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"Nothing Gold Can Stay" is a short poem written by Robert Frost in 1923 and published in The Yale Review in October of that year. It was later published in the collection New Hampshire (1923), [ 1 ] which earned Frost the 1924 Pulitzer Prize for Poetry .
The first part, Winter, was published in 1726, and the completed poem cycle appeared in 1730. [1] The poem was extremely influential, and stimulated works by Joshua Reynolds, John Christopher Smith, Joseph Haydn, Thomas Gainsborough and J. M. W. Turner. [1] "The Seasons" is also mentioned by Emily Dickinson in poem 131, "Besides the Autumn ...
The poem's message is fairly simple. Stevens believed that poetry and literature in general had the ability to excite and inspire. He believed that the imagination was an overlooked tool with the innate capability of distinguishing a mundane life (i.e. the lives of those who wore 'white night gowns' to bed) from an exciting and fulfilling one.
"The Cold Within" is a poem written in the 1960s by American poet James Patrick Kinney. It has appeared in countless church bulletins, web sites and teaching seminars, as well as magazines and newspapers, including Dear Abby 's column on 5 September 1999. [ 2 ]
"Birches" is a poem by American poet Robert Frost. First published in the August 1915 issue of The Atlantic Monthly together with "The Road Not Taken" and "The Sound of Trees" as "A Group of Poems". It was included in Frost's third collection of poetry Mountain Interval, which was published in 1916.
The poem can be compared to imagist paintings of the period such as Klee's "Blaue Nacht", Klee's shades of blue replaced by Stevens' colors of the night. Stevens adds unsettling elements. The poem unfolds like a little horror show. A fire creates flickering images of the colors of bushes and leaves, which themselves turn in the wind.
winter (冬 fuyu), using "winter" in a haiku adds a sense of chilliness (literally and figuratively), bleakness, and seclusion to the poem. November (霜月 shimotsuki or 十一月 jūichigatsu), December (師走 shiwasu or 十二月 jūnigatsu) and January (睦月mutsuki or 一月 ichigatsu) cold (寒し samushi) and coldness (寒さ samusa)
There is idiosyncratic capitalization, especially for nouns. Many of the themes in the poem are created through the initial simile of winter light "that oppresses, like the Heft / Of Cathedral Tunes -" This simile creates a synesthetic effect, mixing sound, sight, and weight. [8] This simile first introduces religious connotations to the poem.