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Composed of 29 lines, [5] this poem is a monologue directed to king Shu-Sin (ruled 1972–1964 BC, short chronology, or 2037–2029 BC, long chronology [4]). In erotic language, the female speaker in the poem expresses her ardent desires and longings for Shu-Sin, drawing heavily on imagery related to honey and sweetness. [1] [6]
The world is about to change its foundation We are nothing, let us be everything Chorus: 𝄆 This is the final struggle Let us gather together, and tomorrow The Internationale Will be the human race. 𝄇 There are no supreme saviors Neither God, nor Caesar, nor tribune. Producers, let us save ourselves Decree on the common welfare
For instance, the editors of The Norton Anthology of English Literature write, "There is no disagreement on [Eliot's] importance as one of the great renovators of the English poetry dialect, whose influence on a whole generation of poets, critics, and intellectuals generally was enormous. [However] his range as a poet [was] limited, and his ...
The poem is a product of the period of declining vitality of the runic script in Anglo-Saxon England after the Christianization of the 7th century. A large body of scholarship has been devoted to the poem, mostly dedicated to its importance for runology but to a lesser extent also to the cultural lore embodied in its stanzas.
Elaine Kahn lives in L.A. and teaches at Poetry Field School. Her poem 'A WORLD THAT IS NOT REALLY A WORLD' is part of Image issue 8, "Deserted."
Holograph manuscript of Gray's "Stanzas Wrote in a Country Church-Yard". The poem most likely originated in the poetry that Gray composed in 1742. William Mason, in Memoirs, discussed his friend Gray and the origins of Elegy: "I am inclined to believe that the Elegy in a Country Church-yard was begun, if not concluded, at this time [August 1742] also: Though I am aware that as it stands at ...
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The World and the Child (Latin: Mundus et Infans) is an anonymous English morality play. Its source is a late 14th-century or 15th-century poem The Mirror of the Periods of Man's Life, from which the play borrows significantly while reducing the number of characters. [1] It is thought to have influenced William Shakespeare's Henry IV, Part 1.