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Perhaps no poem of this class has been more universally admired than the pastoral Epithalamion of Edmund Spenser (1595), though he also has important rivals—Ben Jonson, Donne and Francis Quarles. [2] Ben Jonson's friend, Sir John Suckling, is known for his epithalamium "A Ballad Upon a Wedding." In his ballad, Suckling playfully demystifies ...
The introduction to a 2000 poetry anthology published by Miles Kelly Publishing credited the poem's reading in Four Weddings and a Funeral with showing how poetry could be "cool". [16] In 2013 "Funeral Blues" was described by the English scholar Abbie Garrington as "perhaps Auden's best‐known work". [17] The poem is often read as a memorial.
The poem begins with a description of the River Thames where Spenser finds two beautiful maidens. The poet proceeds to praise them and wishing them all the blessings for their marriages. The poem begins with a fine description of the day when on which he is writing the poem: Calm was the day and through the trembling air
Throughout the poem, the stanzas are structured with 18 or 19 lines. In the 15th, there is a line missing. The rhyming structure typically goes ABABCC, then DEDEFF and so on. But stanza 15 is FEGGHH. This might have been done to keep the onomatopoeia of the poem or to keep the structure of the 365 lines as a metaphor for a year.
Poems of 1912–1913 are an elegiac sequence written by Thomas Hardy in response to the death of his wife Emma in November 1912. An unsentimental meditation upon a complex marriage, [ 1 ] the sequence's emotional honesty and direct style made its poems some of the most effective and best-loved lyrics in the English language.
In Memoriam was a favourite poem of Queen Victoria, who after the death of her husband, the Prince Consort Albert, was "soothed & pleased" by the feelings explored in Tennyson's poem. [15] In 1862 and in 1883, Queen Victoria met Tennyson to tell him she much liked his poetry. [16]
"An Arundel Tomb" is a poem by Philip Larkin, written and published in 1956, and subsequently included in his 1964 collection The Whitsun Weddings. It describes the poet's response to seeing a pair of recumbent medieval tomb effigies with their hands joined in Chichester Cathedral .
The poem was included in the 1789 collection of Dafydd's works, Barddoniaeth Dafydd ab Gwilym , [4] and was attributed to Dafydd in a selection of cywyddau edited by Ifor Williams and Thomas Roberts in 1914, [7] but in the mid-20th century Thomas Parry excluded it from his edition, citing the poem's imperfect cynghanedd (the strict alliteration ...
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