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The parallel development of German Romanticism also produced Christian religious poetry by Annette von Droste-Hülshoff and Clemens Brentano, as well as the rediscovery and publication of ancient and Medieval religious poetry by linguists and antiquarians like Baron Joseph von Laßberg, Friedrich Blume, and Johann Martin Lappenberg.
The metre of this poem is no less remarkable than its diction; it is a dactylic hexameter in three sections, with mostly bucolic caesura alone, [citation needed] with tailed rhymes and a feminine leonine rhyme between the two first sections; the verses are technically known as leonini cristati trilices dactylici, and are so difficult to construct in great numbers that the writer claims divine ...
Woman in Sacred Song : a library of hymns, religious poems, and sacred music, by woman is an illustrated book of 880 quarto pages compiled by Eva Munson Smith with preface by Frances E. Willard, first published in 1885 in Boston by D. Lothrop & Company. [1]
Poems on Various Subjects, Religious and Moral by Phillis Wheatley, Negro Servant to Mr. John Wheatley, of Boston, in New England (published 1 September 1773) is a collection of 39 poems written by Phillis Wheatley, the first professional African-American woman poet in America and the first African-American woman whose writings were published.
The hymn's first known appearance in a hymnal, and in America, was in 1784 in Divine Hymns, or Spiritual Songs: for the use of Religious Assemblies and Private Christians compiled by Joshua Smith, a lay Baptist minister from New Hampshire. It became prevalent in American publications but not English ones.
The dating of the poems' composition has been tied to the dating of Donne's conversion to Anglicanism. His first biographer, Izaak Walton, claimed the poems dated from the time of Donne's ministry (he became a priest in 1615); modern scholarship agrees that the poems date from 1609 to 1610, the same period during which he wrote an anti-Catholic polemic, Pseudo-Martyr.
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About this poem Stevens wrote that it was "simply an expression of paganism". [3] Helen Vendler in the Cambridge Companion to Wallace Stevens summarized the poem as Stevens's search for "a systematic truth that could replace the Christianity of his churchgoing childhood." For Vendler, the stratagem which Stevens employs in attempting to ...