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This list includes poems that are generally identified as part of the long poem genre, being considerable in length, and with that length enhancing the poems' meaning or thematic weight. This alphabetical list is incomplete, as the label of long poem is selectively and inconsistently applied in literary academia.
It has taken its place among the great critical essays in English. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato ...
"September 1913" functions also as an iconic example of Yeats's own fidelity to the literary traditions of the 19th century British Romantic poets. A devoted reader of both William Blake and Percy Shelley , Yeats's repetition of the phrase "Romantic Ireland" connects the politically motivated ideals of the Romantics "to an Irish national ...
Sonnet 25 is an English or Shakespearean sonnet, formed of three quatrains and a final couplet in iambic pentameter, a type of metre based on five pairs of metrically weak/strong syllabic positions. The 12th line exemplifies a regular iambic pentameter: × / × / × / × / × / And all the rest forgot for which he toil'd: (25.12)
That year, Gunn published a second collection of essays with an interview, Shelf Life, and his substantial Collected Poems, which David Biespiel hailed as a highlight of the century's poetry: "Thom Gunn is a poet of 'comradely love'. Compassion has always been his domain and his work's principal emotion.
A 1913 photograph of Ezra Pound, one of the most influential modernist poets. The roots of English-language poetic modernism can be traced back to the works of a number of earlier writers, including Walt Whitman, whose long lines approached a type of free verse, the prose poetry of Oscar Wilde, Robert Browning's subversion of the poetic self, Emily Dickinson's compression and the writings of ...
"Spirits of the Dead" was first titled "Visits of the Dead" when it was published in the 1827 collection Tamerlane and Other Poems. The title was changed for the 1829 collection Al Aaraaf, Tamerlane, and Minor Poems. The poem follows a dialogue between a dead speaker and a person visiting his grave. The spirit tells the person that those who ...
Although deriving from native folk versification, it is possible that this line, and the related 6-syllable line, were influenced by Latin or Romance examples. [31] When employed in 4-line or 8-line stanzas and riming in couplets, this is called the Hungarian alexandrine; it is the Hungarian heroic verse form. [ 32 ]