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‘A dime a dozen’ as known in America, is perhaps equal to the English ‘cheap as chips’ but whatever the lingua franca of your choice in this series we hereby submit ‘A Rhyme a Dozen’ as 12 poems on many given subjects that are a well-rounded gathering, maybe even an essential guide, from the knowing pens of classic poets and their beautifully spoken verse to the comfort of your ears.1 - A Rhyme a Dozen - 12 Poets, 12 Poems, 1 Topic. Marriage - An Introduction2 - On Marriage by Khalil Gibran3 - The Bride by Laurence Hope aka Violet Nicholson4 - Nuptial Sleep by Dante Gabriel Rossetti5 - Wedding Song by Jehudah Halevi6 - To a Husband by Anne Kingsmill Finch7 - Sonnet to My Wife by Thomas Hood8 - To My Dear and Loving Husband by Anne Bradstreet9 - On His Deceased Wife by John Milton10 - Fidelity by D H Lawrence11 - Mutual Forebearance. Necessary to the Married State by William Cowper12 - Vice Vearsa by Ambrose Bierce13 - The Owl and the Pussycat by Edward Lear
John Milton, Khalil Gibran (Author), Elliot Fitzpatrick, Ghizela Rowe (Narrator)
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De la liberté de la presse et de la censure
'Celui qui veut enchaîner la liberté de la presse a besoin d'étouffer quelque vérité ou de propager quelque mensonge' S'opposant devant le parlement anglais à une ordonnance qui visait alors à instaurer une censure à l'égard de livres jugés contraires à la religion et au bonheur de la Nation, John Milton, démontre de façon minutieuse l'inutilité d'une telle inquisition, la censure n'étant pas 'une méthode dictée par la sagesse ; car, si c'était un moyen sage, il faudrait l'appliquer à tout.'
John Milton (Author), Daniel Franck (Narrator)
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This thoughtful collection of John Milton's finest poetry marks the quatercentenary of the poet's birth in 1608. It is read by several of Britain's foremost classical actors, including Anton Lesser, Samantha Bond and Derek Jacobi. Milton's uncompromising views set him firmly on the side of Cromwell, putting his life in danger when the Stuart monarchy was restored. But he is now remembered for Paradise Lost and a strong collection of other poetry which influenced successive generations. This collection offers an ideal overview, including selections from Paradise Lost and the complete Paradise Regained, excerpts from other major works, including Comus and Samson Agonistes, as well as sonnets and famous shorter poems such as On his blindness, plus a biography of Milton.
John Milton (Author), Anton Lesser, Derek Jacobi, JD Evans, John Tydeman, Nicolas Soames, Samantha Bond (Narrator)
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Milton stands alongside Shakespeare and the Bible in the power of his verse and its continuing impact. He is one of the great voices of English poetry. Born in 1608, he is best known for his epic Paradise Lost, but most of his writing life was spent composing shorter works. This collection brings together his brilliant early poems, including Il Penseroso, L'Allegro and Lycidas, as well as some of the finest and most touching works of his maturity, such as On His Blindness and Methought I saw my late espoused saint. This anthology will serve as an introduction, or as a reminder of the range and variety of John Milton's great gifts.
