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A lanterne is a cinquain form of poetry, in which the first line has one syllable and each subsequent line increases in length by one syllable, except for the final line that concludes the poem with one syllable. Its name derives from the lantern shape that appears when the poem is aligned to the center of the page.
The words were written in 1915 as a poem of three verses by Hans Leip (1893–1983), a school teacher from Hamburg who had been conscripted into the Imperial German Army. [2] Leip reportedly combined the nickname of his friend's girlfriend, Lili, with the name of another friend, Marleen, who was a nurse.
Lanterne may refer to: Lanterne (pasta), a type of pasta; Lanterne (poem), a form of poetry; Lanterne (river), in eastern France This page was last edited on 23 ...
"Ten Blake Songs" are poems from Blake's "Songs of Innocence and of Experience" and "Auguries of Innocence", set to music by Ralph Vaughan Williams in 1957. "Tyger" is both the name of an album by Tangerine Dream, which is based on Blake's poetry, and the title of a song on this album based on the poem of the same name.
" À la lanterne!" (lit. ' To the lamp post ! ' ) is a French slogan that gained special meaning and status in Paris and France during the early phase of the French Revolution from the summer of 1789. [ 3 ]
Façade is a series of poems by Edith Sitwell, best known as part of Façade – An Entertainment in which the poems are recited over an instrumental accompaniment by William Walton. The poems and the music exist in several versions. Sitwell began to publish some of the Façade poems in 1918, in the literary magazine Wheels. In 1922 many of ...
"The Lantern" is a song from the Rolling Stones' 1967 psychedelic rock album Their Satanic Majesties Request. Written by Mick Jagger and Keith Richards , it also appeared as the B-side to the American single " In Another Land ".
For the New York Times poetry critic writing in 1931, it is a specimen of the "pure poetry" of the age that "cannot endure" because it is a "stunt" in the fantastic and the bizarre. [6] "Turning of music into words, and words into music, continues throughout the poem," according to Janet Mcann, "becoming metaphor as well as genuine verbal music."