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John A. Rea wrote about the poem's "alliterative symmetry", citing as examples the second line's "hardest – hue – hold" and the seventh's "dawn – down – day"; he also points out how the "stressed vowel nuclei also contribute strongly to the structure of the poem" since the back round diphthongs bind the lines of the poem's first ...
The poem does not have a deep, hidden, symbolic meaning. Rather, it is simply pleasurable to read, say, and hear. Critical terminology becomes useful when one attempts to account for why the language is pleasurable, and how Byron achieved this effect. The lines are not simply rhythmic: the rhythm is regular within a line, and is the same for ...
Poetic contractions are contractions of words found in poetry but not commonly used in everyday modern English. Also known as elision or syncope, these contractions are usually used to lower the number of syllables in a particular word in order to adhere to the meter of a composition. [1]
"Because I could not stop for Death" is a lyrical poem by Emily Dickinson first published posthumously in Poems: Series 1 in 1890. Dickinson's work was never authorized to be published, so it is unknown whether "Because I could not stop for Death" was completed or "abandoned". [1] The speaker of Dickinson's poem meets personified Death. Death ...
Set on the soul's acropolis the reason stands A virgin, arm'd, commercing with celestial light, And he who sins against her has defiled his own Virginity: no cleansing makes his garment white; So clear is reason. But how dark, imagining, Warm, dark, obscure and infinite, daughter of Night: Dark is her brow, the beauty of her eyes with sleep
The past several years have been nothing short of a financial roller coaster for anyone who invests in the stock market. Check Out: 3 Types of Investments Predicted To Plummet in Value in Summer ...
"Fire and Ice" is a short poem by Robert Frost that discusses the end of the world, likening the elemental force of fire with the emotion of desire, and ice with hate. It was first published in December 1920 in Harper's Magazine [ 1 ] and was later published in Frost's 1923 Pulitzer Prize -winning book New Hampshire .
Other poems in the series received praise, with George Watson, in 1966, claiming that To William Wordsworth "is the last pure example that Coleridge's poetry affords of the conversation poem [...] the poem is extravagant in its very being." [80] Also, Holmes describes The Eolian Harp as a "beautiful Conversation Poem". [81]