föreläsarna, men promenaden var också ett sätt att återerövra den gamla medeltida idén om allmänningen, ja, att gå till fots var på alla sätt ett politiskt statement. Iklädd arbetarjacka, lösa byxor och ett bärbart bläckhorn vandrade Coleridge över 80 mil på en månad. Tillsammans med en annan radikal poet Robert Southey arbetade han därefter fram ett politiskt program där epokens alla progressiva idéer fördes samman till en messiansk häxbrygd. Under namnet Det pantisokratiska sällskapet skulle Coleridge och Southey  frälsa världen från sedelkapitalismens och civilisationens fördärv. Sällskapets syfte var att upprätta en självstyrande republik, där man och kvinna ska leva i enhet med naturen, dela makten och arbetet lika, och där allt privatägande är avskaffat. Pantisokratin får många anhängare, och 1796 lämnar Coleridge, Southey och en tredje kamrat storstan för att utropa den första pantisokratiska kommunen, i en liten lägenhet i Bristol. Men verkligheten kommer snart ikapp. Efter någon månad står man inte ut med varandra. Projektet kollapsar. karaktärerna hämtas från vardagslivet man skriver om barn, gamlingar och dårhjon  figurer som aldrig tidigare existerat i diktens värld. Men Coleridge ger inte upp. När han senare samma år gifter sig och bildar familj gör han ett nytt försök att realisera utopin, nu i mindre skala, på engelska landsbygden, och det är där han träffar William Wordsworth och dennes syster, Dorothy. Han ordnar ett hus åt syskonen bara ett stenkast från sitt eget, och fortsätter nu i deras sällskap sina radikala fotvandringar. I pantisokratisk anda diskuterar de tanken på att revolutionera litteraturen, och skapa ett verk som upplyser och förändrar människan i grunden. Wordsworth är entusiastisk, och 1797 påbörjas det gemensamma projektet med en diktsamling som ska komma att bryta med tidens alla estetiska ideal. Istället för högstämda parabler om grekiska gudar hämtar man stoff från balladen och folksagan, istället för hexameter använder man blankvers. Motiven lånas in från låga genrer som gotiken, och karaktärerna hämtas från vardagslivet man skriver om barn, gamlingar och dårhjon  figurer som aldrig tidigare existerat i diktens värld. Boken utkommer 1798 under titeln Lyrical Ballads och resten är historia. Men historien kan som sagt berättas på många olika sätt, och man kan undra varför just den här radikala, politiska bakgrunden till romantiken så ofta har hamnat i skymundan? Kanske för att författarna själva tog avstånd från sin radikalitet när franska revolutionen övergick i blodbad och Frankrike blev Englands ärkefiende. Man reviderade sina ungdomsdikter, och många vände kappan efter vinden och blev konservativa. Den ende som vägrade göra avbön var William Hazlitt, som dyrkade Napoleon ända till sin död. Som tack för det blev han bortglömd i 150 år. Men den förklaringen räcker ändå inte, för den andra generationens romantiker, med lord Byron och makarna Shelley i spetsen, var ju ännu mer avantgardistiska. De skrev en litteratur som öppet fördömde religionen, tog avstånd från äktenskapet och rasade över såväl kommersialismen som miljöförstöringen. Pantisokratin i all ära, men 1812 drog Percy Bysshe Shelley radikaliteten till sin yttersta spets och pekade ut köttätandet som roten till allt ont. Han förespråkade en vegetarisk kostreform som måste genomföras innan någon radikal utopi alls kunde bli verklighet. Shelley hade inte bara hämtat sitt tankegods från föregångarna Godwin och Wollstonecraft, han äktade också deras dotter, Mary. Hon, som 1814 i ett svar på makens subversiva dikt, Den befriade Prometheus, skriver romanen Frankenstein. de gamla romantikerna lyfts fram ur glömskan och nu påstås utgöra Englands guldålder. Men först dammas de av och skrubbas rena från obehagligt politiskt gods Fem år senare sätter staten definitivt stopp för den radikala rörelsen genom att i Manchester skicka in kavalleriet när en folkmassa på 60 000 person i söndagskläder kräver rösträtt. Arton dör och 650 skadas i vad som kom att kallas för Peterloomassakern och med det är romantikens dagar räknade. Coleridge, Shelley och de andra börjar betraktas som mossiga, och det är inte förrän Viktorianerna långt senare försöker skapa en nationell kanon som de gamla romantikerna lyfts fram ur glömskan och nu påstås utgöra Englands guldålder. Men först dammas de av och skrubbas rena från obehagligt politiskt gods - och vips står den bildsköne lord Byron gipsbyst på var mans spiselhylla. Det är några av förklaringarna till hur en av Europas mest progressiva litterära rörelser kunde förvandlas till vacker, men uddlös estetik. I England närmar man sig nu tvåhundraårsdagen av Peterloomassakern och säkert kommer man hedra de som föll offer för statens våld. Kanske kommer vi nu äntligen få se en renässans för alla de galna, visionära utopiska idéer som romantikerna också brann för? Gabriella Håkansson, författare

