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War memorial in ChristChurch Cathedral, Christchurch, New Zealand CWGC headstone with excerpt from "For The Fallen". Laurence Binyon (10 August 1869 – 10 March 1943), [3] a British poet, was described as having a "sober" response to the outbreak of World War I, in contrast to the euphoria many others felt (although he signed the "Author's Declaration" that defended British involvement in the ...
Following Horace Davis, Stephen Booth notes the similarity of this poem in theme and imagery to Sonnet 120. Gerald Massey finds an analogue to lines 7–8 in The Faerie Queene , 2.1.20. In 1768, Edward Capell altered line ten by replacing the word "loss" with the word "cross".
The poem does not have a consistent pattern of meter. The lines range in length from three syllables to fifteen syllables. Eliot uses end rhyme sporadically in 21 lines of the poem, specifically: [1] [2] and, hand, stand, and land (in lines 1, 3, 5, 7) poor and door (lines 10 and 12) sorrow and to-morrow (lines 20 and 24) derision and vision ...
Thou by thy dial’s shady stealth mayst know Time’s thievish progress to eternity; Look, what thy memory cannot contain, Commit to these waste blanks, and thou shalt find Those children nursed, delivered from thy brain, To take a new acquaintance of thy mind. These offices, so oft as thou wilt look, Shall profit thee, and much enrich thy book.
Sonnet 30 is one of the 154 sonnets written by the English poet and playwright William Shakespeare. It was published in the Quarto in 1609. It was published in the Quarto in 1609. It is also part of the Fair Youth portion of the Shakespeare Sonnet collection where he writes about his affection for an unknown young man.
Sonnet 31 is one of 154 sonnets written by the English playwright and poet William Shakespeare.It is a sonnet within the Fair Youth sequence. Developing an idea introduced at the end of Sonnet 30, this poem figures the young man's superiority in terms of the possession of all the love the speaker has ever experienced.
The speaker is proclaiming that he will no longer acknowledge the young lover in public. This is because he wants to avoid bringing further shame on the object of the poem via guilt by association, contrary to the reference cited. [7] Nor thou with public kindness honour me, / Unless thou take that honour from thy name:
[8] A. L. Rowse points out in both of these poems the speaker is unable to predict the future by using astrology, and can only predict the future through the object of their poem's eyes. [ 9 ] According to Frederick Fleays, lines 3-4 are possible references to plagues that occurred in 1592–1593, and the dearths that followed in 1594–1596 ...