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Ching Zeng is an independent record label based in Düsseldorf / Germany and was founded in 2013. The label is home to a large roster of individual artists who aim to build bridges between different cultures and music styles.

Check out our monthly "Taped" podcast.

Ching Zeng is an independent record label based in Düsseldorf / Germany and was founded in 2013. The label is home to a large roster of individual artists who aim to build bridges between different cultures and music styles. Check out our monthly "Taped" podcast.

Taped

JEDEN FREITAG NEU!!! Weiblich, Selbstständig, Kreativ - Der Podcast mit Katharina Lichtblau. Moderatorin und Sprecherin. 
Geschichten aus dem Medienzirkus und dem Leben als selbstständige und selbstbewusste junge Frau.

JEDEN FREITAG NEU!!! Weiblich, Selbstständig, Kreativ - Der Podcast mit Katharina Lichtblau. Moderatorin und Sprecherin. Geschichten aus dem Medienzirkus und dem Leben als selbstständige und selbstbewusste junge Frau.

WEIBLICH, SELBSTSTÄNDIG, KREATIV mit Katharina Lichtblau

Hello and welcome to my radio station. The main focus will be about art but I will talk about a range of different topics as well they will be: world events, some politics and random stuff. I also want a state that I take criticism very well so if there is something you don't like about my channel just call in explain and I will fix it the best I can. And finally hope you enjoy my content have a nice day.

Skyrevan's Radio Station

The Against the Grain Podcast, A woodworking podcast discussing the task at hand

Against The Grain Podcast

Programa dedica a la difusión de la cultura y arte emergente e independiente

Nuestra Escena Radio

A place to talk shop , & Arts of Timeless Treasure's..

A place to talk shop , &amp; Arts of Timeless Treasure's..

Mikey & Dave Bro. Show..

Summoned from the deepest darkest pits of Hell and doomed to roam the earth for eternity (or at least one season per demonic contract) comes the creepy and comical live radio show, Portland's own, Scary Home Companion! This isn't your father's live radio, it's the reason he was keeping the shotgun and holy water around!

Scary Home Companion features live horror-themed audio dramas, sketches, radio commercials, creepy jingles, live Foley sound effects, and local celebrity interviews hosted by the Second Most Evil Woman of Portland: Screamvina!

Summoned from the deepest darkest pits of Hell and doomed to roam the earth for eternity (or at least one season per demonic contract) comes the creepy and comical live radio show, Portland's own, Scary Home Companion! This isn't your father's live radio, it's the reason he was keeping the shotgun and holy water around! Scary Home Companion features live horror-themed audio dramas, sketches, radio commercials, creepy jingles, live Foley sound effects, and local celebrity interviews hosted by the Second Most Evil Woman of Portland: Screamvina!

Scary Home Companion

Descubre tus errores, aprende nuevos trucos y experimenta todo lo que puedes lograr con acuarelas. ✨ Y no olvides enviarme tus preguntas a info@danielaurdaneta.com

Trucos de acuarela con Daniela

“What do you do?” is not always an easy question to answer. How does a portfolio career influence how you self-identify? Join me, an opera-singer-turned-videographer, as I talk to other job-straddling creative-types about how we got to where we are.

“What do you do?” is not always an easy question to answer. How does a portfolio career influence how you self-identify? Join me, an opera-singer-turned-videographer, as I talk to other job-straddling creative-types about how we got to where we are.

Are you what you do?

Chef Lil Pony & Princess Trash: Equal parts food and depression, with a splash of anxiety. Listen at your own risk!

Chef Lil Pony &amp; Princess Trash: Equal parts food and depression, with a splash of anxiety. Listen at your own risk!

Arranged Marriage

This is a podcast of the West end talks videos that are up on YouTube where we interview theatre members giving the fans the chance of asking the questions.

Westendtalks

¡El Cuento de la Radio vuelve por sus fueros! Este es un espacio para escuchar aquellas obras de la literatura universal que algún día escuchaste mencionar o de las que tal vez nunca oíste hablar. Podrás escucharlas mientras haces tus labores cotidianas y compartirlas si a bien te parece. Pero también encontrarás cuentos y lectura de notas de prensa. Me tomaré la libertad -y por qué no aprovechar- para leer aquí algunos de mis escritos propios, breves cuentos de efímera recordación, pero al fin y al cabo, mis hijos consentidos. Este espacio virtual también alberga el trabajo reconocido del ter

Presentación de El Cuento de la Radio

Aquí encontrarás todo sobre el gato negro y otros cuentos, siéntate y disfruta.

EL GATO NEGRO Y OTROS CUENTOS.

Exploring what it means to be a writer in the digital age. Grindstaff Publishing is a mixture of self-narrated audiobook chapters, writing dissections, habits, and discussions of creating works of literature. Life is full of distractions but there is always time to create something meaningful. Why can't that something be a book?

Grindstaff Publishing

Esse programa foi criado para inspirar pessoas, que estão em busca de desenvolvimento pessoal . Se gostar, curta e compartilhe com seus amigos?!

