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Svātantrya (from the Sanskrit sva meaning self and tantram meaning dependence [1] – 'self-dependency', or 'free will') is the Kashmiri Shaivite concept of divine sovereignty. Svātantrya is described as an energy that emanates from the Supreme ( Paramaśiva ), [ 2 ] a wave of motion inside consciousness ( spanda ) that acts as the fundament ...
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In 1948, Charles Allen wrote, "The only freedom cadenced verse obtains is a limited freedom from the tight demands of the metered line." [12] Free verse is as equally subject to elements of form (the poetic line, which may vary freely; rhythm; strophes or strophic rhythms; stanzaic patterns and rhythmic units or cadences) as other forms of poetry.
Williams referred to the prosody of triadic-line poetry as a "variable foot", a metrical device to resolve the conflict between form and freedom in verse. [4] Each of the three staggered lines of the stanza should be thought of as one foot, the whole stanza becoming a trimeter line. [5]
Richard Lovelace by William Dobson. "To Althea, from Prison" is a poem written by Richard Lovelace in 1642. The poem is one of Lovelace's best-known works, and its final stanza's first line "Stone walls do not a prison make, Nor iron bars a cage" is often quoted.
“One’s Self I Sing” is a poem by Walt Whitman, published in 1867 as the first poem for the final phase of Leaves of Grass.Although the general attitude towards the poem was not favorable, in July 1855 Whitman received the famous letter from Ralph Waldo Emerson in appreciation of his words of strength, freedom, and power, as well as, “meets the demand I am always making of what seemed ...
Each of the stanzas shares the same one verse refrain "An' we gazed upon the chimes of freedom flashing". The symbolism of the lyrics makes repeat use of a dual metaphor of freedom represented by the chimes or tolling of a bell on the one hand, and the enlightenment associated with freedom represented by thunder and lightning. [10]
Finally, the sixth stanza reprises the poem's first stanza but rephrases the last line, altering its meaning: rather than question who or what "could" create the "Tyger", the speaker wonders who would "dare," effectively modifying the tone of the stanza to present as more of a confrontation than a query.