Episodi

  • Poems of William Blake-William Blake

    Poems of William Blake-William Blake
    Nov 7 2026
    Poems of William Blake by William Blake.

    Songs of Innocence and of Experience: Shewing the Two Contrary States of the Human Soul are two books of poetry by the English poet and painter, William Blake. Although Songs of Innocence was first published by itself in 1789, it is believed that Songs of Experience has always been published in conjunction with Innocence since its completion in 1794. Songs of Innocence mainly consists of poems describing the innocence and joy of the natural world, advocating free love and a closer relationship with God, and most famously including Blake's poem The Lamb. Its poems have a generally light, upbeat and pastoral feel and are typically written from the perspective of children or written about them.

    Featured on Songs of Innocence and Experience (version 3).

    Public-domain recording courtesy of LibriVox (librivox.org).

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    55 min
  • Astrophel and Stella-Sir Philip Sidney

    Astrophel and Stella-Sir Philip Sidney
    Sep 10 2026
    The short, simple lines of these delicate poems resemble song lyrics, emphasizing the concrete but hinting at transcendent realities, although a few deal with abstractions directly. Many voices are heard: of children (once possibly a fetus), animals, parents, and narrators. The two companion volumes deal with the inevitable passage from the child’s wonder and delight in the creation to the adult’s understanding of it. This transition is fraught with dangers and can result in unhealthy attitudes. Blake has little good to say about human institutions dedicated to education, but sometimes lucky children do hit upon wholesome means of passing from innocence into experience. Interconnections between poems are vital to interpretation: not only sequential poems like "Little Boy Lost" and "Little Boy Found" but also counterparts with the same name in each volume, such as those entitled "Nurse's Song." Other interconnections can be discovered only by examining the total work, including the drawings. For, like all of Blake's works, these little poems are composite works of art, the words being supplemented and qualified by pictorial art as in today's graphic novels. For example, "Nurse's Song" and "The Fly" in Songs of Experience are illustrated with drawings whose similarity in general form emphasizes their sharp contrast in significance, one presenting a repressive, controlling approach to education and the other a kindly, supportive approach. There are also many small figures and repeated vegetative forms that fill the corners and spaces between the lines or decorate the titles, and each of these bears upon the interpretation of the work. Yet, although the poetry is not to be mistaken for the complete work, it can be appreciated for itself alone. - Summary by Thomas A. Copeland

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    1 ora e 41 min
  • Sandman's Goodnight Stories-Abbie Phillips Walker

    Sandman's Goodnight Stories-Abbie Phillips Walker
    Sep 9 2026
    The short, simple lines of these delicate poems resemble song lyrics, emphasizing the concrete but hinting at transcendent realities, although a few deal with abstractions directly. Many voices are heard: of children (once possibly a fetus), animals, parents, and narrators. The two companion volumes deal with the inevitable passage from the child’s wonder and delight in the creation to the adult’s understanding of it. This transition is fraught with dangers and can result in unhealthy attitudes. Blake has little good to say about human institutions dedicated to education, but sometimes lucky children do hit upon wholesome means of passing from innocence into experience. Interconnections between poems are vital to interpretation: not only sequential poems like "Little Boy Lost" and "Little Boy Found" but also counterparts with the same name in each volume, such as those entitled "Nurse's Song." Other interconnections can be discovered only by examining the total work, including the drawings. For, like all of Blake's works, these little poems are composite works of art, the words being supplemented and qualified by pictorial art as in today's graphic novels. For example, "Nurse's Song" and "The Fly" in Songs of Experience are illustrated with drawings whose similarity in general form emphasizes their sharp contrast in significance, one presenting a repressive, controlling approach to education and the other a kindly, supportive approach. There are also many small figures and repeated vegetative forms that fill the corners and spaces between the lines or decorate the titles, and each of these bears upon the interpretation of the work. Yet, although the poetry is not to be mistaken for the complete work, it can be appreciated for itself alone. - Summary by Thomas A. Copeland