DÊ- LIVROS

To nie jest podcast w formie podcastu. Jego forma się kiedyś wyklaruje, albo i nie. Regularności nie przewidujemy.

ArtRage - wcale nie podcast

We talk about Art, Creativity, Entertainment and many other things. Toon Raiders is about finding all those gems of people around the world so their stories can inspire others.

Toon Raiders Podcast

This podcast's 📻 goal is to share the poems of every writer. That the 👫 people can listen 👂 to their favorite 🔖 poems every day. My main goal is to share the poems with everyone across the 🌎 Worldwide.

Poems of the world 🌍

.DOC

Collected from the audio fiction from the Saturday Story Circle podcast from the Mutual Audio Network, The Story Circle Podcast brings audio fiction for children of all ages! 
Stories old and new and voice actors who love to tell great tales!

Collected from the audio fiction from the Saturday Story Circle podcast from the Mutual Audio Network, The Story Circle Podcast brings audio fiction for children of all ages! Stories old and new and voice actors who love to tell great tales!

Story Circle Theatre

Jeg præsenterer dig for et af mine digte, noget spoken word eller en poetry slam. Og så prøver vi at gå lidt ind i mellem ordene og bag om det hele. Det bliver hyggeligt!

Ildfugl - digte, spoken word og poetry slam

Sebuah podcast yang dibuat secara Spontan uhuy.

Podcast Spontan uhuy

Cerebro Adolescente

Reetishe

Dlaczego Zlo Mieszka We Mnie?

Libro "El asesinato del Profesor de matemáticas"

찐 스타일리스트 자매 서수경&서수명의 대나무숲. 패션, 연애, 결혼, 사회생활, 친구 관계 어떤 고민이든 들어만 드립니다

찐 스타일리스트 자매 서수경&amp;서수명의 대나무숲. 패션, 연애, 결혼, 사회생활, 친구 관계 어떤 고민이든 들어만 드립니다

복장터지는 언니들

A discussion-style writing podcast created by writers and for writers, where you can come to be encouraged and improve your craft.

