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The poem, a rondeau, [3] has been cited as one of Dunbar's most famous poems. [4]In her introduction to The Collected Poetry of Paul Laurence Dunbar, the literary critic Joanne Braxton deemed "We Wear the Mask" one of Dunbar's most famous works and noted that it has been "read and reread by critics". [5]
The publication of Quqnūs and, shortly afterwards, the continuing articles entitled "The Value of Emotions in Artists' Lives" had a profound effect on the growth of She'r-e Nimaa'i. [5] In Quqnūs, Nima Yoshij transforms his poetry and tends to social symbolism. Before that, his poems included romanticism, realism and symbolism. [6]
Social poetry is poetry which performs a social function or contains a level of social commentary. The term seems to have first appeared as a translation from the original Spanish Poesia Socíal , used to describe the post- Spanish-civil-war poetry movement of the 1950s and 60s [ 1 ] (including poets such as Blas de Otero ).
The even-number stanzas in the eight-stanza poem create a refrain like those found in many work songs and are variations of many protest poems. Stepto is impressed with Angelou's creation of a new art form out of work and protest forms, but does not feel that she develops it enough.
Wordsworth's and Coleridge's 1798 publication of Lyrical Ballads is considered by some as the first important publication in the movement. Romanticism stressed strong emotion, imagination, freedom within or even from classical notions of form in art, and the rejection of established social conventions.
The poem mentions several members of Lord Liverpool's government by name: the Foreign Secretary, Castlereagh, who appears as a mask worn by Murder, the Home Secretary, Lord Sidmouth, whose guise is taken by Hypocrisy, and the Lord Chancellor, Lord Eldon, whose ermine gown is worn by Fraud. Led by Anarchy, a skeleton with a crown, they try to ...
"In The Bazaars of Hyderabad" is a poem by Indian Romanticism and Lyric poet Sarojini Naidu (1879–1949). The work was composed and published in her anthology The Bird of Time (1912)—which included "Bangle-sellers" and "The Bird of Time", it is Naidu's second publication and most strongly nationalist book of poems, published from both London and New York City.
The poem is an elegy in name but not in form; it employs a style similar to that of contemporary odes, but it embodies a meditation on death, and remembrance after death. The poem argues that the remembrance can be good and bad, and the narrator finds comfort in pondering the lives of the obscure rustics buried in the churchyard.