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Lost poems of Sulpicia, who wrote erotic poems of conjugal bliss and was herself the subject of two poems by Martial, who wrote (10.35) that "All girls who desire to please one man should read Sulpicia. All husbands who desire to please one wife should read Sulpicia." Lost poems of Stesichorus. Of several long works, significant fragments survive.
Sherry argues that throughout the collection, the speaker believes words do not need to have single clear referents. He notes how the poet-speaker in "Genesis" first feels hope about the power of his words to "create a world", then despair when failing to represent surrounding occurrences accurately, and ultimately openness to a word lacking a single reference – and how the last phase is an ...
The Glenriddell Manuscripts is an extensive collection written in holograph by Robert Burns and an amanuensis of his letters, poems and a few songs in two volumes produced for his then friend Captain Robert Riddell, Laird of what is now Friars Carse in the Nith Valley, Dumfries and Galloway. [1]
Vachel Lindsay in 1912. While in New York in 1905 Lindsay turned to poetry in earnest. He tried to sell his poems on the streets. Self-printing his poems, he began to barter a pamphlet titled Rhymes To Be Traded For Bread, which he traded for food as a self-perceived modern version of a medieval troubadour.
Memory for Forgetfulness (Arabic: Dhakirah li-al-nisyan) is a 1987 prose poem by Palestinian poet Mahmoud Darwish. The work is a memoir of the Siege of Beirut during the Lebanese Civil War and the 1982 Israeli invasion of Lebanon. It was translated into English in 1995 by Ibrahim Muhawi, and into Hebrew by Salman Masalha.
James J. Metcalfe, in a collage of FBI Special Agents from 1934. His poem, "We Were the G-Men," may be seen at center. Metcalf is at center in the far left column. James J. Metcalfe (September 16, 1906 – March 1960) was an American poet whose "Daily Poem Portraits" were published in more than 100 United States newspapers during the 1940s and 1950s.
Poems of 1912–1913 are an elegiac sequence written by Thomas Hardy in response to the death of his wife Emma in November 1912. An unsentimental meditation upon a complex marriage, [1] the sequence's emotional honesty and direct style made its poems some of the most effective and best-loved lyrics in the English language.
At her death the Pittsfield Sun, where some of her poems were published in the 1850s and early 1860s, praised her as "a lady of superior literary accomplishments." [ 23 ] As Stanton Garner was the first to suggest, Melville may have adapted a phrase from one of Sarah's poems ("Eager for the battle's fate/And the aspect of the war.") for the ...