Truth, Lies and Coffee

The Best of Radio Litopia as curated by Peter Cox

The Best of Radio Litopia

Walt Whitman has somewhere a fine and just distinction between “loving by allowance” and “loving with personal love.” This distinction applies to books as well as to men and women; and in the case of the not very numerous authors who are the objects of the personal affection, it brings a curious consequence with it. There is much more difference as to their best work than in the case of those others who are loved “by allowance” by convention, and because it is felt to be the right and proper thing to love them. And in the sect—fairly large and yet unusually choice—of Austenians or Janites, there would probably be found partisans of the claim to primacy of almost every one of the novels. To some the delightful freshness and humour of Northanger Abbey, its completeness, finish, and entrain, obscure the undoubted critical facts that its scale is small, and its scheme, after all, that of burlesque or parody, a kind in which the first rank is reached with difficulty. Persuasion, relatively faint in tone, and not enthralling in interest, has devotees who exalt above all the others its exquisite delicacy and keeping. The catastrophe of Mansfield Park is admittedly theatrical, the hero and heroine are insipid, and the author has almost{x} wickedly destroyed all romantic interest by expressly admitting that Edmund only took Fanny because Mary shocked him, and that Fanny might very likely have taken Crawford if he had been a little more assiduous; yet the matchless rehearsal-scenes and the characters of Mrs. Norris and others have secured, I believe, a considerable party for it. Sense and Sensibility has perhaps the fewest out-and-out admirers; but it does not want them.I suppose, however, that the majority of at least competent votes would, all things considered, be divided between Emma and the present book; and perhaps the vulgar verdict (if indeed a fondness for Miss Austen be not of itself a patent of exemption from any possible charge of vulgarity) would go for Emma. It is the larger, the more varied, the more popular; the author had by the time of its composition seen rather more of the world, and had improved her general, though not her most peculiar and characteristic dialogue; such figures as Miss Bates, as the Eltons, cannot but unite the suffrages of everybody. On the other hand, I, for my part, declare for Pride and Prejudice unhesitatingly. It seems to me the most perfect, the most characteristic, the most eminently quintessential of its author’s works; and for this contention in such narrow space as is permitted to me, I propose here to show cause.In the first place, the book (it may be barely necessary to remind the reader) was in its first shape written very early, somewhere about 1796, when Miss Austen was barely twenty-one; though it was revised and finished at Chawton some fifteen years later, and was not published till 1813, only four years before her death. I do not know whether, in{xi} this combination of the fresh and vigorous projection of youth, and the critical revision of middle life, there may be traced the distinct superiority in point of construction, which, as it seems to me, it possesses over all the others. The plot, though not elaborate, is almost regular enough for Fielding; hardly a character, hardly an incident could be retrenched without loss to the story. The elopement of Lydia and Wickham is not, like that of Crawford and Mrs. Rushworth, a coup de théâtre; it connects itself in the strictest way with the course of the story earlier, and brings about the denouement with complete propriety. All the minor passages—the loves of Jane and Bingley, the advent of Mr. Collins, the visit to Hunsford, the Derbyshire tour—fit in after the same unostentatious, but masterly fashion. There is no attempt at the hide-and-seek, in-and-out business, which in the transactions between Frank Churchill and Jane Fairfax contributes no doubt a good deal to the intrigue of Emma, but contributes it in a fashion which I do not think the best feature of that otherwise admirable book. Although Miss Austen always liked something of the misunderstanding kind, which afforded her opportunities for the display of the peculiar and incomparable talent to be noticed presently, she has been satisfied here with the perfectly natural occasions provided by the false account of Darcy’s conduct given by Wickham, and by the awkwardness (arising with equal naturalness) from the gradual transformation of Elizabeth’s own feelings from positive aversion to actual love. I do not know whether the all-grasping hand of the playwright has ever been laid upon Pride and Prejudice; and I dare say that,{xii} if it were, the situations would prove not startling or garish enough for the footlights, the character-scheme too subtle and delicate for pit and gallery. But if the attempt were made, it would certainly not be hampered by any of those loosenesses of construction, which, sometimes disguised by the conveniences of which the novelist can avail himself, appear at once on the stage.I think, however, though the thought will doubtless seem heretical to more than one school of critics, that construction is not the highest merit, the choicest gift, of the novelist. It sets off his other gifts and graces most advantageously to the critical eye; and the want of it will sometimes mar those graces—appreciably, though not quite consciously—to eyes by no means ultra-critical. But a very badly-built novel which excelled in pathetic or humorous character, or which displayed consummate command of dialogue—perhaps the rarest of all faculties—would be an infinitely better thing than a faultless plot acted and told by puppets with pebbles in their mouths. And despite the ability which Miss Austen has shown in working out the story, I for one should put Pride and Prejudice far lower if it did not contain what seem to me the very masterpieces of Miss Austen’s humour and of her faculty of character-creation—masterpieces who may indeed admit John Thorpe, the Eltons, Mrs. Norris, and one or two others to their company, but who, in one instance certainly, and perhaps in others, are still superior to them.The characteristics of Miss Austen’s humour are so subtle and delicate that they are, perhaps, at all times easier to apprehend than to express, and at any particular{xiii} time likely to be differently apprehended by different persons. To me this humour seems to possess a greater affinity, on the whole, to that of Addison than to any other of the numerous species of this great British genus. The differences of scheme, of time, of subject, of literary convention, are, of course, obvious enough; the difference of sex does not, perhaps, count for much, for there was a distinctly feminine element in “Mr. Spectator,” and in Jane Austen’s genius there was, though nothing mannish, much that was masculine. But the likeness of quality consists in a great number of common subdivisions of quality—demureness, extreme minuteness of touch, avoidance of loud tones and glaring effects. Also there is in both a certain not inhuman or unamiable cruelty. It is the custom with those who judge grossly to contrast the good nature of Addison with the savagery of Swift, the mildness of Miss Austen with the boisterousness of Fielding and Smollett, even with the ferocious practical jokes that her immediate predecessor, Miss Burney, allowed without very much protest. Yet, both in Mr. Addison and in Miss Austen there is, though a restrained and well-mannered, an insatiable and ruthless delight in roasting and cutting up a fool. A man in the early eighteenth century, of course, could push this taste further than a lady in the early nineteenth; and no doubt Miss Austen’s principles, as well as her heart, would have shrunk from such things as the letter from the unfortunate husband in the Spectator, who describes, with all the gusto and all the innocence in the world, how his wife and his friend induce him to play at blind-man’s-buff. But another Spectator letter—that of the damsel of fourteen who{xiv} wishes to marry Mr. Shapely, and assures her selected Mentor that “he admires your Spectators mightily”—might have been written by a rather more ladylike and intelligent Lydia Bennet in the days of Lydia’s great-grandmother; while, on the other hand, some (I think unreasonably) have found “cynicism” in touches of Miss Austen’s own, such as her satire of Mrs. Musgrove’s self-deceiving regrets over her son. But this word “cynical” is one of the most misused in the English language, especially when, by a glaring and gratuitous falsification of its original sense, it is applied, not to rough and snarling invective, but to gentle and oblique satire. If cynicism means the perception of “the other side,” the sense of “the accepted hells beneath,” the consciousness that motives are nearly always mixed, and that to seem is not identical with to be—if this be cynicism, then every man and woman who is not a fool, who does not care to live in a fool’s paradise, who has knowledge of nature and the world and life, is a cynic. And in that sense Miss Austen certainly was one. She may even have been one in the further sense that, like her own Mr. Bennet, she took an epicurean delight in dissecting, in displaying, in setting at work her fools and her mean persons. I think she did take this delight, and I do not think at all the worse of her for it as a woman, while she was immensely the better for it as an artist.In respect of her art generally, Mr. Goldwin Smith has truly observed that “metaphor has been exhausted in depicting the perfection of it, combined with the narrowness of her field;” and he has justly added that we need not go beyond her own comparison to the art of a miniature{xv} painter. To make this latter obser

