The great majority (85-90%) of early classical Arabic poetry

ellauri001.html on line 2341: 
ANUSHTUBHA METER IN Sanskrit poetry    

ellauri014.html on line 1512: He remained the reference point for Baroque poetry as long as it was in vogue. In the 18th and 19th centuries, while being remembered for historical reasons, he was regarded as the source and exemplar of Baroque "bad taste".

ellauri014.html on line 1557: ... But more importantly, these surroundings put Marino in direct contact with the natural philosophy of Della Porta and the philosophical systems of Giordano Bruno and Tommaso Campanella. While Campanella himself was to oppose "Marinism" (though not attacking it directly), this common speculative background should be borne in mind with its important pantheistic (and thus neo-pagan and heterodox) implications, to which Marino would remain true all his life and exploit in his poetry, obtaining great success amongst some of the most conformist thinkers on the one hand while encountering continual difficulties because of the intellectual content of his work on the other.

ellauri014.html on line 1569: The Cambridge History of Italian Literature thought him to be "one of the greatest Italian poets of all time". He is considered the founder of the school of Marinism, later known as Secentismo (17th century) or Marinismo (19th century), characterised by its use of extravagant and excessive conceits.[2] Marino´s conception of poetry, which exaggerated the artificiality of Mannerism, was based on an extensive use of antithesis and a whole range of wordplay, on lavish descriptions and a sensuous musicality of the verse, and enjoyed immense success in his time, comparable to that of Petrarch before him.

ellauri014.html on line 1584: But some witnesses, who include both Marino´s detractors (such as Tommaso Stigliani) and defenders (such as the printer and biographer Antonio Bulifoni in a life of the poet which appeared in 1699) have firmly asserted that Marino, much of whose love poetry is heavily ambiguous, had homosexual tendencies. Elsewhere, the reticence of the sources on this subject is obviously due to the persecutions to which "sodomitical practices" were particularly subject during the Counterreformation.

ellauri014.html on line 1621:   In Adone, Marino quotes and rewrites passages from Dante´s Divine Comedy, Ariosto, Tasso and the French literature of the day. The aim of these borrowings is not plagiarism but rather to introduce an erudite game with the reader who must recognise the sources and appreciate the results of the revision. Marino challenges the reader to pick up on the quotations and to enjoy the way in which the material has been reworked, as part of a conception of poetic creation in which everything in the world (including the literature of the past) can become the object of new poetry. In this way, Marino also turns Adone into a kind of poetic encyclopaedia, which collects and modernises all the previous productions of human genius.

ellauri014.html on line 1632: Thus Adone, in spite of its technical virtuosity, is a work rich in authentic poetry written in a style which often achieves perfection of rhythm.

ellauri014.html on line 1722: So, yeah (the blogger goes on), I know I am not an internationally renowned poetry critic, but it strikes me that this is an entirely different poem. There is a blossom in both poems, and a journey. But there isn’t much else that connects them. I don’t think I am being overly literal when I suggest that either Montgomery has misattributed the original poem, or that her version is a pretty radical interpretation.

ellauri014.html on line 1770: Like Bryant’s poem, this verse is about autumnal flowers. With some searching I found this poem in the 1884 New Year’s edition of Godey’s Lady’s Book. “Tam! The Story of a Woman” by Ella Rodman Church and August De Bubna includes this poem. In the story the verses are found in a copy of Bryant’s poetry–hence Montgomery’s connection to the poem–but in the (relatively boring) story they are actually written on a slip of paper that was found in the Bryant book–and written by a woman who tentatively hopes to make a career as a poet in a male’s publishing world. Intriguingly, Montgomery seems to have forgotten the original context of the verse, but herself emulated the desire of “Miss Powell” in the story.

ellauri014.html on line 1973:   "Thanatopsis" remains a milestone in American literary history. "Poems" was considered by many to be the first major book of American poetry. Nevertheless, over five years, it earned Bryant only $14.92. Poet and literary critic Thomas Holley Chivers, who often accused other writers of stealing poems, said that the only thing Bryant "ever wrote that may be called Poetry is ´Thanatopsis´,  which he stole line for line from the Spanish."

ellauri020.html on line 85: poetry.jpg" width="30%" />

ellauri042.html on line 657: An anecdote in "A Letter from Mr. Cibber, to Mr. Pope", published in 1742, recounts their trip to a brothel organised by Pope's own patron, who apparently intended to stage a cruel joke at the expense of the poet. Since Pope was only about 4' tall, with a hunchback, due to a childhood tubercular infection of the spine, and the prostitute specially chosen as Pope's 'treat' was the fattest and largest on the premises, the tone of the event is fairly self-apparent. Cibber describes his 'heroic' role in snatching Pope off of the prostitute's body, where he was precariously perched like a tom-tit, while Pope's patron looked on, sniggering, thereby saving English poetry. While Cibber's elevation to laureateship in 1730 had further inflamed Pope against him, there is little speculation involved in suggesting that Cibber's anecdote, with particular reference to Pope´s "little-tiny manhood", motivated the revision of hero. 

ellauri042.html on line 680:   Margaret Eleanor Atwood CC OOnt CH FRSC (born November 18, 1939) is a Canadian poet, novelist, literary critic, essayist, teacher, environmental activist, and inventor. Since 1961, she has published 18 books of poetry, 18 novels, 11 books of non-fiction, nine collections of short fiction, eight children's books, and two graphic novels, as well as a number of small press editions of both poetry and fiction. Atwood has won numerous awards and honors for her writing, including the Booker Prize (twice), Arthur C. Clarke Award, Governor General's Award, Franz Kafka Prize, Princess of Asturias Awards, and the National Book Critics and PEN Center USA Lifetime Achievement Awards. A number of her works have been adapted for film and television.

ellauri042.html on line 684:     In 1968, Atwood married Jim Polk, an American writer; they divorced in 1973 without issue. Maybe they ought to have bought a handmaid. She formed a relationship with fellow novelist Graeme Gibson soon afterward and moved to a farm near Alliston, Ontario, where their daughter, Eleanor Jess Atwood Gibson, was born in 1976. The family returned to Toronto in 1980. Atwood and Gibson were together until September 18, 2019, when Gibson died after suffering from dementia. She wrote about Gibson in the poem Dearly and in an accompanying essay on grief and poetry published in The Guardian in 2020. 

ellauri042.html on line 943: Donne's style is characterised by abrupt openings and various paradoxes, ironies and dislocations. These features, along with his frequent dramatic or everyday speech rhythms, his tense syntax and his tough eloquence, were both a reaction against the smoothness of conventional Elizabethan poetry and an adaptation into English of European baroque and mannerist techniques. His early career was marked by poetry that bore immense knowledge of English society. Another important theme in Donne´s poetry is the idea of true religion, something that he spent much time considering and about which he often theorised. He wrote secular poems as well as erotic and love poems. He is particularly famous for his mastery of metaphysical conceits.

ellauri051.html on line 520: When one looks closely at Wilt Whatman's poetry, one is struck, then, by its peculiar combination of extreme egotism that borders on solipsism, in which the entire cosmos and even aspects of divinity are subsumed into the poet's voice, and its affirmation of the poor, the humble, the suffering and the ordinary things of life. (Arthur Versluis: The Esoteric Origins of the American Renaissance)

ellauri052.html on line 497: Eventually, the poetry of William Wordsworth showed him that beauty generates compassion for others and stimulates joy. With renewed joy he continued to work towards a just society, but with more relish for the journey. He considered this one of the most pivotal shifts in his thinking. In fact, many of the differences between him and his father stemmed from this expanded source of joy. :D

ellauri053.html on line 1156: 
From 1900, his poetry grew more physical and realistic. He largely renounced the transcendental beliefs of his youth, though he remained preoccupied with physical and spiritual masks, as well as with cyclical theories of life. In 1923, he was awarded the Nobel Prize in Literature.

ellauri053.html on line 1179: His complaint against Yeats was that Yeats’s “supernatural world” was “the wrong supernatural world”:  It was not a world of spiritual significance, not a world of real Good and Evil, of holiness or sin, but a highly sophisticated lower mythology summoned, like a physician, to supply the fading pulse of poetry with some transient stimulant so that the dying patient may utter his last words. 


ellauri053.html on line 1363: Yeats derided MacBride in letters and in poetry. He was horrified by Gonne's marriage, at losing his muse to another man; in addition, her conversion to Catholicism before marriage offended him; Yeats was Protestant/agnostic. He worried his muse would come under the influence of the priests and do their bidding.

ellauri053.html on line 1379: In December 1923, Yeats was awarded the Nobel Prize in Literature, "for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation". He was aware of the symbolic value of an Irish winner so soon after Ireland had gained independence, and sought to highlight the fact at each available opportunity. His reply to many of the letters of congratulations sent to him contained the words: "I consider that this honour has come to me less as an individual than as a representative of Irish literature, it is part of Europe's welcome to the Free State." Taas yxi tällänen taatatyyppinen poliittinen nobelisti.

ellauri054.html on line 213: Matthew Arnold (24. joulukuuta 1822 Laleham, Middlesex – 15. huhtikuuta 1888 Liverpool) oli englantilainen viktoriaanisen ajan runoilija sekä yhteiskunta- ja kirjallisuuskriitikko. Arnold työskenteli koulutarkastajana. Ei se kuitenkaan ollut pedantti. Hän oli kuuluisan Rugby Schoolin rehtorin Thomas Arnoldin poika ja vähemmän kuuluisien Tom Arnoldin ja William Delafield Arnoldin, romaanikirjailijan veli. Wordsworthin kamuja. A voice poking fun in wilderness. Oliko sekin puun takaa huutelija? Caricature from Punch, 1881: "Admit that Homer sometimes nods, That poets do write trash, Our Bard has written "Balder Dead," And also Balder-dash". Tennysonin ja Browningin jälkeen viktoriaanisten runoilijoiden twit-kisan pronssimies. "It might be fairly urged that I have less poetical sentiment than Tennyson and less intellectual vigour and abundance than Browning; yet because I have perhaps more of a fusion of the two than either of them, and have more regularly applied that fusion to the main line of modern development, I am likely enough to have my turn as they have had theirs." Arnold got into his poetry what Tennyson and Browning scarcely needed (but absorbed anyway), the main march of mind of his time.

ellauri054.html on line 344: Anthony Hecht was born in New York City in 1923. His books of poetry include The Darkness and the Light (Alfred A. Knopf, 2001); Flight Among the Tombs (1996); The Transparent Man (1990); Collected Earlier Poems (1990); The Venetian Vespers (1979); Millions of Strange Shadows (1977); The Hard Hours (1967), which won the Pulitzer Prize; and A Summoning of Stones (1954).

ellauri054.html on line 382: Tyypillisesti esseen kirjoittaja on amatööri. Esseisti tyrmää lukijan rohkealla yleistyxellä viidennessä erässä, Hannu kertoo tohkeissaan. Kulttuuri on kovaa agonia. Se tapahtuu julkisella areenalla, jossa ihminen on primitiivisimmillään. Hiki ja veri lentää. HK Riikonen tuntee izensä ihan häräxi. Seppo sä olet oikea sonni! Machismo as sheer poetry. Mä en oikeestaan ymmärrä miten joku voi olla valtavan henkisen paineen alla julkisen mielipiteen takia. Kuka välittää?

ellauri054.html on line 527: Browning´s early career began promisingly, but collapsed. The long poems Pauline (1833) and Paracelsus (1835) received some acclaim, but in 1840 the difficult Sordello, which was seen as wilfully obscure, brought his poetry into disrepute. His reputation took more than a decade to recover, during which time he moved away from the Shelleyan forms of his early period and developed a more personal style.

ellauri054.html on line 565: In 1846 Browning married the older poet Elizabeth Barrett and went to live in Italy. By the time of her death in 1861 he had published the crucial collection Men and Women (1855). The collection Dramatis Personae (1864) and the book-length epic poem The Ring and the Book (1868-1869) followed, and made him a leading British poet. He continued to write prolifically, but his reputation today rests largely on the poetry he wrote in this middle period.

ellauri055.html on line 348: 		I think there are as many kinds of gardening as of poetry.

ellauri055.html on line 408: 		Laying out grounds may be considered a liberal art, in some sort like poetry and painting.

ellauri058.html on line 799:   The twelfth book of  The Greek Anthology compiled at the  court of Hadrian in the second  century a.d. by a poetaster  Straton, who like most anthologists  included an immodest number of his  own poems, is itself a part of a  larger collection of short poems  dating from the dawn of Greek lyric  poetry (Alcaeus) down to its last  florescence, which survived two  Byzantine recensions to end up in a  single manuscript in the library of  the Count Palatine in Heidelberg  — hence its alternative title, The  Palatine Anthology, usually  abbreviated to Anth. Pal. This  particular, indeed special, collection contained in Book XII  subtitled The Musa Paedika or Musa  Puerilis, alternately from the  Greek word for a child of either  sex — and girls are not wholly  absent from these pages — or the  Latin for “boy,” consists of 258  epigrams on various aspects of Boy  Love or, to recur to the Greek  root, paederasty.

ellauri061.html on line 203:       In 1817, William Hazlitt found the play to be better as a written work than a staged production. He found the work to be "a delightful fiction" but when staged, it is reduced to a dull pantomime. He concluded that poetry and the stage do not fit together.

ellauri061.html on line 223:   "Peter Quince at the Clavier" is a poem from Wallace Stevens's first book of poetry, Harmonium. The poem was first published in 1915 in the "little magazine" Others: A Magazine of the New Verse (New York), edited by Alfred Kreymborg. Tää on aika höyryinen runo apokryfisestä Susannasta jota setämiehet kuolaavat. Wallace Stevens (October 2, 1879 – August 2, 1955) was an American modernist poet. 

ellauri073.html on line 275: Quickly on your attacks on Wallace's writing style, I will mention that -- contrary to your rather baffling notions -- people did enjoy Infinite Jest and other works of his. They will continue to do so for decades. Listen Fartey: his work will live on. People recognize great writing wherever it materializes. Forget your distaste of footnotes, or your struggle in understanding the themes and ideals his work encompasses. His audience is clearly beyond you, so try to see that not everyone feels the same as you. You don't have to like his writing, but when you detract from it it makes it even more apparent that you are the lesser man. Your comments on Foster's writing ability led me to some of your other articles, and to be completely honest, it wasn't all bad. I genuinely enjoyed your "Fucking vs. Making Love" poetry bit, although it did seem like a cheap knockoff of Black Coffee Blues. Regardless, I can still acknowledge that the piece had its moments. However (and this is where I want you to pay attention you tub of lard), the piece can also be slammed in several areas. This is highly important, as we can see the parallels between this aspect of "Fucking vs. Making Love" and anything David Foster Wallace wrote. When it comes down to it, your writing can be criticized stylistically and formatically just like his can; the only difference is that there are few that actually give a shit about your writing, whereas Wallace's work is meaningful to the point where people have legitimate incentive to think critically about it. So defile it with your petty blog posts all you want, but at the end of the day you're the one who's only making yourself look bad, and as a heavily obese man based in Europe you are surely having few problems achieving this in the status quo, since Europeans are notably fatist.

ellauri073.html on line 516: Sally is remembered as a wickedly funny, funnily wicked, generous and compassionate woman who made friends everywhere she went. She had an unmatched love for the English language and inspired countless others — including her students, children and grandchildren — to pursue their passion of writing. She was fearless in every sense of the world, and in the final years of her life, tried many new things, such as zip-lining, main-lining, and attending monthly poetry slams.

ellauri078.html on line 196:     It was written by Isaac Watts, and published in Hymns and Spiritual Songs in 1707. It is significant for being an innovative departure from the early English hymn style of only using paraphrased biblical texts, although the first two lines of the second verse do paraphrase St Paul at Galatians 6:14. The poetry of "When I survey..." may be seen as English literary baroque.

ellauri094.html on line 654: The body of Algernon Charles Swinburne’s poetry is so vast and varied that it is difficult to generalize about it. Swinburne wrote poetry for more than sixty years, and in that time he treated an enormous variety of subjects and employed many poetic forms and meters. He wrote English and Italian sonnets, elegies, odes, lyrics, dramatic monologues, ballads, and romances; and he experimented with the rondeau, the ballade, and the sestina. Much of this poetry is marked by a strong lyricism and a self-conscious, formal use of such rhetorical devices as alliteration, assonance, repetition, personification, and synecdoche. Swinburne’s brilliant self-parody, “Nephilidia,” hardly exaggerates the excessive rhetoric of some of his earlier poems. The early A Song of Italy would have more effectively conveyed its extreme republican sentiments had it been more restrained. As it is, content is too often lost in verbiage, leading a reviewer for The Athenaeum to remark that “hardly any literary bantling has been shrouded in a thicker veil of indefinite phrases.” A favorite technique of Swinburne is to reiterate a poem’s theme in a profusion of changing images until a clear line of development is lost. “The Triumph of Time” is an example. Here the stanzas can be rearranged without loss of effect. This poem does not so much develop as accrete. Clearly a large part of its greatness rests in its music. As much as any other poet, Swinburne needs to be read aloud. The diffuse lyricism of Swinburne is the opposite of the closely knit structures of John Donne and is akin to the poetry of Walt Whitman. 

ellauri094.html on line 698:   If you write a school or university poetry essay, you should include in your explanation of the poem:

ellauri094.html on line 711:   Good luck in your poetry interpretation practice!

ellauri095.html on line 37:     Sprung rhythm is a poetic rhythm designed to imitate the rhythm of natural speech. It is constructed from feet in which the first syllable is stressed and may be followed by a variable number of unstressed syllables. The British poet Gerard Manley Hopkins said he discovered this previously unnamed poetic rhythm in the natural patterns of English in folk songs, spoken poetry, Shakespeare, Milton, et al. He used diacritical marks on syllables to indicate which should be stressed in cases "where the reader might be in doubt which syllable should have the stress" (acute, e.g. shéer) and which syllables should be pronounced but not stressed (grave, e.g., gleanèd).

ellauri095.html on line 109: The term also gained currency among a group that studied Classics and dabbled in pederastic poetry from the 1870s to the 1930s. The writings of this group are now known by the phrase Uranian poetry. The art of Henry Scott Tuke and Wilhelm von Gloeden is also sometimes referred to as Uranian.

