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<rss xmlns:itunes="http://www.itunes.com/dtds/podcast-1.0.dtd" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:podcast="https://podcastindex.org/namespace/1.0" xmlns:media="http://search.yahoo.com/mrss/" version="2.0"><channel><title>Weird Tales, Volume 2</title><link>https://www.spreaker.com/podcast/weird-tales-volume-2--7059989</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><atom:link href="https://www.spreaker.com/show/7059989/episodes/feed" rel="self" type="application/rss+xml"/><language>en</language><category>Books</category><copyright>Copyright Fantasy Genre</copyright><image><url>https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg</url><title>Weird Tales, Volume 2</title><link>https://www.spreaker.com/podcast/weird-tales-volume-2--7059989</link></image><lastBuildDate>Mon, 24 Aug 2026 09:32:24 +0000</lastBuildDate><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:owner><itunes:name>Fantasy Genre</itunes:name><itunes:email>spreaker53@podcastlibrary.org</itunes:email></itunes:owner><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:category text="Arts"><itunes:category text="Books"/></itunes:category><itunes:category text="Health &amp; Fitness"/><itunes:category text="Health &amp; Fitness"><itunes:category text="Mental Health"/></itunes:category><itunes:explicit>false</itunes:explicit><podcast:guid>6cccce1e-0523-542a-888b-860a090bde36</podcast:guid><itunes:type>episodic</itunes:type><item><title>Hagar's Daughter. A Story of Southern Caste Prejudice-Pauline Elizabeth Hopkins</title><link>https://www.spreaker.com/episode/hagar-s-daughter-a-story-of-southern-caste-prejudice-pauline-elizabeth-hopkins--74382024</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74382024</guid><pubDate>Mon, 24 Aug 2026 09:04:04 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74382024/6702_hagar_s_daughter_a_story_of_southern_caste_prejudice_pauline_elizabeth_hopkins.mp3" length="248991600" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>31093</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>One-Act Play Collection 018-Various</title><link>https://www.spreaker.com/episode/one-act-play-collection-018-various--74334639</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74334639</guid><pubDate>Sun, 23 Aug 2026 09:03:42 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74334639/one_act_play_collection_018_various.mp3" length="192836067" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>24080</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Tristram and Iseult &amp; Sohrab and Rustum-Matthew Arnold</title><link>https://www.spreaker.com/episode/tristram-and-iseult-sohrab-and-rustum-matthew-arnold--74184349</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74184349</guid><pubDate>Sat, 22 Aug 2026 09:03:14 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74184349/tristram_and_iseult_sohrab_and_rustum_matthew_arnold.mp3" length="34379249" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>4293</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Story of Geographical Discovery How the World Became Known-Joseph Jacobs</title><link>https://www.spreaker.com/episode/story-of-geographical-discovery-how-the-world-became-known-joseph-jacobs--74130606</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74130606</guid><pubDate>Fri, 21 Aug 2026 09:03:44 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74130606/story_of_geographical_discovery_how_the_world_became_known_joseph_jacobs.mp3" length="139896787" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>17470</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Essays on Art-Johann Wolfgang von Goethe</title><link>https://www.spreaker.com/episode/essays-on-art-johann-wolfgang-von-goethe--74093832</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74093832</guid><pubDate>Thu, 20 Aug 2026 09:03:43 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74093832/essays_on_art_johann_wolfgang_von_goethe.mp3" length="209263460" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>26132</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Sonnets-Edna St. Vincent Millay</title><link>https://www.spreaker.com/episode/sonnets-edna-st-vincent-millay--74056359</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74056359</guid><pubDate>Wed, 19 Aug 2026 09:03:34 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74056359/sonnets_edna_st_vincent_millay.mp3" length="26619271" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>3324</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>On the Incarnation-Athanasius of Alexandria</title><link>https://www.spreaker.com/episode/on-the-incarnation-athanasius-of-alexandria--74014390</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74014390</guid><pubDate>Tue, 18 Aug 2026 09:03:50 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74014390/on_the_incarnation_athanasius_of_alexandria.mp3" length="67680357" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>8451</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Running Water-A. E. W. Mason</title><link>https://www.spreaker.com/episode/running-water-a-e-w-mason--73952681</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73952681</guid><pubDate>Mon, 17 Aug 2026 09:04:11 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73952681/5569_running_water_a_e_w_mason.mp3" length="248837065" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>31073</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Short Nonfiction Collection, Vol. 092-Various</title><link>https://www.spreaker.com/episode/short-nonfiction-collection-vol-092-various--73908416</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73908416</guid><pubDate>Sun, 16 Aug 2026 09:03:57 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73908416/short_nonfiction_collection_vol_092_various.mp3" length="204418141" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>25527</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Shrine of Death and Other Stories-Emilia Francis, Lady Dilke</title><link>https://www.spreaker.com/episode/shrine-of-death-and-other-stories-emilia-francis-lady-dilke--73870373</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73870373</guid><pubDate>Sat, 15 Aug 2026 09:05:36 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73870373/shrine_of_death_and_other_stories_emilia_francis_lady_dilke.mp3" length="58187923" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>7266</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Woman's