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"To Autumn" is a poem by English Romantic poet John Keats (31 October 1795 – 23 February 1821). The work was composed on 19 September 1819 and published in 1820 in a volume of Keats's poetry that included Lamia and The Eve of St. Agnes. "To Autumn" is the final work in a group of poems known as Keats's "1819 odes".
"Chanson d'automne" ("Autumn Song") is a poem by Paul Verlaine (1844–1896), one of the best known in the French language. It is included in Verlaine's first collection, Poèmes saturniens, published in 1866 (see 1866 in poetry). The poem forms part of the "Paysages tristes" ("Sad landscapes") section of the collection. [1]
"To Autumn" is a 33-line poem broken into three stanzas of 11. It discusses how autumn is both a force of growth and maturation, and deals with the theme of approaching death. While the earlier 1819 odes perfected techniques and allowed for variations that appear within "To Autumn", Keats dispenses with some aspects of the previous poems (such ...
The house in Notre-Dame-des-Champs street where Victor Hugo wrote Les Feuilles d'automne.. Les Feuilles d'Automne (French pronunciation: [le fœj dotÉ”n], lit. ' Autumn Leaves ') is a collection of poems written by Victor Hugo, and published in 1831.
Sonnet 73, one of the most famous of William Shakespeare's 154 sonnets, focuses on the theme of old age.The sonnet addresses the Fair Youth.Each of the three quatrains contains a metaphor: Autumn, the passing of a day, and the dying out of a fire.
The poem was published one season at a time, Winter in 1726, Summer in 1727, Spring in 1728 and Autumn only in the complete edition of 1730. [2] Thomson borrowed Milton's Latin-influenced vocabulary and inverted word order, with phrases like "in convolution swift".
The long poem in the book which is titled "The Auroras of Autumn" is a 240-line poem divided into ten cantos of 24 lines each. It is considered one of Stevens' more challenging and "difficult" [ 3 ] works, and a 20th-century example of the English Romantic tradition. [ 4 ]
John A. Rea wrote about the poem's "alliterative symmetry", citing as examples the second line's "hardest – hue – hold" and the seventh's "dawn – down – day"; he also points out how the "stressed vowel nuclei also contribute strongly to the structure of the poem" since the back round diphthongs bind the lines of the poem's first ...