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Poetry groups and movements or schools may be self-identified by the poets that form them or defined by critics who see unifying characteristics of a body of work by more than one poet. To be a 'school' a group of poets must share a common style or a common ethos.
The interplay between the metric "shifts", the stressed syllables and caesuras is an integral part of the poetry. It allows the poet to stress certain words and shape the meaning of the poem. There are two main divisions within the meters of ancient Greek poetry: lyric and non-lyric meters.
One of the most famous examples of collaborative poetry-writing in modern times was the poem collection Ralentir Travaux [1] by Surrealist French poets André Breton, Paul Éluard and René Char. The poems were written collaboratively over the course of five days in 1930.
The following is a brief outline of the main subjects of the work: (a) A poem demands unity, to be secured by harmony and proportion, as well as a wise choice of subject and good diction. Meter and style must be appropriate to theme and to character. A good model will always be found in Homer (ll, 1–152).
Poems in the form of an altar reappear in the Baroque period, written by educated authors who had come across the shaped poems preserved in the Greek anthology.At the very beginning of this period, an altar was found to be a convenient shape for an epitaph, as in the anonymous tribute in Greek to the poet Philip Sydney in the Peplus Illustrissimi viri D. Philippi Sidnaei (1587), [5] and there ...
The lyric poetry of Europe in this period was created by the pioneers of courtly poetry and courtly love largely without reference to the classical past. [11] The troubadors, travelling composers and performers of songs, began to flourish towards the end of the 11th century and were often imitated in successive centuries.
A clerihew (/ ˈ k l ɛr ɪ h j uː /) is a whimsical, four-line biographical poem of a type invented by Edmund Clerihew Bentley.The first line is the name of the poem's subject, usually a famous person, and the remainder puts the subject in an absurd light or reveals something unknown or spurious about the subject.
The third section discusses poetic practice: about what subjects to write; what are the distinctive qualities of good poetry; and what rules of composition apply to individual genres of poetry. Examples from classical and modern poetry illustrate how poetry achieves its purposes: to teach, to move, and to delight the reader.