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    2 ore e 54 min
  • Prince and the Dragons-Tudor Jenks

    Prince and the Dragons-Tudor Jenks
    Sep 8 2026
    The short, simple lines of these delicate poems resemble song lyrics, emphasizing the concrete but hinting at transcendent realities, although a few deal with abstractions directly. Many voices are heard: of children (once possibly a fetus), animals, parents, and narrators. The two companion volumes deal with the inevitable passage from the child’s wonder and delight in the creation to the adult’s understanding of it. This transition is fraught with dangers and can result in unhealthy attitudes. Blake has little good to say about human institutions dedicated to education, but sometimes lucky children do hit upon wholesome means of passing from innocence into experience. Interconnections between poems are vital to interpretation: not only sequential poems like "Little Boy Lost" and "Little Boy Found" but also counterparts with the same name in each volume, such as those entitled "Nurse's Song." Other interconnections can be discovered only by examining the total work, including the drawings. For, like all of Blake's works, these little poems are composite works of art, the words being supplemented and qualified by pictorial art as in today's graphic novels. For example, "Nurse's Song" and "The Fly" in Songs of Experience are illustrated with drawings whose similarity in general form emphasizes their sharp contrast in significance, one presenting a repressive, controlling approach to education and the other a kindly, supportive approach. There are also many small figures and repeated vegetative forms that fill the corners and spaces between the lines or decorate the titles, and each of these bears upon the interpretation of the work. Yet, although the poetry is not to be mistaken for the complete work, it can be appreciated for itself alone. - Summary by Thomas A. Copeland
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    43 min
  • Aunt Jo's Scrap-Bag, Vol. 4-Louisa May Alcott

    Aunt Jo's Scrap-Bag, Vol. 4-Louisa May Alcott
    Sep 7 2026
    The short, simple lines of these delicate poems resemble song lyrics, emphasizing the concrete but hinting at transcendent realities, although a few deal with abstractions directly. Many voices are heard: of children (once possibly a fetus), animals, parents, and narrators. The two companion volumes deal with the inevitable passage from the child’s wonder and delight in the creation to the adult’s understanding of it. This transition is fraught with dangers and can result in unhealthy attitudes. Blake has little good to say about human institutions dedicated to education, but sometimes lucky children do hit upon wholesome means of passing from innocence into experience. Interconnections between poems are vital to interpretation: not only sequential poems like "Little Boy Lost" and "Little Boy Found" but also counterparts with the same name in each volume, such as those entitled "Nurse's Song." Other interconnections can be discovered only by examining the total work, including the drawings. For, like all of Blake's works, these little poems are composite works of art, the words being supplemented and qualified by pictorial art as in today's graphic novels. For example, "Nurse's Song" and "The Fly" in Songs of Experience are illustrated with drawings whose similarity in general form emphasizes their sharp contrast in significance, one presenting a repressive, controlling approach to education and the other a kindly, supportive approach. There are also many small figures and repeated vegetative forms that fill the corners and spaces between the lines or decorate the titles, and each of these bears upon the interpretation of the work. Yet, although the poetry is not to be mistaken for the complete work, it can be appreciated for itself alone. - Summary by Thomas A. Copeland
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    4 ore e 35 min
  • Elements of Conchology-William Ruschenberger

