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" Abendlied unterm gestirntem Himmel" (Evening song under the starry heaven), WoO 150, is a song for high voice and piano by Ludwig van Beethoven composed in 1820. The work is a setting of a poem believed to be by Otto Heinrich von Loeben, who wrote it under the pseudonym H. Goeble.
Let Us Compare Mythologies is the first poetry book by Canadian poet and songwriter Leonard Cohen. Written in 1956, shortly after Cohen left McGill University where he studied English literature, it was first published as part of the McGill Poetry Series operated by Louis Dudek. In 2007, the book returned to print in a 50th anniversary ...
The poetic style of the Heavenly Question is markedly different from the other sections of the Chuci collection, with the exception of the "Nine Songs" ("Jiuge"). The poetic form of the Heavenly Questions is the four-character line, more similar to the Shijing than to the predominantly variable lines generally typical of the Chuci pieces, the vocabulary also differs from most of the rest of ...
The love expressed here is for life and himself. This shows Frost's agnostic side where heaven is a fragile concept to him. [2] This becomes clear when he says, "the inner dome of heaven had fallen." Rich metaphoric thinking and imagery abound in the poem, where Frost presents some sharp descriptions of natural phenomena. [3]
Ramsey continues, "Against that heaven, against God, is set the happy heaven where the lark sings hymns. The poem is a hymn, celebrating a truth declared superior to religion." [ 14 ] So while Sonnet 29 makes some religious references, Ramsey maintains that these are in fact anti-religious in sentiment.
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The topic of the poem is Advent, the time period in the annual liturgical cycle leading up to the anniversary of the coming of Christ, a period of great spiritual and symbolic significance within the Church — for some in early medieval Europe a time of fasting, and the subject of a sermon by Gregory the Great (AD 590-604). [2]
Twelve Poems of Emily Dickinson is a song cycle for medium voice, played in piano by the American composer Aaron Copland. Completed in 1950 and lasting for under half an hour only, it represents Copland's longest work for solo voice. [ 1 ]