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These included poems about the Real Presence in the Blessed Sacrament, a poem that sympathetically describes St. Joseph's crisis of faith, about the traumatic but purgatorial sense of loss experienced by St. Mary Magdalen after the Crucifixion of Jesus Christ, and about attending the Tridentine Mass on Christmas Day.
The title poem is a significantly longer work that focuses on the crucifixion of Jesus, a defence of women, and the importance of woman in the Biblical crucifixion narrative. Suzanne Woods observes that the poem is "meditating and expanding on the events from the female point of view," which was a revolutionary retelling of the crucifixion at ...
Like his earlier poem The Eolian Harp, it discusses Coleridge's understanding of nature and his married life, which was suffering from problems that developed after the previous poem. Overall, the poem focuses on humanity's relationship with nature in its various aspects, ranging from experiencing an Edenic state to having to abandon a unity ...
Carolyn Carty also claims to have written the poem in 1963 when she was six years old based on an earlier work by her great-great aunt, a Sunday school teacher. She is known to be a hostile contender of the "Footprints" poem and declines to be interviewed about it, although she writes letters to those who write about the poem online. [1]
"Stern Daughter of the Voice of God!" Poems of Sentiment and Reflection: 1807 To a Skylark 1805 "Up with me! up with me into the clouds!" Poems, composed during a Tour, chiefly on foot. No. 2 (1807); Poems of the Fancy (1815–) 1807 Fidelity 1805 "A Barking sound the Shepherd hears," Poems of Sentiment and Reflection. 1807
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The poems of the Junius Manuscript, especially Christ and Satan, can be seen as a precursor to John Milton's 17th-century epic poem Paradise Lost. It has been proposed that the poems of the Junius Manuscript served as an influence of inspiration to Milton's epic, but there has never been enough evidence to prove such a claim (Rumble 385).
The poem has been set to music as a Christmas carol by many composers including R O Morris, Harold Darke, Leo Sowerby, John Kelsall and John Rutter [2] and is also sung to the traditional Irish melody "Garton". [3] More recently, the poem was given a modern treatment by Jars of Clay on its 2007 album, Christmas Songs. [4]