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The Istanbul tablet#2461, dating to c. 2000 BCE, describes an annual rite in which the king symbolically married and mated with the goddess Inanna to ensure fertility and prosperity; some have labelled it the world's oldest love poem. [13] [14] An example of Egyptian epic poetry is The Story of Sinuhe (c. 1800 BCE). [15]
Originally, in the time of the influential poetry anthology Man'yōshū (latter half of the eighth century AD), the term tanka was used to distinguish "short poems" from the longer chōka (長歌, "long poems"). [3]
To that end haikai poets would often combine elements of traditional poems with new ones they created. A well-known example of this early attitude is the opening couplet, possibly by Yamazaki Sōkan (1464–1552), from his Inutsukubashū (犬筑波集, "Mongrel Renga Collection"). He was given the following prompt:
The book includes both translations from Japanese and original poems of his own in English, which had previously appeared in his book titled A Pepper-Pod: Classic Japanese Poems together with Original Haiku. In these books Yasuda presented a critical theory about haiku, to which he added comments on haiku poetry by early 20th-century poets and ...
Others recall an event. For example, Mango Village (Thai: กรยนสวาย) reminds him or her hands slicing a mango for him. These passage occur mostly in the early part of the poem. Other place-names are just mentioned in passing. Some prompt the descriptions typical of a literary traveler.
An example of this is The Ring and the Book by Robert Browning. In terms of narrative poetry, romance is a narrative poem that tells a story of chivalry. Examples include the Romance of the Rose or Tennyson's Idylls of the King. Although those examples use medieval and Arthurian materials, romances may also tell stories from classical mythology.
Scholars have observed that the rondel is a relatively fluid construction, not always adhering to strict formal definitions. J.M. Cocking wrote that "the reader who comes across a poem bearing the title rondel by Banville, Rollinat, Dobson or Bridges and is curious enough to look for a definition of this form is likely to be more confused than enlightened."
To be a 'school' a group of poets must share a common style or a common ethos. A commonality of form is not in itself sufficient to define a school; for example, Edward Lear, George du Maurier and Ogden Nash do not form a school simply because they all wrote limericks. There are many different 'schools' of poetry.
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