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The Hounds of Spring is a concert overture for concert band, written by the American composer Alfred Reed in 1980. [1] Reed was inspired by the poem Atalanta in Calydon [2] (1865) by Victorian era English poet Algernon Charles Swinburne, a recreation in modern English verse of an ancient Greek tragedy. According to Reed himself, the poem's ...
Anne Marriott (November 5, 1913 – October 10, 1997) [1] was a Canadian writer who won the Governor General's Award for her book Calling Adventurers! "She was renowned especially for the narrative poem The Wind, Our Enemy," which she wrote while still in her twenties.
The poet becomes the wind's instrument, his "lyre" (57). This is a symbol of the poet's own passivity towards the wind; he becomes his musician and the wind's breath becomes his breath. The poet's attitude—towards the wind has changed: in the first canto the wind has been an "enchanter" (3), now the wind has become an "incantation" (65).
"The Wind" shows great inventiveness in its choice of metaphors and similes, while employing extreme metrical complexity. [9] It is one of the classic examples [10] [11] of the use of what has been called "a guessing game technique" [12] or "riddling", [13] a technique known in Welsh as dyfalu, comprising the stringing together of imaginative and hyperbolic similes and metaphors.
Older readers may understand the desire to look for arrowheads while out walking: to "hold one in my hand / I want to touch the tip of history."" [2] Rachel E. Schwedt and Janice DeLong in their book Young Adult Poetry said that "the simple language makes the poems accessible, while the astute reflections encourage an awareness of the ...
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Brontë's love of the sea is expressed in this poem. In it, the sea is portrayed as "The Great Liberator". [2]The line "the long withered grass in the sunshine is glancing" and the footnote she wrote at the bottom of the poem reveals that Brontë "loved wild weather, as she loved the sea, and hard country and snow". [3]
Harold Bloom suggests that this provides the poem with a hint of Keats's philosophy of negative capability, as only the beauty that will die meets the poem's standard of true beauty. [18] The image of the bursting of Joy's grape (line 28) gives the poem a theme of sexuality.