90 Sentences With "poesy" | Random Sentence Generator

It's a nod to the poet Robert Frost, and the answer is POESY.

Andrew Lloyd Webber's adaptation of T. S. Eliot's feline poesy ends its Broadway revival.

Andrew Lloyd Webber's adaptation of T.S. Eliot's feline poesy ends its Broadway revival, closing on Dec. 30.

The name derives from "poesy," a kind of short-form poetry that often uses rhythmic or rhyming verse.

What if Keats had listened to that nightingale rather than letting its song take him far away on the "wings of Poesy"?

A Saul Williams: Martyr Loser King (Fader) After undermining a decade of honorable leftwing slam-rap with one of the most joyless pop sellouts in the annals of musical poesy (what?

In one of Shelley's notebooks the connection is explicit: in the midst of some dreamy lines to Zephyr, "Awakener of the spirit's ocean", which are not quite working, he suddenly bursts into the first draft of his great political rallying-cry, "The Mask of Anarchy": As I lay asleep in ItalyThere came a voice from over the seaAnd with great power it forth led meTo walk in the visions of Poesy.

The poesy ring was a style of ring that was popular during the Renaissance era. It was a band of sterling silver inscribed with a poem or "poesy".

This would have done better in poesy, where transcendences are more allowed.

Halat was born in Tehran on January 1, 1919. After elementary and secondary education, he was employed in the National Iranian Oil Company until retirement. He learned Arabic, English and French when he was young. he was inclined to poesy since 1935 and started with Persian classic Poesy and biographing.

480-99; a poetic translation of both ballads by George Borrow is at "The Faroese Lay of Skrymner" on Kiyo's Repository of Myth and Poesy.

In 1860, he published a small book, which, although a commercial failure, increased his fame. The best-known poem from the book was "A Vision of Poesy".

Bynneman, London 1580), reproduced in J. Haslewood (ed.), > Ancient Critical Essays upon English Poets and Poesy (Robert Triphook, > London 1815), II, pp. 255–303, at pp. 302–03.

Lullaby for Pi is a 2010 English-language Canadian-French drama film written and directed by Benoit Philippon and starring Rupert Friend, Clemence Poesy and Forest Whitaker. It is Philippon's directorial debut.

La Sepmaine, ou creation du mond (1578), by Guillaume de Salluste du Bartas. In The Model of Poesy (1599), Scott’s praise of du Bartas is followed by Scott's translation of the first two days of The Week, or the Creation of the World. William Scott’s knowledge of Classical literature included works by Aristotle (the Organon and the Nicomachean Ethics), Horace (Ars poetica), Quintilian, Cicero, and Plutarch (Parallel Lives), and contemporary works by the scholar Julius Caesar Scaliger (Poetices libri septem), Giovanni Antonio Viperano (De poeti libri tres), Baldassare Castiglione (Il Libro del Cortegiano), and Gian Paolo Lomazzo (Trattato dell'arte della pittura, scoltura et architettura). The poetical works of Philip Sidney were central to Scott’s conceptions of what is poetry and of what poetry can achieve; in The Model of Poesy he cites Sidney’s Astrophel and Stella, the Arcadia and An Apology for Poetry. The editor Gavin Alexander said that ‘The Model of Poesy is a commentary upon The Defence of Poesy, adopting its basic theory [of poetics], filling in its gaps, interrogating and weighing its sources, glossing and elaborating its difficulties.

Allen Ginsberg wrote about Snaps: > Poesy news from space anxiety police age inner city, spontaneous urban > American language as Williams wished, high school street consciousness > transparent, original soul looking out intelligent Bronx windows.

In 2008, Taylor's daughter with Cory Doctorow, Poesy Emmeline Fibonacci Nautilus Taylor Doctorow was born. Taylor and Doctorow married in 2008. She moved with her family from London to Los Angeles in the early 2000s.

The Model of Poesy (1599), by William Scott, is a Renaissance-era (15th–17th c.), English literary treatise about the art of poetry, which presents a theoretical description of what is poetry, and practical guidelines about how to write well. Proceeding from An Apology for Poetry (1595), by Philip Sidney, The Model of Poesy develops Scott’s poetics in the classical and continental traditions, using examples from Geoffrey Chaucer and Edmund Spenser, William Shakespeare and quotations from Scott’s partial, English translation of the French La Sepmaine (1578), by Guillaume de Salluste du Bartas.

