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In an 1888 review called "Personal Peculiarities" in The London Standard, the reviewer claims that the poem "sounds like poetry, but it is the work of one writing by ear and ignoring all sense and meaning, like the tyro's first chaotic attempt to compose an oratorio. In the one case the obscurity comes from a too greater number of ideas, in the ...
The poem, a rondeau, [3] has been cited as one of Dunbar's most famous poems. [4]In her introduction to The Collected Poetry of Paul Laurence Dunbar, the literary critic Joanne Braxton deemed "We Wear the Mask" one of Dunbar's most famous works and noted that it has been "read and reread by critics". [5]
In 1990 Dutch composer Jurriaan Andriessen set the poem to a mixed chamber choir setting. Rufus Wainwright's "Sonnet 43", the sixth track on his album All Days Are Nights: Songs for Lulu (2010), is a musical setting of the sonnet. In 2004 Flemish composer Ludo Claesen set this poem to a setting for chamber music (flute, piano and soprano-solo).
Keats’s poetry engages the old (Uranus, the Pacific, Homer) with new eyes and fresh appreciation. It is filled with a sense of wonder, inspiration, joy, excitement, adventure and possibility at discovering the amazing made accessible (in Herschel’s and Cortés’s findings, Chapman’s English).
This poem expresses fear, frustration, and faint hope of the colonial poet who had to live in a heartbreaking period of anxiety and fear in the paradoxical situation of 'dead end' and 'open end'. There are various analysis of the '13' children. One of the most common analysis of the number is that it represents the 13 people at the Last Supper.
Sonnet 24 is one of 154 sonnets written by the English playwright and poet William Shakespeare, and is a part of the Fair Youth sequence. In the sonnet, Shakespeare treats the commonplace Renaissance conceit connecting heart and eye. Although it relates to other sonnets that explore this theme, Sonnet 24 is considered largely imitative and ...
His eye no longer sees the outer world, only the image of the beloved. Birds, flowers and other forms cannot enter his mind since it is filled with the image of his love. Whatever he sees, ugly or beautiful, is transformed into the beloved, and so the perfect inner image makes his outer vision false.
Love’s eye is not so true as all men’s: no, How can it? O, how can Love’s eye be true, That is so vex’d with watching and with tears? No marvel then, though I mistake my view; The sun itself sees not till heaven clears. O cunning Love! with tears thou keep’st me blind, Lest eyes well-seeing thy foul faults should find.