ellauri095.html on line 117: As a poet, Hopkins's father published works including A Philosopher's Stone and Other Poems (1843), Pietas Metrica (1849), and Spicelegium Poeticum, A Gathering of Verses by Manley Hopkins (1892). He reviewed poetry for The Times and wrote one novel. Catherine (Smith) Hopkins was the daughter of a London physician, particularly fond of music and of reading, especially German philosophy, literature and the novels of Dickens. Both parents were deeply religious high-church Anglicans. Catherine's sister, Maria Smith Giberne, taught her nephew Gerard to sketch. The interest was supported by his uncle, Edward Smith, his great-uncle Richard James Lane, a professional artist, and other family members.

ellauri095.html on line 123: Hopkins became a skilled draughtsman. He found his early training in visual art supported his later work as a poet. His siblings were much inspired by language, religion and the creative arts. Milicent (1849–1946) joined an Anglican sisterhood in 1878. Kate (1856–1933) would help Hopkins publish the first edition of his poetry. Hopkins's youngest sister Grace (1857–1945) set many of his poems to music. Lionel (1854–1952) became a world-famous expert on archaic and colloquial Chinese. Arthur (1848–1930) and Everard (1860–1928) were highly successful artists. Cyril (1846–1932) would join his father's insurance firm.

ellauri095.html on line 125: Manley Hopkins moved his family to Hampstead in 1852, near where John Keats had lived 30 years before and close to the green spaces of Hampstead Heath. When he was ten years old, Gerard was sent to board at Highgate School (1854–1863). While studying Keats´s poetry, he wrote "The Escorial" (1860), his earliest extant poem. Here he practised early attempts at asceticism. He once argued that most people drank more liquids than they really needed and bet that he could go without drinking for a week. He persisted until his tongue was black and he collapsed at drill. On another occasion he abstained from salt for a week.

ellauri095.html on line 135:     A short fellow of 5’2 or 3”, he was enthusiastic, had a high-pitched voice, loved to sketch and write poems, was close to his family, and had warm, lifelong friends from Oxford, fellow Jesuits, and Irish families.  For recreation he visited art exhibitions and old churches, and enjoyed holidays with his family, friends, and fellow Jesuits in Switzerland, Holland, the Isle of Wight, the Isle of Man, Whitby on the North Sea, Wales, Scotland, and the West of Ireland.  During these holidays, he loved to hike and swim.  His passions were nature (especially trees), ecology, beauty, poetry, art, his family and friends, his country, his religion, and his God.  His curse was a lifelong “melancholy” (his word) which in 1885 in Dublin became deep depression and a sense of lost contact with God.

ellauri095.html on line 137:     In life and poetry he was serious and playful – even whimsical.  Spiritually, despite an early scrupulosity which he never fully lost, he followed the Jesuit way of finding God in all things, and rejoiced in “God in the world”: “The world is charged wíth the grándeur of God.”  He was very, very bright, with an extensive knowledge of words and languages — he knew so many words !  His intellectual hero was the medieval philosopher Duns Scotus, whose philosophy of selfhood he held dear.  Hopkins himself had a strong sense of self, appreciated his own individuality, and was immensely self-confident.

ellauri095.html on line 157: Usually writing Miltonic sonnets of 14 lines, he experimented with such unusual forms as a “curtal” sonnet of 10 2/5 lines (“Pied Beauty”) and a “caudal” sonnet of 24 lines (“That Nature is a Heraclitean Fire”).  As an experimenter, he was a modern poet before “modern” poetry existed. 

ellauri095.html on line 207: 	Nevertheless, even after he became a Jesuit he continued to cultivate an acquaintance with the visual arts through drawing and attendance at exhibitions, and this lifelong attraction to the visual arts affected the verbal art for which he is remembered. In his early poetry and in his journals wordpainting is pervasive, and there is a recurrent Keatsian straining after the stasis of the plastic arts.

ellauri095.html on line 234: On 18 January 1866, Hopkins composed his most ascetic poem, The Habit of Perfection. On 23 January, he included poetry in a list of things to be given up for Lent. In July, he decided to become a Roman Catholic and travelled to Birmingham in September to consult the leader of the Oxford converts, John Henry Newman. Newman received him into the Roman Catholic Church on 21 October 1866.

ellauri095.html on line 238: The decision to convert estranged Hopkins from his family and from a number of acquaintances. After graduating in 1867, he was provided by Newman with a teaching post at the Oratory in Birmingham. While there he began to study the violin. On 5 May 1868 Hopkins firmly "resolved to be a religious." Less than a week later, he made a bonfire of his poetry and gave it up almost entirely for seven years. Fortunately he did not burn his Bridges like Savonarola. He also felt a call to enter the ministry and decided to become a Jesuit. He paused first to visit Switzerland, which officially forbade Jesuits to enter.

ellauri095.html on line 240: In September 1868 Hopkins began his Jesuit novitiate at Manresa House, Roehampton, under the guidance of Alfred Weld. Two years later he moved to St Mary´s Hall, Stonyhurst, for philosophical studies, taking vows of poverty, chastity and obedience on 8 September 1870. He felt that his interest in poetry had stopped him devoting himself wholly to religion. However, on reading Duns Scotus in 1872, he saw how the two need not conflict.

ellauri095.html on line 246: In 1874 Hopkins returned to Manresa House to teach classics. While studying in the Jesuit house of theological studies, St Beuno´s College, near St Asap in North Wales, he was asked by his religious superior to write a poem to commemorate the foundering of a German ship in a storm. So in 1875 he took up poetry once more to write a lengthy piece, "The Wreck of the Deutschland", inspired by the Deutschland incident, a maritime disaster in which 157 people died, including five Franciscan nuns who had been leaving Germany due to harsh anti-Catholic laws (see Kulturkampf). The work displays both the religious concerns and some of the unusual metre and rhythms of his subsequent poetry not present in his few remaining early works. It not only depicts the dramatic events and heroic deeds, but tells of him reconciling the terrible events with God´s higher purpose. The poem was accepted but not printed by a Jesuit publication. This rejection fed his ambivalence about his poetry, most of which remained unpublished until after his death.

ellauri095.html on line 453: Christina Rossetti became for Hopkins the embodiment of the medievalism of the Pre-Raphaelites, the Oxford Movement, and Victorian religious poetry generally. In the 1860s Hopkins was profoundly influenced by her example and succeeded, unbeknownst to her and to the critics of his time, in becoming a rival far greater than any of her contemporaries.

ellauri095.html on line 455: Their rivalry began with Hopkins’s response to her poem “The Convent Threshold.” Geoffrey Hartman was clearly on the right track when he suggested in the introduction to Hopkins: A Collection of Critical Essays (1966) that “Hopkins seems to develop his lyric structures out of the Pre-Raphaelite dream vision. In his early ‘A Vision of the Mermaids’; and ‘St. Dorothea’; he may be struggling with such poems as Christina Rossetti’s ‘Convent Threshold’; and Dante Gabriel Rossetti’s ‘The Blessed Damozel,’ poems in which the poet stands at a lower level than the vision, or is irrevocably, pathetically distanced.” Such poems were the essence of medievalism in poetry according to William Morris, who felt that Keats’s “La Belle Dame Sans Merci” was the germ from which all Pre-Raphaelite poetry sprang. Standing beyond Keats, however, the primary source was Dante. Christina Rossetti clearly alludes to Beatrice’s appeal to Dante in “The Convent Threshold”:

ellauri095.html on line 483: The sequence of events is clear. On 18 January 1866 Hopkins composed his most ascetic poem, “The Habit of Perfection” (Täydellinen asukokonaisuus). On 23 January he included poetry in the list of things to be given up for Lent. In July he decided to become a Catholic, and he traveled to Birmingham in September to consult the leader of the Oxford converts, John Henry Newman. Newman received him into the Church in October. On 5 May 1868 Hopkins firmly “resolved to be a religious.” Less than a week later, apparently still inspired by Savonarola, he made a bonfire of his poems and gave up poetry almost entirely for seven years. Finally, in the fall of 1868 Hopkins joined a “serged fellowship” like Savonarola’s and like the one he admired in “Eastern Communion”(1865), a commitment foreshadowed by the emphasis on vows of silence and poverty in “The Habit of Perfection.”

ellauri095.html on line 508: This potential for a new sacramental poetry was first realized by Hopkins in The Wreck of the Deutschland. Hopkins recalled that when he read about the wreck of the German ship Deutschland off the coast of England it “made a deep impression on me, more than any other wreck or accident I ever read of,” a statement made all the more impressive when we consider the number of shipwrecks he must have discussed with his father. Hopkins wrote about this particular disaster at the suggestion of Fr. James Jones, Rector of St. Beuno’s College, where Hopkins studied theology from 1874 to 1877. Hopkins recalled that “What I had written I burnt before I became a Jesuit and resolved to write no more, as not belonging to my profession, unless it were by the wish of my superiors; so for seven years I wrote nothing but two or three little presentation pieces which occasion called for [presumably ‘Rosa Mystica’ and ‘Ad Mariam’]. But when in the winter of ’75 the Deutschland was wrecked in the mouth of the Thames and five Franciscan nuns, exiles from Germany by the Falck Laws, aboard of her were drowned I was affected by the account and happening to say so to my rector he said that he wished someone would write a poem on the subject. On this hint I set to work and, though my hand was out at first, produced one. I had long had haunting my ear the echo of a new rhythm which now I realized on paper.”

ellauri095.html on line 522: In addition to specific inspirations such as these, the father communicated to his son a sense of nature as a book written by God which leads its readers to a thoughtful contemplation of Him, a theme particularly evident in Manley and Thomas Marsland Hopkins’s book of poems, Pietas Metrica. Consequently, Gerard went on to write poems which were some of the best expressions not only of the Romantic approach to nature but also the older tradition of explicitly religious nature poetry.    

ellauri099.html on line 154:     George ByronflamingosappiAthletikerpoetryblog.com/wp-content/uploads/2016/11/Biography-Lord-Byron.png" height="100px" />

ellauri101.html on line 155:     Joseph Campbell, arguably the greatest mythologist of the twentieth century, was certainly one of our greatest storytellers. This masterfully crafted book interweaves conversations between Campbell and some of the people he inspired, including poet Robert Bly, anthropologist Angeles Arrien, filmmaker David Kennard, Doors drummer John Densmore, psychiatric pioneer Stanislov Grof, Nobel laureate Roger Guillemen, and others. Campbell reflects on subjects ranging from the origins and functions of myth, the role of the artist, and the need for ritual to the ordeals of love and romance. With poetry and humor, Campbell recounts his own quest and conveys the excitement of his lifelong exploration of our mythic traditions, what he called “the one great story of mankind.” Hemmetti nää sen sankarit on lähes yhtä tuntemattomia kuin se ize. 

ellauri106.html on line 175:   Word has come that Philip Roth died on Tuesday in New York City at the age of 85.  He was widely considered the last of the Great American Novelists of the late 20th Century the peer of heavy hitters John Updike and Saul Bellow.  Roth himself believed that the novel, which had ruled for a century as the supreme and exalted American literary form, is doomed to becoming a cult niche in the Age of the Internet for a diminishing educated elite, “I think always people will be reading them but it will be a small group of people. Maybe more people than now read Latin poetry, but somewhere in that range…” Ever a realist, Roth was sanguine with the prospect.

ellauri107.html on line 436: His name was George F. Babbitt. He was forty-six years old now, in April, 1920, and he made nothing in particular, neither butter nor shoes nor poetry, but he was nimble in the calling of selling houses for more than people could afford to pay.

ellauri107.html on line 505: This advance in civilization could be carried too far, Babbitt perceived. Noel Ryland, sales-manager of the Zeeco, was a frivolous graduate of Princeton, while Babbitt was a sound and standard ware from that great department-store, the State University. Ryland wore spats, he wrote long letters about City Planning and Community Singing, and, though he was a Booster, he was known to carry in his pocket small volumes of poetry in a foreign language. All this was going too far. Henry Thompson was the extreme of insularity, and Noel Ryland the extreme of frogginess, while between them, supporting the state, defending the evangelical churches and domestic brightness and sound business, were Babbitt and his friends.

ellauri108.html on line 145: The term "grounding" is used among Rastas to refer to the establishment of relationships between like-minded practitioners. Groundings often take place in a commune or yard, and are presided over by an elder. The elder is charged with keeping discipline and can ban individuals from attending. The number of participants can range from a handful to several hundred. Activities that take place at groundings include the playing of drums, chanting, the singing of hymns, and the recitation of poetry. Cannabis, known as ganja, is often smoked. Most groundings contain only men, although some Rasta women have established their own all-female grounding circles.

ellauri109.html on line 753: A heroic couplet is a traditional form for English poetry, commonly used in epic and narrative poetry, and consisting of a rhyming pair of lines in iambic pentameter. Use of the heroic couplet was pioneered by Geoffrey Chaucer in the Legend of Good Women and the Canterbury Tales, and generally considered to have been perfected by John Dryden and Alexander Pope in the Restoration Age and early 18th century respectively. A frequently-cited example illustrating the use of heroic couplets is this passage from Cooper's Hill by John Denham, part of his description of the Thames:

ellauri118.html on line 386: His output was thirty-six books and 1,500 poems. [I got more than 2000 by now! Well most of mine are prose, to be honest.]  His writing presented Kentucky scenes in a language echoing Percy Bysshe Shelley and John Keats. He soon earned the nickname the "Keats of Kentucky". He was popular enough that, by 1900, he told the Louisville Courier-Journal that his income from publishing poetry in magazines amounted to about $100 a month.

ellauri119.html on line 430:     In addition to cross-cultural differences in understanding love, ideas about love have also changed greatly over time. Some historians date modern conceptions of romantic love to courtly Europe during or after the Middle Ages, although the prior existence of romantic attachments is attested by ancient love poetry. The complex and abstract nature of love often reduces discourse of love to a thought-terminating cliché. Several common proverbs regard love, from Virgil's "Love conquers all" to The Beatles' "All You Need Is Love". St. Thomas Aquinas, following Aristotle, defines love as "to will the good of another." Bertrand Russell describes love as a condition of "absolute value," as opposed to relative value.[citation needed] Philosopher Gottfried Leibniz said that love is "to be delighted by the happiness of another." Meher Baba stated that in love there is a "feeling of unity" and an "active appreciation of the intrinsic worth of the object of love." But who the fuck is Meher Baba? Biologist Jeremy Griffith defines love as "unconditional selflessness". In Hebrew, אהבה (ahava) is the most commonly used term for both interpersonal love and love between God and God's creations. Chesed, often translated as loving-kindness, is used to describe many forms of love between human beings. In Hebrew, אהבה (ahava) is the most commonly used term for both interpersonal love and love between God and God's creations. Chesed, often translated as loving-kindness, is used to describe many forms of love between human beings. The 20th-century rabbi Eliyahu Eliezer Dessler is frequently quoted as defining love from the Jewish point of view as "giving without expecting to take" (from his Michtav me-Eliyahu, Vol. 1). Rakkaus on siis ekonomisesti sulaa hulluutta!

ellauri119.html on line 440:     Love encompasses the Islamic view of life as universal brotherhood that applies to all who hold faith. Amongst the 99 names of God (Allah), there is the name Al-Wadud, or "the Loving One," which is found in Surah [Quran 11:90] as well as Surah [Quran 85:14]. God is also referenced at the beginning of every chapter in the Qur'an as Ar-Rahman and Ar-Rahim, or the "Most Compassionate" and the "Most Merciful", indicating that nobody is more loving, compassionate and benevolent than God. The Qur'an refers to God as being "full of loving kindness." The Qur'an exhorts Muslim believers to treat all people, viz. those who have not persecuted them, with birr or "deep kindness" as stated in Surah [Quran 6:8-9]. Birr is also used by the Qur'an in describing the love and kindness that children must show to their parents. Ishq, or divine love, is the emphasis of Sufism in the Islamic tradition. Practitioners of Sufism believe that love is a projection of the essence of God to the universe. God desires to recognize beauty, and as if one looks at a mirror to see oneself, God "looks" at himself within the dynamics of nature. Since everything is a reflection of God, the school of Sufism practices to see the beauty inside the apparently ugly sufist. Sufism is often referred to as the religion of love. God in Sufism is referred to in three main terms, which are the Lover, Loved, and Beloved, with the last of these terms being often seen in Sufi poetry.

ellauri135.html on line 220: Berg, Nikolai, writer, born. 24 Mar 1823 in Moscow, mind. 16 Jun 1884 in Warsaw. The name of the family comes from Livonia, but the writer's grandfather, Vladimir, was Orthodox, served in the artillery, performed under the command of Suvorov several campaigns, under Silistria was wounded and died in the rank of bayonet-cadets. Father f Nikolai, Vasiliy, wrote and published poetry and prose when I was single and served in Irkutsk, placing their works in the "Herald of Europe" (1820-ies, signed "Irkutsk"). He especially loved Derzhavin and forced his son to memorize his poems.

ellauri135.html on line 222: The first seven years, Nikolai lived in Moscow, and then, with his parents, moved to Siberia, where his father got the post of the Chairman of the Tobolsk provincial government (in 1830). Eight years, the boy himself began to write poetry, knowing many passages from different odes of Derzhavin. In the early 30-ies the father Berg settled in the Tambov province in his estate, and gave his son in the Tambov gymnasium, and in 1838 moving to Moscow, transferred to the I-th Moscow gymnasium, in which he graduated in 1843 and entered the historical-philological faculty of Moscow University. At the Moscow school, especially Berg became friends with a school friend A. N. Ostrovsky, with whom all his life maintained the most cordial relations. As a student, Berg published his first poem in the "Moskvityanin" (translated from the Swedish poet Runeberg: "Complaint of the virgin").

ellauri140.html on line 103:     Colin Firth M+, a shepherd noted for his songs and bagpipe playing, briefly appearing in Book VI. He is the same Colin Clout as in Spenser´s pastoral poetry, which is fitting because Calidore is taking a sojourn into a world of pastoral delight, ignoring his duty to hunt the Blatant Beast, which is why he set out to Ireland to begin with. Colin Clout may also be said to be Spenser himself.

ellauri140.html on line 193: Edmund Spenser was born in East Smithfield, London, around the year 1552; however, there is still some ambiguity as to the exact date of his birth. His parenthood is obscure, but he was probably the son of John Spenser, a journeyman clothmaker. As a young boy, he was educated in London at the Merchant Taylors' School and matriculated as a sizar at Pembroke College, Cambridge. While at Cambridge he became a friend of Gabriel Harvey and later consulted him, despite their differing views on poetry. In 1578, he became for a short time secretary to John Young, Bishop of Rochester. In 1579, he published The Shepheardes Calender and around the same time married his first wife, Machabyas Childe. They had two children, Sylvanus (d. 1638) and Katherine. 