Greek folk poesy, annotated translations from the whole cycle of Romaic folk-verse and folk-prose. London: Nutt. 1896. pp. 185-193."'Η καλή Μοίρα". In: Deltion tēs Historikēs kai Ethnologikēs Hetaireias tēs Hellados. 1882. pp. 687-693.

A fourth Armenian variant (Théodore le Danseur) places a giant named Barogh Assadour ("Dancing Theodore")Garnett, Lucy Mary Jane. Greek folk poesy, annotated translations from the whole cycle of Romaic folk-verse and folk-prose. London: Nutt. 1896. p. 453.

Philip Sidney’s crititical work in An Apology for Poetry (1595) was a key precedent for Scott's treatise, The Model of Poesy (1599). The treatise of The Model of Poesy (1599) is in three sections; in the first section, Scott defines poetry and makes clear his debts to earlier theorists: > All antiquity, following their great leader Aristotle, have defined poetry > to be an art of imitation, or an instrument of reason, that consists in > laying down the rules and way how in style to feign or represent things, > with delight to teach to move us to good; as if one should say with the > lyric Simonides (after whom Sir Philip Sidney saith) the poem is a speaking > or wordish picture.The Model of Poesy, Cambridge edition, p. 6. Scott then discusses the genus (matter), difference (form), and end (purpose) of poetry, dealing with creative questions such as the source of poetic inspiration and the temperament required of the poet.

He was a noted preacher and poet. His principal publications are: "Spiritual Bouquet, Gathered in Spanish and German Gardens of Poesy" (Sulzbach, 1826); "Life and Writings of Heinrich Suso" (Ratisbon, 1829); "Sermons" (Ratisbon, 1841); "Pastoral Letters" (Munster, 1853); "Personal Letters" (Frankfort, 1860).

As with Pegasus, his riders gained the gift of poesy, being magically compelled to speak in rhyming jingles while on his back. The character first appeared in Pirates in Oz and played a major role in the plot of The Wishing Horse of Oz.

Brij Mohan Dattatreya Kaifi was born on 13 December 1866 in Delhi. He was a student of Altaf Hussain Hali in poesy. He was also well up in Hindi, Arabic, Persian, and English. He lived in Lahore for many years, where his son was an editor of The Tribune.

A year later, the two brothers-in-law quarreled publicly over this third topic. See Dryden's "Defense of An Essay of Dramatic Poesy" (1669), where Dryden tries to persuade the rather literal-minded Howard that audiences expect a play to be an imitation of nature, not a surrogate for nature itself.

Eastlandah cites Maya Angelou as his main influence. He also notes Bishop, Malcolm X, William Shakespeare, Ben Jonson, Richard Lovelace, Robert Herrick, Edmund Waller, Thomas Carew, William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelley, Lord Byron, and John Keats as some of the major factors in his choice of poesy.

Arnold issued a scholarly edition of John Keats (1884; new edit. 1907). He was a contributor to Thomas Humphry Ward's English Poets (1880–2); and some dramatic reviews by him were published in The Manchester Stage, 1880–1900 (1900). He revised his father's edition of John Dryden's Essay of Dramatic Poesy in 1903.

The Great Pretender is a 2018 American black comedy-drama film, directed by Nathan Silver, from a screenplay by Jack Dunphy, from a story by Dunphy and Silver. It stars Esther Garrel, Keith Poulson, Maelle Poesy and Linas Phillips. The film had its world premiere at the Tribeca Film Festival on April 21, 2018.

Poetry can lead to virtuous action. Action relates to experience. From Sidney, the utilitarian view of rhetoric can be traced to Coleridge's criticism, and for instance, to the reaction to the Enlightenment. Coleridge's brief treatise On Poesy or Art sets forth a theory of imitation which bears a remarkable resemblance to that of Sidney.

Sevak called the Book of Lamentations a "temple of poesy, on which the destructive action of time has had no effect." Charents lauds the "hallowed brows" of Narekatsi and Nahapet Kuchak in his 1920 poem "I Love My Armenia" («Ես իմ անուշ Հայաստանի»). In another poem ("To Armenia"), Charents lists Narekatsi next to Nerses Shnorhali and Naghash Hovnatan.

Sir Philip Sidney (30 November 1554 – 17 October 1586) was an English poet, courtier, scholar and soldier who is remembered as one of the most prominent figures of the Elizabethan age. His works include Astrophel and Stella, The Defence of Poesy (also known as The Defence of Poetry or An Apology for Poetry) and The Countess of Pembroke's Arcadia.

