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The character, Mattie Silver, from Ethan Frome (1911), has few life skills but can recite "Curfew shall not ring to-night." [10] Three silent films were made based on the poem. For two of the films, the title was modified to Curfew Shall Not Ring Tonight. No sound version has been made, but later 20th century films referred to this poem.
A night latch (or night-latch or nightlatch) is a lock that is fitted on the surface of a door; it is operated from the exterior side of the door by a key and from the interior (i.e. "secure") side of the door by a knob. [1] [2] [3]
Of bird, of flower, or shape, which it doth latch: Of his quick object hath the mind no part, Nor his own vision holds what it doth catch; For if it see the rud’st or gentlest sight, The most sweet favour or deformed’st creature, The mountain or the sea, the day or night, The crow or dove, it shapes them to your feature:
Randall in 1972. Dudley Randall (January 14, 1914 – August 5, 2000) was an African-American poet and poetry publisher from Detroit, Michigan. [1] He founded a pioneering publishing company called Broadside Press in 1965, which published many leading African-American writers, among them Melvin Tolson, Sonia Sanchez, [2] Audre Lorde, Gwendolyn Brooks, [2] Etheridge Knight, Margaret Walker, and ...
The work is also known as Luzūm mā lā yalzam (Arabic: لزوم ما لا يلزم) which is variously translated as Unnecessary Necessity, The Self-Imposed Compulsion or "committing oneself to what is not obligatory"; this title is a reference to the difficult, 'unnecessary', rhyme scheme which al-Ma'arri applied to his work.
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The poem answers its own questions by pointing out that his best work is inspired by fidelity to the subject of the poems. [ 3 ] The sonnet seems to be sincerely self-denigrating about the poet's lack of variety, and lack of incorporating the latest fashions, but at the same time there is a sense that the self-effacing pose doesn't ring true.
Read's conception of poetry was influenced by his mentors T. E. Hulme, F. S. Flint, Marianne Moore and W. C. Williams, believing "true poetry was never speech but always a song", quoted with the rest of his definition 'What is a Poem' in his 1926 essay of that name (in his endword to his Collected Poems of 1966).