ellauri140.html on line 199: In 1590, Spenser brought out the first three books of his most famous work, The Faerie Queene, having travelled to London to publish and promote the work, with the likely assistance of Raleigh. He was successful enough to obtain a life pension of £50 a year from the Queen. He probably hoped to secure a place at court through his poetry, but his next significant publication boldly antagonised the queen's principal secretary, Lord Burghley (William Cecil), through its inclusion of the satirical Mother Hubberd's Tale. He returned to Ireland. Oops. 

ellauri140.html on line 211:     His coffin was carried to his grave in Poets' Corner in Westminster Abbey by other poets, who threw many pens and pieces of poetry into his grave with many tears (all free of charge). His second wife survived him and remarried twice. His sister Sarah, who had accompanied him to Ireland, married into the Travers family, and her descendants were prominent landowners in Cork for centuries. Korkad kille, kaiken kaikkiaan. 

ellauri141.html on line 109: Quintus Horatius Flaccus (8th of December, Ab Urbe Condita 689, B. C. 65 -  27th of November, B. C. 8) was born at or near Venusia (Venosa), in the Apennines, on the borders of Lucania and Apulia. His father was a freedman, having, as his name proves, been the slave of some person of the Horatia gens. As Horace implies that he himself was ingenuus, his father must have obtained his freedom before his birth. He afterwards followed the calling of a coactor, a collector of money in some way or other, it is not known in what. He made, in this capacity, enough to purchase an estate, probably a small one, near the above town, where the poet was born. We hear nothing of his mother, except that Horace speaks of both his parents with affection. His father, probably seeing signs of talent in him as a child, was not content to have him educated at a provincial school, but took him (at what age he does not say, but probably about twelve) to Rome, where he became a pupil of Orbilius Pupillus, who had a school of much note, attended by boys of good family, and whom Horace remembered all his life as an irritable teacher, given unnecessarily to the use of the rod. With him he learnt grammar, the earlier Latin authors, and Homer. He attended other masters (of rhetoric, poetry, and music perhaps), as Roman boys were wont, and had the advantage (to which he afterwards looked back with gratitude) of his father’s care and moral training during this part of his education. It was usual for young men of birth and ability to be sent to Athens, to finish their education by the study of Greek literature and philosophy under native teachers; and Horace went there too, at what age is not known, but probably when he was about twenty. Whether his father was alive at that time, or dead, is uncertain. If he went to Athens at twenty, it was in B. C. 45, the year before Julius Cæsar was assassinated. After that event, Brutus and Cassius left Rome and went to Greece. Foreseeing the struggle that was before them, they got round them many of the young men at that time studying at Athens, and Horace was appointed tribune in the army of Brutus, a high command, for which he was not qualified. He went with Brutus into Asia Minor, and finally shared his defeat at Philippi, B. C. 42. He makes humorous allusion to this defeat in his Ode to Pompeius Varus (ii. 7). After the battle he came to Italy, having obtained permission to do so, like many others who were willing to give up a desperate cause and settle quietly at home. His patrimony, however, was forfeited, and he seems to have had no means of subsistence, which induced him to employ himself in writing verses, with the view, perhaps, of bringing himself into notice, rather than for the purpose of making money by their sale. By some means he managed to get a place as scriba in the Quæstor’s office, whether by purchase or interest does not appear. In either case, we must suppose he contrived soon to make friends, though he could not do so by the course he pursued, without also making many enemies. His Satires are full of allusions to the enmity his verses had raised up for him on all hands. He became acquainted, among other literary persons, with Virgil and Varius, who, about three years after his return (B. C. 39), introduced him to Mæcenas, who was careful of receiving into his circle a tribune of Brutus, and one whose writings were of a kind that was new and unpopular. He accordingly saw nothing of Horace for nine months after his introduction to him. He then sent for him (B. C. 38), and from that time continued to be his patron and warmest friend.

ellauri141.html on line 111: At his house, probably, Horace became intimate with Polio, and the many persons of consideration whose friendship he appears to have enjoyed. Through Mæcenas, also, it is probable Horace was introduced to Augustus; but when that happened is uncertain. In B. C. 37, Mæcenas was deputed by Augustus to meet M. Antonius at Brundisium, and he took Horace with him on that journey, of which a detailed account is given in the fifth Satire of the first book. Horace appears to have parted from the rest of the company at Brundisium, and perhaps returned to Rome by Tarentum and Venusia. (See S. i. 5, Introduction.) Between this journey and B. C. 32, Horace received from his friend the present of a small estate in the valley of the Digentia (Licenza), situated about thirty-four miles from Rome, and fourteen from Tibur, in the Sabine country. Of this property he gives a description in his Epistle to Quintius (i. 16), and he appears to have lived there a part of every year, and to have been fond of the place, which was very quiet and retired, being four miles from the nearest town, Varia (Vico Varo), a municipium perhaps, but not a place of any importance. During this interval he continued to write Satires and Epodes, but also, it appears probable, some of the Odes, which some years later he published, and others which he did not publish. These compositions, no doubt, were seen by his friends, and were pretty well known before any of them were collected for publication. The first book of the Satires was published probably in B. C. 35, the Epodes in B. C. 30, and the second book of Satires in the following year, when Horace was about thirty-five years old. When Augustus returned from Asia, in B. C. 29, and closed the gates of Janus, being the acknowledged head of the republic, Horace appeared among his most hearty adherents. He wrote on this occasion one of his best Odes (i. 2), and employed his pen in forwarding those reforms which it was the first object of Augustus to effect. (See Introduction to C. ii. 15.) His most striking Odes appear, for the most part, to have been written after the establishment of peace. Some may have been written before, and probably were. But for some reason it would seem that he gave himself more to lyric poetry after his thirty-fifth year than he had done before. He had most likely studied the Greek poets while he was at Athens, and some of his imitations may have been written early. If so, they were most probably improved and polished, from time to time, (for he must have had them by him, known perhaps only to a few friends, for many years,) till they became the graceful specimens of artificial composition that they are. Horace continued to employ himself in this kind of writing (on a variety of subjects, convivial, amatory, political, moral,—some original, many no doubt suggested by Greek poems) till B. C. 24, when there are reasons for thinking the first three books of the Odes were published. During this period, Horace appears to have passed his time at Rome, among the most distinguished men of the day, or at his house in the country, paying occasional visits to Tibur, Præneste, and Baiæ, with indifferent health, which required change of air. About the year B. C. 26 he was nearly killed by the falling of a tree, on his own estate, which accident he has recorded in one of his Odes (ii. 13), and occasionally refers to; once in the same stanza with a storm in which he was nearly lost off Cape Palinurus, on the western coast of Italy. When this happened, nobody knows. After the publication of the three books of Odes, Horace seems to have ceased from that style of writing, or nearly so; and the only other compositions we know of his having produced in the next few years are metrical Epistles to different friends, of which he published a volume probably in B. C. 20 or 19. He seems to have taken up the study of the Greek philosophical writers, and to have become a good deal interested in them, and also to have been a little tired of the world, and disgusted with the jealousies his reputation created. His health did not improve as he grew older, and he put himself under the care of Antonius Musa, the emperor’s new physician. By his advice he gave up, for a time at least, his favorite Baiæ. But he found it necessary to be a good deal away from Rome, especially in the autumn and winter.

ellauri141.html on line 113: In B. C. 17, Augustus celebrated the Ludi Seculares, and Horace was required to write an Ode for the occasion, which he did, and it has been preserved. This circumstance, and the credit it brought him, may have given his mind another leaning to Ode-writing, and have helped him to produce the fourth book, a few pieces in which may have been written at any time. It is said that Augustus particularly desired Horace to publish another book of Odes, in order that those he wrote upon the victories of Drusus and Tiberius (4 and 14) might appear in it. The latter of these Odes was not written, probably, till B. C. 13, when Augustus returned from Gaul. If so, the book was probably published in that year, when Horace was fifty-two. The Odes of the fourth book show no diminution of power, but the reverse. There are none in the first three books that surpass, or perhaps equal, the Ode in honor of Drusus, and few superior to that which is addressed to Lollius. The success of the first three books, and the honor of being chosen to compose the Ode at the Ludi Seculares, seem to have given him encouragement. There are no incidents in his life during the above period recorded or alluded to in his poems. He lived five years after the publication of the fourth book of Odes, if the above date be correct, and during that time, I think it probable, he wrote the Epistles to Augustus and Florus which form the second book; and having conceived the intention of writing a poem on the art and progress of poetry, he wrote as much of it as appears in the Epistle to the Pisones which has been preserved among his works. It seems, from the Epistle to Florus, that Horace at this time had to resist the urgency of friends begging him to write, one in this style and another in that, and that he had no desire to gratify them and to sacrifice his own ease to a pursuit in which it is plain he never took any great delight. He was likely to bring to it less energy as his life was drawing prematurely to a close, through infirmities either contracted or aggravated during his irrational campaigning with Brutus, his inaptitude for which he appears afterwards to have been perfectly aware of. He continued to apply himself to the study of moral philosophy till his death, which took place, according to Eusebius, on the 27th of November, B. C. 8, in the fifty-seventh year of his age, and within a few days of its completion. Mæcenas died the same year, also towards the close of it; a coincidence that has led some to the notion, that Horace hastened his own death that he might not have the pain of surviving his patron. According to Suetonius, his death (which he places after his fifty-ninth year) was so sudden, that he had not time to execute his will, which is opposed to the notion of suicide. The two friends were buried near one another “in extremis Esquiliis,” in the farthest part of the Esquiliæ, that is, probably, without the city walls, on the ground drained and laid out in gardens by Mæcenas. 

ellauri141.html on line 369: Art Beck is a San Francisco poet and translator who has published three books of original poetry — most recently Summer With All Its Clothes Off  (Gravida, 2005). (http://jacketmagazine.com/34/beck-horace.shtml)

ellauri141.html on line 755:   Alexis Leger (pronounced [ləʒe]; 31 May 1887 – 20 September 1975), better known by his pseudonym Saint-John Perse (French: [pɛʁs]; also Saint-Leger Leger),[1] was a French poet-diplomat, awarded the Nobel Prize in Literature in 1960 "for the soaring flight and evocative imagery of his poetry." He was a major French diplomat from 1914 to 1940, after which he lived primarily in the United States until 1967.

ellauri141.html on line 761: In 1904, he met the poet Francis Jammes at Orthez, who became a close friend. He frequented cultural clubs, and met Paul Claudel, Odilon Redon, Valery Larbaud and André Gide. Paha merkki, todellakin! He wrote short poems inspired by the story of Robinson Crusoe (Images à Crusoe) and undertook a translation of Pindar. He published his first book of poetry, Éloges, in 1911. 

ellauri142.html on line 91: Prize motivation: "in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterize the creations of this world-famous author." As a poet, short story writer, journalist and novelist, Rudyard Kipling described the British colonial empire in positive terms, which made his poetry popular in the British Army. Contemporary Great Britain appreciated him for his depictions of  the British colony of India. The Jungle Book (1894) has made him known and loved by children throughout the world, especially thanks to Disney’s 1967 film adaptation.

ellauri144.html on line 429:   His childhood featured regular summer trips to Llansteffan where his maternal relatives were the sixth generation to farm there. His mother´s family, the Williamses, lived in such farms as Waunfwlchan, Llwyngwyn, Maesgwyn and Penycoed.[17] The memory of Fernhill, a dairy farm owned by his maternal aunt, Ann Jones,[18] is evoked in the 1945 lyrical poem "Fern Hill". Thomas had bronchitis and asthma in childhood and struggled with these throughout his life. Thomas was indulged by his mother and enjoyed being mollycoddled, a trait he carried into adulthood, and he was skilful in gaining attention and sympathy. During his final school years he began writing poetry in notebooks; the first poem, dated 27 April (1930), is entitled "Osiris, come to Isis". In June 1928, Thomas won the school´s mile race, held at St. Helen´s Ground; he carried a newspaper photograph of his victory with him until his death.

ellauri144.html on line 575: A prolific and versatile writer, Bierce was regarded as one of the most influential journalists in the United States, and as a pioneering writer of realist fiction. For his horror writing, Michael Dirda ranked him alongside Edgar Allan Poe and H. P. Lovecraft. S. T. Joshi speculates that he may well be the greatest satirist America has ever produced, and in this regard can take his place with such figures as Juvenal, Swift, and Voltaire. His war stories influenced Stephen Crane, Ernest Hemingway, and others, and he was considered an influential and feared literary critic. In recent decades Bierce has gained wider respect as a fabulist and for his poetry.   

ellauri145.html on line 1057: The impact of Arthur Rimbaud´ s poetry has been immense. His influence on the Surrealist movement has been widely acknowledged, and a host of poets, from André Breton to André Freynaud, have recognized their indebtedness to Rimbaud´ s vision and technique. He was the enfant terrible of French poetry in the second half of the 19th century and a major figure in symbolism.

ellauri146.html on line 799: The poet experiences childhood as a resource because it is gone, and his 'rebirth' as a poet is not a function of recapturing the truth and joy of his youth; rather, it is a function of understanding the truth of his present life, as the life of remembering things past and turning them into poetry. Thus, "the poet's journey" is not "towards restoring his childhood perception" (204) nor "in quest of his lost voice" (193), but it is his writing about such a journey that hints at and finally exposes his recognition that childhood perception is dead, but the memory of its being is still with him. The poet's "heart's truth," contrary to the child's and the grown man's apparent truth, is the acknowledgment of time. 

ellauri147.html on line 75:     Ale Tyynni was a poet, author, literary and theatre critic, translator and Olympian. Tyynni won the gold medal in the literature category at the 1948 Olympic Games in London. In addition to her poetry collections, she published children’s fiction and essays. With her translations she acquainted a Finnish readership with lyrics from other countries, most notably France. 

ellauri147.html on line 79:       Ale Tyynni was born in Ingria to the east of Finland and moved as a child with her family to Helsinki in 1919. She graduated with a Master’s degree in 1936, with Finnish literature as her main subject. During her university years Tyynni practised poetry recitation and dramatic expression. She was particularly interested in poetic diction and the topic of her final work was Sappho’s metre in Finnish poetry.

ellauri147.html on line 83: Having completed her university studies, Tyynni took up the teaching of Finnish in evening classes, but the urge to write proved stronger than the duty to teach. Her first poetry collection, Kynttilänsydän (‘Candlewick’), was published in 1938. Two years later she published a second collection Vesilintu (‘waterfowl’). With the outbreak of war, her poetry changed: Lähde ja matkamies (’The spring and the traveller’), Lehtimaja (‘The arbour’) and Soiva metsä (‘The ringing forest’) all reflected the defensive spirit of the country. Tyynni also depicted womanhood, the experiences of women in childbirth and motherhood. Later feminist research in particular has praised Tyynni as a pioneer for her lyrics dealing with childbirth.

ellauri147.html on line 92: In 1949 Tyynni’s sixth poetry collection was published – ‘Ylitse vuoren lasisen’ (‘Over the glass mountain), which included one of her best loved poems ‘Kaarisilta’ (‘The arched bridge’). The poems make reference to the difficulties she faced in her own life circumstances.

ellauri147.html on line 98: In the mid-twentieth century Finnish literature had adopted the free verse of modern poetry. Ale Tyynni however went back to a lyrical style, the ballad. Tyynni’s poems were typical of ballads, offering fateful tales dealing with falling in love and sorrow, and life’s turning points. Balladeja ja romansseja (’Ballads and romances’) appeared in 1967. And Tarinain lähde (‘The source of the tales’, 1974) depicted the death of a loved one, sorrow and solitude. Nobody cared to read such balderdash any more.

ellauri152.html on line 71: The Songs of Bilitis (/bɪˈliːtɪs/; French: Les Chansons de Bilitis) is a collection of erotic, essentially lesbian, poetry by Pierre Louÿs published in Paris in 1894. Since Louÿs claimed that he had translated the original poetry from Ancient Greek, this work is considered a pseudotranslation. Though the poems were actually clever fabulations, authored by Louÿs himself, they are still considered important literature. [by whom?]

ellauri152.html on line 90:   In 1955 the Daughters of Bilitis was founded in San Francisco as the first lesbian civil and political rights organization in the United States. In regard to its name, Del Martin and Phyllis Lyon, two of the group's founders, said "If anyone asked us, we could always say we belong to a poetry club." Mehän voidaan sanoa. Had they only known that it was all about fornicating boys. 

ellauri152.html on line 758: Aaron Zeitlin (3 June 1898 – 28 September 1973), the son of the famous Jewish writer Hillel Zeitlin and Esther Kunin, authored several books on Yiddish literature, poetry and parapsychology. Aaron kirjoitti laulun joka oli Joan Baez mustavalkoisella vinyyliläppärillä, nimeltä Dona Dona daa. En ymmärtänyt siitä sanaakaan, en tiennyt sen yhteyxistä holokaustiin,  mutta silti se teki minuun(kin) syvän vaikutuksen.  Dona donai --- Don Adonai tietysti! Iiskoon teki syvää vaikutuksen Spinoza. Ujot ihmiset ovat kokemukseni mukaan toisinaan tavattoman rohkeita.

ellauri153.html on line 252: Saadi mourned in his poetry the fall of the ISIS Caliphate and Baghdad's destruction by U.S. invaders led by Bad Bush in February 2003. 

ellauri155.html on line 824:       There is no shallow end to the philosophical pool! Strawson was married and had four children. He was a highly cultured man, with a passion for literature, especially poetry, large amounts of which he could recite and most of which he also wrote. In conversation, manners and appearance, the overwhelming impression was of elegance and effortless intelligence. Mutta aika mitättömän näköinen pallokorva. P.F. Strawsonin pituus oli bläänk ja sen net worth under review. Fair enough, Jakkoh-Hintikka puuttui kokonaan celebs hall of famesta. 

ellauri156.html on line 681: Third, Nathan comes to David with a story. In the New American Standard Bible, this is not just a story, but a kind of poetic story. In my copy of the NASB, the words of the story are formatted in such a way as to look like one of the Psalms.43 It took me a while to take note of this, but if this is so, it means that Nathan comes to David prepared. Under divine inspiration, I am sure God could inspire a prophet to utter poetry without working at it in advance, but this does not seem to be the norm. Nathan comes to David well prepared. He is not just “spinning a yarn;” Nathan is telling a story, a very important story with a very important message for David. A message for you sir. Nih Nih. 