The word Romanticism makes us think of mountain tops and stormy seas, but the younger generation of English Romantics (above all, John Keats) were Londoners through and through. They were even mocked as 'the Cockney School of Poetry'. Jonathan Bate will track Keats to Hampstead and tell of the extraordinary circle of writers - opium-eater Thomas De Quincey, essayist Charles Lamb, master-critic William Hazlitt - who wrote for The London Magazine, until its gifted editor was killed in a duel with a rival critic.A lecture by Sir Jonathan Bate FBA, Gresham Professor of Rhetoric 14 May 2019The transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/cockney-romantics-john-keatsGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege

'The sense of a new style and a new spirit in poetry came over me', wrote William Hazlitt, recalling the day in 1798 when he heard William Wordsworth reading aloud from Lyrical Ballads, 'It partakes of, and is carried along with, the revolutionary movement of our age'.Jonathan Bate will explain what Hazlitt meant and why Lyrical Ballads, the product of Wordsworth's intimate friendship with Samuel Taylor Coleridge, is one of the greatest and most influential volumes of poetry ever written.A lecture by Professor Sir Jonathan Bate CBE FBA, Professor of Rhetoric 16 October 2018The transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/wordsworth-coleridge-poetic-revolutionGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege

“Those who are constantly at war with others are seldom at peace with themselves.” ~ William Hazlitt (https://www.billcrawfordphd.com/quote-video-blog/)

