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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.
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As a work, the poem encapsulates much of the appeal of baseball, including the involvement of the crowd. It also has a fair amount of baseball jargon that can pose challenges for the uninitiated. This is the complete poem as it originally appeared in The Daily Examiner. After publication, various versions with minor changes were produced.
Other poems in the series received praise, with George Watson, in 1966, claiming that To William Wordsworth "is the last pure example that Coleridge's poetry affords of the conversation poem [...] the poem is extravagant in its very being." [80] Also, Holmes describes The Eolian Harp as a "beautiful Conversation Poem". [81]
Book 1 consists of 38 poems. The opening sequence of nine poems are all in a different metre, with a tenth metre appearing in 1.11. It has been suggested that poems 1.12–1.18 form a second parade, this time of allusions to or imitations of a variety of Greek lyric poets: Pindar in 1.12, Sappho in 1.13, Alcaeus in 1.14, Bacchylides in 1.15, Stesichorus in 1.16, Anacreon in 1.17, and Alcaeus ...
"They called Thee Merry England, in old time;" Poems Composed or Suggested during a Tour in the Summer of 1833 1835 To the River Greta, near Keswick 1833 "Greta, what fearful listening! when huge stones" Poems Composed or Suggested during a Tour in the Summer of 1833 1835 To the River Derwent 1833 "Among the mountains were we nursed, loved Stream!"
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Elizabeth Harris Sagaser sets Sonnet 29 apart from other Elizabethan sonnets in that the speaker is the main focus, as opposed to many love sonnets of the time focused entirely on the object of the speaker's affection, or so of the poet's desire; this would seem that the poem is about the woman, not the speaker.