Walt Whitman has somewhere a fine and just distinction between “loving by allowance” and “loving with personal love.” This distinction applies to books as well as to men and women; and in the case of the not very numerous authors who are the objects of the personal affection, it brings a curious consequence with it. There is much more difference as to their best work than in the case of those others who are loved “by allowance” by convention, and because it is felt to be the right and proper thing to love them. And in the sect—fairly large and yet unusually choice—of Austenians or Janites, there would probably be found partisans of the claim to primacy of almost every one of the novels. To some the delightful freshness and humour of Northanger Abbey, its completeness, finish, and entrain, obscure the undoubted critical facts that its scale is small, and its scheme, after all, that of burlesque or parody, a kind in which the first rank is reached with difficulty. Persuasion, relatively faint in tone, and not enthralling in interest, has devotees who exalt above all the others its exquisite delicacy and keeping. The catastrophe of Mansfield Park is admittedly theatrical, the hero and heroine are insipid, and the author has almost{x} wickedly destroyed all romantic interest by expressly admitting that Edmund only took Fanny because Mary shocked him, and that Fanny might very likely have taken Crawford if he had been a little more assiduous; yet the matchless rehearsal-scenes and the characters of Mrs. Norris and others have secured, I believe, a considerable party for it. Sense and Sensibility has perhaps the fewest out-and-out admirers; but it does not want them.I suppose, however, that the majority of at least competent votes would, all things considered, be divided between Emma and the present book; and perhaps the vulgar verdict (if indeed a fondness for Miss Austen be not of itself a patent of exemption from any possible charge of vulgarity) would go for Emma. It is the larger, the more varied, the more popular; the author had by the time of its composition seen rather more of the world, and had improved her general, though not her most peculiar and characteristic dialogue; such figures as Miss Bates, as the Eltons, cannot but unite the suffrages of everybody. On the other hand, I, for my part, declare for Pride and Prejudice unhesitatingly. It seems to me the most perfect, the most characteristic, the most eminently quintessential of its author’s works; and for this contention in such narrow space as is permitted to me, I propose here to show cause.In the first place, the book (it may be barely necessary to remind the reader) was in its first shape written very early, somewhere about 1796, when Miss Austen was barely twenty-one; though it was revised and finished at Chawton some fifteen years later, and was not published till 1813, only four years before her death. I do not know whether, in{xi} this combination of the fresh and vigorous projection of youth, and the critical revision of middle life, there may be traced the distinct superiority in point of construction, which, as it seems to me, it possesses over all the others. The plot, though not elaborate, is almost regular enough for Fielding; hardly a character, hardly an incident could be retrenched without loss to the story. The elopement of Lydia and Wickham is not, like that of Crawford and Mrs. Rushworth, a coup de théâtre; it connects itself in the strictest way with the course of the story earlier, and brings about the denouement with complete propriety. All the minor passages—the loves of Jane and Bingley, the advent of Mr. Collins, the visit to Hunsford, the Derbyshire tour—fit in after the same unostentatious, but masterly fashion. There is no attempt at the hide-and-seek, in-and-out business, which in the transactions between Frank Churchill and Jane Fairfax contributes no doubt a good deal to the intrigue of Emma, but contributes it in a fashion which I do not think the best feature of that otherwise admirable book. Although Miss Austen always liked something of the misunderstanding kind, which afforded her opportunities for the display of the peculiar and incomparable talent to be noticed presently, she has been satisfied here with the perfectly natural occasions provided by the false account of Darcy’s conduct given by Wickham, and by the awkwardness (arising with equal naturalness) from the gradual transformation of Elizabeth’s own feelings from positive aversion to actual love. I do not know whether the all-grasping hand of the playwright has ever been laid upon Pride and Prejudice; and I dare say that,{xii} if it were, the situations would prove not startling or garish enough for the footlights, the character-scheme too subtle and delicate for pit and gallery. But if the attempt were made, it would certainly not be hampered by any of those loosenesses of construction, which, sometimes disguised by the conveniences of which the novelist can avail himself, appear at once on the stage.I think, however, though the thought will doubtless seem heretical to more than one school of critics, that construction is not the highest merit, the choicest gift, of the novelist. It sets off his other gifts and graces most advantageously to the critical eye; and the want of it will sometimes mar those graces—appreciably, though not quite consciously—to eyes by no means ultra-critical. But a very badly-built novel which excelled in pathetic or humorous character, or which displayed consummate command of dialogue—perhaps the rarest of all faculties—would be an infinitely better thing than a faultless plot acted and told by puppets with pebbles in their mouths. And despite the ability which Miss Austen has shown in working out the story, I for one should put Pride and Prejudice far lower if it did not contain what seem to me the very masterpieces of Miss Austen’s humour and of her faculty of character-creation—masterpieces who may indeed admit John Thorpe, the Eltons, Mrs. Norris, and one or two others to their company, but who, in one instance certainly, and perhaps in others, are still superior to them.The characteristics of Miss Austen’s humour are so subtle and delicate that they are, perhaps, at all times easier to apprehend than to express, and at any particular{xiii} time likely to be differently apprehended by different persons. To me this humour seems to possess a greater affinity, on the whole, to that of Addison than to any other of the numerous species of this great British genus. The differences of scheme, of time, of subject, of literary convention, are, of course, obvious enough; the difference of sex does not, perhaps, count for much, for there was a distinctly feminine element in “Mr. Spectator,” and in Jane Austen’s genius there was, though nothing mannish, much that was masculine. But the likeness of quality consists in a great number of common subdivisions of quality—demureness, extreme minuteness of touch, avoidance of loud tones and glaring effects. Also there is in both a certain not inhuman or unamiable cruelty. It is the custom with those who judge grossly to contrast the good nature of Addison with the savagery of Swift, the mildness of Miss Austen with the boisterousness of Fielding and Smollett, even with the ferocious practical jokes that her immediate predecessor, Miss Burney, allowed without very much protest. Yet, both in Mr. Addison and in Miss Austen there is, though a restrained and well-mannered, an insatiable and ruthless delight in roasting and cutting up a fool. A man in the early eighteenth century, of course, could push this taste further than a lady in the early nineteenth; and no doubt Miss Austen’s principles, as well as her heart, would have shrunk from such things as the letter from the unfortunate husband in the Spectator, who describes, with all the gusto and all the innocence in the world, how his wife and his friend induce him to play at blind-man’s-buff. But another Spectator letter—that of the damsel of fourteen who{xiv} wishes to marry Mr. Shapely, and assures her selected Mentor that “he admires your Spectators mightily”—might have been written by a rather more ladylike and intelligent Lydia Bennet in the days of Lydia’s great-grandmother; while, on the other hand, some (I think unreasonably) have found “cynicism” in touches of Miss Austen’s own, such as her satire of Mrs. Musgrove’s self-deceiving regrets over her son. But this word “cynical” is one of the most misused in the English language, especially when, by a glaring and gratuitous falsification of its original sense, it is applied, not to rough and snarling invective, but to gentle and oblique satire. If cynicism means the perception of “the other side,” the sense of “the accepted hells beneath,” the consciousness that motives are nearly always mixed, and that to seem is not identical with to be—if this be cynicism, then every man and woman who is not a fool, who does not care to live in a fool’s paradise, who has knowledge of nature and the world and life, is a cynic. And in that sense Miss Austen certainly was one. She may even have been one in the further sense that, like her own Mr. Bennet, she took an epicurean delight in dissecting, in displaying, in setting at work her fools and her mean persons. I think she did take this delight, and I do not think at all the worse of her for it as a woman, while she was immensely the better for it as an artist.In respect of her art generally, Mr. Goldwin Smith has truly observed that “metaphor has been exhausted in depicting the perfection of it, combined with the narrowness of her field;” and he has justly added that we need not go beyond her own comparison to the art of a miniature{xv} painter. To make this latter obser

