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Here, Blake uses the clouds as a metaphor for the human body. These stanzas therefore imply that after physical life has passed, all will be united with God. Also relevant to this poem is Blake's use of politically neutral colours such as gold and silver, in his other works, when describing things of moral value.
Coleridge sent 6 lines of the poem to Robert Southey in a letter that read: [1] "I have written one to Godwin—but the mediocrity of the eight first Lines is most miserably magazinish! I have plucked therefore these scentless Road flowers from the Chaptlet—and intreat thee, thou River God of Pieria, to weave into it the gorgeous Water Lily ...
A Dictionary of Similes is a dictionary of similes written by the American writer and newspaperman Frank J. Wilstach. In 1916, Little, Brown and Company in Boston published Wilstach's A Dictionary of Similes, a compilation he had been working on for more than 20 years. It included more than 15,000 examples from more than 800 authors, indexing ...
"God's child in Christ adopted,—Christ my all,—" 1833 1834 Epitaph. "Stop, Christian passer-by!—Stop, child of God," 1833, November 9 1834 An Apology for Spencers "Said William to Edmund I can't guess the reason" 1796, March 21 1796, March 25 Epigram On a Late Marriage between an Old Maid and French Petit Maître
The poem itself is a plea addressed directly to God, who is invoked in his Trinitarian form ("three-person'd God"). The speaker does not suffer from an internal problem here, unlike in a number of Donne's other Holy Sonnets (such as I am a little world made cunningly or O, to vex me ); he is sure of what he needs and how to reach his end goal.
The play is the allegorical accounting of the life of Everyman, who represents all mankind. In the course of the action, Everyman tries to convince other characters to accompany him in the hope of improving his life. All the characters are also mystical; the conflict between good and evil is shown by the interactions between the characters.
Scholars have noted that the form of the poem follows the content: the wavelike quality of the long-then-short lines parallels the narrative thread of the poem. The extended metaphor of "crossing the bar" represents travelling serenely and securely from life into death. The Pilot is a metaphor for God, whom the speaker hopes to meet face to face.
The poem was translated by Kerstin and Roger Tanner. Stina Wirsén made the illustrations next to the poem. Ilon Wikland had previously illustrated some publications of the poem in Sweden and Germany. Next to this the Dutch composer Patrick van Deurzen composed a song to Astrid Lindgren's English text. It was made for a mixed choir, viola and ...