De engelska romantiska diktarna var inga världsfrånvända skönandar, utan politiska poeter som radikalt ville förändra samhället. Gabriella Håkansson berättar en historia som ofta glöms bort. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Tanken på att promenera har något idylliskt över sig. Ett slags frid förknippad med naturen kanske ser man en romantisk poet som William Wordsworth framför sig, som strövar runt i grönskan och stannar till för att besjunga en blomma eller en antik ruin vid vägkanten. Första gången jag hörde talas om den engelska romantiken var på gymnasiet, vi läste John Keats dikt Ode till en grekisk urna och diskuterade dess olika metapoetiska aspekter. Vi fick lära oss ord som ekfras och sonett, men inte i vilket sammanhang den här vackra poesin skrevs. Och visst fascinerades jag av lord Byrons incestuösa kärlekshistorier och Mary Shelleys tragiska liv men romantiken blev ändå för mig en estetisk, lite världsfrånvänd rörelse som målade upp ruiner i månljus, stilla promenader och vild natur, och jag tror att den här gymnasiala bilden av romantiken lever kvar hos många, ännu idag. Sällskapets syfte var att upprätta en självstyrande republik, där man och kvinna ska leva i enhet med naturen, dela makten och arbetet lika, och där allt privatägande är avskaffat. Man brukar säga att startskottet för den engelska romantiken var diktsamlingen Lyrical Ballads. Den kom ut 1798, och skrevs gemensamt av Samuel Taylor Coleridge och William Wordsworth. Boken kom till medan de gick långa promenader i det engelska landskapet, och avhandlade Spinoza och tysk metafysik. Så sägs det i varje fall. Men Historien kan berättas på många sätt, och jag tänkte berätta en annan version, med mindre månljus och mer action, som tar sin utgångspunkt i Samuel Coleridge politiska engagemang. Redan som sjuttonåring skrev den unge poeten sin första prorevolutionära dikt "Bastiljens fall", och tre år senare år senare vann han en poesitävling med ett kritiskt Ode till slav-handeln. Hans rum på Cambridge blev snabbt ett centrum för den radikala studentrörelsen och han kom att umgås med den ökända klick ultraradikaler som kallades för de engelska jakobinerna. Bland dem fanns framstående författare som William Blake, filosofen Mary Wollstonecraft och hennes sambo William Godwin. Själva kallade de sig demokrater och ordnade massmöten där tiotusentals människor kom för att kräva allmän rösträtt. Staten fick kalla fötter och svarade med inskränkt mötesfrihet och gav kronan rätt att kasta vem som helst i fängelse. Konflikten mellan demokraterna och överhögheten förde England farligt nära  inbördeskrigets rand, och det var i de här kretsarna den 20-årige Coleridge befann sig när han formade som poet. Sommaren 1794 beslutade han sig för att prova den nya flugan att fotvandra. Att gå sågs inom rörelsen som det yttersta uttrycket för demokrati. Man klädde sig folkligt, hängde på lokala värdshus och umgicks med allmogen. Filosofiskt knöt man an till de antika vandrande föreläsarna, men promenaden var också ett sätt att återerövra den gamla medeltida idén om allmänningen, ja, att gå till fots var på alla sätt ett politiskt statement. Iklädd arbetarjacka, lösa byxor och ett bärbart bläckhorn vandrade Coleridge över 80 mil på en månad. Tillsammans med en annan radikal poet Robert Southey arbetade han därefter fram ett politiskt program där epokens alla progressiva idéer fördes samman till en messiansk häxbrygd. Under namnet Det pantisokratiska sällskapet skulle Coleridge och Southey  frälsa världen från sedelkapitalismens och civilisationens fördärv. Sällskapets syfte var att upprätta en självstyrande republik, där man och kvinna ska leva i enhet med naturen, dela makten och arbetet lika, och där allt privatägande är avskaffat. Pantisokratin får många anhängare, och 1796 lämnar Coleridge, Southey och en tredje kamrat storstan för att utropa den första pantisokratiska kommunen, i en liten lägenhet i