Walt Whitman&nbsp;has somewhere a fine and just distinction between “loving by allowance” and “loving with personal love.” This distinction applies to books as well as to men and women; and in the case of the not very numerous authors who are the objects of the personal affection, it brings a curious consequence with it. There is much more difference as to their best work than in the case of those others who are loved “by allowance” by convention, and because it is felt to be the right and proper thing to love them. And in the sect—fairly large and yet unusually choice—of Austenians or Janites, there would probably be found partisans of the claim to primacy of almost every one of the novels. To some the delightful freshness and humour of&nbsp;Northanger Abbey,&nbsp;its completeness, finish, and&nbsp;entrain,&nbsp;obscure the undoubted critical facts that its scale is small, and its scheme, after all, that of burlesque or parody, a kind in which the first rank is reached with difficulty.&nbsp;Persuasion,&nbsp;relatively faint in tone, and not enthralling in interest, has devotees who exalt above all the others its exquisite delicacy and keeping. The catastrophe of&nbsp;Mansfield Park&nbsp;is admittedly theatrical, the hero and heroine are insipid, and the author has almost{x}&nbsp;wickedly destroyed all romantic interest by expressly admitting that Edmund only took Fanny because Mary shocked him, and that Fanny might very likely have taken Crawford if he had been a little more assiduous; yet the matchless rehearsal-scenes and the characters of Mrs. Norris and others have secured, I believe, a considerable party for it.&nbsp;Sense and Sensibility&nbsp;has perhaps the fewest out-and-out admirers; but it does not want them.I suppose, however, that the majority of at least competent votes would, all things considered, be divided between&nbsp;Emma&nbsp;and the present book; and perhaps the vulgar verdict (if indeed a fondness for Miss Austen be not of itself a patent of exemption from any possible charge of vulgarity) would go for&nbsp;Emma.&nbsp;It is the larger, the more varied, the more popular; the author had by the time of its composition seen rather more of the world, and had improved her general, though not her most peculiar and characteristic dialogue; such figures as Miss Bates, as the Eltons, cannot but unite the suffrages of everybody. On the other hand, I, for my part, declare for&nbsp;Pride and Prejudice&nbsp;unhesitatingly. It seems to me the most perfect, the most characteristic, the most eminently quintessential of its author’s works; and for this contention in such narrow space as is permitted to me, I propose here to show cause.In the first place, the book (it may be barely necessary to remind the reader) was in its first shape written very early, somewhere about 1796, when Miss Austen was barely twenty-one; though it was revised and finished at Chawton some fifteen years later, and was not published till 1813, only four years before her death. I do not know whether, in{xi}&nbsp;this combination of the fresh and vigorous projection of youth, and the critical revision of middle life, there may be traced the distinct superiority in point of construction, which, as it seems to me, it possesses over all the others. The plot, though not elaborate, is almost regular enough for Fielding; hardly a character, hardly an incident could be retrenched without loss to the story. The elopement of Lydia and Wickham is not, like that of Crawford and Mrs. Rushworth, a&nbsp;coup de théâtre;&nbsp;it connects itself in the strictest way with the course of the story earlier, and brings about the denouement with complete propriety. All the minor passages—the loves of Jane and Bingley, the advent of Mr. Collins, the visit to Hunsford, the Derbyshire tour—fit in after the same unostentatious, but masterly fashion. There is no attempt at the hide-and-seek, in-and-out business, which in the transactions between Frank Churchill and Jane Fairfax contributes no doubt a good deal to the intrigue of&nbsp;Emma,&nbsp;but contributes it in a fashion which I do not think the best feature of that otherwise admirable book. Although Miss Austen always liked something of the misunderstanding kind, which afforded her opportunities for the display of the peculiar and incomparable talent to be noticed presently, she has been satisfied here with the perfectly natural occasions provided by the false account of Darcy’s conduct given by Wickham, and by the awkwardness (arising with equal naturalness) from the gradual transformation of Elizabeth’s own feelings from positive aversion to actual love. I do not know whether the all-grasping hand of the playwright has ever been laid upon&nbsp;Pride and Prejudice;&nbsp;and I dare say that,{xii}&nbsp;if it were, the situations would prove not startling or garish enough for the footlights, the character-scheme too subtle and delicate for pit and gallery. But if the attempt were made, it would certainly