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The 2004 AQA Anthology was a collection of poems and short texts. The anthology was split into several sections covering poems from other cultures, the poetry of Seamus Heaney, [4] Gillian Clarke, Carol Ann Duffy and Simon Armitage, and a bank of pre-1914 poems.
He created Poetry Live to engage 15-16 year old students with the texts they were being asked to study as part of their GCSE English Literature course. The original 1990s Poetry Live tour consisted of 50 events, with an audience of around 75,000 students, [ 2 ] and grew to an average audience of 100,000 students a year by 2008.
Belfast Confetti is a poem about the aftermath of a sectarian riot in Belfast by Northern Irish poet and translator Ciarán Carson. [1] The name of the poem derives from the nickname for the large shipbuilding rivets and other scrap metal that were used as missiles by Protestant shipyard workers during anti-Catholic riots in Belfast.
The awful shadow of some unseen Power Floats through unseen among us, – visiting This various world with as inconstant wing As summer winds that creep from flower to flower. – Like moonbeams that behind some piny mountain shower, It visits with inconstant glance Each human heart and countenance; Like hues and harmonies of evening
Half-Caste" is a poem by Guyanese poet John Agard that looks at people's ideas and usage of the term "half-caste", a derogatory term for people of multiracial descent. The poem is included within Agard's 2005 collection of the same name, in which he explores a range of issues affecting black and mixed-race identity in the UK. The poem is ...
An example of end-stopping can be found in the following extract from The Burning Babe by Robert Southwell; the end of each line corresponds to the end of a clause. As I in hoary winter's night stood shivering in the snow,
The poem begins with three sections describing the wind's effects upon earth, air, and ocean. In the last two sections, the poet speaks directly to the wind, asking for its power, to lift him up and make him its companion in its wanderings. The poem ends with an optimistic note which is that if winter days are here then spring is not very far.
This poem marks the introduction into an English context of the classical pastoral, a mode of poetry that assumes an aristocratic audience with a certain kind of attitude to the land and peasants. The explorations of love found in the sonnets of William Shakespeare and the poetry of Walter Raleigh and others also implies a courtly audience.