Bristol. Men verkligheten kommer snart ikapp. Efter någon månad står man inte ut med varandra. Projektet kollapsar. karaktärerna hämtas från vardagslivet man skriver om barn, gamlingar och dårhjon  figurer som aldrig tidigare existerat i diktens värld. Men Coleridge ger inte upp. När han senare samma år gifter sig och bildar familj gör han ett nytt försök att realisera utopin, nu i mindre skala, på engelska landsbygden, och det är där han träffar William Wordsworth och dennes syster, Dorothy. Han ordnar ett hus åt syskonen bara ett stenkast från sitt eget, och fortsätter nu i deras sällskap sina radikala fotvandringar. I pantisokratisk anda diskuterar de tanken på att revolutionera litteraturen, och skapa ett verk som upplyser och förändrar människan i grunden. Wordsworth är entusiastisk, och 1797 påbörjas det gemensamma projektet med en diktsamling som ska komma att bryta med tidens alla estetiska ideal. Istället för högstämda parabler om grekiska gudar hämtar man stoff från balladen och folksagan, istället för hexameter använder man blankvers. Motiven lånas in från låga genrer som gotiken, och karaktärerna hämtas från vardagslivet man skriver om barn, gamlingar och dårhjon  figurer som aldrig tidigare existerat i diktens värld. Boken utkommer 1798 under titeln Lyrical Ballads och resten är historia. Men historien kan som sagt berättas på många olika sätt, och man kan undra varför just den här radikala, politiska bakgrunden till romantiken så ofta har hamnat i skymundan? Kanske för att författarna själva tog avstånd från sin radikalitet när franska revolutionen övergick i blodbad och Frankrike blev Englands ärkefiende. Man reviderade sina ungdomsdikter, och många vände kappan efter vinden och blev konservativa. Den ende som vägrade göra avbön var William Hazlitt, som dyrkade Napoleon ända till sin död. Som tack för det blev han bortglömd i 150 år. Men den förklaringen räcker ändå inte, för den andra generationens romantiker, med lord Byron och makarna Shelley i spetsen, var ju ännu mer avantgardistiska. De skrev en litteratur som öppet fördömde religionen, tog avstånd från äktenskapet och rasade över såväl kommersialismen som miljöförstöringen. Pantisokratin i all ära, men 1812 drog Percy Bysshe Shelley radikaliteten till sin yttersta spets och pekade ut köttätandet som roten till allt ont. Han förespråkade en vegetarisk kostreform som måste genomföras innan någon radikal utopi alls kunde bli verklighet. Shelley hade inte bara hämtat sitt tankegods från föregångarna Godwin och Wollstonecraft, han äktade också deras dotter, Mary. Hon, som 1814 i ett svar på makens subversiva dikt, Den befriade Prometheus, skriver romanen Frankenstein. de gamla romantikerna lyfts fram ur glömskan och nu påstås utgöra Englands guldålder. Men först dammas de av och skrubbas rena från obehagligt politiskt gods  Fem år senare sätter staten definitivt stopp för den radikala rörelsen genom att i Manchester skicka in kavalleriet när en folkmassa på 60 000 person i söndagskläder kräver rösträtt. Arton dör och 650 skadas i vad som kom att kallas för Peterloomassakern och med det är romantikens dagar räknade. Coleridge, Shelley och de andra börjar betraktas som mossiga, och det är inte förrän Viktorianerna långt senare försöker skapa en nationell kanon som de gamla romantikerna lyfts fram ur glömskan och nu påstås utgöra Englands guldålder. Men först dammas de av och skrubbas rena från obehagligt politiskt gods - och vips står den bildsköne lord Byron gipsbyst på var mans spiselhylla. Det är några av förklaringarna till hur en av Europas mest progressiva litterära rörelser kunde förvandlas till vacker, men uddlös estetik. I England närmar man sig nu tvåhundraårsdagen av Peterloomassakern och säkert kommer man hedra de som föll offer för statens våld. Kanske kommer vi nu äntligen få se en renässans för alla de galna, visionära utopiska idéer som romantikerna också brann för? Gabriella Håkansson, författare