ellauri156.html on line 820: 43 I should also say that other translations don’t seem to follow the NASB in dealing with these words as poetry.

ellauri159.html on line 1221:     You have a keen insight into the nature of things. Your prose often conveys startling images of mood or atmosphere rather than objects. Maybe you should consider poetry, or rap. You enjoy complexity and can patiently unravel dense material like a terrier. You are able to see many sides of an argument and so may have difficulty reaching a conclusion, or even reaching a period, like Pynchon. During the writing process, you may often pause to consider alternatives or to seek seeming connections between obviously disparate things. That´s a paranoid feature, so you may be an asthenic person. Consult Krezmer´s typology.

ellauri159.html on line 1351: Early books included The Philosophy of Justice Between God and Man (1851) and Optimism: The Lesson of Ages (1860), a Christian mystical vision of the pursuit of happiness from Blood´s distinctly American perspective; on the title page of the book, Blood described it as "A compendium of democratic theology, designed to illustrate necessities whereby all things are as they are, and to reconcile the discontents of men with the perfect love and power of ever-present God." During his lifetime he was best known for his poetry, which included The Bride of the Iconoclast, Justice, and The Colonnades. According to Christopher Nelson, Blood was a direct influence on William James´ The Varieties of Religious Experience as well on James´s concept of Sciousness, prime reality consciousness without a sense of self.

ellauri160.html on line 122: Ezra Weston Loomis Pound (30 October 1885 – 1 November 1972), modernin ajan Li Bai, was an expatriate American poet and critic, a major figure in the early modernist poetry movement, and a fascist collaborator in Italy during World War II. His works include Ripostes (1912), Hugh Selwyn Mauberley (1920), and his 800-page epic poem, The Cantos (c. 1917–1962). Hizi noi cantothan on selvä kokoelma paasauxia!

ellauri160.html on line 149: London found Pound amusing. The newspapers interviewed him, and he was mentioned in Punch magazine, which on 23 June 1909 described "Mr. Ezekiel Ton" as "the most remarkable thing in poetry since Robert Browning ... blending the imagery of the unfettered West, the vocabulary of Wardour Street, and the sinister abandon of Borgiac Italy". The phrase "Wardour Street English" denotes the use of near-obsolete words for effect, such as anent; this derives from the once great number of antique shops in the area. anent means about, concerning. Did you know?

ellauri160.html on line 156:       After three days in London he went to Paris, where he worked on a new collection of poetry, Canzoni (1911), panned by the Westminster Gazette as "affectation combined with pedantry". Ford Madox Ford kieriskeli lattialla naurusta kun Calzone oli niin puiseva. 

ellauri160.html on line 192: Pound käänsi Li Bain runoja japanilaisten avulla. Ei niitä monta tullut, ennenkin se ehti riitaantua apujapanilaisten kaa. Michael Alexander saw Cathay as the most attractive of Pound's work. There is a debate about whether the poems should be viewed primarily as translations or as contributions to Imagism and the modernization of English poetry. English professor Steven Yao argued that Cathay shows that translation does not need a thorough knowledge of the source language.

ellauri160.html on line 204: His obituary in The Times described it as not a great poem, because of the lack of structure, but a great improvisation: "The exasperating form permits the occasional, and in the early Cantos and in The Pisan Cantos not so occasional, irruption of passages of great poetry, hot and burning lava breaking through the cracks in piles of boring scree."

ellauri160.html on line 217: English poets such as Maurice Hewlett, Rudyard Kipling, and Alfred Tennyson had made a particular kind of Victorian verse—stirring, pompous, propagandistic and popular. According to modernist scholar James Knapp, Pound rejected the idea of poetry as "versified moral essay"; he wanted to focus on the individual experience, the concrete rather than the abstract.

ellauri160.html on line 219: Pound's contribution to poetry began in the early 20th century with his role in developing Imagism, a movement stressing precision and economy of language. Working in London as foreign editor of several American literary magazines, he helped discover and shape the work of contemporaries such as T. S. Eliot, Ernest Hemingway, and James Joyce. He was responsible for the 1914 serialization of Joyce's A Portrait of the Artist as a Young Man, the 1915 publication of Eliot's "The Love Song of J. Alfred Prufrock", and the serialization from 1918 of Joyce's Ulysses. Hemingway wrote in 1932 that, for poets born in the late 19th or early 20th century, not to be influenced by Pound would be "like passing through a great blizzard and not feeling it's cold."

ellauri171.html on line 711: This woman, called Jael, is praised in poetry and prose as one of the great heroines of the beleaguered Israelites.

ellauri180.html on line 599: Emma Baldwin graduated from East Carolina University with a BA in English, minor in Creative Writing, BFA in Fine Art, and BA in Art Histories. Literature is one of her greatest passions which she pursues through analyzing poetry on Poem Analysis.

ellauri182.html on line 139: The alternative is of course the sexless intimacy of the fag hag and her chosen friends. The heroines of Yoshimoto’s fiction are not exactly fag hags, nor are they innocent. Mikage and Satsuki are young women. But grown-up sexual relationships are still beyond their grasp. Instead, in the security of their private kitchens, they dream nostalgic dreams, and shed melancholy tears about the passing of time. This is the stuff of great Japanese poetry, and absolute kitsch. Yoshimoto Banana is not yet a mistress of poetry, but she is a past master of kitsch.

ellauri185.html on line 368: However, perturbed by the problem of evil, he lost his own faith at the age of eight, and turned to poetry-writing. Se oli Balliolin miehiä kuten parkinsonin vaivaama Nick Ostler. Evil ei ole mikään probleema ellei ole uskovaisia.

ellauri189.html on line 79: 	In 1825 Antoni Malczewski published a long poem, Maria (Marya: A Tale of the Ukraine), which constitutes his only contribution to Polish poetry but occupies a permanent place there as a widely imitated example of the so-called Polish-Ukrainian poetic school. In the poem, Wacław, a young husband, goes to fight the Tatars and, after routing the raiders, hurries home to his wife, Maria. All he finds is a cold corpse. Yeah, great. Oh fuck. What's the use. The poem makes use of diversified rhythms and carefully chosen rhymes; and its Byronic hero, as well as its picture of Ukraine as a land of sombre charm, assured Malczewski both popularity and critical applause.

ellauri189.html on line 81: 	It is generally held to be most influenced by Lord Byron, whom Malczewski had met in Venice during his travels around western Europe, though it is considerably more gloomy and Gothic than Byron's work. Malczewski is sometimes considered part of the "Ukrainian school" in Polish poetry, though others consider his work to stand uniquely separate. Maria was also influential on later Polish poets, especially Adam Mickiewicz, and on writer Joseph Conrad, although he was not a romantic as such. Well, some of his stuff is pretty gooey, like Nostromo, the Panamanian guy. 

ellauri189.html on line 91: to the public as the Ukrainian School of romantic poetry.

ellauri189.html on line 701: The ghazal (Arabic: غَزَل, Bengali: গজল, Hindi-Urdu: ग़ज़ल/غزَل, Persian: غزل, Azerbaijani: qəzəl, Turkish: gazel, Turkmen: gazal, Uzbek: gʻazal, Gujarati: ગઝલ) is a form of amatory poem or ode, originating in Arabic poetry. A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain.

ellauri191.html on line 129: "as a tribute to his noble, magnificent and versatile poetry, which has always been distinguished by both the freshness of its inspiration and the rare purity of its spirit"

ellauri191.html on line 131: poetry, novel, drama

ellauri191.html on line 148: poetry, philology

ellauri191.html on line 180: poetry, philology

ellauri191.html on line 196: poetry

ellauri191.html on line 213: novel, short story, poetry  

ellauri191.html on line 261: poetry, drama, novel, short story

ellauri191.html on line 278: drama, poetry, essay

ellauri191.html on line 311: poetry, novel, drama, short story, playwright, music, essay, philosophy, literary criticism, translation, painting

ellauri191.html on line 352: poetry, novel

ellauri191.html on line 367: "for his varied and rich poetry, which is inspired by lofty ideals"

ellauri191.html on line 369: poetry  

ellauri191.html on line 412: poetry

ellauri191.html on line 447: novel, poetry

ellauri191.html on line 477: "for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation"

ellauri191.html on line 479: poetry

ellauri191.html on line 530: poetry, novel

ellauri191.html on line 609: "The poetry of Erik Axel Karlfeldt"

ellauri191.html on line 611: poetry

ellauri191.html on line 644: short story, poetry, novel

ellauri191.html on line 802: "for her lyric poetry, which inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world"

ellauri191.html on line 804: poetry

ellauri191.html on line 821: novel, poetry

ellauri191.html on line 851: "for his outstanding, pioneer contribution to present-day poetry"

ellauri191.html on line 853: poetry

ellauri191.html on line 901: "for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind"

ellauri191.html on line 903: poetry, novel, short story, drama

ellauri191.html on line 968: novel, short story, drama, poetry

ellauri191.html on line 982: "for his lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity"

ellauri191.html on line 984: poetry

ellauri191.html on line 1014: "for his important achievement both in contemporary lyrical poetry and in the field of the great Russian epic tradition"

ellauri191.html on line 1016: novel, poetry, translation

ellauri191.html on line 1030: "for his lyrical poetry, which with classical fire expresses the tragic experience of life in our own times"

ellauri191.html on line 1032: poetry

ellauri191.html on line 1046: "for the soaring flight and the evocative imagery of his poetry, which in a visionary fashion reflects the conditions of our time"

ellauri191.html on line 1048: poetry

ellauri191.html on line 1097: poetry, essay, memoirs

ellauri191.html on line 1163: poetry, drama

ellauri191.html on line 1182: novel, poetry

ellauri191.html on line 1216: novel, drama, poetry

ellauri191.html on line 1250: "for a poetry that with the action of an elemental force brings alive a continent's destiny and dreams"

ellauri191.html on line 1252: poetry

ellauri191.html on line 1320: poetry, novel, drama

ellauri191.html on line 1334: "for his distinctive poetry, which, with great artistic sensitivity, has interpreted human values under the sign of an outlook on life with no illusions"

ellauri191.html on line 1336: poetry

ellauri191.html on line 1367: "for a creative poetic writing, which illuminates man's condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars"

ellauri191.html on line 1369: poetry

ellauri191.html on line 1402: "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"

ellauri191.html on line 1404: poetry, essay

ellauri191.html on line 1421: poetry, essay

ellauri191.html on line 1472: novel, poetry, drama

ellauri191.html on line 1486: "for his poetry, which endowed with freshness, and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man"

ellauri191.html on line 1488: poetry

ellauri191.html on line 1521: drama, novel, poetry, screenplay

ellauri191.html on line 1538: poetry, essay

ellauri191.html on line 1572: novel, short story, essay, poetry

ellauri191.html on line 1587: poetry, essay

ellauri191.html on line 1620: poetry, drama

ellauri191.html on line 1669: poetry, drama, translation

ellauri191.html on line 1684: "for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality"

ellauri191.html on line 1686: poetry, essay, translation

ellauri191.html on line 1718: novel, drama, poetry

ellauri191.html on line 1734: novel, drama, poetry

ellauri191.html on line 1866: novel, drama, poetry, short story, memoirs, autobiography

ellauri191.html on line 1896: "who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed"

ellauri191.html on line 1898: novel, short story, poetry, essay

ellauri191.html on line 1930: poetry, translation

ellauri191.html on line 2048: novel, short story, poetry, essay, screenplay

ellauri191.html on line 2082: poetry, essay

ellauri191.html on line 2136: drama, novel, poetry, essays

ellauri192.html on line 51: Trubetzkoy also acted as a literary critic. In Writings on Literature, a brief collection of translated articles, he analyzed Russian literature beginning with the Old Russian epic The Tale of Igor's Campaign (the one that contains a first mention the Trubetzkoys) and proceeding to 19th-century Russian poetry and Dostoevsky.

ellauri192.html on line 61: 	Jakobson was born in the Russian Empire on 11 October 1896 to a well-to-do family of Jewish descent, the industrialist Osip Jakobson and chemist Anna Volpert Jakobson. Under the pseudonym 'Aliagrov', he published books of zaum poetry and befriended the Futurists Vladimir Mayakovsky, Kazimir Malevich, Aleksei Kruchyonykh and others. It was the poetry of his contemporaries that partly inspired him to become a linguist.

ellauri192.html on line 63: Dyr bul shchyl (Russian: Дыр бул щыл, [dɨr bul ɕːɨl]) is the earliest and most famous zaum/transrational poem by Aleksei Kruchenykh, written using the Zaum language, which, according to the author, is "more Russian national, than in all of Pushkin's poetry". 	

ellauri192.html on line 255:   The Nobel Prize in Literature 1984 was awarded to Jaroslav Seifert "for his poetry which endowed with freshness, sensuality and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man."

ellauri192.html on line 257: Jaroslav Seifert was born in Zizkov, a suburb of Prague, Czechoslovakia (now the Czech Republic). Seifert was one of the pioneers of modernist poetry and literature in his native country. He also worked as a journalist and translator. The period after the World War II was a disappointment for Seifert, who had been hoping for a brighter and freer future. Instead the Communist government imposed a repressive policy in which poets were expected to write political propaganda. Seifert became involved in attempts at reforms with the increased freedom implemented in his native country, such as the Prague Spring of 1968 and the Charta 77 movement.

ellauri192.html on line 259: Jaroslav Seifert made his debut with the poetry collection Mesto v slzách (1921) (City in Tears). His writings include more than 30 poetry collections. Seifert was a highly regarded poet in his native country. Melody and rhythm characterize his poetry, which is inspired by folk songs, common speech and everyday scenes. At the heart of Seifert’s poems is humanity, and he criticizes the totalitarian state’s attempts to reduce the opportunities and freedom of the individual.

ellauri192.html on line 271: In poetry, the balance sheet is dismal. No Ezra Pound, no Rilke, no Valery, no Wallace Stevens, no Kazantzakis, no Cavafy, no Mandelstam, no Akhmatova, no Lorca, no Auden, no Fernando Pess^oa (a poet's poet). Stockholm, as we saw, enlarged the bounds of ''literature'' to include professional philosophy, ancient history and political rhetoric. The prose of Freud honors the German language. Freud was nominated; in vain, of course.

ellauri192.html on line 327:   His poetry, said James Ragan, director of the USC graduate school’s professional writing program, “was at all times optimistic, reflecting a championing of the human self. I think that’s primarily why he was awarded the Nobel Prize, because he suggested a new liberated spirit in writing (behind the Iron Curtain) after the Stalin era. Although he was a Communist as a youth, he became disillusioned with the party in the late 1920s. Thereafter, he was in and out of party favor during the turbulent decades that followed in Czechoslovakia. The state-run news agency, in announcing his death Friday, described him as “a prominent Czech poet, national artist (and) winner of the 1984 Nobel Prize for Literature.”  

ellauri192.html on line 639: In 1949 Seifert left journalism and began to devote himself exclusively to literature. His poetry was awarded important state prizes in 1936, 1955, and 1968, and in 1967 he was designated National Artist. He was the official Chairman of the Czechoslovak Writer's Union for several years (1968–70). In 1977 he was one of the signatories of Charter 77 in opposition to the government of the Czechoslovak Socialist Republic.

ellauri192.html on line 647: ''Seifert is a great poet who embodies the majestic tradition of Czech poetry - he deserves the Nobel Prize,'' said Maria Banerjee, who wrote the Seifert entry for the Encyclopedia of World Literature. Mrs. Banerjee, who hails from Bangla Desh (just joking, he is Maria Nemcova married to a Banerjee), is a specialist in Slavic literature, who teaches Russian literature at Smith College, added that Mr. Seifert "is (or was) the best of a remarkable group of poets who came into prominence in the 1920's."

ellauri192.html on line 651: George Gibian, a professor of Russian and comparative literature at Cornell University, agrees that Mr. Seifert deserves the Nobel. ''I'm glad the world has caught up with him,'' he said. ''He is (or was) the grand old man of Czech poetry, a combination of Robert Frost and E.E. Cummings. He deserves it for his recent poetry, but especially for his poetry of the 1920's and 30's.''

ellauri192.html on line 653: Professor Gibian, who was born in Prague, said that he has been translating some of the more recent Seifert poems for his own edification and pleasure. "They are a combination of the intimate lyrical tone of Czech poetry," he said, "heavily influenced by French Surrealism with much of the eroticism characteristic of Czechoslovak poetry in this century. His earlier poetry was sometimes melancholy but his recent work is conversational, very compassionate. He has written a cycle of poems about Prague. All this brings back my life and loves in Prague." All these Czechs are teaching Russian in the U.S., who would bother to learn Czech anyway?

ellauri192.html on line 657: "There were several monuments of Czech poetry, but he is (or was) the only surviving one," said Vera Blackwell, who has translated Czech literature, including the plays of Vaclav Havel, into English. "His work is not known world-wide," she said, "but it is known and deeply admired in his own country." Mrs. Blackwell added that Seifert's poetry is difficult to translate "because the sound of the language is intimately connected with the meaning."

ellauri196.html on line 203:   It is a girl; a disappointment for me, as I want to admit between us, because I had greatly desired a son and will not stop doing so. [...] I feel a son is much more full of poetry [poesievoller], more like a sequel and restart for myself under new circumstances.

ellauri196.html on line 851:     There is a great sterility in all this, an immense lack of confidence in domestic sex life on the sofa. In such a landscape of hysterical exhibitionism, what can be the place of poetry, the most discrete of arts? Under the sofa at best, I fear.

ellauri196.html on line 855:     The poem becomes translatable, and this is a new and suspect phenomenon in the history of esthetics. There is also poetry written to be shouted in a square in front of an enthusiastic crowd.

ellauri196.html on line 863: It seems to me certain that a great deal of printed paper and many books of poetry must resist time. Pieleen meni Montane, eikä vähän.

ellauri197.html on line 162:   Henry Talbot de Vere Clifton (1907–1979) was an eccentric, British aristocrat, poet, race horse owner, art collector and film producer. He spent some time in Hollywood during the early 1930s and, in the mid 1930s, produced films in Britain. In the 1930s and 40s he had three books of poetry published.

