The world of philosophy is awash with quotable moments, and yet this can sometimes lead to them being misused. So today let’s look at 7 misunderstood philosophy quotes, and what the authors likely meant by them.
00:00 The Ends Justify The Means – Niccolò Machiavelli
07:15 What doesn’t kill you makes you stronger – Friedrich Nietzsche
12:09 The Paradox of Tolerance – Karl Popper
18:59 Plato’s Cave – Plato
24:19 The Tabula Rasa – John Locke
29:34 All I know is that I know nothing – Socrates
33:38 Religion is the Opium of the Masses – Karl Marx
Throughout history, both modern and medieval, Welsh history has been unfortunately malleable, often falling victim to hoaxes and mistakes.
Today, I seek to trace the origins of a myth I have seen going around the internet for years, that the Welsh name for England (Lloegr), somehow translates as “the lost lands”.
There are claims that this “fact” has its origins hundreds of years ago, far back into the history of Wales… but just how true are these rumours?
Chapters:
0:00 – The Lost Lands
1:08 – It Begins
3:23 – The Year-Long Debate
6:32 – Intermission
8:06 – Digital Fossil Record
11:38 – Armes Prydain Fawr
16:12 – Antiquarian
22:16 – The Warlord Chronicles
25:41 – Lloeg(y)r
28:34 – It Ends
31:10 – It Just Makes Sense
34:49 – When Historical Fiction Rewrote History
Sources (turn on captions):
Secondary:
Bromwich, R. (2014). Trioedd Ynys Prydein. 4th ed. University of Wales Press
[1] p.xii.
[2] 18, 73,
[3] 52,
[4] 192.
Davies, J. (2007). A History of Wales. London: Penguin
[5] p.48,
[6] 62,
[7] 92-93,
[8] 334-335.
Dumville, D.N. (1982). Annales Cambriae, A.D. 682-954: Texts A-C in Parallel. Basic Texts for Brittonic History, 1. University of Cambridge
[9] p.2-17,
[10] 14-15.
Hamp, E.P. (1982). Lloegr: the Welsh Name for England. Cambridge Medieval Celtic Studies, (4).
[11] p.83-84.
Koch, J.T. (1997). The Gododdin of Aneirin. Cardiff: University of Wales Press.
[12] p.IX.
A new look at the well known Tudor ballad of Greensleeves, this video shows all the gifts presented to My Lady Greensleeves by her would-be lover.
Often thought of as a romantic song, associated with Henry VIII and Anne Boleyn, Greensleeves is told from a man’s point of view. We felt it was important to think about how the woman might have felt to be constantly bombarded with expensive and unasked-for presents.
The first reference to Greensleeves is in 1580 during the reign of Elizabeth I. We’ve set our video in this period, and worked with a superb team of makers and historians to recreate My Lady Greensleeves’ clothing, accessories, food, and other gifts as accurately as possible.
Greensleeves: Eloise Pennycott
The Lover: Callum Coates
Music by Passamezzo
Richard de Winter: baritone
Robin Jeffrey: lute
Sam Brown: lute
Alison Kinder: bass viol
Filmed at Athelhampton House and Tamarisk Farm by Bernadette Banner and Danny Banner.
Directed by Tamsin Lewis
In collaboration with Juliet Braidwood, Eva Burnett, Ivan Day, Serena Dyer, Noel Gieleghem, Rachel Jardine, Mally Ley, Constance Mackenzie, Ninya Mikhaila, Sally Pointer, Leo Todeschini and Sarah Thursfield.
The Greensleeves Project is funded by the Janet Arnold Award from the Society of Antiquaries
A new Courtly Sonet, of the Lady Greensleeues. To the new tune of Greensleeues.
Alas my loue, ye do me wrong,
to cast me off discurteously:
And I haue loued you so long
Delighting in your companie.
Greensleeues was all my ioy,
Greensleeues was my delight:
Greensleeues was my heart of gold,
And who but Ladie Greensleeues.
I haue been readie at your hand,
to grant what euer you would craue.
I haue both waged life and land,
your loue and good will for to haue.
Greensleeues was all my ioy, &c.
I bought three kerchers to thy head,
that were wrought fine and gallantly:
I kept thee both boord and bed,
Which cost my purse wel fauouredly,
Greensleeues was all my ioie, &c.
I bought thee peticotes of the best,
the cloth so fine as might be:
I gaue thee iewels for thy chest,
and all this cost I spent on thee.
Greensleeues was all my ioie, &c.