William Scott was born in Kent, England, in the early 1570s and died in 1617. As a student of law at the Inner Temple, Scott wrote and completed much of The Model of Poesy in summer of 1599. He dedicated his translation to English of Du Bartas’s La Sepmaine (1578) to his uncle George Wyatt of Boxley (1553–1624), who was the sole, surviving son of Thomas Wyatt the Younger (1521–1554), the leader of Wyatt's rebellion (1554), and grandson of the Henrician poet Thomas Wyatt (1503–1542). Consequent to dedicating The Model of Poesy to Henry Lee of Ditchley, Scott entered his employment and served as MP for New Woodstock, in 1601. In 1604, he went to Russia as part of Sir Thomas Smythe’s embassy to Tsar Boris Godunov (r. 1598–1605).

Unlike the other odes he wrote that year, "Ode on Indolence" was not published until 1848, 27 years after his death. The poem is an example of Keats's break from the structure of the classical form. It follows the poet's contemplation of a morning spent in idleness. Three figures are presented—Ambition, Love and Poesy—dressed in "placid sandals" and "white robes".

Onstage and in photoshoots, Lost Horizon members are seen wearing studded leather, cloaks, bare chests and face paint. They also adopt pseudonyms and use obscure terms to describe their roles within the band. For example, Wojtek Lisicki, using the name "Transcendental Protagonist" describes himself as being responsible for "Poesy of Spiritual Enlightenment/String Romanticism" with a "Translation for Mortals" as "Lyrics/Guitars".

When, for example, Andrew Wise published Thomas Campion's Observations in the Art of English Poesy in 1602, the volume was printed by Field. Field rose to be one of the 22 master printers of the Stationers Company. From 1615 on he kept his shop in Wood Street, near his home. Field had a number of apprentices, one being George Miller.

As Jules Cambon says, Loti wrote at a "..time when M. Zola and his school stood at the head of the literary movement. There breathed forth from Loti's writings an all-penetrating fragrance of poesy [poetry], which liberated French literary ideals from the heavy and oppressive yoke of the Naturalistic school."Jules Cambon, "Introduction", New York P.F. Collier. 1902 (see external links).

Romance authors such as Jane Donnelly and Mary Burchell directly influenced her writing. She states her favorite books as The Sufis by Idries Shah, The Thousand and One Nights translated by Richard Burton, Mansfield Park, Pride and Prejudice, Persuasion, and Emma by Jane Austen, Icons of Flesh by Glen Sorestad, The Pig Poets: An Anthology of Porcine Poesy by Henry Hogge.

The term "tussie-mussie" is sometimes used interchangeably with nosegay. A nosegay was also known as a "talking bouquet" or "flower poesy" during the Victorian era, when they became a popular gift. Traditionally, brides will also carry a small nosegay. Tussie mussies were introduced to England in the early 18th century, and were a fashionable accessory for young women by the early 19th century.

Cynewulf’s justification as a poet stems from the idea that poetry was "associated with wisdom".See Raw 1978, pp. 24–25 In his Christ II, Cynewulf writes the following: By looking at Cynewulf’s autobiographical reflection in the epilogue of Elene, it is evident that he believes his own skill in poetry comes directly from God, who "unlocked the art of poesy" within him.See Bradley 1982, p.

The prologue and epilogue to Thomas Jordan's Love Hath Found His Eyes are also still extant, published in Jordan's poetry collection Royal Arbor of Loyal Poesy (1663). It is possible that a few of the remaining plays have also been preserved, under different titles; Shakespeare's Duke Humphrey, for example, may have been a version of Henry VI, part 2, in which Humphrey plays a major part.

253, 257, 278, 290, 471: Thomson (1815), 51. The word 'chamber' referred to the suite of tapestry rather than any actual room in the palaces. Subjects supplied by William Schaw listed in 1539 include; seven pieces of Poesy; seven pieces of Jason and Golden Fleece; and seven pieces of Venus, Pallas, Hercules, Mars, Bacchus, and Gaia (Mother of the Earth), with the Biblical History of Solomon.

In the past, such provisions led, among other things, to non-proportionate fees against media outlets and to a consequent climate of self- censorship. The president of the Panhellenic Federation of Journalists’ Unions (POESY) noticed that “huge amounts that the plaintiffs were asking from the journalists were aiming to terrorise them, impose censorship and hinder a free and democratic dialogue on contemporary political issues”.