John Milton (Author), Derek Jacobi, Samantha Bond (Narrator)
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Often considered the greatest epic in any modern language, Paradise Lost tells the story of the revolt of Satan, his banishment from Heaven, and the ensuing fall of Man with his expulsion from Eden. It is a tale of immense drama and excitement, of innocence pitted against corruption, of rebellion and treachery, in which God and Satan fight a bitter battle for control of mankind's destiny. The struggle ranges across heaven, hell, and earth, as Satan and his band of rebel angels conspire against God. At the center of the conflict are Adam and Eve, motivated by all too human temptations, but whose ultimate downfall is unyielding love. Written in blank verse of unsurpassed majesty, Paradise Lost is the work of a mastermind involved in a profound search for truth. "Ralph Cosham's smooth voice is a fine match for Milton's blank verse....His choice to read rather than interpret is a wise one. This high-quality production may inspire listeners to further exploration of this significant text."-AudioFile
John Milton (Author), Ralph Cosham (Narrator)
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As Vergil had surpassed Homer by adapting the epic form to celebrate the origin of the author's nation, Milton developed it yet further to recount the origin of the human race itself and, in particular, the origin of and the remedy for evil; this is what he refers to as "things unattempted yet in prose or rhyme." After a statement of its purpose, the poem plunges, like its epic predecessors, into the midst of the action, shockingly bringing to the front the traditional visit to the underworld, for Satan's malice is the mainspring of the negative action. But at the center of the poem lies the triumph by the Son of God over the angelic rebels, which counteracts Satan's evil design. To preview this pattern, the fallen angels' council in hell is counterbalanced by a council in heaven, in which the Son offers himself as a scapegoat for mankind long before the original sin has been committed. With this background, the narrator introduces us to Eden and our "Grand Parents." Satan is detected spying on them and is expelled from the garden, after which God sends an angel to tutor Adam and Eve in the history of the heavenly war that has led to the present situation. At Adam's request, the heavenly guest then recounts the creation of the visible world, explaining also the proper nature of development, whereby all things proceed from lower to higher by refining that which nourishes them. Satan, however, returning in the form of a snake, offers Eve an evolutionary shortcut in the form of a magical food capable of endowing her with super powers. He claims it has conferred on him both reason and speech. Since Eve is suffering at the moment from a fancied slight to her moral strength, she allows herself to forget her recent lesson and yields to this temptation. Adam, unable to imagine life without Eve (and failing to explore alternatives to sin), accepts the fruit from her and eats as well. Satan's triumph is short-lived, for although hell and the world of mankind are now linked by a broad highway, he and his followers are humiliated in hell by being turned involuntarily into snakes every year. Whatever their reasons, both Adam and Eve have disobeyed their Maker's sole command, and both are condemned to mortality and expulsion from the garden, but before they leave they are vouchsafed another history lesson, this time of the world to come: the progress of sin, the Savior's coming, and the growth of the church. Pronunciation: Although a Cambridge M.A., Milton was born and raised in Cheapside, within earshot of the bells of St. Mary-le-Bow, which would make him a Cockney, and the educated dialect which he spoke more nearly resembled the speech of modern Ireland or Ohio than of today's London. Therefore no British accent has been used for this recording, with rare exceptions like making shone rhyme with gone, as Milton's spelling shon specifies. For the most part, modern pronunciation has been employed, as Milton would doubtless have preferred, being so self-consciously avant garde as, for example, to require by his spelling that participles be clipped (e.g., despis'd, rang'd, stretcht) rather than given the syllabic -ed ending. However, he was equally firm about specifying personal preferences that have not survived in standard English on either side of the Atlantic, such as hunderd, heighth, sate (for sat), and elisions like th'ocean. Although blind, he meticulously checked the proofs of his poems and sent his publisher lists of errata with spelling corrections like these. He even distinguished between their and thir, me and mee. Wherever possible these distinctions have been respected. Research has also determined that he probably gave long vowels to the -able suffix and to the syllable -ube in cherube, but since there is little to be gained by honoring such idiosyncracies, they have not been consistently preserved. On the other hand, metrical considerations demand pronunciations such as SUpreme, blasPHEmous, REcepTAcle, and even ACcepTAble and unACcepTAble. Yet, even where corroborative evidence can be found in Shakespeare or elsewhere, such bizarre pronunciations have been kept to a minimum if the meter can be preserved without deviating from modern pronunciation (TRIumph has generally been preferred to triUMPH and inVISible to INviSIble). The Text: Because the Rev. H. C. Beeching, editor of the volume, was sensitive to the importance of Milton's spelling and apostrophes, his text provides ample support for the pronunciations employed in this reading. However, the reader is encouraged to pay attention to the notes at the end of each book, to which Beeching has consigned some of Milton's maturest artistic decisions.
John Milton (Author), Thomas A. Copeland (Narrator)
Audiobook
'Of Man's First Disobedience, and the Fruit of that Forbidden Tree, whose mortal taste Brought Death into the World, and all our woe.' So begins the greatest epic poem in the English language. In words remarkable for their richness of rhythm and imagery, Milton tells the story of man's creation, fall and redemption - 'to justify the ways of God to men.' Here, unabridged, and told with exceptional sensitivity and power by Anton Lesser, is the plight of Adam and Eve, the ambition and vengefulness of Satan and his cohorts.
