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The long poem Liberty by the Scottish James Thomson (1734), is a lengthy monologue spoken by the "Goddess of Liberty", describing her travels through the ancient world, and then English and British history, before the resolution of the Glorious Revolution of 1688 confirms her position there. [62]
Example: My stick fingers click with a snicker And, chuckling, they knuckle the keys; Light-footed, my steel feelers flicker And pluck from these keys melodies. —“Player Piano,” John Updike. Euphony –A series of musically pleasant sounds that give the poem a melodious quality, conveying a sense of harmony to the reader.
The repetition of identical or similar sounds, usually accented vowel sounds and succeeding consonant sounds at the end of words, and often at the ends of lines of prose or poetry. [7] For example, in the following lines from a poem by A. E. Housman, the last words of both lines rhyme with each other. Loveliest of trees, the cherry now
Les Contenances de la Table, published in 1487, is a French example; [1] The Babee's Boke and Queen Elizabethe's Academy are both English examples, printed in the 1500s. [ 5 ] The first children's book printed in the New World was John Cotton 's Milk for Babes, Drawn out of the Breasts of Both Testaments, Chiefly for the Spiritual Nourishment ...
A national personification is an anthropomorphic personification of a state or the people(s) it inhabits. It may appear in political cartoons and propaganda . In the first personifications in the Western World , warrior deities or figures symbolizing wisdom were used (for example the goddess Athena in ancient Greece), to indicate the strength ...
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The personification of death changes from one of pleasantry to one of ambiguity and morbidity: "Or rather—He passed Us— / The Dews drew quivering and chill—" (13–14). The imagery changes from its original nostalgic form of children playing and setting suns to Death's real concern of taking the speaker to the afterlife.
This makes the caesura arguably more important to the Old English verse than it was to Latin or Greek poetry. In Latin or Greek poetry, the caesura could be suppressed for effect in any line. In the alliterative verse that is shared by most of the oldest Germanic languages, the caesura is an ever-present and necessary part of the verse form itself.