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An 1850 acrostic by Nathaniel Dearborn, the first letter of each line spelling the name "JENNY LIND". An acrostic is a poem or other word composition in which the first letter (or syllable, or word) of each new line (or paragraph, or other recurring feature in the text) spells out a word, message or the alphabet. [1]
Additionally, an acrostic poem titled Shouting at the Past by Benbo Smith, explores themes of silence and the loss of hearing. It draws a parallel to William Blake's London, using the acrostic "H.E.A.R." to highlight the soundscape of Blake's London, where societal conditions create a noisy, oppressive environment. The poem conveys the tension ...
A second acrostic DEA DIO-' the goddess Dione ' occurs a few lines later in 46–51, opposite the mention of Dionaei Caesaris ' Dione's descendant Caesar ' (the goddess Dione) (line 47). [ 28 ] [ 29 ] According to Adkin, the word ecce ' look! ' in line 47 is a pointer to the presence of an acrostic.
The late 10th-century or early 11th-century London, British Library, Royal MA 12 c xxiii, folio 83r, showing the beginning of Aldhelm's acrostic preface The Epistola ad Acircium, sive Liber de septenario, et de metris, aenigmatibus ac pedum regulis ('letter to Acircius, or the book on sevens, and on metres, riddles, and the regulation of poetic ...
An unpublished 9-line poem written circa 1829 for Poe's cousin Elizabeth Rebecca Herring (the acrostic is her first name, spelled out by the first letter of each line). It was never published in Poe's lifetime.
The cover of a series of illustrations for the "Night Before Christmas", published as part of the Public Works Administration project in 1934 by Helmuth F. Thoms "A Visit from St. Nicholas", routinely referred to as "The Night Before Christmas" and "' Twas the Night Before Christmas" from its first line, is a poem first published anonymously under the title "Account of a Visit from St ...
Eclogue 8 (Ecloga VIII; Bucolica VIII), also titled Pharmaceutria ('The Sorceress'), is a pastoral poem by the Latin poet Virgil, one of his book of ten Eclogues. After an introduction, containing an address to an unnamed dedicatee, there follow two love songs of equal length sung by two herdsmen, Damon and Alphesiboeus.
Gustave Doré, The Heavenly Hosts, c. 1866, illustration to Paradise Lost. Key to the ambitions of Paradise Lost as a poem is the creation of a new kind of epic , one suitable for English, Christian morality rather than polytheistic Greek or Roman antiquity.