Thy smock of silk, both faire and white,
with gold embrodered gorgeously:
Thy peticote of Sendall right:
and thus I bought thee gladly.
Greensleeues was all my ioie, &c.
Thy girdle of gold so red,
with pearles bedecked sumptuously:
The like no other lasses had,
and yet thou wouldst not loue me,
Greensleeues was all my ioy, &c.
Thy purse and eke thy gay guilt kniues,
thy pincase gallant to the eie:
No better wore the Burgesse wiues,
and yet thou wouldst not loue me.
Greensleeues was all my ioy, &c.
Thy crimson stockings all of silk,
with golde all wrought aboue the knee,
Thy pumps as white as was the milk,
and yet thou wouldst not loue me.
Greensleeues was all my ioy, &c.
Thy gown was of the grossie green,
thy sleeues of Satten hanging by:
Which made thee be our haruest Queen,
and yet thou wouldst not loue me.
Greensleeues was all my ioy, &c.
Thy garters fringed with the golde,
And siluer aglets hanging by,
Which made thee blithe for to beholde,
And yet thou wouldst not loue me.
My gayest gelding I thee gaue,
To ride where euer liked thee,
No Ladie euer was so braue,
And yet thou wouldst not loue me.
My men were clothed all in green,
And they did euer wait on thee:
Al this was gallant to be seen,
and yet thou wouldst not loue me.
They set thee vp, they took thee downe,
they serued thee with humilitie,
Thy foote might not once touch the ground,
and yet thou wouldst not loue me.
For euerie morning when thou rose,
I sent thee dainties orderly:
To cheare thy stomack from all woes,
and yet thou wouldst not loue me.
Thou couldst desire no earthly thing.
But stil thou hadst it readily:
Thy musicke still to play and sing,
And yet thou wouldst not loue me.
And who did pay for all this geare,
that thou didst spend when pleased thee?
Euen I that am reiected here,
and thou disdainst to loue me.
Wel, I wil pray to God on hie,
that thou my constancie maist see:
And that yet once before I die,
thou wilt vouchsafe to loue me.
Greensleeues was all my ioy, &c.
Greensleeues now farewel adue,
God I pray to prosper thee:
For I am stil thy louer true,
come once againe and loue me.
Greensleeues was all my ioy, &c.
⤠ START YOUR HAND SEWING JOURNEY ⤟
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This channel is made possible through the generous support of Patreon members. On behalf of myself and the team: thank you! ✨
⤠ TIMESTAMPS ⤟
0:00 – Intro
0:30 – What is the Greensleeves Project?
3:14 – Smock of Silk & Blackwork Embroidery
5:26 – Stockings & Garters
5:56 – Petticoat Bodies
8:03 – First Fitting
9:06 – Gown of Grassy Green
10:13 – Fabric
11:56 – Trim & Embellishments
13:53 – Kirtle Continues
19:03 – Was Tudor green poisonous?
21:00 – Milk White Pumps
24:55 – Tudor Ruffs
28:31 – Final Fitting
29:34 – Filming the Music Video
30:36 – Tudor Confectionaries
34:08 – Knives & Betrothal
34:50 – the guinea pig is a paid actor
36:00 – Lady Bin Bags
36:53 – Final Reflections
38:32 – Credits
39:12 – the cats of Greensleeves
What if walking just two hours could take you to a village speaking a language as different from the previous one as Mandarin is from Swahili?
Welcome to New Guinea – an island that breaks every rule we know about language. Here, 840 languages somehow coexist in a space the size of Turkey, creating the most diverse linguistic landscape our planet has ever seen. Some have sounds that will make you question what human speech is capable of, while others use counting systems so alien they’ll reshape how you think about numbers.
But this isn’t just about exotic grammar. This is about humanity’s deepest secrets – languages so sacred that certain words are forbidden, hunters who must learn secret vocabularies, and words believed to hold magical power over life and death.
How did this impossible diversity come to exist? What happens when every neighbouring village speaks a completely unrelated language? And why are these linguistic treasures disappearing faster than we can document them?
The answers will take you from humanity’s first steps out of Africa 40,000 years ago to the mysterious secret languages that still shape daily life today. This is a story about the very limits of human communication – and what happens when those limits are pushed to their breaking point.
Support the channel and vote on future topics on Patreon: / julingo
Your next watch:
Frisian, mysterious cousin of English: • About the Frisian languages
Swahili, the language of international communication in Africa: • About the Swahili language
00:00 Intro
00:30 Official info
02:50 History
10:43 Writing and pronunciation
12:44 Native speakers
14:34 Language structure
Subscribe for more linguistic adventures around the world!
