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An alternative tune sometimes used for "My Hope Is Built on Nothing Less" is "Melita", composed by John B. Dykes.The advantage of "Melita" for "My Hope Is Built on Nothing Less" is that "Melita" automatically emphasizes the word rock (which is central to the lyrics) by dedicating one and one-half beats to that word (where in "Solid Rock" it has merely an eighth note).
Ah, blessed vision! blood of God! My spirit beats her mortal bars, As down dark tides the glory slides, And star-like mingles with the stars. (lines 42–48) Galahad continues by comparing the vision to light clothed in drapery: [5] A maiden knight-to me is given Such hope, I know not fear; I yearn to breathe the airs of heaven That often meet ...
The following story is recorded in the 13th-century halakhic work Or Zarua, which attributes it to Ephraim of Bonn (a compiler of Jewish martyrologies, died ca. 1200): [5]. I found in a manuscript written by Rabbi Ephraim of Bonn that Rabbi Amnon of Mainz wrote Untanneh Tokef about the terrible event which befell him, and these are his words: "It happened to Rabbi Amnon of Mainz, who was the ...
They seem to gibe at my despair And mock my fear. Lord, I am poor save in this wise: A child have I, And as I joke the best I may, He, uncomplaining fades away And soon must die. Lord, thou hast many in thy home, I only one; Think, Lord, a jester's life is sad, Change not "he has" into "he had," --Grant me my son.
The poem itself is a plea addressed directly to God, who is invoked in his Trinitarian form ("three-person'd God"). The speaker does not suffer from an internal problem here, unlike in a number of Donne's other Holy Sonnets (such as I am a little world made cunningly or O, to vex me ); he is sure of what he needs and how to reach his end goal.
The original words "Meine Hoffnung stehet feste" were written around 1680 by Joachim Neander.. In 1899 these were freely translated into English by Robert Bridges. [1] He was, at the time, living in the Berkshire village of Yattendon, where he was choir master for the parish church of St Peter and St Paul. [2]
The poem was set to music by Pelham Humfrey in the 17th century and posthumously published in Harmonia Sacra, Book 1 (1688). A typical performance takes about 3 minutes. [2] [3] His setting has been included in 10 hymnals, under such other titles as its opening line, "Wilt Thou Forgive That Sin, Where I Begun", but without always crediting him as composer, or Donne as the author of the words. [4]
[The poem] exemplifies better than anything else [Dickinson] wrote the special quality of her mind ... If the word great means anything in poetry, this poem is one of the greatest in the English language; it is flawless to the last detail. The rhythm charges with movement the pattern of suspended action back of the poem.