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The turn in poetry has gone by many names. In "The Poem in Countermotion", the final chapter of How Does a Poem Mean?, John Ciardi speaks thus of the "fulcrum" in relation to the non-sonnet poem "O western wind" (O Western Wind/when wilt thou blow/The small rain down can rain//Christ! my love were in my arms/and I in my bed again): 'The first two lines are a cry of anguish to the western wind ...
Dante's Geryon, meanwhile, is an image of fraud, [81] combining human, bestial, and reptilian elements: Geryon is a "monster with the general shape of a wyvern but with the tail of a scorpion, hairy arms, a gaudily-marked reptilian body, and the face of a just and honest man". [82]
Scholars have noted that the form of the poem follows the content: the wavelike quality of the long-then-short lines parallels the narrative thread of the poem. The extended metaphor of "crossing the bar" represents travelling serenely and securely from life into death. The Pilot is a metaphor for God, whom the speaker hopes to meet face to face.
Man does not live by bread alone; Man proposes, heaven disposes; Manners maketh man; Many a little makes a mickle; Many a mickle makes a muckle; Many a true word is spoken in jest; Many hands make light work; March comes in like a lion and goes out like a lamb; Marriages are made in heaven [16] [17] [18] Marry in haste, repent at leisure
The man's the gowd for a' that. What though on hamely fare we dine, Wear hoddin grey, and a' that; Gie fools their silks, and knaves their wine, A man's a man for a' that: For a' that, and a' that, Their tinsel shew, and a' that, The honest man, tho' e'er sae poor, Is king o' men for a' that. Ye see yon birkie, ca'd a lord, Wha struts and ...
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The speaker of the poem is the character Aedh, who appears in Yeats's work alongside two other archetypal characters of the poet's myth: Michael Robartes and Red Hanrahan. The three characters, according to Yeats, represent the "principles of the mind;" whereas Robartes is intellectually powerful and Hanrahan represents Romantic primitivism ...
The poetic style of the Heavenly Question is markedly different from the other sections of the Chuci collection, with the exception of the "Nine Songs" ("Jiuge"). The poetic form of the Heavenly Questions is the four-character line, more similar to the Shijing than to the predominantly variable lines generally typical of the Chuci pieces, the vocabulary also differs from most of the rest of ...