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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 ...
How once I longed to hide it from life's heats Under those holy cypresses, the same That shade always the quiet place of Keats, Now rather thank I God there is no risk Of gravers scoring it with florid screed, But let my death be memoried on this disc. Wear it, sweet friend. Inscribe no date nor deed. But may thy heart-beat kiss it night and day,
"A Dream" is a poem by English poet William Blake. The poem was first published in 1789 as part of Blake's collection of poems entitled Songs of Innocence. A 1795 hand painted version of "A Dream" from Copy L of Songs of Innocence and of Experience currently held by the Yale Center for British Art [1]
"The Little Boy Lost" is a two stanza poem with eight total lines. It is written in ballad metre (essentially a loose common metre). [4] In the poem Blake uses internal rhyme in line 7 "The mire was deep, & the child did weep" with the words "weep" and "deep". This played a role in the simplicity of reading the poem.
The framing device is the narrator having a dream. In this dream or vision he is speaking to the Cross on which Jesus was crucified. The poem itself is divided up into three separate sections: the first part (lines 1–27), the second part (lines 28–121) and the third part (lines 122–156). [1]
The poem, written after Newman's conversion from Anglicanism to Roman Catholicism, [1] explores his new Catholic-held beliefs of the journey from death through Purgatory, thence to Paradise, and to God. The poem follows the main character as he nears death and reawakens as a soul, preparing for judgment, following one of the most important ...
"A Song for Simeon" is a 37-line poem written in free verse. The poem does not have a consistent pattern of meter. The lines range in length from three syllables to fifteen syllables. Eliot uses end rhyme sporadically in 21 lines of the poem, specifically: [1] [2] and, hand, stand, and land (in lines 1, 3, 5, 7) poor and door (lines 10 and 12)
Sue Bridgwater compares the poem to W. B. Yeats's 1891 poem "The Man who Dreamed of Faeryland", with Dream Vision narrative and Faery as references. Both, she writes, place the realm of Faery on an island across the western sea, with trees or forests; as in Tolkien's forested Elvish land of Lothlórien , time passes differently in "The Sea-Bell".