Una reflexión sobre la relación del movimiento físico y del movimiento del pensamiento a partir de los beneficios que nos da el paseo, a partir de una cita del ensayo "Dar un paseo" de William Hazlitt, traducido por Hernán Lara Zavala y recopilado en El arte de caminar por Hernán Lara Zavala. Comentarios: Ernesto Priani Saisó. Producción: Ignacio Bazán Estrada. Voces: María Sandoval y Juan Stack. Controles técnicos: Francisco Mejía. 

[smart_track_player url="https://archive.org/download/tiuc611/tiuc611.mp3" title="TIUC611. Más NO siempre es mejor" artist="Robert Sasuke" image="https://www.robertsasuke.com/wp-content/uploads/2017/10/TIUCLogo3K-09-2017.jpg" social_linkedin="true" ] Una nueva semana y un cafecito en casa como a mi me gusta, y claro también te preparo el tuyo, déjame ahorita tantito, como dicen mis amigos mexicanos... En una escala del 1 al 10, ¿cuán feliz te sientes en este momento? ¿piensas que aún no has logrado suficiente en tu vida? porque déjame y te aclaro que para el ser humano nada es suficiente. Bueno, en la reflexión de hoy te lo explico mejor, así que siéntate un momentito y nos tomamos el café. ¿Ya te uniste a nuestra comunidad en Telegram? te espero, ENTRA AQUÍ Esto es un Programa de Radio a la carta (o popularmente llamado podcast), y lo puedes escuchar donde quieras, como quieras y cuando quieras, solo tienes que suscribirte y así no te pierdes de cada nuevo episodio. Grabamos un nuevo episodio de Lunes a Viernes desde que canta el gallo, desde Santo Domingo, República Dominicana y para todo el mundo. Definitivamente, este es el café que más se consume en el mundo cada día. Hoy es lunes 26 de febrero del año 2018, si todavía no tienes tu tacita de café, tu bombilla con tu mate o tu taza de chocolate, ve corriendo por ella porque vamos a comenzar este episodio con un contenido que esto y seguro te gustará mucho. En este episodio escucharemos la frase con cafeína, ese pensamiento o reflexión que te ayudará a seguir creciendo y ser cada día mejor persona; el tema central de este episodio y el reto del día. Te invito a formar parte de nuestro CLUB KAIZEN. En el mismo encontrarás Cursos de desarrollo personal y profesional, MasterClass , Libros digitales, Recursos Descargables, Acompañamiento personalizado, y una comunidad de personas que tienen todas una misma actitud: La de ser exitosos. Cada día una nueva clase, cada semana nuevos recursos, cada mes nuevos eventos... No pierdas esta oportunidad, ve directamente a clubkaizen.org y suscríbete. No puedes perderte todo el contenido de este episodio y vamos a iniciar nuestro itinerario en este preciso momento. Dale play al reproductor! El hosting donde alojo mi web, utilizo el Plan GoGeek [bctt tweet="La sencillez de carácter es el resultado natural del pensamiento profundo. William Hazlitt #fraseconcafeina" username="robsasuke"] _ [not_logged_in] Este contenido está únicamente disponible para los suscriptores de nuestro CLUB KAIZEN. Puedes [wps_login] identificarte AQUÍ [/wps_login] o puedes suscribirte al Club -> SUSCRÍBETE AQUÍ. [/not_logged_in] [restrict userlevel="subscriber"] DESCARGA LA TRANSCRIPCIÓN Puedes leer todo el episodio, de principio a fin. [/restrict] DESCARGA EL AUDIO EN MP3 Escucha el Podcast desde cualquier dispositivo. ¡Gracias por Escucharnos! Comparte lo que piensas: Deja un comentario al final de esta sección. Envía tus dudas o comentarios en el formulario de contacto que tienes en tu lateral derecho. Comparte este Episodio en Twitter, Facebook, o Linkedin. Para ayudar a crecer este programa: Deja una reseña y una valoración en iTunes (Apple Podcast). Tus valoraciones realmente nos ayudan mucho a alcanzar a otras personas. Suscríbete en iTunes o en iVoox.

