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The 1609 Douay-Rheims Bible Old Testament translation from Latin into English uses the wording, "And in the wilderness (as thou hast seen) the Lord thy God hath carried thee, as a man is wont to carry his little son, all the way that you have come, until you came to this place."
Not even the parallelismus membrorum is an absolutely certain indication of ancient Hebrew poetry. This "parallelism" occurs in the portions of the Hebrew Bible that are at the same time marked frequently by the so-called dialectus poetica; it consists in a remarkable correspondence in the ideas expressed in two successive units (hemistiches, verses, strophes, or larger units); for example ...
In a forward to his poems, which many scholars believe was addressed to Southwell's cousin, William Shakespeare, the priest-poet wrote, "Poets by abusing their talent, and making the follies and feignings of love the customary subject of their base endeavors, have so discredited this faculty that a poet, a lover, and a liar, are by many ...
The text of "Come down, O Love divine" originated as an Italian poem, "Discendi amor santo" by the medieval mystic poet Bianco da Siena (1350-1399). The poem appeared in the 1851 collection Laudi Spirituali del Bianco da Siena of Telesforo Bini, and in 1861, the Anglo-Irish clergyman and writer Richard Frederick Littledale translated it into English.
The other was in Greek and had no formal resemblance to the later poem written in English. [2] The poem in English is founded on the poetic conceit that the altar has been fashioned from the author's stony heart by the power of Christ and, being so reared, now binds both the poet and his Lord in a lasting relationship. The balanced construction ...
T. S. Eliot in 1920, in a photo taken by Lady Ottoline Morrell. In 1925, Eliot became a poetry editor at the London publishing firm of Faber and Gwyer, Ltd., [4]: pp.50–51 after a career in banking, and subsequent to the success of his earlier poems, including "The Love Song of J. Alfred Prufrock" (1915), "Gerontion" (1920) and "The Waste Land" (1922). [5]
Two Songs at the Marriage of the Lord Fauconberg and the Lady Mary Cromwell; A Dialogue Between the Soul and Body; The Nymph Complaining for the Death of Her Fawn; Young Love; To His Coy Mistress; The Unfortunate Lover; The Gallery; The Fair Singer; Mourning; Daphnis and Chloe; The Definition of Love; The Picture of Little T.C. in a Prospect of ...
My Jesus, I love Thee, I know Thou art mine; For Thee all the follies of sin I resign. My gracious Redeemer, my Savior art Thou; If ever I loved Thee, my Jesus, 'tis now. I love Thee because Thou has first loved me, And purchased my pardon on Calvary's tree. I love Thee for wearing the thorns on Thy brow; If ever I loved Thee, my Jesus, 'tis now.