His earliest volume of verse was published in 1889, and its slow-paced and lyrical poems display debts to Edmund Spenser, Percy Bysshe Shelley, and the poets of the Pre-Raphaelite Brotherhood.

In After Strange Gods—the Page-Barbour Lectures that Eliot delivered at the University of Virginia in 1933— Tommy referred to Pound as “probably the most important living poet in our language” and to Yeats as “the other important poet of our time,” while subjecting both poets to rebuke.
ellauri053.html on line 1205: Mitä oli tarjolla poets-met-to-eat-peacock-in-1914-1.2126063">Tylsän riikinkukkopäivällisillä Sussexissa 1914? Mitähän. Veikkaan että suusexiä. Dobby ja Jästi oli kuzuttu, missä luuraa Tomppa? No se oli 25 ja vasta muuttamassa jenkeistä. Se oli hädin tuskin kuoriutunut munasta. Jästi on eri nenäkkään näköinen. Sillä on mirri kaulassa kuin Armas Salosella, muttei sentään nenäliinaa päässä.
ellauri053.html on line 1427: The greatest of the modern English language poets, Yeats had the ability (and still does) to move anybody to tears with his words. A wonderful poet a very talented and extraordinary man.

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.
ellauri061.html on line 195: The next critic known to comment on the play was John Dryden, writing in 1677. He was preoccupied with the question of whether fairies should be depicted in theatrical plays, since they did not exist. He concluded that poets should be allowed to depict things which do not exist but derive from popular belief. And fairies are of this sort, as are pigmies and the extraordinary effects of magic. Based on this reasoning, Dryden defended the merits of three fantasy plays: A Midsummer Night's Dream, The Tempest, and Ben Jonson's Masque of Witches. Varmaan se olis pitänyt Kiekkomaailmastakin ja Valtaistuinpelistä. Ja Harry Potterista.
ellauri072.html on line 211: This is the only place in Hell that a group of sinners speaks courteously to Dante in a single voice ("rispuoser tutti" is the indication; again, the only similar moment occurs in Limbo -- 4.98 -- when the four poets give Dante their [unspoken?] greeting as one).
ellauri095.html on line 86: Gerard Manley Hopkins SJ (28 July 1844 – 8 June 1889) was an English poet and Jesuit priest, whose posthumous fame established him among the leading Victorian poets. His manipulation of prosody – particularly his concept of sprung rhythm – established him as an innovative writer of verse, as did his technique of praising God through vivid use of imagery and nature. Only after his death did Robert Bridges begin to publish a few of Hopkins's mature poems in anthologies, hoping to prepare the way for wider acceptance of his style. By 1930 his work was recognised as one of the most original literary accomplishments of his century. It had a marked influence on such leading 20th-century poets as T. S. Eliot, Dylan Thomas, W. H. Auden, Stephen Spender and Cecil Day-Lewis.
ellauri095.html on line 101: The Uranians were a small and clandestine group of male homosexual poets who published works between 1858, when William Johnson Cory published Ionica, and 1930. Although most of them were English, they had counterparts in the United States and France.
ellauri095.html on line 121: By 1930 his work was recognised as one of the most original literary accomplishments of his century. It had a marked influence on such leading 20th-century poets as T. S. Eliot, Dylan Thomas, W. H. Auden, Stephen Spender and Cecil Day-Lewis.
ellauri095.html on line 153: Despite Hopkins burning all his poems on entering the Jesuit novitiate, he had already sent some to Bridges, who with some other friends, was one of the few people to see many of them for some years. After Hopkins's death they were distributed to a wider audience, mostly fellow poets, and in 1918 Bridges, by then poet laureate, published a collected edition; an expanded edition, prepared by Charles Williams, appeared in 1930, and a greatly expanded edition by William Henry Gardner appeared in 1948 (eventually reaching a fourth edition, 1967, with N. H. Mackenzie).
ellauri095.html on line 159: He influenced such poets as W.H. Auden, Dylan Thomas, Theodore Roethke, Elizabeth Bishop, John Berryman, Robert Lowell, Ted Hughes, Sylvia Plath, Denise Levertov, and the Nobel Laureate Seamus Heaney. In the 1920s and 30s, he was a darling of the British and American “New Critics” who prized and probed his poems’ rich “texture.”
ellauri095.html on line 250: Both poets concluded their literary careers with devotional commentaries: in Hopkins’s case, his unfinished “Commentary on the Spiritual Exercises of St. Ignatius.”