John Milton (Author), Anton Lesser (Narrator)
Audiobook
As Vergil had surpassed Homer by adapting the epic form to celebrate the origin of the author's nation, Milton developed it yet further to recount the origin of the human race itself and, in particular, the origin of and the remedy for evil; this is what he refers to as things unattempted yet in prose or rhyme. After a statement of its purpose, the poem plunges, like its epic predecessors, into the midst of the action, shockingly bringing to the front the traditional visit to the underworld, for Satan's malice is the mainspring of the negative action. But at the center of the poem lies the triumph by the Son of God over the angelic rebels, which counteracts Satan's evil design. To preview this pattern, the fallen angels' council in hell is counterbalanced by a council in heaven, in which the Son offers himself as a scapegoat for mankind long before the original sin has been committed. With this background, the narrator introduces us to Eden and our Grand Parents. Satan is detected spying on them and is expelled from the garden, after which God sends an angel to tutor Adam and Eve in the history of the heavenly war that has led to the present situation. At Adam's request, the heavenly guest then recounts the creation of the visible world, explaining also the proper nature of development, whereby all things proceed from lower to higher by refining that which nourishes them. Satan, however, returning in the form of a snake, offers Eve an evolutionary shortcut in the form of a magical food capable of endowing her with super powers. He claims it has conferred on him both reason and speech. Since Eve is suffering at the moment from a fancied slight to her moral strength, she allows herself to forget her recent lesson and yields to this temptation. Adam, unable to imagine life without Eve (and failing to explore alternatives to sin), accepts the fruit from her and eats as well. Satan's triumph is short-lived, for although hell and the world of mankind are now linked by a broad highway, he and his followers are humiliated in hell by being turned involuntarily into snakes every year. Whatever their reasons, both Adam and Eve have disobeyed their Maker's sole command, and both are condemned to mortality and expulsion from the garden, but before they leave they are vouchsafed another history lesson, this time of the world to come: the progress of sin, the Savior's coming, and the growth of the church. Pronunciation: Although a Cambridge M.A., Milton was born and raised in Cheapside, within earshot of the bells of St. Mary-le-Bow, which would make him a Cockney, and the educated dialect which he spoke more nearly resembled the speech of modern Ireland or Ohio than of today's London. Therefore no British accent has been used for this recording, with rare exceptions like making shone rhyme with gone, as Milton's spelling shon specifies. For the most part, modern pronunciation has been employed, as Milton would doubtless have preferred, being so self-consciously avant garde as, for example, to require by his spelling that participles be clipped (e.g., despis'd, rang'd, stretcht) rather than given the syllabic -ed ending. However, he was equally firm about specifying personal preferences that have not survived in standard English on either side of the Atlantic, such as hunderd, heighth, sate (for sat), and elisions like th'ocean. Although blind, he meticulously checked the proofs of his poems and sent his publisher lists of errata with spelling corrections like these. He even distinguished between their and thir, me and mee. Wherever possible these distinctions have been respected. Research has also determined that he probably gave long vowels to the -able suffix and to the syllable -ube in cherube, but since there is little to be gained by honoring such idiosyncracies, they have not been consistently preserved. On the other hand, metrical considerations demand pronunciations such as SUpreme, blasPHEmous, REcepTAcle, and even ACcepTAble and unACcepTAble. Yet, even where corroborative evidence can be found in Shakespeare or elsewhere, such bizarre pronunciations have been kept to a minimum if the meter can be preserved without deviating from modern pronunciation (TRIumph has generally been preferred to triUMPH and inVISible to INviSIble). The Text: Because the Rev. H. C. Beeching, editor of the volume, was sensitive to the importance of Milton's spelling and apostrophes, his text provides ample support for the pronunciations employed in this reading. However, the reader is encouraged to pay attention to the notes at the end of each book, to which Beeching has consigned some of Milton's maturest artistic decisions.