He was a student in the program during 1993–94, but left without completing a thesis. Doctorow is also a Visiting Professor at the Open University in the United Kingdom. In 2012 he was awarded an honorary doctorate from The Open University. Doctorow married Alice Taylor in October 2008; they have a daughter named Poesy Emmeline Fibonacci Nautilus Taylor Doctorow, who was born in 2008.

He created more than 2000 paintings of cowboys, Indians and landscapes of the West. During his cowboy career, he was actually not treated as a qualified cowboy but a storyteller and artist who expressed himself through the art and literary poesy. Even after Russell achieved recognition and acclaim, he remained the old traditions of the Old West and was devoted to the West before the white civilisation was imposed upon it.

The Maharaja was thrilled with his work. Behera was selected by the Government of India as a "Post-war reconstruction scholar" to pursue higher education abroad. He studied hydraulics and fluid mechanics at the State University of Iowa and wrote his master's thesis on “A Length Criterion of Hydraulic Jump” under the guidance of Professor Poesy. He was trained in model studies and dam construction in Denver, Colo.

According to , Bennett also notes that "the speeches are energetic and dramatic ... [t]he language is homely, the similes are unhackneyed".Bennett, p. 196. Although it has been characterized as "quite untouched by any breath of true poesy" (by R. K. Root) and "rough, often deficient in grammar" (by Dorothy Kempe),Both quoted in it has also been called "the most interesting of the Troy romances".Bennett, p. 194.

Homeland is dedicated to Doctorow's wife and daughter, Alice and Poesy. As in Little Brother, Doctorow also dedicates each e-book chapter of Homeland to a different bookstore: Chapters/Indigo, BakkaPhoenix Books, Barnes & Noble, Wild Rumpus, University Book Store at the University of Washington, Mysterious Galaxy, Anderson's Bookshops, Borderlands Books, The Tattered Cover, Uncle Hugo's, RiverRun Bookstore, Gibson's Bookstore, Busboys and Poets, Politics and Prose, Books of Wonder, Powell's Books, Amazon, Forbidden Planet.

Mosaffa's experience with directing began with the short films, Incubus, The Neighbour and the documentary feature, Farib-e-She'r or The Deceit of Poesy. He then directed his first film in 2005 with Sima-ye Zani Dar Doordast (a.k.a. Portrait of a Lady Far Away), starring Leila Hatami and Homayoun Ershadi. The film was shortlisted for the Sutherland Trophy, awarded to the director of the most original first feature film screened at The Times BFI London Film Festival.

Branson remained with Splinters until 1996 when he became the Artistic Director of Culturally Innovative Arts, which he founded with Louise Morris. Branson remained a Canberra identity, and divided his time largely between Canberra and Melbourne. In Canberra he hosted the "Terrace Sessions" at the Terrace Bar, the Gypsy Bar and the "Salons at the Street" at the Street Theatre, where many avant-garde performances were staged. Branson often accompanying others with impromptu violin or off-the-cuff poesy.

' Lovers of poetry think otherwise, and listen to these wonderful lines as the voice of Poesy itself."Anonymous 1885. p. 283 Critics at the end of the 19th century favoured the poem and placed it as one of Coleridge's best works. When discussing Christabel, Rime of the Ancient Mariner and "Kubla Khan", an anonymous reviewer in the October 1893 The Church Quarterly Review claimed, "In these poems Coleridge achieves a mastery of language and rhythm which is nowhere else conspicuously evident in him.

Part of the Ashmolean collection Posie rings (sometimes spelled posy, posey or poesy rings) are gold finger rings with a short inscription on their surface. They were popular during the 15th through the 17th centuries in both England and France as lovers' gifts. The language used in many early posy rings was Norman French, with French, Latin and English used in later times. The quotations were often from contemporary courtship stories or chapbooks and usually inscribed on the inner surface of the ring.

Of these three, Love and Poesy are integrated into "Ode on a Grecian Urn" with an emphasis on how the urn, as a human artistic construct, is capable of relating to the idea of "Truth". The images of the urn described within the poem are intended as obvious depictions of common activities: an attempt at courtship, the making of music, and a religious rite. The figures are supposed to be beautiful, and the urn itself is supposed to be realistic.Vendler 1983 pp.