not be hampered by any of those loosenesses of construction, which, sometimes disguised by the conveniences of which the novelist can avail himself, appear at once on the stage.I think, however, though the thought will doubtless seem heretical to more than one school of critics, that construction is not the highest merit, the choicest gift, of the novelist. It sets off his other gifts and graces most advantageously to the critical eye; and the want of it will sometimes mar those graces—appreciably, though not quite consciously—to eyes by no means ultra-critical. But a very badly-built novel which excelled in pathetic or humorous character, or which displayed consummate command of dialogue—perhaps the rarest of all faculties—would be an infinitely better thing than a faultless plot acted and told by puppets with pebbles in their mouths. And despite the ability which Miss Austen has shown in working out the story, I for one should put&nbsp;Pride and Prejudice&nbsp;far lower if it did not contain what seem to me the very masterpieces of Miss Austen’s humour and of her faculty of character-creation—masterpieces who may indeed admit John Thorpe, the Eltons, Mrs. Norris, and one or two others to their company, but who, in one instance certainly, and perhaps in others, are still superior to them.The characteristics of Miss Austen’s humour are so subtle and delicate that they are, perhaps, at all times easier to apprehend than to express, and at any particular{xiii}&nbsp;time likely to be differently apprehended by different persons. To me this humour seems to possess a greater affinity, on the whole, to that of Addison than to any other of the numerous species of this great British genus. The differences of scheme, of time, of subject, of literary convention, are, of course, obvious enough; the difference of sex does not, perhaps, count for much, for there was a distinctly feminine element in “Mr. Spectator,” and in Jane Austen’s genius there was, though nothing mannish, much that was masculine. But the likeness of quality consists in a great number of common subdivisions of quality—demureness, extreme minuteness of touch, avoidance of loud tones and glaring effects. Also there is in both a certain not inhuman or unamiable cruelty. It is the custom with those who judge grossly to contrast the good nature of Addison with the savagery of Swift, the mildness of Miss Austen with the boisterousness of Fielding and Smollett, even with the ferocious practical jokes that her immediate predecessor, Miss Burney, allowed without very much protest. Yet, both in Mr. Addison and in Miss Austen there is, though a restrained and well-mannered, an insatiable and ruthless delight in roasting and cutting up a fool. A man in the early eighteenth century, of course, could push this taste further than a lady in the early nineteenth; and no doubt Miss Austen’s principles, as well as her heart, would have shrunk from such things as the letter from the unfortunate husband in the&nbsp;Spectator,&nbsp;who describes, with all the gusto and all the innocence in the world, how his wife and his friend induce him to play at blind-man’s-buff. But another&nbsp;Spectator&nbsp;letter—that of the damsel of fourteen who{xiv}&nbsp;wishes to marry Mr. Shapely, and assures her selected Mentor that “he admires your&nbsp;Spectators&nbsp;mightily”—might have been written by a rather more ladylike and intelligent Lydia Bennet in the days of Lydia’s great-grandmother; while, on the other hand, some (I think unreasonably) have found “cynicism” in touches of Miss Austen’s own, such as her satire of Mrs. Musgrove’s self-deceiving regrets over her son. But this word “cynical” is one of the most misused in the English language, especially when, by a glaring and gratuitous falsification of its original sense, it is applied, not to rough and snarling invective, but to gentle and oblique satire. If cynicism means the perception of “the other side,” the sense of “the accepted hells beneath,” the consciousness that motives are nearly always mixed, and that to seem is not identical with to be—if this be cynicism, then every man and woman who is not a fool, who does not care to live in a fool’s paradise, who has knowledge of nature and the world and life, is a cynic. And in that sense Miss Austen certainly was one. She may even have been one in the further sense that, like her own Mr. Bennet, she took an epicurean delight in dissecting, in displaying, in setting at work her fools and her mean persons. I think she did take this delight, and I do not think at all the worse of her for it as a woman, while she was immensely the better for it as an artist.In respect of her art generally, Mr. Goldwin Smith has truly observed that “metaphor has been exhausted in depicting the perfection of it, combined with the narrowness of her field;” and he has justly added that we need not go beyond her own comparison to the art of a miniature{xv}&nbsp;painter. To make this latter obser

