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The post-Classical revival of shaped poetry seems to begin with the Gerechtigkeitsspirale (spiral of justice), a relief carving of a poem at the pilgrimage church of St. Valentin, Kiedrich. The text is carved in the form of a spiral on the front of one of the church pews [ 6 ] and created in 1510 by master carpenter Erhart Falckener .
Poems in the form of an altar reappear in the Baroque period, written by educated authors who had come across the shaped poems preserved in the Greek anthology.At the very beginning of this period, an altar was found to be a convenient shape for an epitaph, as in the anonymous tribute in Greek to the poet Philip Sydney in the Peplus Illustrissimi viri D. Philippi Sidnaei (1587), [5] and there ...
Anapaest–A three-syllable metrical pattern in poetry in which two unstressed syllables are followed by a stressed syllable. Dactyl–A three-syllable metrical pattern in poetry in which a stressed syllable is followed by two unstressed syllables. Spondee–A beat in a poetic line that consists of two accented syllables. It is a poetic form ...
"The Altar" is a shaped poem by the Welsh-born poet and Anglican priest George Herbert, first published in his posthumous collection The Temple (1633). The poem is founded on a Baroque metaphor with a long history of prior use of coalescing verbal and visual image. The popularity of the collection in which it appeared is attested by eleven ...
"To Autumn" is a poem by English Romantic poet John Keats (31 October 1795 – 23 February 1821). The work was composed on 19 September 1819 and published in 1820 in a volume of Keats's poetry that included Lamia and The Eve of St. Agnes. "To Autumn" is the final work in a group of poems known as Keats's "1819 odes".
The shaped poem "Wings" in a 1640 reprint The 10th-century encyclopaedia, the Suda , reports that Simmias wrote three books of Glossai (collections of obscure words) and four books of miscellaneous poems ( ποιήματα διάφορα , poiemata diaphora ); [ 1 ] the latter part of the article in the Suda is obviously misplaced, and belongs ...
Accentual-syllabic verse dominated literary poetry in English from Chaucer's day until the 19th century, when the freer approach to meter championed by poets such as Samuel Taylor Coleridge and Ralph Waldo Emerson and the radically experimental verse of Gerard Manley Hopkins and Walt Whitman began to challenge its dominance. [1]
The poem inspired a 1989 setting, in modern idiom but with musical quotations from Galuppi's works, by the composer Dominick Argento. [9] The singer-songwriter Kris Delmhorst based her song "Galuppi Baldassare", the first track of her 2006 album Strange Conversation on the poem, using many of the words and theme as a basis for her own lyrics.