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"Stopping by Woods on a Snowy Evening" is a poem by Robert Frost, written in 1922, and published in 1923 in his New Hampshire volume. Imagery, personification, and repetition are prominent in the work. In a letter to Louis Untermeyer, Frost called it "my best bid for remembrance". [2]
The Wedding-Guest's reaction turns from amusement to impatience to fear to fascination as the mariner's story progresses, as can be seen in the language style; Coleridge uses narrative techniques such as personification and repetition to create a sense of danger, the supernatural, or serenity, depending on the mood in different parts of the poem.
Personification is the representation of a thing or abstraction ... The most famous of these was the Iconologia of ... The long poem Liberty by the Scottish ...
"Nothing Gold Can Stay" by American composer William Thayer Ames, [6] a choral setting of the poem. "Nothing Gold Can Stay" by American composer Cecil William Bentz, [7] a choral setting of the poem in his opus, "Two Short Poems by Robert Frost." "Nothing Gold Can Stay" [8] by American composer Steven Bryant, [9] an instrumental chorale ...
The speaker of Dickinson's poem meets personified Death. Death is a gentleman who is riding in the horse carriage that picks up the speaker in the poem and takes the speaker on her journey to the afterlife. According to Thomas H. Johnson's variorum edition of 1955 the number of this poem is "712".
"Do not go gentle into that good night" is a poem in the form of a villanelle by Welsh poet Dylan Thomas (1914–1953), and is one of his best-known works. [1] Though first published in the journal Botteghe Oscure in 1951, [2] Thomas wrote the poem in 1947 while visiting Florence with his family.
Using personification, the poem creates characters out of Joy, Pleasure, Delight, and Beauty, and allows them to interact with two other characters which take the shape of a male and his female mistress mentioned (line 17).
The editors of Exploring Poetry believe that the meaning of the poem and its form are intimately bound together. They state that "since the poem is composed of one sentence broken up at various intervals, it is truthful to say that 'so much depends upon' each line of the poem. This is so because the form of the poem is also its meaning."