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Ecopoetry is any poetry with a strong ecological or environmental emphasis or message. Many poets and poems in the past have expressed ecological concerns, but only recently has there been an established term to describe them; there is now, in English-speaking poetry, a recognisable subgenre of poetry, termed Ecopoetry, which can, on occasions, form a major strand of a writer's career ...
Holograph manuscript of Gray's "Stanzas Wrote in a Country Church-Yard". The poem most likely originated in the poetry that Gray composed in 1742. William Mason, in Memoirs, discussed his friend Gray and the origins of Elegy: "I am inclined to believe that the Elegy in a Country Church-yard was begun, if not concluded, at this time [August 1742] also: Though I am aware that as it stands at ...
The two poems, to the exclusion of all other of Teasdale works, appeared together in two World War I poetry anthologies, A Treasury of War Poetry: British and American Poems of the World War, 1914–1917 published in 1917, [3] and Poems of the War and the Peace published in 1921. [4]
Gary Snyder (born May 8, 1930) is an American poet, essayist, lecturer, and environmental activist.His early poetry has been associated with the Beat Generation and the San Francisco Renaissance and he has been described as the "poet laureate of Deep Ecology". [2]
This trend can perhaps be most clearly seen in the handling of nature, with a move away from poems about formal gardens and landscapes by urban poets and towards poems about nature as lived in. The leading exponents of this new trend include Thomas Gray, George Crabbe, Christopher Smart and Robert Burns as well as the Irish poet Oliver Goldsmith.
The Garden" is a widely anthologized poem by the seventeenth-century English poet, Andrew Marvell. The poem was first published posthumously in Miscellaneous Poems (1681). [1] “The Garden” is one of several poems by Marvell to feature gardens, including his “Nymph Complaining for the Death her Fawn,” “The Mower Against Gardens,” and ...
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 ...
The poem begins by summarising the themes of The Prelude, and develops into a discussion of Wordsworth's understanding of his beliefs and their relationship with nature. [64] In the poem, Coleridge is self-critical in a near masochistic manner, holding his poetry and thoughts as inferior to Wordsworth.