ellauri197.html on line 176: Clifton's three books of poetry were published by Duckworth. The first was Dielma and Other Poems in 1932 and then followed Flight in 1934. One commentator has said that “Clifton was particularly adroit at poems honouring – and marvelling at – women” and the Times Literary Supplement stated that “His lyrics are a gracious tribute to the beauty of women”. These were fairly conventional poems unlike his final work Gleams Britain's Day published in 1942. The Spectator described it as “expressing in a sort of prophetic certitude opinions upon religion, patriotism, love, art, war and peace, which he puts in unconventional verse”. The reviewer stated that the book was “the product of a curious, whimsical mind, full of energy, squandering it on half-digested ideas”. W B Yates dedicated his poem, Lapis Lazuli, to Clifton who had given him a valuable Chinese lapis lazuli carving.

ellauri197.html on line 389: Like other mixed stuff, love also gets an addition in its vigor and strength from the sun (his working vigor, i.e., its restorative power, its motive force, its sexual energy). Love is not as pure and unmixed as is supposed by those who have no other beloved except their poetry (i.e. those who have no practical experience of love).

ellauri197.html on line 409: Our work is created by a team of talented poetry experts, to provide an in-depth look into poetry, like no other. We respond to all comments too, giving you the answers you need. But keep in mind: love is mixed stuff.

ellauri197.html on line 649:     By the age of 12, Browning had written a book of poetry, which he later destroyed for want of a publisher. After attending one or two private schools and showing an insuperable dislike of school life, he was educated at home by a tutor, using the resources of his father's library. By 14 he was fluent in French, Greek, Italian and Latin. He became an admirer of the Romantic poets, especially Shelley, whom he followed in becoming an atheist and a vegetarian (and a bisexual). At 16, he studied Greek at University College London, but left after his first year. His parents' evangelical faith prevented his studying at either Oxford or Cambridge University, both then open only to members of the Church of England. He had inherited substantial musical ability through his mother, and composed arrangements of various songs. He refused a formal career and ignored his parents' remonstrations by dedicating himself to poetry. He stayed at home until the age of 34, financially dependent on his family until his marriage. His father sponsored the publication of his son's poems. Varsinainen vanhapiika, neiti-ihminen.

ellauri198.html on line 123:   Robert Penn Warren (1905-1989) oli yhdysvaltalainen prosaisti, runoilija ja kriitikko. Hän on kirjoittanut muun muassa suomennetun romaanin Kaikki kuninkaan miehet. Kriitikkona hän edusti uuskritiikkiä. Warren and Brooks helped to establish the New Criticism as “an orthodoxy so powerful that contemporary American fiction and poetry are most easily defined by their rebellion against it.” Hän kirjoitti selkä kaarella eri kirjallisuudenlajien teoksia.

ellauri198.html on line 136:   Warren’s poetry is written “in a genuinely expansive, passionate style. Look at its prose ease and rapidity oddly qualified by log-piling compounds, alliteration, successive stresses, and an occasional inversion something rough and serviceable as a horse-blanket yet fancy to—and you wonder how he ever came up with it. It is excitingly massive and moulded and full of momentum. Echoes of Yeats and Auden still persist, but it is wonderfully peculiar, homemade.” His language is robust and rhetorical. He likes his adjectives and nouns to go in pairs, reinforcing one another.

ellauri198.html on line 139: Though Warren did not deny that man is an integral part of nature, what he celebrated in his poetry was the trait that sets man apart from nature—namely, his ability (and desire) to seek knowledge in his quest “to make sense out of life.” Joopa joo. Kuten jo sainoin, jälleen 1 näitä mänttipäitä merkityxen mezästäjiä.

ellauri198.html on line 187: Metropolitan poetry here and there,   

ellauri198.html on line 306: Police are calling on volunteers to aid in the search and are asking all residents to keep an eye out and report anything unusual they might have noticed, or believe might be relevant to the case. The actual transcript of the colored poetry session is here:

ellauri198.html on line 650:     In turn this influenced the pseudo-Medieval poetry of Thomas Chatterton. For example, in a poem about the Battle of Hastings he writes "some caught a slughorne and an onsett wounde" (Battle of Hastings ii.99), meaning "some picked up a slughorn and sounded a charge". A slughorn in this context appears to be some kind of trumpet. However, in a footnote to another usage of the word, Chatterton defines it as "not unlike a hautboy". The Medieval English word hautboy is the origin of the modern word oboe and has never referred to any instrument comparable to a trumpet. It is more like a faggot. Oh boy, haut-bois, puu pystyssä. Vitun pultti-bois.

ellauri198.html on line 794: Roland is not mediated by his precursors; they do not detach him from history so as to free him in the spirit. The Childe's last act of dauntless courage is to will repetition, to accept his place in the company of the ruined. Roland tells us implicitly that the present is not so much negative and finite as it is willed, though this willing is never the work of an individual consciousness acting by itself. It is caught up in a subject-to-subject dialectic, in which the present moment is sacrificed, not to the energies of art, but to the near-solipsist's tragic victory over himself. Roland's negative moment is neither that of renunciation nor of the loss of self in death or error. It is the negativity that is self-knowledge yielding its power to a doomed love of others, in the recognition that those others like Shelley. more grandly had surrendered knowledge and its powers to love, however illusory. Or, mos simply, Childe Roland dies, if be dies, in the magnificence of a belatedness that can accept itself as such. He ends in strengh because his vision has ceased to break and deform the world, and has begun to turn its dangerous strength upon is own defense. Roland is the Kermit modem version of a poet-as-hero, and his sustained courage to weather his own phantasmagoria and emerge into fire is a presage of the continued survival of strong poetry.

ellauri198.html on line 858:   Fellow anglo-saxon  poets, including his catamite W.H. Auden (who praised Yeats as the savior of English lyric poetry), Stephen Spender, Theodore Roethke, and Philip Larkin thought he was the cat's whiskers.

ellauri203.html on line 310:     "The bestseller book also created the idea, particularly in the West, that I was a political writer. This was a misunderstanding because my poetry was unknown. I have never been a political writer and I worked hard to destroy this image of myself." Kovasta yrittämisestä huolimatta kukaan ei taida lukea sen runoja. Vitun lällyjä ne ovatkin, täytyy vähän terävöittää suomennoxessa:

ellauri204.html on line 616: Vesa Rantama, is a literary critic and the editor-in-chief of Nuori Voima, a longstanding Finnish literary magazine. He has written essays with topics ranging from current pop music to ecophilosophy, quite often with poetry added to the mix. His articles have appered in Helsingin Sanomat, the most read newspaper in Finland, the Swedish-language Nordisk Tidskrift, Versopolis as well as countless cultural publications in Finland.

ellauri204.html on line 625:     He returned 1955 to America after a year in Europe to pursue a doctoral degree at Yale University, where he studied under Erich Auerbach. Auerbach would prove to be a lasting influence on Jameson's thought. This was already apparent in Jameson's doctoral dissertation, published in 1961 as Sartre: the Origins of a Style. Auerbach's concerns were rooted in the German philological tradition; his works on the history of style analyzed literary form within social history. Jameson would follow in these steps, examining the articulation of poetry, history, philology, and philosophy in the works of nauseous Jean-Paul Sartre.

ellauri204.html on line 727:   Anne Sexton (born Anne Gray Harvey; November 9, 1928 – October 4, 1974) was an American poet known for her highly personal, confessional verse. She won the Pulitzer Prize for poetry in 1967 for her book Live or Die. Her poetry details her long battle with depression, suicidal tendencies, and intimate details from her private life, including relationships with her husband and children, whom it was later alleged she physically and sexually assaulted.

ellauri204.html on line 729:   Sexton suffered from severe bipolar disorder for much of her life, her first manic episode taking place in 1954. After a second episode in 1955 she met Dr. Martin Orne, who became her long-term therapist at the Glenside Hospital. It was Orne who encouraged her to write poetry.

ellauri204.html on line 733:   She wrote openly about menstruation, abortion, masturbation, incest, adultery, and drug addiction at a time when the proprieties embraced none of these as proper topics for poetry.

ellauri206.html on line 61: Show, don't tell is a technique used in various kinds of texts to allow the reader to experience the story through actions, words, thoughts, senses, and feelings rather than through the author's exposition, summarization, and description. It avoids adjectives describing the author's analysis, but instead describes the scene in such a way that readers can draw their own conclusions. The technique applies equally to nonfiction and all forms of fiction, literature including haiku and Imagism poetry in particular, speech, movie making, and playwriting.

ellauri206.html on line 77: In Book III of his repulsive Republic (c. 373 BC), Plato examines the "style" of "poetry" (the term includes comedy, tragedy, epic and lyric poetry): All types narrate events, he argues, but by differing means. He distinguishes between narration or report (diegesis) and imitation or representation (mimesis). Tragedy and comedy, he goes on to explain, are wholly imitative types; the dithyramb is wholly narrative; and their combination is found in epic poetry. When reporting or narrating, "the poet is speaking in his own person; he never leads us to suppose that he is any one else"; when imitating, the poet produces an "assimilation of himself to another, either by the use of voice or gesture". In dramatic texts, the poet never speaks directly; in narrative texts, the poet speaks as him or herself.

ellauri206.html on line 79:     In his Poetics, the unknown Greek philosopher Aristotle argues that kinds of "poetry" (the term includes drama, flute music, and lyre music for Aristotle) may be differentiated in three ways: according to their medium, according to their objects, and according to their mode or "manner" (section I); "For the medium being the same, and the objects the same, the poet may imitate by narration—in which case he can either take another personality as Homer does, or speak in his own person, unchanged—or he may present all his characters as living and moving before us" (section III).

ellauri210.html on line 337: Picasso predicted he'd be known more for his poetry than his paintings. He was wrong.

ellauri210.html on line 1366:   Joyce Mansour nee Joyce Patricia Adès, (25 July 1928 – 27 August 1986), was an Egyptian-French author, notable as a surrealist poet. She became the best known surrealist female poet, author of 16 books of poetry, as well as a number of important prose and theatre pieces. Ei ehtinyt mukaan Piha-Anteron humoristeihin, mutta Antero kirjoitti siitä erillisiä puffeja.

ellauri219.html on line 180: The next day Jacot-Guillarmod and De Righi attempted to depose Crowley from expedition leadership. The argument could not be settled, and Jacot-Guillarmod, De Righi, and Pache decided to retreat from Camp V to Camp III. At 5 pm they left with four porters on a single rope, but a fall precipitated an avalanche that killed three porters as well as Alexis Pache. People in Camp V heard "frantic cries" and Reymond immediately descended to help, but Crowley stayed in his tent. That evening he wrote a letter to a Darjeeling newspaper stating that he had advised against the descent and that "a mountain 'accident' of this sort is one of the things for which I have no sympathy whatever". The next day Crowley passed the site of the accident without pausing nor speaking to the survivors and left on his own to Darjeeling, where he took the expedition funds, which mostly had been paid by Jacot-Guillarmod. The latter would get at least some of his money back after threatening to make public some of Crowley's pornographic poetry.

ellauri219.html on line 285: A beloved Welsh poet who died in 1953, The Beatles had all been fans of Dylan Thomas’ poetry by the time it came to creating the Sgt. Pepper’s artwork. “We all used to like Dylan Thomas,” Paul McCartney (No.64) later recalled. “I read him a lot. I think that John started writing because of him.” The late producer George Martin was also a fan, and even created a musical version of Thomas’ radio play, Under Milk Wood, in 1988.

ellauri222.html on line 427: Arthur Einhorn is William Einhorn’s son who is in college at the University of Illinois in Champaign. An intellectual who studies poetry and wants to write scholarly books, he falls in love with Mimi. His relationship with his father is strained after Arthur has a baby and then divorces his wife, leaving the child to be raised by his parents.

ellauri238.html on line 40: Täähän oli kissanpojan Psapfa-coveri? Jep: Catullus 51 is a poem by Roman love poet Gaius Valerius Catullus (c. 84 – c. 54 BC). It is an adaptation of one of Sappho's fragmentary lyric poems, Sappho 31. Catullus replaces Sappho's beloved with his own beloved Lesbia. Unlike the majority of Catullus' poems, the meter of this poem is the sapphic meter. This meter is more musical, seeing as Sappho mainly sang her poetry.

ellauri238.html on line 862: Born in Germany in 1924, Amichai and his family fled the country during Hitler’s rise to power when Amichai was 12 and settled in Palestine. Although Amichai’s native language was German, he read Hebrew fluently by the time he immigrated to Palestine. During the 1948 Arab-Israeli war he fought with the Israeli defense forces. The rigors and horrors of his service in this conflict, and in World War II, inform his poetry.

ellauri238.html on line 863: According to Alter, Amichai’s early work bears a resemblance to the poetry of Thomas and Auden. “[Rainer Maria] Rilke,” wrote Alter, “is another informing presence for him, occasionally in matters of style—he has written vaguely Rilkesque elegies—but perhaps more as a model for using a language of here and now as an instrument to catch the glimmerings of a metaphysical beyond.”  Kuulostaa pahalta.

ellauri238.html on line 865: Alter stressed it was important to remember that Amichai is not simply an Auden or a William Carlos Williams writing from right to left. Far from it! Yehuda Amichai was an Israeli poet and author, one of the first to write in colloquial Hebrew in modern times. Amichai was awarded the 1957 Shlonsky Prize, the 1969 Brenner Prize, 1976 Bialik Prize, and 1982 Israel Prize. He also won international poetry prizes, and was nominated several times for the Nobel Prize in Literature.

ellauri241.html on line 47: Fanny's flirtatious personality contrasts with Keats' notably more aloof nature. She begins to pursue him after her siblings Samuel and Toots obtain his book of poetry, "Endymion". Her efforts to interact with the poet are fruitless until he witnesses her grief for the loss of his brother, Tom. Keats begins to open up to her advances while spending Christmas with the Brawne family. He begins giving her poetry lessons, and it becomes apparent that their attraction is mutual. Fanny is nevertheless troubled by his reluctance to pursue her, on which her mother (Kerry Fox) surmises, "Mr. Keats knows he cannot like you, he has no living and no income."

ellauri247.html on line 259: Smollett’s deep moral energy surfaced in two early verse satires, “Advice: A Satire” (1746) and its sequel, “Reproof: A Satire” (1747); these rather weak poems were printed together in 1748. Smollett’s poetry includes a number of odes and lyrics, but his best poem remains “The Tears of Scotland.” Written in 1746, it celebrates the unwavering independence of the Scots, who had been crushed by English troops at the Battle of Culloden. Not much of an improvement on the rest I'd say.

ellauri247.html on line 354: Some, like Macaulay, regarded Johnson as an idiot savant who produced some respectable works, and others, like the Romantic poets, were completely opposed to Johnson's views on poetry and literature, especially with regard to Milton. Again, on the positive side, Johnson influenced Jane Austen's writing style and philosophy.

ellauri247.html on line 427: https://www.poetry.com/poem/518/to-lady-mary-wortley-montagu

ellauri247.html on line 428: https://www.poetryfoundation.org/poems/44893/epistles-to-several-persons-epistle-ii-to-a-lady-on-the-characters-of-women

ellauri249.html on line 76: Brodsky’s poetry bears the marks of his confrontations with the Russian authorities. “Brodsky is someone who has tasted extremely bitter bread,” wrote Stephen Spender in New Statesman, “and his poetry has the air of being ground out between his teeth. … It should not be supposed that he is a liberal, or even a socialist. He deals in unpleasing, hostile truths and is a realist of the least comforting and comfortable kind. Everything nice that you would like him to think, he does not think. But he is utterly truthful, deeply religious, fearless and pure. Loving, as well as hating.”

ellauri249.html on line 78: The tenor of his poetry is not so much apolitical as antipolitical,” wrote Victor Erlich. “His besetting sin was not ‘dissent’ in the proper sense of the word, but a total, and on the whole quietly undemonstrative, estrangement from the Soviet ethos.” Art teaches the writer, he said, “the privateness of the human condition. Being the most ancient as well as the most literal form of private enterprise, it fosters in a man a sense of his uniqueness, of individuality, or separateness—thus turning him from a social animal into an autonomous ‘I.’

ellauri249.html on line 80: It is precisely in this sense that we should understand Dostoyevsky’s remark that beauty will save the world, or Matthew Arnold’s belief that we shall be saved by poetry. It is probably too late for the world, but for the individual man (me) there always remains a chance. What distinguishes us from other members of the animal kingdom is speech. Literature—and poetry, in particular, my poetry—is, to put it bluntly, the goal of our species.” Minä minä! Täähän on pahempi egosentrikko kuin minä ja pikku-CEC Norjassa.

ellauri249.html on line 82: Though many critics agreed that Brodsky was one of the finest contemporary Russian poets, some felt that the English translations of his poetry are less impressive. One is never quite allowed to forget that one is reading a second-hand version.

ellauri249.html on line 84: Czeslaw Milosz felt that Brodsky’s background allowed him to make a vital contribution to literature. Writing in the New York Review of Books, Milosz stated, “Behind Brodsky’s poetry is the experience of political terror, the experience of the debasement of man and the growth of the totalitarian empire."

ellauri249.html on line 106: 
Latin poetry

ellauri254.html on line 360: According to the extremely experienced Belgian slavist Emmanuel Waegemans, "who was and still is indeed considered to be the primus inter pares in Russian literature and culture from the eighteenth-century onwards", Russian thinkers themselves contributed largely to this movement: such examples would be the irrationalistic and mystical poetry and philosophy of Fyodor Tyutchev and Vladimir Solovyov or Fyodor Dostoyevsky's novels. It is remotely thinkable that these geeks could read the Western alphabet on their own.

ellauri254.html on line 369: Considered to be the 'father' (ru. paapa) of Russian Symbolism. In his book On the Causes of the Decline and on the New Trends in Contemporary Russian Literature (1893), just as the AI guru Martin Minsky, he promoted extreme individualism and deified the act of creation. Merezhkovsky was known for his poetry as well as a series of novels on good men, among whom he counted Jesus, Joan of Arc (not a man?), Dante Alighieri, Leonardo da Vinci, Napoleon and (later) Hitler.

ellauri254.html on line 387: Alexander Blok was a routine visitor. These years were some of the young Blok’s most prolific, marked by bursts of creative energy as he worked on two lyrical dramas – Balaganchik (‘The Puppet Show‘), featuring the ‘grotesquely luckless’ Pierrot, which was staged in 1906 by Vsevolod Meyerhold at the Komissarzhevskaya Theatre; and The Stranger – and the poetry cycle The Snow Mask, which he completed in little over a week at the beginning of 1907. The actress Valentina Verigina often accompanied Blok, and recounted of these visits to and from Sologub’s apartment:

ellauri254.html on line 389: ‘How often we wandered through the streets of the snowy city… All of the theatrical events that seemed so important in their time have grown dim in my memory. Acting at the theatre, which I loved so much, now seems to me far less exciting and bright than that game of masks in Blok’s circle. It is true that even at that time I did not look upon our meetings, gatherings, and strolls as mere entertainment. There is no doubt that others too felt the significance and creative value of it all, yet nonetheless we did not realize that the charms of Blok’s poetry almost deprived us all of our real existence, turning us into Venetian masqueraders of the north.’

