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The Dream of the Rood, a work of Christian epic poetry in Old English believed to date from the 7th century, preserved in the Vercelli Book; Heliand, an epic poem which retells the life of Jesus Christ in Old Saxon, alliterative verse, and like the story of a Pre-Christian Germanic tribal leader.
Not even the parallelismus membrorum is an absolutely certain indication of ancient Hebrew poetry. This "parallelism" occurs in the portions of the Hebrew Bible that are at the same time marked frequently by the so-called dialectus poetica; it consists in a remarkable correspondence in the ideas expressed in two successive units (hemistiches, verses, strophes, or larger units); for example ...
In this verse Jesus presents the example of the lilies, who also do no labour. Spin in this verse is a reference to spinning thread, a labour-intensive but necessary part of making clothing. Spinning was traditionally women's work, something made explicit in Luke's version of this verse.
Psalm 133 is the 133rd psalm of the Book of Psalms, beginning in English in the King James Version: "Behold, how good and how pleasant it is for brethren to dwell together in 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]
Death is a gentleman who is riding in the horse carriage that picks up the speaker in the poem and takes the speaker on her journey to the afterlife. According to Thomas H. Johnson's variorum edition of 1955 the number of this poem is "712". The poet's persona speaks about Death and Afterlife, the peace that comes along with it without haste.
This does not account for the handful of poems published during Emily Dickinson's lifetime, nor poems which first appeared within published letters. 1stS.P: Section and Poem number (both converted to Arabic numerals, and separated by a period) of the poem in its 1st publication as noted above. Poems in the volumes of 1929 and 1935 are not ...
Directly across the water, these images (and the direct imperative "Listen!") were to be later echoed by Matthew Arnold, an early admirer (with reservations) of "Intimations", in his poem "Dover Beach", but in a more subdued and melancholy vein, lamenting the loss of faith, and in what amounts to free verse rather than the tightly disciplined ...