Pride and Prejudice

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剧读要品 | 影视原著小说解读

The most monumental, mind-melting, magnificently madcap podcast in the multiverse!Broadcasting from a secret lair deep in the hills of eastern Kansas, Steeven Orr Else is your ultimate escape into geekdom’s glorious galaxy. Each episode is an audacious amalgamation of comic book critiques, movie musings, and pop culture ponderings, peppered with absurd anecdotes, riveting rants, and silly shenanigans.With a voice like molten gold and a knack for nuclear-level nonsense, Steeven takes listeners on a whirlwind of whimsical weirdness. Whether he’s deconstructing decades-old comics, spinning tales of a time-traveling podcaster, or uncovering the profound science of refrigerated rubber bands, you’ll laugh, learn, and love every second of the spectacle.This isn’t just a podcast—it’s a phenomenon, a proclamation, a declaration of delirious delight. Step into the splendidly strange world of Steeven Orr Else and experience the chaos, creativity, and charisma you didn’t know you needed.Warning: Episodes can cause drowsiness, slowed reaction times, and impaired coordination. &#34;A chaotic mish-mash of crap, useless information, and undeserved hyperbole.&#34; - A Discerning Podcast Listener&#34;Listening to this podcast made me so angry that I wanted to club a baby seal!&#34; - Not a Spokesperson for a popular American nonprofit animal rights organization&#34;It&#39;s s#!t.&#34; - The Society of Fictional Podcast Reviews

The most monumental, mind-melting, magnificently madcap podcast in the multiverse! Broadcasting from a secret lair deep in the hills of eastern Kansas, Steeven Orr Else is your ultimate escape into geekdom’s glorious galaxy. Each episode is an audacious amalgamation of comic book critiques, movie musings, and pop culture ponderings, peppered with absurd anecdotes, riveting rants, and silly shenanigans. With a voice like molten gold and a knack for nuclear-level nonsense, Steeven takes listeners on a whirlwind of whimsical weirdness. Whether he’s deconstructing decades-old comics, spinning tales of a time-traveling podcaster, or uncovering the profound science of refrigerated rubber bands, you’ll laugh, learn, and love every second of the spectacle. This isn’t just a podcast—it’s a phenomenon, a proclamation, a declaration of delirious delight. Step into the splendidly strange world of Steeven Orr Else and experience the chaos, creativity, and charisma you didn’t know you needed. Warning: Episodes can cause drowsiness, slowed reaction times, and impaired coordination. "A chaotic mish-mash of crap, useless information, and undeserved hyperbole." - A Discerning Podcast Listener "Listening to this podcast made me so angry that I wanted to club a baby seal!" - Not a Spokesperson for a popular American nonprofit animal rights organization "It's s#!t." - The Society of Fictional Podcast Reviews

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Steeven Orr Else!

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Educational Book Collection

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<a href="https://www.solgoodmedia.com" rel="noopener noreferrer">https://www.solgoodmedia.com</a> Listen to hundreds of audiobooks, thousands of short stories, and ambient sounds all ad free! 'Timeless Sci-Fi Radio' explores the enduring appeal of science fiction, featuring stories that challenge our understanding of the future and technology's impact on humanity.

Timeless Sci-Fi Radio

"Superman Radio" revives the thrill of the original Superman radio broadcasts with a modern flair, blending classic elements with contemporary storytelling. This series is a homage to the golden age of radio, where Superman first soared into the hearts of millions. Perfect for enthusiasts of nostalgic media and epic superhero tales, each episode delivers high-stakes action and moral dilemmas faced by the iconic hero. https://www.solgoodmedia.com - Listen to hundreds of audiobooks, thousands of short stories, and ambient sounds all ad free!

"Superman Radio" revives the thrill of the original Superman radio broadcasts with a modern flair, blending classic elements with contemporary storytelling. This series is a homage to the golden age of radio, where Superman first soared into the hearts of millions. Perfect for enthusiasts of nostalgic media and epic superhero tales, each episode delivers high-stakes action and moral dilemmas faced by the iconic hero.https://www.solgoodmedia.com - Listen to hundreds of audiobooks, thousands of short stories, and ambient sounds all ad free!