ellauri254.html on line 501: Klages was born on 10 December 1872, in Hannover, Germany, the son of Friedrich Ferdinand Louis Klages, a businessman and former military officer, and wife Marie Helene née Kolster. In 1878, his sister Helene Klages was born and the two shared a strong bond throughout their lives. In 1882, when Klages was nine years old, his mother died. The death is thought to have been the result of pneumonia. He quickly developed a strong interest in both prose and poetry writing, as well as in Greek and Germanic antiquity. His relationship with his father was strained by the latter's strictness and will to discipline him. Nevertheless, attempts to forbid Klages from writing poetry were unsuccessful by both his teachers and parents.

ellauri254.html on line 508: Klages' writings in both prose and poetry began appearing in Blätter für die Kunst, a journal publication owned by Stefan George, who himself had eagerly recognized Klages' "talent."

ellauri256.html on line 386: Nevertheless, when after Mayakovsky's death his poetry soon began to be forgotten, Lilya, as his executor (named as such by the poet in his will), took a lot of effort to prevent it. She wrote a letter to Joseph Stalin, who issued an order to ensure that the poet's legacy was not forgotten. So it was largely thanks to her that a whole industry was created around Mayakovsky, with his statues erected all over the country, his works reprinted, and collective farms and plants named after him.

ellauri257.html on line 47:   Nikolai Vasilyevich Gogol (1 April [O.S. 20 March] 1809 – 4 March [O.S. 21 February] 1852) was a very short story writer and playwright of Ukrainian origin. Gogol was born in the Ukrainian Cossack town of Sorochyntsi, in the Poltava Governorate of the Russian Empire. His mother was descended from Leonty Kosyarovsky, an officer of the Lubny Regiment in 1710. His father  was supposedly Vasily Gogol-Yanovsky, who died when Gogol was 15 years old, was descendant of Ukrainian Cossacks (see Lyzohub family) and belonged to the 'petty gentry'. His father wrote poetry in Ukrainian almost as well as in Russian, and was an amateur playwright in his brother's home theatre. As was typical of the left-bank Ukrainian gentry of the early nineteenth century, the family spoke Ukrainian nearly as well as Russian. As a child, Gogol helped stage plays in his uncle's home theatre.

ellauri262.html on line 411:   Sayers's first book was poetry and was published in 1916 as OP. by Blackwell Publishing in Oxford. Her second book of poems, "Catholic Tales and Christian Songs", was published in 1918, also by Blackwell.

ellauri264.html on line 472: poetryfoundation.org/uploads/media/default/0001/02/3ae76897f6f6ec53e2ced9270b60cce2bf35f518.jpeg?w=520&h=&fit=max&key=2&sig=18718e15304e3f5061e8d6abc80e65874ec7da69875777b54a5421f8ec95c060&520" />

ellauri264.html on line 475: Born in Gloucester, England, poet, editor, and critic William Ernest Henley was educated at Crypto Grammar School, where he studied with the poet T.E. Brown, and with the University of St. Andrews. His father was a struggling bookseller who died when Henley was a teenager. At age 12 Henley was diagnosed with tubercular arthritis that necessitated the amputation of one of his legs just below the knee; the other foot was saved only through a radical surgery performed by Joseph Lister. As he healed in the infirmary, Henley began to write poems, including “Invictus,” which concludes with the oft-referenced lines “I am the master of my fate; / I am the captain of my soul.” Henley’s poems often engage themes of inner strength and perseverance. His numerous collections of poetry include A Book of Verses (1888), London Voluntaries (1893), and Hawthorn and Lavender (1899).

ellauri270.html on line 226: poetry.org/images/authors/HarrJa1709_NPG.jpg" width="30%"/>

ellauri272.html on line 408:   Ammons wrote about humanity's relationship to nature in alternately comic and solemn tones. His poetry often addresses religious and philosophical matters and scenes involving nature, almost in a Transcendental fashion. According to reviewer Daniel Hoffman, his work "is founded on an implied Emersonian division of experience into Nature and the Soul,"  adding that it "sometimes consciously echoes familiar lines from Emerson, Whitman and Dickinson."[citation needed]

ellauri272.html on line 416:   M.L. Rosenthal felt that although Ammons shares Wallace Stevens’s desire to intellectualize rather than simply describe, he falls short of Stevens’s success. Paul Zweig agrees that “unlike T.S. Eliot or Stevens, Ammons does not write well about ideas.” When the narrator finds the dead mole under the leaves, he says, “mercy: I’d just had / lunch: squooshy ice cream: I nearly / unhad it.” Vendler commented, “There has been nothing like this in American poetry before Ammons—nothing with this liquidity of folk voice.”

ellauri272.html on line 418:   Bloom wrote: “Ammons’s poetry does for me what Stevens’s did earlier, and the High Romantics [Bloom’s term for William Blake, William Wordsworth, Samuel Coleridge, Percy Bysshe Shelley, John Keats, and Lord Byron] before that; it helps me to live my miserable life.

ellauri272.html on line 423: Elizabeth Lund of the Christian Science Monitor criticized Ammons for his tendency to jump “unexpectedly from one image or idea to another.” It is simply a kind of disposable diaper poetry.

ellauri272.html on line 427:   poetryfoundation.org/jstor/i20593216/pages/22.png" width="50%" />

ellauri272.html on line 454:   poetryfoundation.org/jstor/i20599251/pages/7.png" width="50%" />

ellauri272.html on line 493:   poetryfoundation.org/jstor/i20589286/pages/36.png" width="50%" />


ellauri272.html on line 494: poetryfoundation.org/jstor/i20589286/pages/37.png" width="50%" />

ellauri275.html on line 453:   Chavchavadze's influence over Georgian literature was immense. He moved the Georgian poetic language closer to the vernacular, combining the elements of the formal wealth and somewhat artificial antiquated "high" style inherited from the 18th-century Georgian Renaissance literature, melody of Persian lyrical poetry, particularly Hafiz and Saadi, bohemian language of the streets of Tiflis and the moods and themes of European Romanticism. The subject of his works varied from purely anacreontic in his early period to deeply philosophic in his maturity.

ellauri275.html on line 455: Chavchavadze's contradictory career – his participation in the struggle against the Russian control of Georgia, on one hand, and the loyal service to the tsar, including the suppression of Georgian peasant revolts, on the other hand – found a noticeable reflection in his writings. The year 1832, when the Georgian plot collapsed, divides his work into two principal periods. Prior to that event, his poetry was mostly impregnated with laments for the former grandeur of Georgia, the loss of national independence and his personal grievances connected with it; his native country under the Russian empire seemed to him a prison, and he pictured its present state in extremely gloomy colors. The death of his beloved friend and son-in-law, Griboyedov, also contributed to the depressive character of his writings of that time.

ellauri275.html on line 462: After 1832, his perception of the national problems became different. The poet unambiguously pointed out those positive results which had been brought about by the Russian annexation, though the liberation of his native land remained to be his most cherished dream. Later, his poetry became less romantic, even sentimental, but he never abandoned his optimistic streak that makes his writings so different from those of his predecessors. Some of the most original of his late poems are, Oh, my dream, why have you appealed to me again (ეჰა, ჩემო ოცნებავ, კვლავ რად წარმომედგინე), and The Ploughman (გუთნის დედა) written in the 1840s. The former, a rather sad poem, surprisingly ends with hope for the future in contemplation of the poet. The latter combines Chavchavadze's elegy for his past years of youth with calm humorous farewell to lost sex-life and potency. Composer Tamara Antonovna Shaverzashvili used Chavchavadze’s text for her song “My Sadness.”

ellauri275.html on line 464: The subsequent fate of the Georgian poets (inevitably known as the Squirearchy) then became an aspect of the critical debate surrounding modernist poetry, as marked by the publication of T. S. Eliot's The Waste Land at just that time. The Georgian poets became something of a by-word for conservatism, but at the time of the early anthologies they saw themselves as modern (if not modernist) and progressive.   

ellauri285.html on line 347: Mary Robinson (née Darby; 27 November 1757 – 26 December 1800) was an English actress, poet, dramatist, novelist, and celebrity figure. She lived in England, in the cities of Bristol and London; she also lived in France and Germany for a time. She enjoyed poetry from the age of seven and started working, first as a teacher and then as actress, from the age of fourteen. She wrote many plays, poems and novels. She was a celebrity, gossiped about in newspapers, famous for her acting and writing. During her lifetime she was known as "the English Sappho". She earned her nickname "Perdita" for her role as Perdita (heroine of Shakespeare's The Winter's Tale) in 1779. She was the first public mistress of King George IV while he was still Prince of Wales.

ellauri302.html on line 68: Regrettably, however, 'The God of Vengeance," despite conclusions too easily drawn, is not a sex play. When Ash wishes to deal with sex as sex he is not afraid to handle the subject with all the poetry and power at his command. Such a play as his "Jephthah's Daughter" treats the elemental urge of sex with daring, beauty and Dionysiac abandon. A lurid reader is referred to this other play. This one is bound to be a disappointment. 

ellauri321.html on line 49: None of Wotton's poetry was published during his lifetime and it was not until 1651 that his collected works were issued as Reliquiae Wottonianae. Among these, Elizabeth of Bohemia, Upon the Sudden Restraint of the Earl of Somerset, and The Character of a Happy Life are the most memorable. Izaak Walton's biography of Sir Henry Wotton, written in 1670, clearly depicts his powerful intellect, forthright character, and the esteem in which he was held.

ellauri323.html on line 60:     Victoria Mary Sackville-West was the only child of Lionel Edward, third Baron of Sackville, and Victoria Josepha Dolores Catalina Sackville-West, his first cousin and the illegitimate daughter of the diplomat Sir Lionel Sackville-West. She was educated privately. As a child she started to write poetry, writing her first ballads at the age of 11. "I don't remember either my father or my mother very vividly at that time, except that Dada used to take me for terribly long walks and talk to me about science, principally Darwin, and I liked him a great deal better than mother, of whose quick temper I was frightened." (from Portrait of a Marriage by Nigel Nicolson, 1973) Vita's mother considered her ugly - she was bony, she had long legs, straight hair, and she wanted to be as boyish as possible.

ellauri352.html on line 611: The novel has been compared with Edgar Lee Masters´s poetry collection Spoon River Anthology, published in 1915. Tim Martin, writing for Literary Review, compared its "babble of American voices", some from primary sources and some expertly fabricated, with the last act of Thornton Wilder´s play Our Town. Kaskun ei Divina Comediaan. 

ellauri365.html on line 565:     In truth he gave the final blow to the left-wing realistic school, enemy of all imagination, which was then dominant in Sweden and which since 1880 had darkened literature with its sadness and its gloom. This was the first manifestation of a new poetry in which free individuals, led only by the logic of their imagination, worshipped beauty and wealth for its own sake.

ellauri365.html on line 574:   The next aspect of Heidenstam’s development appeared in his patriotic poetry. He had discovered early that love for the ancestral wealth and for the home of one’s noble birth is what most strongly links man to life. His self-love finally suggested a patriotic delusion of grandeur and called forth this passionate demand: "No people may be greater than you; that is the goal, no matter what the cost."

ellauri365.html on line 579: There are many reasons why Heidenstams poetry should appeal particularly to American readers. the Swedish genius is closely akin to us; it has the same seriousness, the same vigor, the same nobility of feeling. Theodore Roosevelt in his Autobiography tells us that he found time to read and enjoy the works of Topelius. But we have to face the truth that most other well-informed American persons have never heard the name of a single Swedish poet.

ellauri375.html on line 281: "What is the meaning of life, the universe, and everything, when viewed from the perspective of a sentient, bipedal, towel-adorning species with an inexplicable penchant for bureaucracy and poetry?"

ellauri386.html on line 385: Raleigh's poem is a departure from the more idealized and romantic treatments of love that were common in Elizabethan poetry. It reflects the growing skepticism and disillusionment with love that began to emerge during the Renaissance. It also foreshadows the more cynical and satirical treatments of love that would become prevalent in the following century. Lizzy loved it until she found out that Walt was actually thinking of the servant.

ellauri389.html on line 310: poetryfoundation.org/uploads/media/cache/default/0001/01/e224c0e2f52fa072d0218c22d099aaaf433be1a2.jpeg/231becf219803c216e3ac9e39bdb5692" />

ellauri389.html on line 421: His poetry, however, is mainly subjective, and monotonous from the writer's continual self-absorption. His versification is frequently worse than inharmonious, and his diction so prosaic as to evince that his power of expression bore no proportion to his power of thought.

ellauri389.html on line 427: poetryfoundation.org/uploads/media/default/0001/01/8ab4a6a18e1101d37feff112c5138ec9233902cf.jpeg?w=970&h=&fit=max&key=4&sig=2dde4ecd3b419320092d7ea30cb16b5222901c91b83c663305bb3e68ef08a7de&970" />

ellauri389.html on line 455: Donne’s poetry is marked by strikingly original departures from the conventions of 16th-century English verse, particularly that of Sir Philip Sidney and Edmund Spenser. 

ellauri392.html on line 95: Professor Hirsch introduced the literature of the Holocaust to the Brown University curriculum in 1983, and he taught courses in Holocaust memoir, song, poetry, and fiction. In collaboration with his wife Roslyn, a survivor of the Tarnopol Ghetto, he translated Justyna's Narrative, a Polish Holocaust memoir by Gusta Davidson Draenger, and Auschwitz: True Tales from a Grotesque Land, by Sara Nomberg-Przytyk. He also translated from Yiddish Ghetto Kingdom, the stories of Isaiah Spiegel; the poetry of Abraham Sutzkever (paasattu); and Aleksander Kulisiewicz’s songs from the Nazi death camps. Professor Hirsch died in 1999 and was survived by his wife Roslyn and son Joe, the only two Hirsch survivors. He had been hospitalized for several weeks for intestinal surgery, his family said. Well, actually, he was survived by  his wife; a daughter, Helene Wingens of West Caldwell, N.J.; a son, Joseph, of Brooklyn; a sister, Rosalyn Suchow of Fort Lee, N.J., and two grandchildren.

ellauri392.html on line 606: poetryfoundation.org/uploads/media/cache/default/0001/20/b90a02f48f1ad99c265d7e20223bf4d445c33d54.jpeg/bf0462f2361a8e67a959791945f1a6b6" />

ellauri421.html on line 117: Paz strived to  distinguish poetry, narrative and essay, but  failed. ‘Duality,’ he says, ‘is a basic feature  of Tantrism, it permeates all Hindu religious  life: male and female, pure and impure, left  and right, in this order.' Can't make head or  tail of it. According to Paz, “Both love and  eroticism—the double flame—are fed by the  original fire: sexuality.” Wow what a strike of  genius.  

xxx/ellauri075.html on line 338:   Benjamin theorizing modernity by bringing together, among other things, Marxist dialectics, Surrealism, snippets of theology, Baudelaire’s poetry (and, most importantly, his theories of the flâneur), Kafka’s novels, the image of Proust, a Klee painting called the Angelus Novus, book-collecting, translation, storytelling, photography and film. 

xxx/ellauri081.html on line 154: Category: books and literature poetry

xxx/ellauri084.html on line 819: Millay was a prominent social figure of New York City's Greenwich Village just as it was becoming known as a bohemian writer’s colony, and she was noted for her uninhibited lifestyle, forming many passing relationships with both sexes. A road accident in middle-age left her part-invalided and morphine-dependent for years, yet near the end of her life she wrote some of her greatest poetry.

xxx/ellauri086.html on line 894:   Poe believed that all literary works should be short. He writes, "[...] there is a distinct limit, as regards length, to all works of literary art — the limit of a single sitting [...]" He especially emphasized this "rule" with regards to poetry, but also noted that the short story is superior to the novel for this reason.

xxx/ellauri086.html on line 906:   The essay states Poe's conviction that a work of fiction should be written only after the author has decided how it is to end and which emotional response, or "effect", he wishes to create, commonly known as the "unity of effect". Once this effect has been determined, the writer should decide all other matters pertaining to the composition of the work, including tone, theme, setting, characters, conflict, and plot. In this case, Poe logically decides on "the death... of a beautiful woman" as it "is unquestionably the most poetical topic in the world, and equally is it beyond doubt that the lips best suited for such topic are those of a bereaved lover." Some commentators have taken this to imply that pure poetry can only be attained by the eradication of female beauty. Biographers and critics have often suggested that Poe's obsession with this theme stems from the repeated loss of women throughout his life, including his mother Eliza Poe, his foster mother Frances Allan and, later, his wife Virginia.

xxx/ellauri087.html on line 452: At least two poets have taken up the challenge of to Marvell's poem in the character of the lady so addressed. Annie Finch's "Coy Mistress" suggests that poetry is a more fitting use of their time than lovemaking, while A.D. Hope's "His Coy Mistress to Mr. Marvell" turns down the offered seduction outright.

xxx/ellauri121.html on line 304: After graduating in English from the University of Toronto, the young poet— she was by now publishing in Canadian literary magazines—enrolled in graduate school at Radcliffe, the all-female women university at Harvard, in 1961. She was chagrined by the intensely chauvinistic atmosphere: among other things, female students were not allowed access to the university’s modern poetry collection in the Lamont Library. Only men could read all the juicy bits. 

xxx/ellauri121.html on line 306: Atwood’s career as a graduate student stretched, with many interruptions, for half a dozen years. During that period she had an affair with Quebec poet D. G. Jones— which Sullivan mentions so obliquely that it is over before the reader realizes it has begun. She had broken it off, as a result of the stresses caused by his workload. She subsequently courted Jim Polk (an American writer she had met at Harvard) and, in January 1967, she decided to marry him "after five years of equivocation". She also worked at odd jobs including market researcher like Fred Waterford, and despite never finishing her PhD, began a university teaching career that would take her to cities across Canada. At 27, she became the youngest person to ever win the Governor General’s Award with her 1967 poetry collection, The Circle Game. Siitä nousi sille aika lailla kusi päähän. 

xxx/ellauri121.html on line 345: Sullivan relates how in 1969, when Atwood was giving her first poetry reading, poet Irving Layton futilely attempted to sabotage the upstart writer by simultaneously reading his own work from the audience. Lisää ainesta käsineitokeitoxeen.

