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The poem was created as part of a friendly competition in which Shelley and fellow poet Horace Smith each created a poem on the subject of Egyptian pharaoh Ramesses II under the title of Ozymandias, the Greek name for the pharaoh. Shelley's poem explores the ravages of time and the oblivion to which the legacies of even the greatest are subject.
The Waste Land is a poem by T. S. Eliot, widely regarded as one of the most important English-language poems of the 20th century and a central work of modernist poetry. Published in 1922, the 434-line [ A ] poem first appeared in the United Kingdom in the October issue of Eliot's magazine The Criterion and in the United States in the November ...
A poem of the same name by Eavan Boland was written as a counter to Pearse's poem, and its treatment of Ireland and her children. [6] Pearse had already written optimistically on the fate of Ireland's strong sons' martyrdom in his poem "The Mother"; Is Mise takes the opposite, more pessimistic view of the sacrifice. [ 7 ]
Ich am of Irlaunde", sometimes known as "The Irish Dancer", [1] is a short anonymous Middle English dance-song, possibly fragmentary, dating from the early 14th century, in which an Irish woman issues an invitation to come and daunce wit me in Irlaunde. The original music for this song is now lost.
"And me as I am going towards the God of mine, and I thank His name, as the Lord gave me everything bless His name. And I am telling you, to stand firm on your faith and to search for death for Christ for His name and you will find the permanent glory. I for my life glorified you and all of our race.
A poem starting with the words Subscribere proposui ("I have suggested signing (it)") has two verses that closely resemble the later Gaudeamus igitur verses, although neither the first verse nor the actual words Gaudeamus igitur appear. The music accompanying this poem bears no relation to the melody which is now associated with it.
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The poem concludes with the line "I have wasted my life." The line is one of the most highly regarded and widely debated lines in contemporary poetry, [2] [1] and has often been seen as having had cemented Wright's poetic legacy. [3] The line has been widely interpreted.