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David Pollock Young (born December 14, 1936) is an American poet, translator, editor, literary critic and professor. His work includes 11 volumes of poetry, translations from Italian, Chinese, German, Czech, Dutch, and Spanish, critical work on Shakespeare , Yeats , and modernist poets, and landmark anthologies of prose poetry and magical realism.
It describes the poet's musings on death over a series of nine "nights" in which he ponders the loss of his wife and friends, and laments human frailties. The best-known line in the poem (at the end of "Night I") is the adage "procrastination is the thief of time", which is part of a passage in which the poet discusses how quickly life and ...
The great preparation; or Redemption draweth nigh, 1864. The last warning cry: with reasons for the hope that is in me, 1867. Is Christianity from God? Or, A manual of Christian evidence, 1871. "Our Father", a manual of short family prayers, 1871. When shall these things be? Or, Signs of the last times, 1878.
A Vision of the Last Judgement is a painting by William Blake that was designed in 1808 before becoming a lost artwork. The painting was to be shown in an 1810 exhibition with a detailed analysis added to a second edition of his Descriptive Catalogue .
The poet claims that his poem will outlast palaces and cities, and keep the young man's good qualities alive until the Last Judgement. The sonnet traces the progression of time, from the physical endeavours built by man (monuments, statues, masonry), as well as the primeval notion of warfare depicted through the image of "Mars his sword" and ...
Young's first publication was an Epistle to ...Lord Lansdoune (1713). This was followed by a Poem on the Last Day (1713), dedicated to Queen Anne; The Force of Religion: or Vanquished Love (1714), a poem on the execution of Lady Jane Grey and her husband, dedicated to the Countess of Salisbury; and an epistle to Joseph Addison, On the late Queen's Death and His Majesty's Accession to the ...
In the Last Judgement the damned are placed in hell in the lower mid-ground while the saints and angels are positioned higher in the upper foreground. [6] Pächt writes of this panel that the scene is "assimilated into a single spatial cosmos", with the archangel acting as a divider in the pictorial space between heaven and hell. [10]
In the King James Version of the Bible the text reads: This people draweth nigh unto me with their mouth, and honoureth me with their lips; but their heart is far from me. The New International Version translates the passage as: "'These people honor me with their lips, but their hearts are far from me.