xxx/ellauri127.html on line 53: "Trees" is frequently included in poetry anthologies and has been set to music several times—including a popular rendition by Oscar Rasbach, performed by singers Nelson Eddy, Robert Merrill, and Paul Robeson. 

xxx/ellauri127.html on line 67:     It was dedicated to his wife's mother, Mrs. Henry Mills Alden, who was endeared to all her family. Another mother and son not in law video? Kilmer's poetry was influenced by "his strong religious faith and dedication to the natural beauty of the world."

xxx/ellauri127.html on line 713: Chatterton soon conceived the romance of Thomas Rowley, an imaginary monk of the 15th century, and adopted for himself the pseudonym Thomas Rowley for poetry and history. According to psychoanalyst Louise J. Kaplan, his being fatherless played a great role in his imposturous creation of Rowley. The development of his masculine identity was held back by the fact that he was raised by two women: his mother Sarah and his sister Mary. 

xxx/ellauri127.html on line 715: Thomas Rowley (1721–1796) was a famous poet of Vermont, known both as the spokesman for Ethan Allen and dubbed “The Bard of the Green Mountains.” During his lifetime and before the American Revolution, his poetry gained the reputation with the catchphrase of "Setting the Balls on Fire."  Rowley's poetry actually focused not only on politics, but also on the pleasantness and rustic nature of pioneer life, with humor and witty observations. For example, in another poetic inventory of his "estate", he sums up that he has virtually nothing, but still he was independent and happy. 

xxx/ellauri128.html on line 463: Wystan Hugh Auden (/ˈwɪstən ˈhjuː ˈɔːdən/ 21 February 1907 – 29 September 1973) was an Anglo-American poet. Auden´s poetry was noted for its stylistic and technical achievement, its engagement with politics, morals, love, and religion, and its variety in tone, form, and content. Some of his best known poems are about love, such as "Funeral Blues"; on political and social themes, such as "September 1, 1939" and "The Shield of Achilles"; on cultural and psychological themes, such as The Age of Anxiety; and on religious themes such as "For the Time Being" and "Horae Canonicae".

xxx/ellauri128.html on line 496: John Anthony Ciardi (/ˈtʃɑːrdi/ CHAR-dee; Italian: [ˈtʃardi]; June 24, 1916 – March 30, 1986) was an American poet, translator, and etymologist. While primarily known as a poet, he also translated Dante´s Divine Comedy for kids, wrote several volumes of children´s poetry, pursued etymology, contributed to the Saturday Review as a columnist and long-time poetry editor, directed the Bread Loaf Writers´ Conference in Vermont, and recorded commentaries for National Public Radio.

xxx/ellauri128.html on line 497: In 1959, Ciardi published a book on how to read, write, and teach poetry, How Does a Poem Mean?, which has proven to be among the most-used books of its kind.

xxx/ellauri128.html on line 619: Adrian Henri (10 April 1932 – 20 December 2000) was a British poet and painter best remembered as the founder of poetry-rock group the Liverpool Scene and as one of three poets in the best-selling anthology The Mersey Sound, along with Brian Patten and Roger McGough. The trio of Liverpool poets came to prominence in that city´s Merseybeat zeitgeist of the 1960s and 1970s. He was described by Edward Lucie-Smith in British Poetry since 1945 as the "theoretician" of the three. His characterisation of popular culture in verse helped to widen the audience for poetry among 1960s British youth. He was influenced by the French Symbolist school of poetry and surrealist art. Aika nolla.

xxx/ellauri130.html on line 579: Myös Vilpittömän Nahkurin Runous-nettiradion kuudes sarja on juuri alkanut, ja tämän päivän jaksossa entinen runoilijapalkinnon saaja Carola Anna Tussua pohtii lähetysennusteen rukousmaista laatua: ‘There’s never been a time when you could just say anything’: Frank Skinner on free speech, his bullying shame – and knob [kyrvännuppi] jokes. This poetry-loving, religious knob has deep regrets about some of his comedy: either the standup comic has grown up, or he was never as laddish as his image suggested. Nearing death and last judgment, he is hoping to perform a “cleaner, cleverer” kind of act, one that would let him look straight at the crowd and – perhaps for the first time in his life – not see anybody squirming in their seat in discomfort. “It was a struggle,” the 65-year-old says with a grin, “because I realised that I seem to think in knob jokes. And I have done since I was about 13. In the West Midlands, that was how people communicated!”

xxx/ellauri137.html on line 652:     John has just published another beautifully prepared edition of the "North Atlantic Review," a literary magazine with choice offerings in poetry, essays, short stories, and photos. Endorsed by Edward Eriksson, Literary Presentations, July 11, 2011, Edward worked with john in the same group.

xxx/ellauri137.html on line 653:     
Edward's poetry skills endorsed by 16 colleagues out of 30+ at Suffolk Community College

xxx/ellauri157.html on line 45:       Anne Morrow Lindbergh, wife of ace aviator, Charles Lindberg was a renowned author. As an aviator she flew with Charles, assisting him as a navigator and radio operator, in many notable aviation milestones that he achieved. She was also the first American woman to obtain a glider pilots license in 1930. Her works included genres of poetry to non-fiction. She expressed her thoughts on distinct topics varying from solitude and contentment to youth and age, from the role of women in 20th century to love, marriage and peace.

xxx/ellauri166.html on line 75: Sampo, a magical artifact of indeterminate type constructed by Ilmarinen that brought riches and good fortune to its holder, in the Finnish epic poetry Kalevala (The Forging of the Sampo, Joseph Alanen, 1911) Sampo on myymässä osakkeitaan Nordeassa. Sampo! kuului mielevällä äänellä Gretan pihasta takavuosina. 

xxx/ellauri166.html on line 219: “This is spoken of God,” says Dr. Dodd, “after the manner of men, to denote his utter contempt of the opposition of his enemies; the perfect ease with which he was able to disappoint all their measures, and crush them for their impiety and folly; together with his absolute security, that his counsels should stand and his measures be finally accomplished; as men laugh at, and hold in utter contempt, those whose malice and power they know to be utterly vain and impotent. The introducing God as thus laughing at, and deriding his enemies, is in the true spirit of poetry, and with the utmost propriety and dignity.

xxx/ellauri166.html on line 223: The Lord shall have them in derision - The same idea is expressed here in a varied form, as is the custom in parallelism in Hebrew poetry. The Hebrew word לעג lâ‛ag, means properly to stammer; then to speak in a barbarous or foreign tongue; then to mock or deride, by imitating the stammering voice of anyone. Gesenius, Lexicon Here it is spoken of God, and, of course, is not to be understood literally, anymore than when eyes, and hands, and feet are spoken of as pertaining to him. The meaning is, that there is a result in the case, in the Divine Mind, as if he mocked or derided the vain attempts of men; that is, he goes calmly forward in the execution of his own purposes, and he looks upon and regards their efforts as vain, as we do the efforts of others when we mock or deride them. The truth taught in this verse is, that God will carry forward his own plans in spite of all the attempts of men to thwart them. This general truth may lie stated in two forms:

xxx/ellauri167.html on line 92: During the 1920's and 1930's he published poetry and dramatic works, and edited literary magazine. In 1940 he founded Fine Editions Press. He married Mollie Strauss in 1942.

xxx/ellauri173.html on line 102: Virgil´s Bucolica known as Eclogues? Eclogue (ecloga; from the Greek ἐκλογή) means 'selection', 'choice'. There are theories, of course -- perhaps these Eclogues we have are a 'selection' of the best of a larger body of bucolic poetry written by Virgil.  But nobody is certain.  And two: who is the 'god' mentioned right at the start of Eclogue 1?

xxx/ellauri178.html on line 109: Snorrin mielestä niissä mentiin liian pitkälle. Snorri draws the line at mixed metaphor, which he terms nykrat "nykrätty, made monstrous" (Snorri Sturluson: Háttatal 6), and his nephew called the practice löstr "a fault" (Óláfr hvítaskáld: Third Grammatical Treatise 80). In spite of this, it seems that "many poets did not object to and some must have preferred baroque juxtapositions of unlike kennings and neutral or incongruous verbs in their verses" (Foote & Wilson (1970), p. 332). E.g. heyr jarl Kvasis dreyra "listen, earl, to Kvasir's blood (=poetry)" (Einarr skálaglamm: Vellekla 1).  Niin aina.

xxx/ellauri179.html on line 298:   An unmatched introduction to Hemingway’s particular skill as a writer is the beginning of A Farewell to Arms, certainly one of the most pregnant opening paragraphs in the history of the modern American novel. In that passage the power of concentration reaches a peak, forming a vivid and charged sequence, as if it were a 10-second video summary. It is packed with events and excitement, yet significantly frosty, as if unresponsive and numb, like a silent flashback dream sequence in which bygone images return, pass in review and fade away, leaving emptiness and quietude behind them. The lapidary writing approaches the highest style of poetry, vibrant with meaning and emotion, while the pace is maintained by the exclusion of any descriptive redundancy, of obtrusive punctuation, and of superfluous or narrowing emotive signs:

xxx/ellauri187.html on line 129:       The first strut of biographical art to buckle under such an avenging mission is language. "Death emasculates," Freedman reports dishearteningly. He describes one doubly unlucky fellow as being "fatally electrocuted." We find Rilke seeking the "panacea of a cure." Women almost never give birth--they just "birth." Clara, Rilke's wife, "was the messenger but also the transparent glass and reflecting mirror of Rilke's depression." And what a shame that a sentence like this should appear in a book about a poet's life: "Like garden flowers opening their petals early only to wither quickly, Italy's current art avoided the hard surface required for effective poetry." It's as if, somewhere in the deeper regions of his writing self, Freedman knows that Rilke wasn't any of the bad things his biographer says he was.

xxx/ellauri187.html on line 131: One ugly phrase in a personal letter, for instance (out of a vast personal correspondence), referring to Franz Werfel as a "Jew-boy," and some murky generalities about Werfel's "Jewish attitude toward his work," do not an anti-Semite make. Rilke cherished the many Jews he knew, including Simmel; he enjoyed reading the Hasidic philosopher Martin Buber and steeped himself in Jewish Scripture, claiming that Judaism was closer than Christianity to God. He also remained a lifelong champion of Werfel's work. And a reader discovers buried deep in Freedman's footnotes that Rilke wrote the offending letter to the poet Hugo von Hoffmannsthal, a good friend and an important patron. Hoffmannsthal was also Jewish, and he shared Rilke's negative views on the superambitious Werfel, who emigrated to America and, in 1941, published The Song of Bernadette, a novel about a miracle at Lourdes. Freedman doesn't mention that about five months after Rilke wrote the letter to Hoffmannsthal, along with a nearly identical letter to his patron Princess Marie von Thurn und Taxis, Rilke again wrote similar letters to the two of them praising Werfel's poetry so exuberantly that they almost sound like retractions of his first letters.

xxx/ellauri187.html on line 141: The women Rainer chose . . . were themselves practicing artists whose work he respected, from Clara to Loulou and now to Baladine-Merline. But they were given no choice to remove themselves for the sake of their art. . . . Rilke's love imposed a nonreciprocal discipline: in the end, it worked only for him and his poetry. 

xxx/ellauri199.html on line 116: Allpoetry.com ja Hellopoetry.com julkaisevat lukijoiden omia Neptunus runoja, toinen toistaan kehnompia. Lukijaa alkaa nolottaa, hän tuntee myötähäpeää. Uusin ja paras  ainoana koskee makean veden jumalaa ja sen suolaista puolisoa Salaciaa:

xxx/ellauri199.html on line 118: Poems / Neptune Poems - The best poetry on the web

xxx/ellauri199.html on line 176: 
Eka oma kontribuutio Allpoetry.comiin

xxx/ellauri199.html on line 188:     #1: Show, don´t tell. Detail is king. Why Rhyming is amazing, but the challenge distracts beginners from more important attributes like detailed descriptions and story. Read the poetry repair manual!

xxx/ellauri199.html on line 193: Hiski! 
 29 year old aspiring house plant. Currently residing in Texas with my darling fiancé and precious cats. My style is varied. You’ll find everything from odes to nature (especially flowers and the moon) to dark poetry about mental illness to mindless ramblings about bananas and clocks. I hope you enjoy it.   

xxx/ellauri199.html on line 289: First of all I would like to clarify what poetry is and isn´t. Writing poetry is best described as a composition that uses literary techniques and is not prose. Writing Prose is best described as writing that uses ordinary speech or language, such as a story or letter.  However, there is such a thing as prose poetry that does use poetic devices, but it is still written in journal, letter or paragraph or story form. Poetry is written with a certain poetic structure of line breaks and stanzas. We will get more into the structure of poetry later in the course. Now that we have that cleared up, let´s forge ahead. 

xxx/ellauri199.html on line 325: Phillis Wheatley was both the second published African-American poet and first published African-American woman. Born in Senegambia, she was sold into slavery at the age of 7 and transported to North America. She was purchased by the Wheatley family of Boston, who taught her to read and write, and encouraged her poetry when they saw her talent. The publication of her Poems on Various Subjects, Religious and Moral brought her fame both in England and the American colonies; figures such as George Washington praised her work. During Wheatley´s visit to England with her master´s son, the African-American poet Jupiter Hammon praised her work in his own poem. Wheatley was emancipated after the death of her master John Wheatley. She married soon after. Two of her children died as infants. After her husband was imprisoned for debt in 1784, Wheatley fell into poverty and died of illness, quickly followed by the death of her surviving infant son. Whom did she marry? Was it Wheatley Jr, or perhaps Neptune Hammon?

xxx/ellauri199.html on line 364: Eighteen years on the cotton field passed before his second work appeared in print, "An Address to Miss Phillis Wheatley." Hammon wrote the poem during the Revolutionary War, while Henry Lloyd had temporarily moved his household and slaves from Long Island to Hartford, Connecticut, to evade British forces. Phillis Wheatley, then enslaved in Massachusetts, published her first book of poetry in 1773 in London. She is recognized as the first published black female author. Hammon never met Wheatley, but was a great admirer. His dedication poem to her contained twenty-one rhyming quatrains, each accompanied by a related Bible verse. Hammon believed his poem would encourage Wheatley along her Christian journey. Lukikohan Pyllis koko runoa? Ei se tuonut sille kovin paljon onnea.

xxx/ellauri199.html on line 889: She has published over 50 books of children’s poetry and appeared on radio and television. Judith likes to start her poems off by writing on green paper with a 2B pencil.

xxx/ellauri200.html on line 87: Nissim Ezekiel is often considered the father of Modern Indian English poetry by many critics. Tää on hyvä runoilija. Täst mie piän.

xxx/ellauri200.html on line 176: Ezekiel enriched and established Indian English language poetry through his modernist innovations and techniques, which enlarged Indian English literature, moving it beyond purely spiritual and orientalist themes, to include a wider range of concerns and interests, including familial events, individual angst and skeptical societal introspection.

xxx/ellauri224.html on line 361: Eliot – arguably the greatest poetry in English in the 20th century – was so worried that he might be pursuing religious and literary sainthood for his own ego rather than to the greater glory of god, that he forgot ever to consider whether it was even possible or desirable to pursue sainthood at the expense of ordinary kindness and common decency. Throughout his life – and it was a long one, full of great work – he left a trail of human wreckage and hurtful speech. Any account of that work and of the ideas embedded in it has to keep track of the harm he did, not in a spirit of cheap point-scoring, but as an awful warning. Those of us who try to pursue both an ethical life and a creative one find that it is never easy, that it is always needful that we weigh one good against another.

xxx/ellauri225.html on line 275: Although Le Guin is primarily known for her works of speculative fiction, she also wrote realistic fiction, non-fiction, poetry, and several other literary forms, which makes her work quite difficult for librarians to classify. Her writings received critical attention from mainstream critics, critics of children´s literature, and critics of speculative fiction. Le Guin herself said that she would prefer to be known as an "American novelist". Le Guin´s transgression of conventional boundaries of genre led to literary criticism of Le Guin becoming "Balkanized", particularly between scholars of children´s literature and speculative fiction. Commentators have noted that the Earthsea novels specifically received less critical attention because they were considered children´s books. Le Guin herself took exception to this treatment of children´s literature, describing it as "adult chauvinist piggery". In 1976, literature scholar George Slusser criticized the "silly publication classification designating the original series as 'children's literature'", while in Barbara Bucknall´s opinion Le Guin "can be read, like Tolkien, by ten-year-olds and by adults. These stories are ageless because they deal with problems that beset us at any age."

xxx/ellauri225.html on line 349: Bloom was born in 1930 to a poor Orthodox Jewish household in the East Bronx, one of five children. He lost faith early in the Jewish God when he accidentally stumbled on the poetry of Hart Crane. He fell in love with Crane’s enthusiasm for life, his belief in the possibility of ecstatic pleasure, and his overall exuberance. This was in stark contrast to Bloom’s childhood, which he confesses was a lonely time.

xxx/ellauri225.html on line 357: There are stunning passages from literature that have moved him for decades. There is poetry, prose, and criticism from John Milton, Dr. Samuel Johnson, Phil Collins, Thomas Gray, Blake, Wordsworth, Coleridge, Shelley, Keats, Tennyson, Browning, Swinburn, Elizabeth Bishop, John Ashbery and James Merrill Hintikka. Bloom meditates on the Hebrew prophets, the Kabbalah, Psalms, Job, the Song of Songs, and Ecclesiastes. And of course, his beloved Shakespeare.

xxx/ellauri225.html on line 384:     Provoked and inspired by T. S. Eliot, Crane wrote modernist poetry that was difficult, highly stylized, and ambitious in its scope. In his most ambitious work, The Bridge, Crane sought to write an epic poem, in the vein of The Waste Land, that expressed a more optimistic view of modern, urban culture than the one that he found in Eliot´s work. But he FAILED! In the years following his suicide at the age of 32, Crane has been hailed by playwrights, poets, and literary critics alike (including Robert Lowell, Derek Walcott, Tennessee Williams, and Harold Bloom), as being one of the most influential poets of his generation.

xxx/ellauri225.html on line 388:     Crane´s mother and father were constantly fighting, and they divorced early in April 1917. Crane dropped out of East High School in Cleveland during his junior year and left for New York City, promising his parents he would attend Columbia University later. His parents, in the middle of their divorce proceedings, were upset. Crane took various copywriting jobs and moved between friends´ apartments in Manhattan. Between 1917 and 1924 he moved back and forth between New York and Cleveland, working as an advertising copywriter and a worker in his father´s factory. From Crane´s letters, it appears that New York was where he felt most at home, and much of his poetry is set there.     

