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Annie Finch's "Coy Mistress" [5] suggests that poetry is a more fitting use of their time than lovemaking, while A.D. Hope's "His Coy Mistress to Mr. Marvell" turns down the offered seduction outright. [6] Many authors have borrowed the phrase "World enough and time" from the poem's opening line to use in their book titles.
"To His Coy Mistress", "The Garden", "An Horatian Ode" Andrew Marvell ( / ˈ m ɑːr v əl , m ɑːr ˈ v ɛ l / ; 31 March 1621 – 16 August 1678) was an English metaphysical poet , satirist and politician who sat in the House of Commons at various times between 1659 and 1678.
His influences were Pope and the Augustan poets, Auden, and Yeats. He was a polymath, very largely self-taught, and with a talent for offending his countrymen. He wrote a book of "answers" to other poems, including one in response to the poem "To His Coy Mistress" by Andrew Marvell.
To His Coy Mistress; The Unfortunate Lover; The Gallery; The Fair Singer; Mourning; Daphnis and Chloe; The Definition of Love; The Picture of Little T.C. in a Prospect of Flowers; The Match; The Mower Against Gardens; Damon the Mower; The Mower to the Glo-Worms; The Mower's Song; Ametas and Thestylis Making Hay-Ropes; Musicks Empire; The Garden
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"To have squeezed the universe into a ball" (92) and "indeed there will be time" (23) echo the closing lines of Andrew Marvell's 'To His Coy Mistress'. Other phrases such as, "there will be time" and "there is time" are reminiscent of the opening line of that poem: "Had we but world enough and time". [27]
Joseph P. Kennedy's mistress Janet Fontaine gives intriguing details about her nine-year affair with one of the most powerful men in America. Kennedy patriarch's mistress tells all, says his wife ...
The poet Abraham Cowley, in whose biography Samuel Johnson first named and described Metaphysical poetry. The term Metaphysical poets was coined by the critic Samuel Johnson to describe a loose group of 17th-century English poets whose work was characterised by the inventive use of conceits, and by a greater emphasis on the spoken rather than lyrical quality of their verse.