[smart_track_player url="https://archive.org/download/tiuc611/tiuc611.mp3" title="TIUC611. Más NO siempre es mejor" artist="Robert Sasuke" image="https://robertsasuke.com/wp-content/uploads/2017/10/TIUCLogo3K-09-2017.jpg" social_linkedin="true" ] Una nueva semana y un cafecito en casa como a mi me gusta, y claro también te preparo el tuyo, déjame ahorita tantito, como dicen mis amigos mexicanos... En una escala del 1 al 10, ¿cuán feliz te sientes en este momento? ¿piensas que aún no has logrado suficiente en tu vida? porque déjame y te aclaro que para el ser humano nada es suficiente. Bueno, en la reflexión de hoy te lo explico mejor, así que siéntate un momentito y nos tomamos el café. ¿Ya te uniste a nuestra comunidad en Telegram? te espero, ENTRA AQUÍ Esto es un Programa de Radio a la carta (o popularmente llamado podcast), y lo puedes escuchar donde quieras, como quieras y cuando quieras, solo tienes que suscribirte y así no te pierdes de cada nuevo episodio. Grabamos un nuevo episodio de Lunes a Viernes desde que canta el gallo, desde Santo Domingo, República Dominicana y para todo el mundo. Definitivamente, este es el café que más se consume en el mundo cada día. Hoy es lunes 26 de febrero del año 2018, si todavía no tienes tu tacita de café, tu bombilla con tu mate o tu taza de chocolate, ve corriendo por ella porque vamos a comenzar este episodio con un contenido que esto y seguro te gustará mucho. En este episodio escucharemos la frase con cafeína, ese pensamiento o reflexión que te ayudará a seguir creciendo y ser cada día mejor persona; el tema central de este episodio y el reto del día. Te invito a formar parte de nuestro CLUB KAIZEN. En el mismo encontrarás Cursos de desarrollo personal y profesional, MasterClass , Libros digitales, Recursos Descargables, Acompañamiento personalizado, y una comunidad de personas que tienen todas una misma actitud: La de ser exitosos. Cada día una nueva clase, cada semana nuevos recursos, cada mes nuevos eventos... No pierdas esta oportunidad, ve directamente a clubkaizen.org y suscríbete. No puedes perderte todo el contenido de este episodio y vamos a iniciar nuestro itinerario en este preciso momento. Dale play al reproductor! El hosting donde alojo mi web, utilizo el Plan GoGeek [bctt tweet="La sencillez de carácter es el resultado natural del pensamiento profundo. William Hazlitt #fraseconcafeina" username="robsasuke"] _ [not_logged_in] Este contenido está únicamente disponible para los suscriptores de nuestro CLUB KAIZEN. Puedes [wps_login] identificarte AQUÍ [/wps_login] o puedes suscribirte al Club -> SUSCRÍBETE AQUÍ. [/not_logged_in] [restrict userlevel="subscriber"] DESCARGA LA TRANSCRIPCIÓN Puedes leer todo el episodio, de principio a fin. [/restrict] DESCARGA EL AUDIO EN MP3 Escucha el Podcast desde cualquier dispositivo. ¡Gracias por Escucharnos! Comparte lo que piensas: Deja un comentario al final de esta sección. Envía tus dudas o comentarios en el formulario de contacto que tienes en tu lateral derecho. Comparte este Episodio en Twitter, Facebook, o Linkedin. Para ayudar a crecer este programa: Deja una reseña y una valoración en iTunes (Apple Podcast). Tus valoraciones realmente nos ayudan mucho a alcanzar a otras personas. Suscríbete en iTunes o en iVoox.

A look at the life and works of essayist William Hazlitt, the 18th century English writer best known for his humanist essays. Willett spent much of his childhood in Ireland. In particular we look at his most celebrated essay, 'The Fight' (2003)

