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The Raven and Other Poems, Wiley and Putnam, New York, 1845. Poe first brought "The Raven" to his friend and former employer George Rex Graham of Graham's Magazine in Philadelphia. Graham declined the poem, which may not have been in its final version, though he gave Poe $15 (equivalent to $491 in 2023) as charity. [31]
"After Blenheim" is an anti-war poem written by English Romantic poet laureate Robert Southey in 1796. The poem is set at the site of the Battle of Blenheim (1704), with the questions of two small children about a skull one of them has found. Their grandfather, an old man, tells them of burned homes, civilian casualties, and rotting corpses ...
The Wedding-Guest's reaction turns from amusement to impatience to fear to fascination as the mariner's story progresses, as can be seen in the language style; Coleridge uses narrative techniques such as personification and repetition to create a sense of danger, the supernatural, or serenity, depending on the mood in different parts of the poem.
"Do not go gentle into that good night" is a poem in the form of a villanelle by Welsh poet Dylan Thomas (1914–1953), and is one of his best-known works. [1] Though first published in the journal Botteghe Oscure in 1951, [2] Thomas wrote the poem in 1947 while visiting Florence with his family.
"Stopping by Woods on a Snowy Evening" is a poem by Robert Frost, written in 1922, and published in 1923 in his New Hampshire volume. Imagery, personification, and repetition are prominent in the work. In a letter to Louis Untermeyer, Frost called it "my best bid for remembrance". [2]
The poem incorporates a complex reliance on assonance—the repetition of vowel sounds—in a conscious pattern, as found in many of his poems. Such a reliance on assonance is found in very few English poems. Within "Ode to a Nightingale", an example of this pattern can be found in line 35 ("Already with thee! tender is the night"), where the ...
On the relationship between form and content, Anne Ridler notes in an introduction to her own poem "Villanelle for the Middle of the Way" a point made by T. S. Eliot, that "to use very strict form is a help, because you concentrate on the technical difficulties of mastering the form, and allow the content of the poem a more unconscious and ...
In 1983, Vendler praised many of the passages within the poem but argued that the poem was unable to fully represent what Keats wanted: "The simple movement of entrance and exit, even in its triple repetition in the Urn, is simply not structurally complex enough to be adequate, as a representational form, to what we know of aesthetic experience ...