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The Waste Land is a poem by T. S. Eliot, widely regarded as one of the most important English-language poems of the 20th century and a central work of modernist poetry. Published in 1922, the 434-line [ A ] poem first appeared in the United Kingdom in the October issue of Eliot's magazine The Criterion and in the United States in the November ...
The song became one of the most known leading songs of the Revisionist Zionist youth movement Betar. The song includes four verses. Each verse ends with the following line which is the main political message and theme of the poem: "Two Banks has the Jordan – This is ours and, that is as well." [1]
An Appointment with Mr Yeats" by The Waterboys is an album of Yeats poems set to song. The poem "Down by the Salley Gardens" was based by Yeats on a fragment of a song he heard an old woman singing. Yeats' words have been recorded as a song by many performers. The song "A Bad Dream" by Keane is based on the poem "An Irish Airman Foresees His ...
In this journal, he introduced a number of poets who were to become quite famous later, including Paul Durcan, Michael Hartnett and Seamus Heaney. This series of Poetry Ireland lasted until 1968–69. In 1981 he became the first editor of the new magazine published by the Poetry Ireland Society, called Poetry Ireland Review.
The tune known as "Roll, Jordan, Roll" may have its origins in the hymn "There is a Land of Pure Delight" written by Isaac Watts [1] in the 18th century. It was introduced to the United States by the early 19th century, in states such as Kentucky and Virginia, as part of the Second Great Awakening, and often sung at camp meetings.
Those basic patterns are called feet, and this particular pattern (weak weak STRONG) is called an anapest. A line with four feet is said to be in tetrameter (tetra-, from the Greek for four). Therefore, this poem is written in anapestic tetrameter. (This process of analyzing a poem's rhythms is called scansion.) The poem also rhymes (not all ...
Phonaesthetics (also spelled phonesthetics in North America) is the study of the beauty and pleasantness associated with the sounds of certain words or parts of words.The term was first used in this sense, perhaps by J. R. R. Tolkien, [1] during the mid-20th century and derives from Ancient Greek φωνή (phōnḗ) 'voice, sound' and αἰσθητική (aisthētikḗ) 'aesthetics'.
The turn in poetry has gone by many names. In "The Poem in Countermotion", the final chapter of How Does a Poem Mean?, John Ciardi speaks thus of the "fulcrum" in relation to the non-sonnet poem "O western wind" (O Western Wind/when wilt thou blow/The small rain down can rain//Christ! my love were in my arms/and I in my bed again): 'The first two lines are a cry of anguish to the western wind ...