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"I come, ye little noisy Crew," Poems, chiefly of Early and Late Years,; Epitaphs and Elegiac Pieces. (1845-) 1841 Matthew: 1799 Former title: Bore the lack of a title from 1800–1820 and the title of: "IF Nature, for a favourite child," from 1827–1832. "If Nature, for a favourite child," Poems of Sentiment and Reflection. 1800 The two April ...
"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.
The following is the list of 244 poems attributed to Philip Larkin. Untitled poems are identified by their first lines and marked with an ellipsis.Completion dates are in the YYYY-MM-DD format, and are tagged "(best known date)" if the date is not definitive.
William Cowper (/ ˈ k uː p ər / KOO-pər; 15 November 1731 [2] / 26 November 1731 – 14 April 1800 [2] / 25 April 1800 ()) was an English poet and Anglican hymnwriter.. One of the most popular poets of his time, Cowper changed the direction of 18th-century nature poetry by writing of everyday life and scenes of the English countryside.
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.
Forty Singing Seamen and Other Poems (1907) The Golden Hynde (1908) Tales of the Mermaid Tavern (1913) Watchers of the Sky (1922) Songs of Shadow-of-a-Leaf (1924) The Book of Earth (1925) The Last Voyage (1930) The Torch-bearers (1937)(the three books now combined as a single work) Shadows on the Down (1941) Collected Poems (1950) Daddy Fell ...
This is a reference to the legend that when the Turks entered the church (Hagia Sophia) in 1453, the priests who were singing the Divine Liturgy took up the sacred vessels and disappeared into the wall of the church, where they will stay and only come out when the church is returned to Christendom (see Timothy Gregory, A History of Byzantium ...
Although nature shapes Lucy over time and she is seen as part of nature herself, the poem shifts abruptly when she dies. Lucy appears to be eternal, like nature itself. [ 89 ] Regardless, she becomes part of the surrounding landscape in life, and her death only verifies this connection.