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Endymion is a poem by John Keats first published in 1818 by Taylor and Hessey of Fleet Street in London. John Keats dedicated this poem to the late poet Thomas Chatterton. The poem begins with the line "A thing of beauty is a joy for ever". Endymion is written in rhyming couplets in iambic pentameter (also known as heroic couplets).
In addition to the preparation poetry seen by Edward Taylor, the Puritan woman Anne Bradstreet wrote dense poetry of her own. She spoke in a deeply personal manner distant from the general understanding of the role of Puritan women. She used poetry as a mode of demonstrating her love for family, husband, and God.
John Milton (1608–1674), most famous for his epic poem "Paradise Lost" (1667), was an English poet with religious beliefs emphasizing central Puritanical views.While the work acted as an expression of his despair over the failure of the Puritan Revolution against the English Catholic Church, it also indicated his optimism in human potential.
A love poem, "The Good-Morrow" is thematically centred on several concepts. The poem is primarily to do with evolving love; the movement from pure lust, in the first stanza, to a nascent and evolving spirituality which liberates the lovers because they no longer "watch each other out of fear" but can instead see clearly. [8]
A late Victorian English poem from the 1880s, "Chertsey Curfew" by Boyd Montgomerie Ranking, treats the same events. [8] In 1895, Stanley Hawley wrote music to accompany the poem's recitation (a performance tradition known as melodrama). This was published as sheet music by Robert Cooks and Co. [9] The poem was widely known in the English ...
"Dover Beach" is a lyric poem by the English poet Matthew Arnold. [1] It was first published in 1867 in the collection New Poems; however, surviving notes indicate its composition may have begun as early as 1849.
In this context, the master-servant trope commonplace in Petrarchan love poetry is literalised, by the poem's address to an imagined noble. Helen Vendler argues that the speaker's identification of himself as a slave or vassal invites skepticism rather than identification; however, others have stressed the appropriateness of the metaphor in the ...
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.