Television was just beginning to experiment with big ideas in the 1960s. The Twilight Zone was going strong. The Outer Limits was hitting the next level, and Star Trek was taking the world where no one had gone before.
But no one had a BIGGER idea than Patrick McGoohan.
Fresh off the spy hit Danger Man, McGoohan was a bona fide UK star. So when Britain’s ITV gave him carte blanche to make his dream show, he delivered a total curveball: A psychedelic, dystopian anti-spy series where no one has a name, the beach is terrifying, and escape is impossible.
The show was called The Prisoner. And it’s either genius or a televised nervous breakdown. Maybe it’s both.
On the value of keeping conversations going with opponents, from the Reformation onwards
Melvyn Bragg and guests discuss the idea that Civility, in one of its meanings, is among the most valuable social virtues: the skill to discuss topics that really matter to you, with someone who disagrees and yet somehow still get along. In another of its meanings, when Civility describes the limits of behaviour that is acceptable, the idea can reflect society at its worst: when only those deemed ‘civil enough’ are allowed their rights, their equality and even their humanity. Between these extremes, Civility is a slippery idea that has fascinated philosophers especially since the Reformation, when competing ideas on how to gain salvation seemed to make it impossible to disagree and remain civil.
With
Teresa Bejan
Professor of Political Theory at Oriel College, University of Oxford
Phil Withington
Professor of History at the University of Sheffield
And
John Gallagher
Associate Professor of Early Modern History at the University of Leeds
Producer: Simon Tillotson
Reading list:
Teresa M. Bejan, Mere Civility: Disagreement and the Limits of Toleration (Harvard University Press, 2017)
Anna Bryson, From Courtesy to Civility: Changing Codes of Conduct in Early Modern England (Oxford University Press, 1998)
Peter Burke, The Fortunes of the Courtier: The European Reception of Castiglione’s Cortegiano (Polity Press, 1995)
Peter Burke, Brian Harrison and Paul Slack (eds.), Civil Histories: Essays Presented to Sir Keith Thomas (Oxford University Press, 2000)
Keith J. Bybee, How Civility Works (Stanford University Press, 2016)
Nandini Das, João Vicente Melo, Haig Z. Smith and Lauren Working, Keywords of Identity, Race, and Human Mobility in Early Modern England (Amsterdam University Press, 2021)
Jurgen Habermas, The Structural Transformation of the Public Sphere (Polity, 1992)
Jennifer Richards, Rhetoric and Courtliness in Early Modern Literature (Cambridge University Press, 2003)
Austin Sarat (ed.), Civility, Legality, and Justice in America (Cambridge University Press, 2014)
Keith Thomas, In Pursuit of Civility: Manners and Civilization in Early Modern England (Yale University Press, 2018)
Phil Withington, Society in Early Modern England: The Vernacular Origins of Some Powerful Ideas (Polity, 2010)
Lauren Working, The Making of an Imperial Polity: Civility and America in the Jacobean Metropolis (Cambridge University Press, 2020)
In Our Time is a BBC Studios Audio Production
Spanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Melvyn Bragg and expert guests explore the characters, events and discoveries that have shaped our world.
Erik Satie wrote seven Gnossiennes. The first is in F minor, and Satie probably composed it in 1890. It was published with two other Gnossiennes in a Paris magazine in 1893. Like his three Gymnopedies of 1888, Satie seems to have created a new genre of piano piece with a title alluding to antiquity. According to the 1865 Larousse dictionary, a Gnossienne was a ritual labyrinth dance created by Theseus when he defeated the Minotaur. But Satie’s involvement in gnostic religious groups at the same time probably also influenced his use of the mysterious title.
All Satie’s Gnossiennes are composed without barlines, and they all have a gently rocking accompaniment in the left hand, with an ‘exotic’ melody floating above it in the right hand. All the Gnossiennes use modes to create intriguing and mysterious melodic lines. The extraordinary simplicity of the musical texture and syntax belies the prodigious originality of the resulting music. Written before Brahms had composed his late intermezzi, these are fabulously experimental pieces in which the form consists of haunting melodic fragments which circle around without any specific direction or goal. In their circularity and stasis they seem to lay down a challenge to German 19th century dominance: music does not have to be developmental; neither does it have to be goal-directed or hierarchical. It can simply float along and be an evocative mystery. Needless to say, Satie’s music had a huge influence on leading composers of the twentieth century including Debussy, Ravel, Stravinsky, Poulenc and, later on, the American pioneer John Cage.
msamba 