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Perhaps no poem of this class has been more universally admired than the pastoral Epithalamion of Edmund Spenser (1595), though he also has important rivals—Ben Jonson, Donne and Francis Quarles. [2] Ben Jonson's friend, Sir John Suckling, is known for his epithalamium "A Ballad Upon a Wedding." In his ballad, Suckling playfully demystifies ...
Such was the popular mood (remember the queues across the bridges near Westminster Abbey) that the words of the poem, so plain as scarcely to be poetic, seemed to strike a chord. Not since Auden's 'Stop All the Clocks' in the film Four Weddings and a Funeral had a piece of funerary verse made such an impression on the nation. In the days ...
"An Arundel Tomb" is a poem by Philip Larkin, written and published in 1956, and subsequently included in his 1964 collection The Whitsun Weddings. It describes the poet's response to seeing a pair of recumbent medieval tomb effigies with their hands joined in Chichester Cathedral .
Epithalamion is a poem celebrating a marriage. An epithalamium is a song or poem written specifically for a bride on her way to the marital chamber. In Spenser's work, he is spending the day anxiously awaiting to marry Elizabeth Boyle. The poem describes the day in detail.
The poem's first four lines are engraved on one of the stones of the Everest Memorial, Chukpi Lhara, in Dhugla Valley, near Everest. Reference to the wind and snow and the general theme of the poem, the absence of the departed, particularly resonate with the loved ones of those who "disappeared" in the mountain range to whom the memorial is ...
In Memoriam was a favourite poem of Queen Victoria, who after the death of her husband, the Prince Consort Albert, was "soothed & pleased" by the feelings explored in Tennyson's poem. [15] In 1862 and in 1883, Queen Victoria met Tennyson to tell him she much liked his poetry.
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Funeral Blues", or "Stop all the clocks", is a poem by W. H. Auden which first appeared in the 1936 play The Ascent of F6. Auden substantially rewrote the poem several years later as a cabaret song for the singer Hedli Anderson. Both versions were set to music by the composer Benjamin Britten.
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