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"Tithonus" is a poem by the Victorian poet Alfred, Lord Tennyson (1809–92), originally written in 1833 as "Tithon" and completed in 1859. It first appeared in the February edition of the Cornhill Magazine in 1860.
Tithonus has been taken by the allegorist to mean ‘a grant of a stretching-out’ (from teinō and ōnė), a reference to the stretching-out of his life, at Eos’s plea; but it is likely, rather, to have been a masculine form of Eos’s own name, Titonë – from titō, ‘day [2] and onë, ‘queen’ – and to have meant ‘partner of the Queen of Day’.
The poem's common name comes from the Greek myth of Tithonus, which is mentioned in lines 9 to 12. According to legend Tithonus was a Trojan prince, loved by Eos, the goddess Dawn. She asked that Zeus make her lover immortal; he granted the request, but as she did not ask for eternal youth for Tithonus, he continued to age for eternity.
Titon et l'Aurore (English: Tithonus and Aurora) is an opera in three acts and a prologue by the French composer Jean-Joseph de Mondonville which was first performed at the Académie royale de musique in Paris on 9 January 1753.
Dactylic hexameter (also known as heroic hexameter and the meter of epic) is a form of meter or rhythmic scheme frequently used in Ancient Greek and Latin poetry. The scheme of the hexameter is usually as follows (writing – for a long syllable, u for a short, and u u for a position that may be a long or two shorts):
In Memoriam A.H.H. (1850) is an elegiac, narrative poem in 2,916 lines of iambic tetrameter, composed in 133 cantos, each canto headed with a Roman numeral, and organised in three parts: (i) the prologue, (ii) the poem, and (iii) the epilogue. [4]
"Crossing the Bar" is an 1889 elegiac poem by Alfred, Lord Tennyson.The narrator uses an extended metaphor to compare death with crossing the "sandbar" between the river of life, with its outgoing "flood", and the ocean that lies beyond death, the "boundless deep", to which we return.
Tithonus was the son of Laomedon of Troy and fell in love with Eos, the Greek goddess of dawn. His name was chosen by Albert Oppel for this stratigraphical stage because the Tithonian finds itself hand in hand with the dawn of the Cretaceous. [4] The base of the Tithonian stage is at the base of the ammonite biozone of Hybonoticeras hybonotum.