Now you're listening to Fly with Lily, Episode - 397您现在收听的是《学英语环游世界》第397集，我是你的主播Lily Wong，周一到周日早上六点，收听一句旅游格言，和Lily一起飞。 想要和主播Lily一起学英语环游世界吗？详情请关注或咨询我们的公众微信账号：贵旅特（shanghai_greeters)，贵是贵重的贵，旅行的旅，特别的特，就是要给你一个不一样的旅行！用脸书的朋友现在也可以关注Lily的FB粉丝页是Fly with Lily！今天分享的旅游格言是：You know more of a road by having traveled it than by all the conjectures and descriptions in the world. --William Hazlitt中文翻译你懂得更多是通过旅行的方式得来而不是来自世人的推测和描述。单字记忆conjecture [kən'dʒɛktʃɚ]n. 推测；猜想vi. 推测；揣摩vt. 推测description [dɪ'skrɪpʃən]n. 描述，描写；类型；说明书总是觉得没钱旅行吗？ Always feeling a bit too broke to travel?You spend 10 dollars a day eating out. That's 300 dollars a month. Add drinks and it's 500 dollars a month. In 4 months you can buy a ticket anywhere in the world. You can travel. You're just too lazy to cook.你一天花10美金外食，一个月就是300美金，加上饮料就是500美金一个月。如果你存下来，四个月你可以负担得起去任何一个地方的机票。你当然能旅行，你只是太懒不想自己煮饭！作者简介威廉·黑兹利特(William Hazlitt，1778–1830年)，英国随笔作家。他清晰、直接、男子气概的风格极大地影响了一批随笔作家。他在《莎剧人物》(1817年)、《论英国喜剧作家》(1819年)和《论伊丽莎白时代戏剧文学》(1820年)中的评论研究因可读性和洞察力敏锐而分外知名。这些评论都是收集整理的讲稿。《席间闲谈》，又名《关于人物及风格的新评论》(Original Essays on Men and Manners)(1821–22年)包括了他最典型的部分作品。想要学好英语，最重要的是要有语言的环境！除了给自己多安排国外的旅行，我们更不可以忘记随时随地要学习英语，最好的方式就是把你的手机变成一个英语的学习机！我们微信英语班时时都在开课，如果你想要在微信上学习英语和外国人互动！请在工作时间咨询微信英语班的公众账号meisi1949，并提及Lily可以获得线上课程赠品！祝福大家有个美好的一天，Have a wonderful day!

“The bluestocking is the most odious character in society…she sinks wherever she was placed, like the yolk of an egg, to the bottom, and carries the filth with her.” That’s the thoughts of 18th century English writer, William Hazlitt, on the Blue Stockings Society of England. These upper-class British women – or “blue stockings” as they were derisively referred to at the time – formed this circle because men wouldn’t let them into university. These women adopted the moniker of blue stocking as their own, and formed a group. There they debated literature, and fought for women’s education. It’s this fight that the National Tertiary Education Union is continuing with its Bluestocking Week 2016. And while things have certainly changed since the 1700s, a glaring gender gap still persists in higher education, argues Jeannie Rea, NTEU national president.

Melvyn Bragg and guests discuss the life and works of William Hazlitt. Hazlitt is best known for his essays, which ranged in subject matter from Shakespeare, through his first meeting with Samuel Taylor Coleridge, to a boxing match. What is less well-known, however, is that he began his writing life as a philosopher, before deliberately abandoning the field for journalism. Nonetheless, his early reasoning about the power of the imagination to take human beings beyond narrow self-interest, as encapsulated in his 'Essay on the Principles of Human Action', shines through his more popular work.Hazlitt is a figure full of contradictions - a republican who revered Napoleon, and a radical who admired the conservative philosopher Edmund Burke. His reputation suffered terribly from his book 'Liber Amoris', a self-revealing memoir of his infatuation with his landlady's daughter. But in the Victorian and Edwardian eras, his importance was acknowledged by writers like Charles Dickens, Robert Louis Stevenson and Ford Madox Ford. In the 180 years since his death, his stature as perhaps the finest essayist in the language has grown and grown. With:Jonathan BateProfessor of English Literature at the University of Warwick Anthony GraylingProfessor of Philosophy at Birkbeck College, University of LondonUttara NatarajanSenior Lecturer in the Department of English and Comparative Literature at Goldsmiths College, University of LondonProducer: Phil Tinline.

