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The poem uses the image of a flowering plant - specifically that of a chasmophyte rooted in the wall of the wishing well - as a source of inspiration for mystical/metaphysical speculation [1] and is one of multiple poems where Tennyson touches upon the topic of the relationships between God, nature, and human life. [2]
And that you give them to me, my God, forever So that I am always sure to have them. For I will not always have the courage to ask. Give me, my God, what you have. Give me what others do not want. But also give me courage And strength and faith. Because only you alone can give, my God, What I cannot expect only from myself.
They meet the god, who is in the form of a sphere floating above a plane, in space. Yiyi is almost killed by the god, but the poems he has catch the god's interest. After reading a few of the poems, the god almost kills Yiyi again, but is again interested in him after he says that poetry is an unsurpassable art form.
"The Gods of the Copybook Headings" is a poem by Rudyard Kipling, characterized by biographer Sir David Gilmour as one of several "ferocious post-war eruptions" of Kipling's souring sentiment concerning the state of Anglo-European society. [1] It was first published in the Sunday Pictorial of London on 26 October 1919.
Christ I is found on folios 8r-14r of the Exeter Book, a collection of Old English poetry today containing 123 folios. The collection also contains a number of other religious and allegorical poems. [3] Some folios have been lost at the start of the poem, meaning that an indeterminate amount of the original composition is missing. [4]
"Sonnet X", also known by its opening words as "Death Be Not Proud", is a fourteen-line poem, or sonnet, by English poet John Donne (1572–1631), one of the leading figures in the metaphysical poets group of seventeenth-century English literature. Written between February and August 1609, it was first published posthumously in 1633.
Jones Very (August 28, 1813 – May 8, 1880) was an American poet, essayist, clergyman, and mystic associated with the American Transcendentalism movement. He was known as a scholar of William Shakespeare, and many of his poems were Shakespearean sonnets.
The first three sections of the poem set up the framework of the poem's structure, describing the narrative environment, physical landscape and interpersonal relationships that concern the narrator. [3] Carson herself, along with several critics, have referred to the poem as a lyric essay, despite its inclusion in a book of poetry. [4]