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"Footprints," also known as "Footprints in the Sand," is a popular modern allegorical Christian poem. It describes a person who sees two pairs of footprints in the sand, one of which belonged to God and another to themselves. At some points the two pairs of footprints dwindle to one; it is explained that this is where God carried the protagonist.
Answering a reader's question about the poem in 1879, Longfellow himself summarized that the poem was "a transcript of my thoughts and feelings at the time I wrote, and of the conviction therein expressed, that Life is something more than an idle dream." [13] Richard Henry Stoddard referred to the theme of the poem as a "lesson of endurance". [14]
The parallel development of German Romanticism also produced Christian religious poetry by Annette von Droste-Hülshoff and Clemens Brentano, as well as the rediscovery and publication of ancient and Medieval religious poetry by linguists and antiquarians like Baron Joseph von Laßberg, Friedrich Blume, and Johann Martin Lappenberg.
1. "Let Your goodness, Lord, appear to us, that we, made in your image, conform ourselves to it. In our own strength we cannot imitate Your majesty, power, and wonder
Psalm 100. Make a joyful noise unto the Lord, all ye lands. Serve the Lord with gladness: come before his presence with singing. Know ye that the Lord he is God: it is he that hath made us, and ...
"Vespers" is a poem by the British author A.A. Milne, first published in 1923 by the American magazine Vanity Fair, and later included in the 1924 book of Milne's poems When We Were Very Young when it was accompanied by two illustrations by E.H. Shephard. It was written about the "Christopher Robin" persona of Milne's son Christopher Robin Milne.
God's Trombones: Seven Negro Sermons in Verse is a 1927 book of poems by James Weldon Johnson patterned after traditional African-American religious oratory. African-American scholars Henry Louis Gates and Cornel West have identified the collection as one of Johnson's two most notable works, the other being Autobiography of an Ex-Colored Man .
The poem is in two sections: the first is a praise of creation in nine lines of alliterative verse. This is followed by a prayer in prose: Grimm (1812) and Massmann (1824) made attempts at the reconstruction of alliterating verses in the second part, but following Wilhelm Wackernagel (1827:9), the second part is now mostly thought to be intended as prose with occasional alliteration.