Experiences in the Great War-Louise Mack</title><link>https://www.spreaker.com/episode/woman-s-experiences-in-the-great-war-louise-mack--73818666</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73818666</guid><pubDate>Tue, 11 Aug 2026 12:03:30 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73818666/woman_s_experiences_in_the_great_war_louise_mack.mp3" length="178963500" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>22348</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Grotesques and Fantasies-Israel Zangwill</title><link>https://www.spreaker.com/episode/grotesques-and-fantasies-israel-zangwill--73786138</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73786138</guid><pubDate>Tue, 11 Aug 2026 00:08:07 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73786138/8469_grotesques_and_fantasies_israel_zangwill.mp3" length="191778899" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>23948</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Road-Hilaire Belloc</title><link>https://www.spreaker.com/episode/road-hilaire-belloc--73756491</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73756491</guid><pubDate>Mon, 10 Aug 2026 12:13:39 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73756491/road_hilaire_belloc.mp3" length="126322148" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>15774</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Improvement of the Mind-Stephen Norris Fellows, Isaac Watts</title><link>https://www.spreaker.com/episode/improvement-of-the-mind-stephen-norris-fellows-isaac-watts--73730142</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73730142</guid><pubDate>Mon, 10 Aug 2026 00:29:35 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73730142/improvement_of_the_mind_stephen_norris_fellows_isaac_watts.mp3" length="199964702" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>24970</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Milton's Minor Poems - John Milton</title><link>https://www.spreaker.com/episode/milton-s-minor-poems-john-milton--73310100</link><description><![CDATA[Milton's Minor Poems by John Milton offers a rich tapestry of lyrical verse that showcases the poet's mastery of language and profound exploration of themes such as love, nature, and spirituality. These poems, though lesser-known compared to Milton's epic works, provide a glimpse into his artistic range and emotional depth, making them a rewarding experience for listeners today. The enduring beauty of Milton's imagery and the timeless relevance of his reflections on the human condition invite audiences to contemplate their own experiences and beliefs. Engaging with these minor yet significant works allows for a deeper appreciation of Milton's legacy and the universal themes that continue to resonate across generations.]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73310100</guid><pubDate>Sat, 01 Aug 2026 10:23:39 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73310100/milton_s_minor_poems_john_milton.mp3" length="113621840" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Milton's Minor Poems by John Milton offers a rich tapestry of lyrical verse that showcases the poet's mastery of language and profound exploration of themes such as love, nature, and spirituality. These poems, though lesser-known compared to Milton's...</itunes:subtitle><itunes:summary><![CDATA[Milton's Minor Poems by John Milton offers a rich tapestry of lyrical verse that showcases the poet's mastery of language and profound exploration of themes such as love, nature, and spirituality. These poems, though lesser-known compared to Milton's epic works, provide a glimpse into his artistic range and emotional depth, making them a rewarding experience for listeners today. The enduring beauty of Milton's imagery and the timeless relevance of his reflections on the human condition invite audiences to contemplate their own experiences and beliefs. Engaging with these minor yet significant works allows for a deeper appreciation of Milton's legacy and the universal themes that continue to resonate across generations.]]></itunes:summary><itunes:duration>14188</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Weird Tales Volume 2 - E T A Hoffmann - Part 2</title><link>https://www.spreaker.com/episode/weird-tales-volume-2-e-t-a-hoffmann-part-2--72171246</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/72171246</guid><pubDate>Wed, 27 May 2026 09:00:19 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/72171246/weird_tales_volume_2_e_t_a_hoffmann_part_2.mp3" length="61607853" type="audio/mpeg"/><podcast:transcript url="https://transcription.spreaker.com/starship/dad2105a-3567-4588-90c4-49f6740c3e41/dad2105a-3567-4588-90c4-49f6740c3e41.srt" type="application/x-subrip" language="en"/><podcast:transcript url="https://transcription.spreaker.com/starship/dad2105a-3567-4588-90c4-49f6740c3e41/dad2105a-3567-4588-90c4-49f6740c3e41.txt" type="text/plain" language="en"/><podcast:transcript url="https://transcription.spreaker.com/starship/dad2105a-3567-4588-90c4-49f6740c3e41/dad2105a-3567-4588-90c4-49f6740c3e41.vtt" type="text/vtt" language="en"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>7701</itunes:duration><itunes:keywords>fantasy,fulsomely,hoffmann,knowingly,overworks,reader,romantic,suspending,tales,weird</itunes:keywords><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Weird Tales Volume 2 - E T A Hoffmann - Part 1</title><link>https://www.spreaker.com/episode/weird-tales-volume-2-e-t-a-hoffmann-part-1--72171245</link><description><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/72171245</guid><pubDate>Tue, 26 May 2026 15:55:59 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/72171245/weird_tales_volume_2_e_t_a_hoffmann_part_1.mp3" length="268581238" type="audio/mpeg"/><itunes:author>E. T. A. Hoffmann</itunes:author><itunes:subtitle>Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak...</itunes:subtitle><itunes:summary><![CDATA[Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland]]></itunes:summary><itunes:duration>33573</itunes:duration><itunes:keywords>fantasy,fulsomely,hoffmann,knowingly,overworks,reader,romantic,suspending,tales,weird</itunes:keywords><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/86a22da9ba3f03c8ff465e557ed2b4b0.jpg"/><itunes:episodeType>full</itunes:episodeType></item></channel></rss>
