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Like many hymns, Love Divine is loosely Trinitarian in organization: Christ is invoked in the first stanza as the expression of divine love; the Holy Spirit in the second stanza as the agent of sanctification; the Father in the third stanza as the source of life; and the Trinity (presumably) in the final stanza as the joint Creator of the New ...
It shows two contrary types of love. The poem is written in three stanzas. [2] The first stanza is the clod's view that love should be unselfish. The soft view of love is represented by this soft clod of clay, and represents the innocent state of the soul, and a childlike view of the world. [2] The second stanza connects the clod and the pebble.
But then a second stanza presents a sensuous portrait of an unnamed woman, very much in the French vein; once more, it concludes, "A Circe's spells transform men into swine". [74] This is no passive victim of male projections but a woman conscious of her sexual power. So too is H.D.'s "Circe", from her collection Hymen (1921). In her soliloquy ...
Originally, the poem contained four stanzas, but the original first stanza was removed before publication in 1820 for stylistic reasons. [18] The poem describes the narrator's opinions on melancholy and is addressed specifically to the reader, unlike the narrative of many of the other odes. [ 10 ]
Charles Wesley's hymn "Love Divine, All Loves Excelling" was first sung to Purcell's music for "Fairest Isle", and in places echoes its lyrics. [8] In 1770, when David Garrick staged a version of King Arthur deprived of many of Purcell's songs, particularly those in the act 5 masques, "Fairest Isle" survived the cuts. [ 9 ]
If you’re stuck on today’s Wordle answer, we’re here to help—but beware of spoilers for Wordle 1259 ahead. Let's start with a few hints.
The pattern that the line-ending words follow is often explained if the numbers 1 to 6 are allowed to stand for the end-words of the first stanza. Each successive stanza takes its pattern based upon a bottom-up pairing of the lines of the preceding stanza (i.e., last and first, then second-from-last and second, then third-from-last and third). [5]
Asclepiads are found either in stichic form (i.e. used continuously unmixed with other metres) or in 4-line stanzas mixed with glyconics and pherecrateans. The various forms are known as the "1st, 2nd, 3rd, 4th, and 5th asclepiad". The numbering of these, however, differs in different authors.