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Richard David Shepherd CBE FRSA FGRA (25 April 1931 – 19 September 2017) [1] was a British artist and one of the world's most outspoken conservationists. [2] He was most famous for his paintings of steam locomotives (he owned a number of them) and wildlife, although he also often painted aircraft, portraits (notably The Queen Mother) and landscapes.
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LIKE TO THE DAMASK ROSE Like [to] [4] the damask rose you see, Or like the blossom on [a] [5] tree, Or like the dainty flow’r of May, Or like the morning [of] [6] the day, Or like the sun, or like the shade, Or like the gourd which Jonas had, Even such is man, whose thread is spun, Drawn out, and cut, and so is done : The rose withers, the ...
The triumph of Dionysus, depicted on a 2nd-century Roman sarcophagus. Dionysus rides in a chariot drawn by panthers; his procession includes elephants and other exotic animals. The Dionysiaca / ˌ d aɪ. ə. n ɪ ˈ z aɪ. ə. k ə / (Ancient Greek: Διονυσιακά, Dionysiaká) is an ancient Greek epic poem and the principal work of Nonnus.
Blowzabella is an English folk band formed in London in 1978. The band currently consists of Andy Cutting, Jo Freya, Paul James, David Shepherd, Barn Stradling, and Jon Swayne; [1] members of the band have changed multiple times since late 1982, with Jon Swayne being the only remaining original band member.
Heinrich Heine uses the cry in his cycle of poems Die Nordsee published in Buch der Lieder in 1827. [8] The first poem of the second cycle, Meergruß ('Sea Greeting'), begins: Thalatta! Thalatta! Sei mir gegrüßt, du ewiges Meer! ('Sea! Sea! Be greeted by me, you eternal sea!')
[7] [10] On the way out to sea, the captain sees a mermaid with a "comb and a glass in her hand". [ 10 ] Three parallel stanzas most often follow describing how three of the crew members, contemplating impending disaster, would rather be somewhere else than on the ocean floor; for example, the cook would rather be with his pots and pans. [ 7 ]
“The Second Coming” is a poem written by Irish poet William Butler Yeats in 1919, first printed in The Dial in November 1920 and included in his 1921 collection of verses Michael Robartes and the Dancer. [1] The poem uses Christian imagery regarding the Apocalypse and Second Coming to describe allegorically the atmosphere of post-war Europe ...