John Milton (Author), Thomas A. Copeland (Narrator)
Audiobook
Of Man's first disobedience and the fruit Of that forbidden tree whose mortal taste Brought death into the world and all our woe, With loss of Eden, till on greater Man Restore us and regain the blissful seat Sing, Heavenly Muse... Thus begins the epic poem, considered the greatest in the English language, as John Milton seeks to “justify the ways of God to men” through relating the story of Satan’s rebellion in Heaven, the deception and fall of Man, and the presaged event of Redemption through Jesus, the Son of God…the “Second Adam.” An English cleric with a classical education, Milton lost his eyesight in 1652, and thus the story was largely dictated by the blind poet, lending a certain quality of the ancient oral epics, which only serves to enhance the telling of the tale. Weaving classical mythology with a deep knowledge and reference to Scripture, Milton's genius for narrative unfolds what his biographer, Samuel Johnson, called his "peculiar power to astonish." Nadia May has narrated over five hundred audiobooks and has earned the prestigious AudioFile Golden Voice award, as well as fourteen Earphone awards. She is an accomplished film, TV, and theater actress. Wanda’s native British voice complements her graduate education in English Literature from UC Berkeley to make her delivery of John Milton’s Paradise Lost engaging and nuanced.
John Milton (Author), Nadia May, Nadia May (Narrator)
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“The mind is its own place, and in itself can make a heaven of hell, a hell of heaven..” Paradise Lost is a well-known and integral part of the English literary canon. Told as an epic poem in blank verse, Paradise Lost is John Milton’s retelling of the biblical story of Satan’s fall from grace and the beginning of humanity. In the beginning of Paradise Lost, Satan has ben banished to Hell and is working to organize the angels who fell with him and create his new kingdom. While a constant angelic war rages, Satan begins to wield his influence on the first humans created on Earth, and soon tempts them into defying God by using wit and logic to tempt Eve. The actions get Adam and Eve banished from paradise, and in the aftermath of their sin they get to glimpse the future of humanity based on their actions. It is a dramatic and compelling look at Milton’s view of humanity and the nature of humans based on biblical stories. With epic storytelling and powerful writing, Paradise Lost remains one of the seminal works of religious fiction. Milton’s command of language to embellish biblical stories set him up to be one of the most important writers of early English literature.
John Milton (Author), Jon Waters (Narrator)
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Paradise Lost & Paradise Regained: Two BBC Radio 4 dramatisations
The highly-acclaimed BBC Radio 4 dramatisation of Milton's epic poem telling the story of the fall of man, and also its sequel, "Paradise Regained". Out of chaos shall come order and out of darkness shall come light. Paradise is lost - and then regained. John Milton's epic, biblically inspired poems are wonderfully dramatised for BBC Radio starring Denis Quilley as Milton, Ian McDiarmid as Satan and Robert Glenister as Christ, enhanced by specially composed music. First published in 1667, Paradise Lost describes Satan's plot to ruin God's new and most favoured creation, Mankind, and recounts the temptation of Adam and Eve and their banishment from the Garden of Eden. Paradise Regained, published in 1671, tells of the temptation of Christ by Satan as he wanders in the wilderness for forty days and nights. Full cast: Milton: Denis Quilley Satan: Ian McDiarmid Christ: Robert Glenister Raphael: John Rowe God: Godfrey Kenton Adam: Linus Roache Michael: Mark Straker Abdiel/Andrew: Julian Rhind-Tutt Nisroc: John Church Simon/Angel: Matthew Morgan Belial: Steve Hodson Angel: David Thorpe
John Milton (Author), , Denis Quilley, Ian Mcdiarmid, Robert Glenister (Narrator)
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Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton (1608-1674). The first version, published in 1667, consists of ten books with over ten thousand lines of verse. A second edition followed in 1674, arranged into twelve books (in the manner of Virgil's Aeneid) with minor revisions throughout. It is considered by critics to be Milton's major work, and it helped solidify his reputation as one of the greatest English poets of his time. The poem concerns the biblical story of the Fall of Man: the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Milton's purpose, stated in Book I, is to 'justify the ways of God to men.'
John Milton (Author), David Mccran (Narrator)
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