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This poem came to be published uncredited as a children's rhyme and hymn in many 19th century magazines and books, sometimes attributed to Ebenezer Cobham Brewer, Daniel Clement Colesworthy, or Frances S. Osgood, but the earliest publications of it clearly are those of Carney.
Little Boy Blue (poem) Little Orphant Annie; Little Rock (poem) Little Things (poem) The Load Of Sugar-Cane; Lost in Translation (poem) Love Is Not All: It Is Not Meat nor Drink; The Love Song of J. Alfred Prufrock; Lunar Paraphrase; Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota
Remembered for her poem "Little Things", many of her poems were set to music and published in school textbooks, and used in church hymn-books for more than half a century. [1] [2] She died November 1, 1908, in Galesburg, Illinois. Carney had charge of the "Poet's Corner" in the Boston Trumpet.
A paraphrase can be introduced with verbum dicendi—a declaratory expression to signal the transition to the paraphrase. For example, in "The author states 'The signal was red,' that is, the train was not allowed to proceed," the that is signals the paraphrase that follows. A paraphrase does not need to accompany a direct quotation. [20]
In translation theory, another term for literal translation is metaphrase (as opposed to paraphrase for an analogous translation). It is to be distinguished from an interpretation (done, for example, by an interpreter). Literal translation leads to mistranslation of idioms, which can be a serious problem for machine translation. [2]
The Heresy of Paraphrase" is the name of the paradox where it is impossible to paraphrase a poem because paraphrasing a poem removes its form, which is an integral part of its meaning. Its name comes from a chapter by the same name in Cleanth Brooks 's book The Well-Wrought Urn .
Billie Holiday's rendering of the song with Teddy Wilson's orchestra was a favorite of Philip Larkin, who said, "I have always thought the words were a little pseudo-poetic, but Billie sings them with such passionate conviction that I think they really become poetry." [14] Holiday's version of the song peaked at No. 5 on the Billboard Pop Songs ...
Ekphrastic poetry flourished in the Romantic era and again among the pre-Raphaelite poets. A major poem of the English Romantics – "Ode on a Grecian Urn" by John Keats – provides an example of the artistic potential of ekphrasis. The entire poem is a description of a piece of pottery that the narrator finds evocative.