Poetry for Students, Volume 35

I think there are. I think there are many unspoken poems in everyone. The best layer of existence consists of unspoken poems. [H ...

It may; but it’s characteristic of poetry as a whole. Poetry tries to connect with the sacred past. It tries to find in the pres ...

to exacerbate the harshness of life, and there is an attempt to come to terms with the difficult things. [Molloy:] Does the titl ...

includes several poems by Kinnell, including ‘‘Blackberry Eating.’’ Moyers, Bill,The Language of Life, Anchor, 1995. Moyers’s bo ...

Childe Harold’s Pilgrimage The seven stanzas beginning with ‘‘There is a pleasure in the pathless woods,’’ are stanzas CLXXVIII ...

Author Biography George Gordon, Lord Byron, was born into an aristocratic family in London, England, on Jan- uary 22, 1788. His ...

By the deep Sea, and music in its roar: I love not Man the less, but Nature more, From these our interviews, in which I steal Fr ...

at sea. Man cannot despoil the ocean as he does the land. The ocean has contempt for the power man has on earth. The ocean can c ...

and union with nature. When the poet is alone in nature, whether in the woods or by the sea, he feels ‘‘pleasure’’ and ‘‘rapture ...

come and gone. The poem thus uses the image of the ocean to give a vision of the vast stretch of time and the changeable, transi ...

poets associated with the movement are William Wordsworth (1770–1850), Samuel Taylor Coler- idge (1772–1834), and William Blake ...

to the ocean from Childe Harold’s Pilgrimage. Examples include Shelley’s ‘‘To a Sky-Lark’’ and ‘‘Ode to the West Wind,’’ and Kea ...

often dangerous conditions. Social unrest grew, reaching a peak in the 1810s, and culminating in the Peterloo massacre in Manche ...

Charles Dickens had this to say (in his 1846Letters to Italy, quoted in Christopher Woodward’s book, In Ruins) about the neglect ...

attention to the Coliseum, feeling the ‘‘power / And magic in the ruin’d battlement,’’ he writes (stanza CXXX) an apostrophe to ...

Pilgrimage, but in Canto III, which he wrote while directly under the influence of Shelley in Switzerland and the Alps. Stanza L ...

modes running through the canto: the celebratory and the dejected. Shelley was among the first to ignore the unifying dichotomy ...

in his own creations the state of happiness before the Fall, but this is not supplied by the world: Where are the charms and vir ...

The claim made here is that the self has the attributes of and is equivalent to the setting. The internal is exteriorised, the e ...

into that Voltairean mood that deplores the impossibility, or the irrevocable loss, of harmony and happiness: Our life is a fals ...