xxx/ellauri225.html on line 410: Crane´s critical effort, like those of Keats and Rilke, is mostly to be found in his letters: he corresponded regularly with Allen Tate, Yvor Winters, and Gorham Munson, and shared critical dialogues with Eugene O´Neill, William Carlos Williams, E. E. Cummings, Sherwood Anderson, Kenneth Burke, Waldo Frank, Harriet Monroe, Marianne Moore, and Gertrude Stein. He was also an acquaintance of H. P. Lovecraft, who eventually would voice concern over Crane´s premature aging due to alcohol abuse. Most serious work on Crane begins with his letters, selections of which are available in many editions of his poetry; his letters to Munson, Tate, Winters, and his patron, Otto Hermann Kahn, are particularly insightful. His two most famous stylistic defenses emerged from correspondences: his "General Aims and Theories" (1925) was written to urge Eugene O´Neill´s critical foreword to White Buildings, then passed around among friends, yet unpublished during Crane´s life; and the famous "Letter to Harriet Monroe" (1926) was part of an exchange for the publication of "At Melville´s Tomb" in Poetry. The literary critic Adam Kirsch has argued that "Crane has been a special case in the canon of American modernism, because his reputation was never quite as secure as that of Eliot or Stevens. In fact he FAILED."

xxx/ellauri225.html on line 412: Ongelmaxi muodostui ettei Kraanan runoissa ollut päätä eikä häntääkään. Even a young Tennessee Williams, then falling in love with Crane´s poetry, could "hardly understand a single line—of course the individual lines aren't supposed to be intelligible. The message, if there actually is one, comes from the total effect."

xxx/ellauri225.html on line 418: Thomas Yingling objects to the traditional, New Critical and Eliotic readings of Crane, arguing that the "American myth criticism and formalist readings" have "depolarized and normalized our reading of American poetry, making any homosexual readings seem perverse." Thomas E. Yingling was associate professor of English at Syracuse University until his death from AIDS-related causes in 1992. Even more than a personal or political problem, though, Yingling argues that such "biases" obscure much of what the poems make clear; he cites, for instance, the last lines of "My Grandmother´s Love Letters" from White Buildings as a haunting description of estrangement from the norms of (heterosexual) family life:

xxx/ellauri225.html on line 425: Brian Reed has contributed to a project of critical reintegration of queer criticism with other critical methods, suggesting that an overemphasis on the sexual biography of Crane´s poetry can skew a broader appreciation of his overall work. In one example of Reed´s approach, he published a close reading of Crane´s lyric poem, "Voyages", (a love poem that Crane wrote for his lover Emil Opffer) on the Poetry Foundation website, analyzing the poem based strictly on the content of the text itself and not on outside political or cultural matters. We can faintly hear Harold Bloom clap his hands in the body bag. 

xxx/ellauri225.html on line 429: Important mid-century American poets, such as John Berryman and Robert Lowell, cited Crane as a significant influence. Both poets also wrote about Crane in their poetry. Berryman wrote him one of his famous elegies in The Dream Songs, and Lowell published his "Words for Hart Crane" in Life Studies (1959): "Who asks for me, the Shelley of my age, / must lay his heart out for my bed and board." Lowell thought that Crane was the most important American poet of the generation to come of age in the 1920s, stating that "[Crane] got out more than anybody else ... he somehow got New York City (though an Ohio hick); he was at the center of things in the way that no other poet was." Lowell also described Crane as being "less limited than any other poet of his generation." Talk to the hand, they were both abysmal FAILURES!     

xxx/ellauri229.html on line 333:   Matt Harvey is one of the loveliest poets I know, briefly famous for being Wimbledon’s first poet-in-residence and for hosting BBC Radio 4’s Wondermentalist Cabaret. In his prose poem Imaginary Friend he tells the tragic story of how being a shy and withdrawn child he had an imaginary friend, who was also shy and withdrawn and had his own imaginary friend. “The two of them used to play together and exclude me,” he says. As with all of Harvey’s work, it is a lightfooted, calm-mouthed, moving piece of deceptively funny writing. Go read it. Oh and read poetry4kids.com/poems/imaginary-friend/">Ken Nesbitt´s poem of the same name, while you´re at it. It is also super cute. 

xxx/ellauri229.html on line 761:   Tyutchev´s idea of night, for example, was defined by critics as "the poetic image often covering economically and simply the vast notions of time and space as they affect man in his struggle through life". In the chaotic and fathomless world of "night", "winter", or "north" man feels himself tragically abandoned and lonely. Hence, a modernist sense of frightening anxiety permeates his poetry. Unsurprisingly, it was not until the late 19th and early 20th century that Tyutchev was rediscovered and hailed as a great poet by the Russian Symbolists such as Vladimir Solovyov, Andrey Bely and Alexander Blok.

xxx/ellauri235.html on line 565: Pindar wrote an enormous number of poems, which the Alexandrian scholars divided in seventeen books. His poetry included dithyrambs, paeans, scholia, encomia, prosodia, treni, parthenia, and epinicia, the last being the only surviving work of his, from the others we have only a few fragments. 

xxx/ellauri235.html on line 569: 	  He continues to be a largely unread, even if much admired poet.  Pindar is the first Greek poet whose works reflect extensively on the nature of poetry and on the poet's role.

xxx/ellauri237.html on line 134: Among modern Western male heteronormal scholars, Sappho´s sexuality is still debated – André Lardinois has described it as the "Great Sappho Question". Early translators of Sappho sometimes heterosexualised her poetry. Ambrose Philips´ 1711 translation of the Ode to Aphrodite portrayed the object of Sappho´s desire as male, a reading that was followed by virtually every other translator of the poem until the twentieth century, while in 1781 Alessandro Verri interpreted fragment 31 as being about Sappho´s love for a guy named Phaon. Friedrich Gottlieb Welcker argued that Sappho´s feelings for other women were "entirely idealistic and non-sensual", while Karl Otfried Müller wrote that fragment 31 described "nothing but a friendly affection": Glenn Most comments that "one wonders what language Sappho would have used to describe her feelings if they had been ones of sexual excitement", if this theory were correct. By 1970, it would be argued that the same poem contained "proof positive of [Sappho´s] lesbianism".

xxx/ellauri237.html on line 136: Today, it is generally accepted that Sappho´s poetry portrays homoerotic feelings: as Sandra Boehringer puts it, her works "clearly celebrate eros between women". Toward the end of the twentieth century, though, some scholars began to reject the question of whether or not Sappho was a lesbian – Glenn Most wrote that Sappho herself "would have had no idea what people mean when they call her nowadays a homosexual", André Lardinois stated that it is "nonsensical" to ask whether Sappho was a lesbian, and Page duBois calls the question a "particularly obfuscating debate". WTF? Pelottaako äijiä ajatus pillua lipsuvasta Psapfasta? Vai onko ne vaan mustasukkiaisia?

xxx/ellauri237.html on line 140:   None of Sappho´s own poetry mentions her teaching, and the earliest testimonium to support the idea of Sappho as a teacher comes from Ovid (a notorious nincompoop), six centuries after Sappho´s lifetime. Despite these problems, many newer interpretations of Sappho´s social role are still based on this idea. In these interpretations, Sappho was involved in the ritual education of girls, for instance as a trainer of choruses of girls. Niikö Ailin kerhotoimintaa, osallistumista kylän sukupuolielämän monipuolistamiseen.

xxx/ellauri250.html on line 571: In 1955 oder 1954, Bukowski was treated for a near-fatal bleeding ulcer. After leaving the hospital he began to write poetry. 1955 he "agreed to marry" small-town Texas poet Barbara Frye, but they subsequently divorced in 1958. Frye, die aus einer vermögenden texanischen Familie stammte, war selbst Schriftstellerin und zugleich Herausgeberin eines kleinen, alternativen Literaturmagazins namens Harlekiini.  Apparently she later died under mysterious circumstances in India. Following his divorce, Bukowski resumed drinking and continued writing poetry.

xxx/ellauri250.html on line 594: Bukowski's work was subject to controversy throughout his career, and he readily admitted to admiring strong leaders such as Adolf Hitler and Franklin D. Roosevelt. Some guy claimed that his sexism in his poetry, at least in part, translated his life. Feikki spuge setämies jonka näyttämönimi oli vielä "Buck" - nö, 'swar Hank. When women are around, he has to play Man. In a way it's the same kind of 'pose' he plays at in his poetry—Bogart, Eric Von Stroheim. "Whenever my wife Lucia would come with me to visit him he'd play the Man role, but one night she couldn't come I got to Buck's place and found a whole different guy—easy to get along with, relaxed, accessible."

xxx/ellauri251.html on line 91: Answer: Algernon Charles Swinburne's Atalanta in Calydon (1865) is the finest example of Victorian 'Greek' tragedy, a genre of English poetry inspired by the forms, contents, and styles of Attic tragedy.

xxx/ellauri255.html on line 158: 	Antony Pyp Pipo: The Russian Civil War was really the moment when Ukraine started to become a separate entity from Russia, all thanks to Lenin. There wasn't much of malorussian culture in the countryside, mostly some boring poetry and balalaika music. But at this time they finally had a chance to get rid of the Turks and Poles, and  to take Ukraine back to the fold of the great east slavonic commonwealth, by joining the USSR and their Big Brother– and they’d been given the opportunity. But they botched it completely when the USSR collapsed. That is when they went back to fraternize with the West and develop a more modern nazism with Nato.  

xxx/ellauri261.html on line 609: Thomas J. J. Altizer offered a radical theology of the death of God that drew upon William Blake, Hegelian thought and Nietzschean ideas. He conceived of theology as a form of poetry in which the immanence (presence) of God could be encountered in faith communities. Altizer concluded that God

xxx/ellauri261.html on line 635:   The movement also suggested the legitimacy of seeking the holy outside the church itself. Thereby it suggests that the church did not have exclusive rights to divine inspiration. In a sense, this incorporated a strong sense of continuous revelation in which truth of the religious sort was sought out in poetry, music, art, or even the pub and in the street. [citation sorely needed].

xxx/ellauri268.html on line 384: In 1976, Harjo graduated from the University of New Mexico with a major in creative writing. She continued to study writing at the Iowa Writers' Workshop, where she obtained a Master of Fine Arts degree in 1978. However, the setting was not welcoming for Harjo, who later stated, "I was ghettoized." Among Harjo's books of poetry are What on Earth Drove Me to This? (1980), which she later said contained "probably only two good poems". Ei ne tosiaan kovin kummosia ole vaikka Harjo on jo yli 70v harjotellut.

xxx/ellauri281.html on line 648: His encyclopaedia Al-Iklīl (“The Crown”; Eng. trans. of vol. 8 by N.A. Faris as The Antiquities of South Arabia) and his other writings are a major source of information on Arabia, providing a valuable anthology of South Arabian poetry as well as much genealogical, topographical, and historical information. “Al-Dāmighah” (“The Cleaving”), a qaṣīdah, is perhaps his most famous poem; in it he defends his own southern tribe, the Hamdān. It has been said that al-Hamdānī died in prison in Sanaa in 945, but this is now in question.

xxx/ellauri281.html on line 650: The qaṣīda (also spelled qaṣīdah; is originally an Arabic word قصيدة, plural qaṣā’id, قصائد; that was passed to some other languages such as Persian: قصیده or چكامه, chakameh, and Turkish: kaside) is an ancient Arabic word and form of writing poetry, often translated as ode, passed to other cultures after the Arab Muslim expansion. The word qasidah is still used in its original birthplace, Arabia, and in all Arab countries.

xxx/ellauri281.html on line 654: The classic form of qasida maintains a single elaborate metre throughout the poem, and every line rhymes on the same sound. It typically runs from fifteen to eighty lines, and sometimes more than a hundred. The genre originates in Arabic poetry and was adopted by Persian poets, where it developed to be sometimes longer than a hundred lines.

xxx/ellauri319.html on line 447: Kristjan Jaak Peterson (1801–1822), Estonian poet, the founder of modern Estonian poetry; died from tuberculosis, lived only to age 21

xxx/ellauri354.html on line 165:  T.S. Eliot was the poet who perhaps had a permanent place in Kai’s  personal literary cosmos – he introduced Eliot’s poetry to Finnish readership in the late 1940s. This passage, from Little Gidding, might well serve as his epitaph.

xxx/ellauri356.html on line 377: Wasf on arabien runogenre, alongside 'the boast (fakhr), the invective (hijaa’), and the elegy (marthiya)'. In waṣf love poems, each part of a lover's body is described and praised in turn, often using exotic, extravagant, or even far-fetched metaphors. The Song of Solomon is a prominent example of such a poem, and other examples can be found in Thousand and One Nights. The images given in this type of poetry are not literally descriptive. Instead, they convey the delight of the lover for the beloved, where the lover finds freshness and splendor in the body as a reflected image in the world. Hilvik ei perustanut metaforista, se käytti vertauxia mieluummin. 

xxx/ellauri400.html on line 139: involved poetry. He would explore an author's 

xxx/ellauri400.html on line 188: plaintive note of much of his poetry. "A voice 

xxx/ellauri400.html on line 199: asserting that true greatness in poetry is 

xxx/ellauri400.html on line 207: that the grand style arises in poetry when a 

xxx/ellauri400.html on line 213:  Of his poetry, Bloom says: Whatever his achievement as a critic of literature, society, or religion, his work as a poet does not merit the reputation it has continued to hold in the twentieth century. Arnold is, at his best, a very derivative poet. 

xxx/ellauri400.html on line 215:  Although Arnold's poetry received only mixed reviews and attention during his lifetime, his forays into literary criticism were more successful. 

xxx/ellauri400.html on line 219: In The Study of Poetry, (1888) which opens his Essays in Criticism: Second series, in support of his plea for nobility in poetry, Arnold recalls Sainte-Beuve's reply to Napoleon, when latter said that charlatanism is found in everything. Sainte-Beuve replied that charlatanism might be found everywhere else, but not in the field of poetry, because in poetry the distinction between sound and unsound, or only half-sound, truth and untruth, or only half-truth, between the excellent and the inferior, is nonexistent. 

xxx/ellauri400.html on line 223: Arnold praises Chaucer's excellent style and manner, but says that Chaucer cannot be called a classic since, unlike Homer, Virgil and Shakespeare, his poetry does not have the high poetic seriousness which Aristotle regards as a mark of its superiority over the other arts. 

xxx/ellauri400.html on line 231: Eliot is also indebted to Arnold for his classicism, and for his objective approach which paved the way for Eliot to say that poetry is not an expression of personality but an escape from personality, because it is not an expression of emotions but an escape from emotions. What an idiot.

xxx/ellauri410.html on line 231: Erotic poetry was the other side of Donneʼs spiritual verse, Eliot contended, which was also the case for Eliot.  Eliotʼs wholesale purloining of lines from other works, his literary red herrings, and bogus scholarship are trademarks of his work and clues to his

xxx/ellauri410.html on line 243: Marja Palmer Lundista sums it up rather neatly:  The sexual undertone in the early "Love Song" runs through Eliot's poetry between 1910 and 1925, gaining greater emphasis in The Waste Land and The Hollow Men . The agony and distress associated with sexual matters play a vital role in his early poems, a circumstance which has not always been fully recognized. Erotic concerns and preoccupations fill the lives of the main "characters" in this poetry, men and women alike. However, experiences of this kind are unsettling, and any attempt at a dialogue between the sexes is bound to fail. In each of the four collections, the theme of relationships between men and women indicates a step further downwards into isolation. There is an afflicting want of any feelings of love and tenderness - only a mechanized sexuality is left, stripped of all its generative force and with sterility and impotence as the consistent, final result. 

xxx/ellauri410.html on line 257:       An admirer of Eliot’s poetry, Ottoline ‘found him dull, dull, dull’, resorting to French in her efforts to rouse him from monotony. Such early impressions are of a piece with Eliot’s Garsington caricature – ‘the undertaker’. It was Ottoline who recommended to Eliot Dr Roger Vittoz, the Swiss psychiatrist at whose Lausanne clinic Eliot recovered from his nervous breakdown; the clinic where, in the winter of 1921, lodged in the room where Ottoline herself had stayed, Eliot wrote ‘What the Thunder Said’, the final part of The Waste Land. A few years later she suggested another of her doctors, Dr Marten, but his regime of starvation proved disastrous.

xxx/ellauri410.html on line 272:       Hulmen painotus kuvan tärkeydestä vaikutti rankasti muihin runoelimiin, kuten Ezra Poundin paxuun mutta lyhköseen ja T.S Eliotin puoliveteiseen. Hulme sai apua Bergsonilta imagismiin ja Gustave Kahnilta loppusoinnuttomaan runoiluun. 
 Loppusoinnuttomuus oli aikamoinen vallankumous. Ancient Greek and Roman poetry did not rhyme, and early European poetry did not rhyme either. In the West, rhyme began to emerge during the medieval period. In other countries, such as China, rhyming occurred much earlier. In fact, the earliest surviving evidence of rhyming dates back to China in the tenth century BC. Rhyme, as a tradition, probably came into English through the French influence following the Norman invasion of England. It may be that the Latin based languages of Europe took the idea of rhyme from the Arabic during the period that the Moors ruled in much of the Iberian Peninsula. 

xxx/ellauri410.html on line 285:       This article is more than 9 years old: New edition of TS Eliot poetry challenges perceptions of his sexuality.  "I love a tall girl. When she sits on my knee/ She with nothing on, and I with nothing on/ I can just take her nipple in my lips / And stroke it with my tongue,” he writes, in a poem titled How the Tall Girl and I Play Together. In another poem, Eliot – who took a vow of chastity in 1928 after being confirmed into the Church of England – celebrates the “miracle of sleeping together as I touch the delicate down beneath her navel. Her breasts are like ripe pears that dangle Above my mouth Which reaches up to take them”. Euu, cringe.

xxx/ellauri410.html on line 769: poetryintranslation.com/pics/Italian/interior_cavalcanti_36poems_frontis.jpg" />

xxx/ellauri415.html on line 50: Nylah Burton is a writer of good journalism and mediocre poetry. She has been described by racists and anti-Semites as “emotional, disrespectful, and volatile.” She thinks this is the best review of her writing she’s ever received. Her frigid grandma has it tattooed on her Fridgidaire. Here is what she writes:

371