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The earlier two letters reveal a spirited and charming young lady much in love with Wordsworth, well able to fend for herself. [10] In hindsight it seems that the story of the doomed illicit love affair between Vaudracour and Julia that appears in The Prelude , also published as a separate longer poem in 1820, is an oblique autobiographical ...
The seductive attraction to the delight in sense experience is, from the point of view of the spirit which seeks its freedom in the infinitude, experienced as betrayal. Blake therefore took the name Tirzah to be a symbolic reference to worldly materialism, as opposed to the spiritual realm of Jerusalem. [1]
In Whitman’s poem, the reader can find symbolism through the journey of life and the open, democratic society of that time. In the first 8 sections of the poem, Whitman observes the freedoms in life shown through the open road, “Afoot and light-hearted I take to the open road; Healthy, free, the world before me; The long brown path before me leading wherever I choose.”
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The Golden Threshold [1] is an anthology of poems written by Sarojini Naidu. The text was published in 1905 when Naidu was only 26 years old. The selection of poems within The Golden Threshold were inspired by her own life and are written in English diction. The poems present a variety of themes, some being romance, nature and spirituality.
Poems on Various Subjects, Religious and Moral by Phillis Wheatley, Negro Servant to Mr. John Wheatley, of Boston, in New England (published 1 September 1773) is a collection of 39 poems written by Phillis Wheatley, the first professional African-American woman poet in America and the first African-American woman whose writings were published.
The central theme, according to Solomos' notes, is the defenders' power of the will, which is tested by a number of afflictions. Thus, the besieged, according to Solomos, become truly free because of their spiritual victory over all their trials. This was described by the poet as an inner freedom of the will. [6]
The poet Gwyneth Lewis sees the poem as "a hymn to the havoc that art can work in the world", [19] while for the scholar Helen Fulton the wind is a metaphor for "freedom and autonomy from the laws of governing society". [21] This political aspect of the poem is particularly apparent in lines 19–22 (13–16 in some editions):