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The poem was written in 1880 by Roberts before she had met Elgar, though they were married in the year after the song was written. Roberts offered the poem to Edward when they were engaged, and such was the quality of the work that he put into it—the independent brilliant piano part, the voice in turn subtle and heroic—that it won the first prize of £5 in a competition organised by the ...
New Formalism is a late 20th- and early 21st-century movement in American poetry that has promoted a return to metrical, rhymed verse and narrative poetry on the grounds that all three are necessary if American poetry is to compete with novels and regain its former popularity among the American people.
Free verse is an open form of poetry which does not use a prescribed or regular meter or rhyme [1] and tends to follow the rhythm of natural or irregular speech. Free verse encompasses a large range of poetic form, and the distinction between free verse and other forms (such as prose) is often ambiguous.
Poetic rhythm is the flow of words within each meter and stanza to produce a rhythmic effect while emphasising specific parts of the poem. Repetition– Repetition often uses word associations to express ideas and emotions indirectly, emphasizing a point, confirming an idea, or describing a notion.
"Danny Deever" is an 1890 poem by Rudyard Kipling, one of the first of the Barrack-Room Ballads. It received wide critical and popular acclaim, and is often regarded as one of the most significant pieces of Kipling's early verse. The poem, a ballad, describes the execution of a British soldier in India for murder. His execution is viewed by his ...
The lines are not simply rhythmic: the rhythm is regular within a line, and is the same for each line. A poem having a regular rhythm (not all poems do) is said to follow a certain meter. In "The Destruction of Sennacherib," each line has the basic pattern of two unstressed syllables followed by a third stressed syllable, with this basic ...
The tone poems of Richard Strauss are noted as the high point of program music in the latter part of the 19th century, extending its boundaries and taking the concept of realism in music to an unprecedented level. In these works, he widened the expressive range of music while depicting subjects many times thought unsuitable for musical depiction.
Folk dance like a wave of the sea; My cousin is priest in Kilvarnet, My brother in Mocharabuiee. I passed my brother and cousin: They read in their books of prayer; I read in my book of songs I bought at the Sligo fair. When we come at the end of time To Peter sitting in state, He will smile on three old spirits, But call me first through the gate;