    Elements of Conchology-William Ruschenberger
    Sep 6 2026
    The short, simple lines of these delicate poems resemble song lyrics, emphasizing the concrete but hinting at transcendent realities, although a few deal with abstractions directly. Many voices are heard: of children (once possibly a fetus), animals, parents, and narrators. The two companion volumes deal with the inevitable passage from the child’s wonder and delight in the creation to the adult’s understanding of it. This transition is fraught with dangers and can result in unhealthy attitudes. Blake has little good to say about human institutions dedicated to education, but sometimes lucky children do hit upon wholesome means of passing from innocence into experience. Interconnections between poems are vital to interpretation: not only sequential poems like "Little Boy Lost" and "Little Boy Found" but also counterparts with the same name in each volume, such as those entitled "Nurse's Song." Other interconnections can be discovered only by examining the total work, including the drawings. For, like all of Blake's works, these little poems are composite works of art, the words being supplemented and qualified by pictorial art as in today's graphic novels. For example, "Nurse's Song" and "The Fly" in Songs of Experience are illustrated with drawings whose similarity in general form emphasizes their sharp contrast in significance, one presenting a repressive, controlling approach to education and the other a kindly, supportive approach. There are also many small figures and repeated vegetative forms that fill the corners and spaces between the lines or decorate the titles, and each of these bears upon the interpretation of the work. Yet, although the poetry is not to be mistaken for the complete work, it can be appreciated for itself alone. - Summary by Thomas A. Copeland
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    3 ore e 21 min
  • Birds, Vol. III, No 1, January 1898-Various

    Birds, Vol. III, No 1, January 1898-Various
    Sep 5 2026
    The short, simple lines of these delicate poems resemble song lyrics, emphasizing the concrete but hinting at transcendent realities, although a few deal with abstractions directly. Many voices are heard: of children (once possibly a fetus), animals, parents, and narrators. The two companion volumes deal with the inevitable passage from the child’s wonder and delight in the creation to the adult’s understanding of it. This transition is fraught with dangers and can result in unhealthy attitudes. Blake has little good to say about human institutions dedicated to education, but sometimes lucky children do hit upon wholesome means of passing from innocence into experience. Interconnections between poems are vital to interpretation: not only sequential poems like "Little Boy Lost" and "Little Boy Found" but also counterparts with the same name in each volume, such as those entitled "Nurse's Song." Other interconnections can be discovered only by examining the total work, including the drawings. For, like all of Blake's works, these little poems are composite works of art, the words being supplemented and qualified by pictorial art as in today's graphic novels. For example, "Nurse's Song" and "The Fly" in Songs of Experience are illustrated with drawings whose similarity in general form emphasizes their sharp contrast in significance, one presenting a repressive, controlling approach to education and the other a kindly, supportive approach. There are also many small figures and repeated vegetative forms that fill the corners and spaces between the lines or decorate the titles, and each of these bears upon the interpretation of the work. Yet, although the poetry is not to be mistaken for the complete work, it can be appreciated for itself alone. - Summary by Thomas A. Copeland
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    1 ora e 9 min
  • Flower Stories-Lenore Elizabeth Mulets

    Flower Stories-Lenore Elizabeth Mulets
    Sep 4 2026
    The short, simple lines of these delicate poems resemble song lyrics, emphasizing the concrete but hinting at transcendent realities, although a few deal with abstractions directly. Many voices are heard: of children (once possibly a fetus), animals, parents, and narrators. The two companion volumes deal with the inevitable passage from the child’s wonder and delight in the creation to the adult’s understanding of it. This transition is fraught with dangers and can result in unhealthy attitudes. Blake has little good to say about human institutions dedicated to education, but sometimes lucky children do hit upon wholesome means of passing from innocence into experience. Interconnections between poems are vital to interpretation: not only sequential poems like "Little Boy Lost" and "Little Boy Found" but also counterparts with the same name in each volume, such as those entitled "Nurse's Song." Other interconnections can be discovered only by examining the total work, including the drawings. For, like all of Blake's works, these little poems are composite works of art, the words being supplemented and qualified by pictorial art as in today's graphic novels. For example, "Nurse's Song" and "The Fly" in Songs of Experience are illustrated with drawings whose similarity in general form emphasizes their sharp contrast in significance, one presenting a repressive, controlling approach to education and the other a kindly, supportive approach. There are also many small figures and repeated vegetative forms that fill the corners and spaces between the lines or decorate the titles, and each of these bears upon the interpretation of the work. Yet, although the poetry is not to be mistaken for the complete work, it can be appreciated for itself alone. - Summary by Thomas A. Copeland

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    2 ore e 44 min