ellauri097.html on line 821: poets.org/wp-content/uploads/2012/08/robert-frost.jpg" height="200px" />
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 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 404: The solfege system (Do, Re, Mi), which is the theme of a song by the Von Trapp children, is just a small sample of Horace's all-pervasive influence on western culture, even among people who might never have heard the name Quintus Horatius Flaccus. Horace was not just a superb literary craftsman, but a musician, songwriter and entertainer for the Roman elite, creating a new Latin idiom derived from Greek lyric song. A final chapter, "Horace, Guido and the Do-re-mi Mystery", the result of careful research and detective work, argues that Guido d'Arezzo, an eleventh-century Benedictine choirmaster, used the melody of Horace's Ode to Phyllis (alla) to invent the do-re-mi mnemonic, but applied it to an eighth-century Hymn to John the Baptist ("Ut queant laxis") by Paul the Deacon, keeping the true source secret. A musical comparison of the Horatian melody and Guido's version of "ut-re-mi" is included. Lyons' verse translation of the Odes was named a Financial Times Book of the Year (1996) and was welcomed as 'a wonderful rendering of one of the great, central poets in the European tradition.'
ellauri145.html on line 729: Corbière´s only published verse in his lifetime appeared in Les amours jaunes, 1873, a volume that went almost unnoticed until Paul Verlaine included him in his gallery of poètes maudits (accursed poets). Thereafter Verlaine´s recommendation was enough to establish him as one of the masters acknowledged by the Symbolists, and he was subsequently rediscovered and treated as a predecessor by the surrealists.
ellauri145.html on line 731: Close-packed, linked to the ocean and his Breton roots, and tinged with disdain for Romantic sentimentalism, his work is also characterised by its idiomatic play and exceptional modernity. He was praised by both Ezra Pound and T. S. Eliot (whose work he had a great influence on). Many subsequent modernist poets have also studied him, and he has often been translated into English.
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.
ellauri147.html on line 77: Tuhat laulujen vuotta (‘A thousand years of song’, 1957) contained 225 poems by western poets. Meillä on toi Tyynnin 1000 laulujen vuotta, mää oon sen lukenutkin. Aika kehnojakin runoja on Aake sinne kelpuuttanut. Ei niitä sentään ole tuhatta. Hahaa, mulla on paasauxia jo yli 2000. Enemmän kuin jopa Immi Hellénillä. Pääsimpäs edelle vaikka konehella veisattiin, sano eukko kirkossa. Nojoo, toisto tyylikeinona, mulla on tää Erkki Tantun läppä jo monta kertaa jossakin.
ellauri160.html on line 176: H.D. and Aldington were moving away from Pound's understanding of Imagisme anyway, as he aligned himself with Lewis's ideas. Lowell agreed to finance an annual anthology of Imagiste poets, but she insisted on democracy; according to Aldington, she "proposed a Boston Tea Party for Ezra" and an end to his despotic rule. Upset at Lowell, Pound began to call Imagisme "Amygism"; he declared the movement dead and asked the group not to call themselves Imagistes. Not accepting that it was Pound's invention, they refused and Anglicized the term.
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."
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.
ellauri192.html on line 73: Zaum (Russian: зáумь "beyond reason") are the linguistic experiments in sound symbolism and language creation of Russian Futurist poets such as Velimir Khlebnikov and Aleksei Kruchenykh. Zaum is a non-referential phonetic entity with its own ontology. The language consists of neologisms that mean nothing. Zaum is a language organized through phonetic analogy and rhythm. Zaum literature cannot contain any onomatopoeia or psychopathological states.
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 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."
ellauri196.html on line 853: So-called lyrics is at work, self-proclaimed poets like Bob Dylan fall into step with new times. Poetry becomes acoustic guitar and visual effects again, as it was in the times of Erato. The words splash in all directions, like the explosion of dynamite, there is no true meaning, but a verbal earthquake with many epicenters. Decipherment is not necessary, in many cases the aid of the psychoanalyst may help.
ellauri197.html on line 112: Readers who enjoyed ‘Down By the Salley Gardens’ should also consider readings some of Yeats’ other love-based poems. For instance, a good way to go on are ‘He Wishes His Beloved Were Dead’ and ‘Never Give All the Heart’. Other similar poems by other poets about love include ‘How Happy I Was If I Could Forget’ by Emily Dickinson and ‘Love’s Organ's Growth’ by John Donne. Lady readers might also be interested in ‘Memory’ by Christina Rossetti and ‘In Memory of a Happy Day in February’ by Anne Brontë.
ellauri197.html on line 184: They are sick of poets that are always gay, kylästyneensä hilpeisiin runoseppoihin,
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 141: Harold Bloom observed in the New Leader, “Warren alone among living writers ranks with the foremost American poets of the century: Frost, Stevens, Hart Crane, Williams, Pound, Eliot. ...
