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"Tamerlane" is the Latinized name of a 14th-century historical figure.. The main themes of "Tamerlane" are independence and pride [3] as well as loss and exile. [4] Poe may have written the poem based on his own loss of his early love, Sarah Elmira Royster, [5] his birth mother Eliza Poe, or his foster-mother Frances Allan. [4]
Letters from Iceland is a travel book in prose and verse by W. H. Auden and Louis MacNeice, published in 1937. Auden revised his sections of the book for a new edition published in 1967. Auden revised his sections of the book for a new edition published in 1967.
Woolf expanded the scope to include the art of poetry, literature, and in particular letter writing. In her view letter writing as an art "has only just come into existence". In Woolf's view poetry demands both facility in introspection, as well as a deep understanding of the human species.
Written in heroic couplets, the poems are arranged as a series of 24 letters, covering various aspects of borough life and detailing the stories of certain inhabitants' lives. Of the letters, the best known is that of Peter Grimes in Letter XXII, which formed the basis for Benjamin Britten's opera of the same name. Letter XXI describes Abel ...
"The Raven" was first attributed to Poe in print in the New York Evening Mirror on January 29, 1845. Its publication made Poe popular in his lifetime, although it did not bring him much financial success. The poem was soon reprinted, parodied, and illustrated. Critical opinion is divided as to the poem's literary status, but it nevertheless ...
Letter consists of 28 short essays, which includes a few poems and a commencement address, and is dedicated to "the daughter she never had". [2] Reviews of the book were generally positive; most reviewers recognized that the book was full of Angelou's wisdom and that it read like words of advice from a beloved grandmother or aunt.
Ariel was the second book of Sylvia Plath's poetry to be published. It was first released in 1965, two years after her death by suicide. The poems of Ariel, with their free-flowing images and characteristically menacing psychic landscapes, marked a dramatic turn from Plath's earlier Colossus poems. [1]
The poem discusses proper decorum in the wake of the death of a young woman, described as "the queenliest dead that ever died so young". The poem concludes: "No dirge shall I upraise,/ But waft the angel on her flight with a paean of old days!" Lenore's fiancé, Guy de Vere, finds it inappropriate to "mourn" the dead; rather, one should ...