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English Renaissance poetry after the Elizabethan poetry can be seen as belonging to one of three strains; the Metaphysical poets, the Cavalier poets and the school of Spenser. However, the boundaries between these three groups are not always clear and an individual poet could write in more than one manner.
A modern reconstruction of the Statue of Zeus at Olympia, topic of the oration.. The Olympic Oration or On Man's First Conception of God (Ancient Greek: Ὀλυμπικὸς ἢ περὶ τῆς πρώτης τοῦ θεοῦ ἐννοίας, romanized: Olympikos ē peri tēs protēs tou theou ennoias, Oration 12 in modern corpora) is a speech delivered by Dio Chrysostom at the Olympic games ...
Old English metre is the conventional name given to the poetic metre in which English language poetry was composed in the Anglo-Saxon period. The best-known example of poetry composed in this verse form is Beowulf , but the vast majority of Old English poetry belongs to the same tradition.
Magoun thought that formulaic poetry was necessarily oral in origin. That sparked a major and ongoing debate over the extent to which Old English poetry, which survives only in written form, should be seen as, in some sense, oral poetry. The oral-formulaic theory of composition has now been applied to a wide variety of languages and works.
A heroic couplet is a traditional form for English poetry, commonly used in epic and narrative poetry, and consisting of a rhyming pair of lines in iambic pentameter.Use of the heroic couplet was pioneered by Geoffrey Chaucer in the Legend of Good Women and the Canterbury Tales, [1] and generally considered to have been perfected by John Dryden and Alexander Pope in the Restoration Age and ...
Old English literature has had some influence on modern literature, and notable poets have translated and incorporated Old English poetry. Well-known early translations include Alfred, Lord Tennyson 's translation of The Battle of Brunanburh , William Morris 's translation of Beowulf , and Ezra Pound 's translation of The Seafarer .
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The work has been described by Laura Saetveit Miles, a University of Bergen Professor of medieval literature, as "one of the most admired fifteenth-century Middle English lyrics [which] offers, within a deceptively simple form, an extremely delicate and haunting presentation of Mary (the 'mayden / þat is makeles') and her conception of Christ ('here sone')". [1]