ellauri198.html on line 790: The difference between Hegel and Kierkegaard is also a difference between Mallarmé and Browning, as it happens, and critically a difference between a deconstructive and an antithetical view of practical criticism. Kierkegaard's "repetition" is closer than its Hegelian rival (or the Nietzschean-Heideggerian descendant) to the mutually exploitative relationship between strong poets, a mutuality that affects the dead nearly as much as the living. Insofar as a poet authentically is and remains a poet, he must exclude and negate other poets. Yet he must begin by including and affirming a precursor poet or poets, for there no other way to become a poet. We can say then that a poet known as a poet only by a wholly contradictory including/excluding, negating/affirming which by the agency of psychic defenses manifests itself as an introjecting/projecting. "Repetition," better even than Nietzsche's Eternal Return of the Same, manifests itself through the rhetorical scheme of transumption, where the surrender of the present compensates for the contradictory movements of the psyche.
ellauri198.html on line 821: William Butler Yeats is widely considered to be one of the greatest poets of the 20th century. He belonged to the Protestant, Anglo-Irish minority that had controlled the economic, political, social, and cultural life of Ireland since at least the end of the 17th century. Most members of this minority considered themselves English people who happened to have been born in Ireland, but Yeats staunchly flagged his fake Irish nationality. Although he lived in London for 14 years of his childhood (and kept a permanent home there for 30 years), Yeats magnified his cultural roots, featuring Irish legends and heroes in many of his poems and plays.
ellauri198.html on line 829: He befriended English decadent poet Lionel Johnson, and in 1890 they helped found the Rhymers’ Club, a group of London poets who met to read and discuss their indecent poems.
ellauri198.html on line 855: Yeats deplored the tremendous enthusiasm among younger poets for Eliot’s The Waste Land, published in 1922. Disdaining Eliot’s flat rhythms and cold, dry mood, Yeats wanted all art to be full of energy and sex.
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.
ellauri204.html on line 731: Sexton later studied with Robert Lowell at Boston University alongside poets Sylvia Plath and George Starbuck. Sexton later paid homage to her friendship with Plath in the 1963 poem "Sylvia's Death".
ellauri238.html on line 761: Since the 1960s, he was nominated several times for the Nobel Prize in literature. His books have been translated into 38 languages. Sodan aikana se kuului vastaritaliikkeeseen. Mihinkähän niistä? Nobel kimityxistä päätellen ei ainakaan kommunistiseen. Hyvin päätelty Robin! Herbert was educated as an economist and a lawyer. Herbert was one of the main poets of the Polish opposition to communism. Se oli porvari ties monennessa polvessa.
ellauri238.html on line 860: Layle Silbert Yehuda Amichai (1924-2000) is recognized as one of Israel´s finest poets. His poems, written in Hebrew, have been translated into 40 languages (2 more than Herbert), and entire volumes of his work have been published in English, French, German, Swedish, Spanish, and Catalan. “Yehuda Amichai, it has been remarked with some justice,” according to translator Robert Alter, “is the most widely translated Hebrew poet since King David.” But boy, has he a long way to go to beat Dave.
ellauri241.html on line 414: Let the mad poets say whate´er they please Anna hullujen runoilijoiden sanoa mitä lystäävät
ellauri241.html on line 1226: Obviously, the count of mighty poets is made up;

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.
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.
ellauri254.html on line 358: Primary influences on the movement weren't merely western writers such as Brix Anthony Pace, Paul Verlaine, Maurice Maeterlinck, Stéphane Mallarmé, French symbolist and decadent poets (such as Stéphane Mallarmé, Paul Verlaine and Charles Baudelaire), Oscar Wilde, D'Annunzio, Joris-Karl Huysmans, the operas of Richard Wagner, the dramas of Henrik Ibsen or the busty broad and toyboy philosophy of Arthur Schopenhauer and Friedrich Nietzsche.
ellauri254.html on line 377: considered to be one of the most popular poets, who believed in first inspiration and sometimes intentionally left his verse unrevised. In many regards looked upon as the antipode of Valery Bryusov.
ellauri254.html on line 385: In 1899, as Fyodor Sologub progressed in the teaching profession while continuing to elaborate his literary career, Sologub was appointed principal of the Andreevskoe municipal school in Saint Petersburg. With the position came an apartment on Vasilievsky Island, which Sologub shared with his sister Olga. In the late 1890s and at the beginning of the 1900s, the art world of Petersburg saw Konstantin Sluchevsky’s ‘Fridays’, and Sergei Diaghilev’s ‘Wednesdays’: literary salons which were attended by the leading poets and artists of the day. Sologub had been a participant of both groups; and between 1905 and 1907, his apartment on Vasilievsky Island became the home of ‘Sundays’, a regular meeting place for Petersburg’s nascent intellectuals.
ellauri254.html on line 499:

Georgian poets