Search results
Results from the WOW.Com Content Network
Postcard with the words from verse 1. c. 1916. The following lyric is taken from the sheet music published in 1916: [13] [Note 3] Verse 1: She is watching by the poplars, Colinette with the sea-blue eyes, She is watching and longing and waiting Where the long white roadway lies. And a song stirs in the silence, As the wind in the boughs above,
For nobody's toeses are roses or posies, As Moses supposes his toeses to be. In 1895, a slightly different version was published: [2] If Moses supposes his toeses are roses, Then Moses supposes erroneously; For nobody's toeses are posies or roses, As Moses supposes his toeses to be. A variation from 1944, perhaps most well-known today, has: [3]
"Alysoun" or "Alison", also known as "Bytuene Mersh ant Averil", is a late-13th or early-14th century poem in Middle English dealing with the themes of love and springtime through images familiar from other medieval poems. It forms part of the collection known as the Harley Lyrics, and exemplifies its best qualities. [1]
As a reverdie, a poem celebrating springtime bird-song and flowers, "Lenten ys come with love to toune" bears a resemblance to French lyric poems, but its diction and alliteration are typically English, [20] drawing on an English tradition of earlier songs and dances which celebrate the coming of spring. [21]
Anacreon wrote all of his poetry in the ancient Ionic dialect. Like all early lyric poetry, it was composed to be sung or recited to the accompaniment of music, usually the lyre. Anacreon's poetry touched on universal themes of love, infatuation, disappointment, revelry, parties, festivals, and the observations of everyday people and life.
This article related to a poem is a stub. You can help Wikipedia by expanding it.
Taylor Swift’s 11th studio album, “The Tortured Poets Department,” has been released overnight, and in typical Swift fashion, she dropped at a surprise additional 15 songs — confirming ...
Published in 1617 by the London firm of Thomas Snodham, three years before the poet's death, in The Third and Fourth Booke of Ayres, the lyric poet "tuned his music to the heart" [1] with verse revealing his rhythmic and melodic abilities in "There is a Garden in Her Face," also known as "Cherry-Ripe."