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The poem, one of the "songs" of The Princess, has been set to music a number of times. Edward Lear put the lyric to music in the 19th century, and Ralph Vaughan Williams ' pianistic setting of 1903 was described by The Times as "one of the most beautiful settings in existence of Tennyson's splendid lyric".
A concordance specifying the poem, line and case in which each word appears, e.g., hortulus appears in the ablative case hortulo in line 88 of Catullus' poem 61. Definitions for the words are not given. Mulroy DD (1986). Comites Catulli: Structured Vocabulary Lists for Catullus 1–60. Lanham, MD: University Press of America.
The poem is 720 lines long. It is considered to be one of the first of Shelley's major poems. Peacock suggested the name Alastor, which comes from Roman mythology. Peacock has defined Alastor as "evil genius". The name does not refer to the hero or Poet of the poem, however, but instead to the spirit who divinely animates the Poet's imagination.
Longfellow wrote the poem shortly after completing lectures on German writer Johann Wolfgang von Goethe and was heavily inspired by him. He was also inspired to write it by a heartfelt conversation he had with friend and fellow professor at Harvard University Cornelius Conway Felton; the two had spent an evening "talking of matters, which lie near one's soul:–and how to bear one's self ...
Sonnet 18 (also known as "Shall I compare thee to a summer's day") is one of the best-known of the 154 sonnets written by English poet and playwright William Shakespeare.. In the sonnet, the speaker asks whether he should compare the Fair Youth to a summer's day, but notes that he has qualities that surpass a summer's day, which is one of the themes of the poem.
The poem is a reconsideration of the idea that poetry can immortalize the young man. The previous sonnets in the Rival Poet group have hinted at retaliation for the young man's disloyal preference for another poet, and in this poem retaliation becomes activated as the sonnet considers how the poet will write his friend's epitaph. [3]
The poem features words from "Philomythos" (myth-lover) to "Misomythos" (myth-hater) who defends mythology and myth-making as a creative art about "fundamental things". [4] It begins by addressing C. S. Lewis as the Misomythos, who at the time was sceptical of any truth in mythology:
What [the] heart leaves behind is not a man, but only the likeness of a man, 'unswayed', under no sway, with no heart to govern it". [10] Edward Dowden provides this gloss of lines 11 and 12: "My heart ceases to govern me, and leaves me no better than the likeness of a man - a man without a heart - in order that it may become slave to thy proud ...