The panel reads the poetry of Robert Graves, from his early war poetry to the work of his later life, with special attention to his theory of The White Goddess, including “A Dead Boche”, “A Boy in Church”, “The God Called Poetry” and “The Spoilsport”.
The panel reads four poems by D. H. Lawrence: “Whales Weep Not!”, “Moonrise”, “When I Read Shakespeare”, and “Only Man”, and discusses their frank but sensual depictions of sexuality, communication, communion, nature, salvation, and damnation.
The panel reads two Pope’s ‘An Essay on Man’ and Wordsworth’s ‘Tintern Abbey’ in conversation with one another–looking at the similarities of their conclusions and the difference in their approaches–as they address the roles of Man, Nature, and God.
The panel reads a selection of three poems by Conrad Aiken–“The Room”, “Exile”, and “Goya”–and discusses their dreamlike imagery, and the impact of personal tragedy, English Romanticism, and Freudian and Jungian theories, upon Aiken’s poetry.
Following on the theme of love and death, the panel reads Milton’s pastoral elegy, “Lycidas”, dedicated to the memory of Edward King, with special attention to Milton’s theology and his critique of both the contemporary English clergy and community.
For St. Valentine’s Day, the panel reads what is likely to have been Shakespeare’s first officially published work: his genre-defying Tragi-Comi-Ovidian poem “Venus and Adonis”, dedicated to his patron, Henry Wriothesley, third Earl of Southampton.
The panel concludes “Sir Gawain and the Green Knight” with an examination of the poem’s liminal spaces, an evaluation of Gawain’s moral virtue, a discussion on the nature of courage, and questions about the role of community in the act of contrition.
The panel reads the third part of “Sir Gawain and the Green Knight”, with particular attention to the juxtaposition of the forest hunting, killing, and skinning/gutting scenes with those of courtly love in the luxurious bedchamber of Sir Gawain.
The panel reads the second part of “Sir Gawain and the Green Knight”, and examines the theological significance of the seasons, the detailed military fortifications of Castle Hautdesert, and the appearance of the beautiful Lady Hautdesert.
The panel reads the first part of Sir Gawain and the Green Knight, providing an overview of the formal aspects of the poem, the history of the manuscript (Cotton Nero A.x), theories about authorship, and analysis of the poem’s titular, veridian symbolism.
The panels searches for a smile / And dwells with Ogden Nash a while. / Some lines are light and some are scary / But the formal aspects rather vary. / Most of them rhyme in a manner relaxin’, / But the metrics range from good to absen’.
In the first podcast of 2022, the panel reads five poems spanning the entire poetic arc of Langston Hughes, from the famous lines of “I, Too” to the scenes of the “Lincoln Theatre”, before ending with the Christmas message of “Shepherd’s Song”.