Melvyn Bragg and guests discuss the life and works of William Hazlitt. Hazlitt is best known for his essays, which ranged in subject matter from Shakespeare, through his first meeting with Samuel Taylor Coleridge, to a boxing match. What is less well-known, however, is that he began his writing life as a philosopher, before deliberately abandoning the field for journalism. Nonetheless, his early reasoning about the power of the imagination to take human beings beyond narrow self-interest, as encapsulated in his 'Essay on the Principles of Human Action', shines through his more popular work.Hazlitt is a figure full of contradictions - a republican who revered Napoleon, and a radical who admired the conservative philosopher Edmund Burke. His reputation suffered terribly from his book 'Liber Amoris', a self-revealing memoir of his infatuation with his landlady's daughter. But in the Victorian and Edwardian eras, his importance was acknowledged by writers like Charles Dickens, Robert Louis Stevenson and Ford Madox Ford. In the 180 years since his death, his stature as perhaps the finest essayist in the language has grown and grown. With:Jonathan BateProfessor of English Literature at the University of Warwick Anthony GraylingProfessor of Philosophy at Birkbeck College, University of LondonUttara NatarajanSenior Lecturer in the Department of English and Comparative Literature at Goldsmiths College, University of LondonProducer: Phil Tinline.

Kevin Gilmartin is a professor of English at California Institute of Technology, and visiting professor at the Centre for Eighteenth Century Studies at York University in England.  He is the author of Print Politics: The Press and Radical Opposition in Early Nineteenth-Century England (Cambridge, 1996) and Writing against Revolution: Literary Conservatism in Britain, 1790-1832 (Cambridge, 2007), and the co-editor with James Chandler of Romantic Metropolis: The Urban Scene of British Culture, 1780-1840 (Cambridge, 2005).  His essays have appeared in such journals as Studies in Romanticism, ELH, and The Journal of British Studies, and in several essay collections.  His research interests include Romantic literature, the politics of literary culture, the history of the periodical press and of print culture, and intersections between literary expression and public activism. We talk at length about 18th century British essayist/critic William Hazlitt. 

Melvyn Bragg and guests discuss the poetry, the tragedy and the idealism of the Later Romantics. There must have been something extraordinary about the early 19th century, when six of the greatest poets in the English language were all writing. William Blake was there and Wordsworth and Coleridge had established themselves as the main players in British poetry, when the youthful trio of Byron, Shelley and Keats erupted – if not straight onto the public stage, then at least onto the literary scene. The great chronicler of the age was William Hazlitt, whose romantic maxim was: “Happy are they who live in the dream of their own existence and see all things in the light of their own minds; who walk by faith and hope; to whom the guiding star of their youth still shines from afar and into whom the spirit of the world has not yet entered…the world has no hand on them.” How fitting an epitaph is that for the three great poets who all died tragically young? What were the ideals that drove them and how did their unconventional lifestyles infect the poetry they left behind?With Jonathan Bate, Professor of English Literature at the University of Warwick; Robert Woof, Director of the Wordsworth Trust; Jennifer Wallace, Director of Studies in English at Peterhouse, Cambridge.

Melvyn Bragg and guests discuss the poetry, the tragedy and the idealism of the Later Romantics. There must have been something extraordinary about the early 19th century, when six of the greatest poets in the English language were all writing. William Blake was there and Wordsworth and Coleridge had established themselves as the main players in British poetry, when the youthful trio of Byron, Shelley and Keats erupted – if not straight onto the public stage, then at least onto the literary scene. The great chronicler of the age was William Hazlitt, whose romantic maxim was: “Happy are they who live in the dream of their own existence and see all things in the light of their own minds; who walk by faith and hope; to whom the guiding star of their youth still shines from afar and into whom the spirit of the world has not yet entered…the world has no hand on them.” How fitting an epitaph is that for the three great poets who all died tragically young? What were the ideals that drove them and how did their unconventional lifestyles infect the poetry they left behind?With Jonathan Bate, Professor of English Literature at the University of Warwick; Robert Woof, Director of the Wordsworth Trust; Jennifer Wallace, Director of Studies in English at Peterhouse, Cambridge.