"Superman Radio" revives the thrill of the original Superman radio broadcasts with a modern flair, blending classic elements with contemporary storytelling. This series is a homage to the golden age of radio, where Superman first soared into the hearts of millions. Perfect for enthusiasts of nostalgic media and epic superhero tales, each episode delivers high-stakes action and moral dilemmas faced by the iconic hero. https://www.solgoodmedia.com - Listen to hundreds of audiobooks, thousands of short stories, and ambient sounds all ad free!

Superman Radio

Sharing the lowly yogi's channeled stories, weaving suffering into joy,&nbsp; with any and all who chose to listen. The intention, to bring love, joy and ease to all. Grace, please give yourself grace with the words.&nbsp; Stories and writing are channeled from Great Mother Tara, it would be silly to think they came from a lowly yogi like me, She chooses the words, I had to learn them myself. Episodes will be posted as auspicious coincidence allows and the kalikurti demands.&nbsp; Which seems to be every Thursday. Yogi Cash is here, Please feel free to support the lowly yogi! https://www.buzzsprout.com/2289669/support

Sharing the lowly yogi's channeled stories, weaving suffering into joy,  with any and all who chose to listen. The intention, to bring love, joy and ease to all. Grace, please give yourself grace with the words.  Stories and writing are channeled from Great Mother Tara, it would be silly to think they came from a lowly yogi like me, She chooses the words, I had to learn them myself. Episodes will be posted as auspicious coincidence allows and the kalikurti demands.  Which seems to be every Thursday. Yogi Cash is here, Please feel free to support the lowly yogi! https://www.buzzsprout.com/2289669/support

Lowly Yogi Tales and other Stuff

Personal film photography podcast about traveling, shooting film, a bit of history, and whatever random things come up. Hosted by the former co-host of All Through a Lens. <a href="https://conspiracyofcartographers.substack.com?utm_medium=podcast">conspiracyofcartographers.substack.com</a>

Personal film photography podcast about traveling, shooting film, a bit of history, and whatever random things come up. Hosted by the former co-host of All Through a Lens. conspiracyofcartographers.substack.com

Personal film photography podcast about traveling, shooting film, a bit of history, and whatever random things come up. Hosted by the former co-host of All Through a Lens. <a href="https://conspiracyofcartographers.substack.com?utm_medium=podcast" rel="noopener noreferrer">conspiracyofcartographers.substack.com</a>

Conspiracy of Cartographers

𝟸 𝚖𝚎𝚗𝚝𝚊𝚕𝚕𝚢 𝚞𝚗𝚜𝚝𝚊𝚋𝚕𝚎(𝚒𝚜𝚑) 𝚐𝚒𝚛𝚕𝚜 𝚠𝚑𝚘 𝚕𝚘𝚟𝚎 𝚝𝚘 𝚝𝚊𝚕𝚔 𝚋𝚘𝚘𝚔𝚜. 𝙷𝚊𝚗𝚐 𝚠𝚒𝚝𝚑 𝚞𝚜 𝚠𝚑𝚒𝚕𝚎 𝚠𝚎 𝚏𝚊𝚕𝚕 𝚒𝚗 𝚕𝚘𝚟𝚎 &amp; 𝚐𝚎𝚝 𝚘𝚞𝚛 𝚑𝚎𝚊𝚛𝚝𝚜 𝚋𝚛𝚘𝚔𝚎𝚗 𝚋𝚢 𝚏𝚒𝚌𝚝𝚒𝚘𝚗𝚊𝚕 𝚌𝚑𝚊𝚛𝚊𝚌𝚝𝚎𝚛𝚜! ⚡️
New episode every Tuesday. 🖤

𝟸 𝚖𝚎𝚗𝚝𝚊𝚕𝚕𝚢 𝚞𝚗𝚜𝚝𝚊𝚋𝚕𝚎(𝚒𝚜𝚑) 𝚐𝚒𝚛𝚕𝚜 𝚠𝚑𝚘 𝚕𝚘𝚟𝚎 𝚝𝚘 𝚝𝚊𝚕𝚔 𝚋𝚘𝚘𝚔𝚜. 𝙷𝚊𝚗𝚐 𝚠𝚒𝚝𝚑 𝚞𝚜 𝚠𝚑𝚒𝚕𝚎 𝚠𝚎 𝚏𝚊𝚕𝚕 𝚒𝚗 𝚕𝚘𝚟𝚎 & 𝚐𝚎𝚝 𝚘𝚞𝚛 𝚑𝚎𝚊𝚛𝚝𝚜 𝚋𝚛𝚘𝚔𝚎𝚗 𝚋𝚢 𝚏𝚒𝚌𝚝𝚒𝚘𝚗𝚊𝚕 𝚌𝚑𝚊𝚛𝚊𝚌𝚝𝚎𝚛𝚜! ⚡️ New episode every Tuesday. 🖤

Arts Podcasts / Page 2097