The Strawberry Hill Press was established on 25 June 1757 at Strawberry Hill, by the house's owner, Horace Walpole. He called it the Officina Arbuteana, and many of the first editions of his own works were printed there. The first works printed at Strawberry Hill, on 8 August 1757, were two odes of Thomas Gray, The Progress of Poesy and The Bard. Through Walpole's influence Robert Dodsley published in 1753 the designs of Richard Bentley for the poems of Gray.

Hermetic poetry opposes verbal manipulation and the ease of mass communication, which began taking place during Europe's dictatorial years, with the increasing brain-washing propaganda of the nazi-fascist regimes. Poetry therefore retreats into itself and assumes the task of returning sense to words, giving them back their semantic meaning, using them only when strictly necessary.The Japanese Haiku poetry may possess similar features and functions. The hermetic poets pursue the ideal of a "pure poesy", an essential composition without educational aims.

In form Sidney usually adopts the Petrarchan octave (ABBAABBA), with variations in the sestet which include the English final couplet. His artistic contacts were more peaceful and more significant for his lasting fame. During his absence from court, he wrote Astrophel and Stella (1591) and the first draft of The Arcadia and The Defence of Poesy. His pastoral romance The Arcadia (1598) is an intricate love story, emboding the ideals of the medieval chivalry, so congenial to Sidney's own spirit.

420 The figures remain mysterious as they circle around the narrator. Eventually they turn towards him and it is revealed that they are Ambition, Love, and Poesy, the themes of the poem:Vendler 1983 p. 22 The poet wishes to be with the three figures, but he is unable to join them. The poem transitions into the narrator providing reasons why he would not need the three figures and does so with ambition and love, but he cannot find a reason to dismiss poesy:Bate 1963 pp.

51 The second edition shows a stronger influence of Gray and the elegy form. Gray's The Bard influences the poem's discussion of Chatterton as a poet, the Elegy influences the poem's discussion of Chatterton's solitude, and The Progress of Poesy influences the discussion of Chatterton's youth. Like Gray's poetry, the poem relies heavily upon personification and Coleridge borrows phrases from Gray. Even Coleridge's Chatterton and Gray's Bard share a similar character that is only separated by the actual biographical events of Chatterton's life and death.

Sidney was instrumental in having her brother's An Apology for Poetry or Defence of Poesy, put into print, and she circulated the "Sidney–Pembroke Psalter" in manuscript at about the same time. The simultaneity suggests a proximate relationship in their design: both argued, in formally different ways, for the ethical recuperation of poetry as an instrument for moral instruction — particularly for religious instruction. Sidney also took on the editing and publishing her brother's Arcadia, which he claims to have written in her presence as The Countesse of Pembroke's Arcadia.

The poems and plays of Ukrainka are associated with her belief in her country's freedom and independence. Between 1895 and 1897, she became a member of the Literary and Artistic Society in Kyiv, which was banned in 1905 because of its relations with revolutionary activists. In 1888, when Ukrainka was seventeen, she and her brother organized a literary circle called Pleyada (The Pleiades), which they founded to promote the development of Ukrainian literature and translation of foreign classics into Ukrainian. The organization was based on the French school of poesy, the Pleiade.

The soft poesy of his mountainous landscapes are suggestive of Auguin, a disciple of Corot. Didier- Pouget, part of the same school, had cultivated from their groundwork the idea of leaving the foreground largely unobstructed. The importance he attaches to the tree is eloquent; representing for him the opacity of the earth in contrast to the unburdened transparency of the sky, with its silhouette projected onto the horizon. The strong bichromy of his paintings evokes the short time span of the twilight, just after sunset or before the sunrise.

Keats, Listening to a Nightingale on Hampstead Heath by Joseph Severn Like many of Keats's odes, "Ode on a Grecian Urn" discusses art and art's audience. He relied on depictions of natural music in earlier poems, and works such as "Ode to a Nightingale" appeal to auditory sensations while ignoring the visual. Keats reverses this when describing an urn within "Ode on a Grecian Urn" to focus on representational art. He previously used the image of an urn in "Ode on Indolence", depicting one with three figures representing Love, Ambition and Poesy.

Hill Kourkoutis is a producer and songwriter whose work spans multiple genres. She has produced albums and/or singles for artists such as SATE, Madison Violet, Jules, Leela Gilday, The Cliks and Martha and The Muffins. She has also remixed for artists July Talk, Adam Cohen, Dear Rouge, Jill Barber and Good Lovelies. As a songwriter, she has written songs for artists such as The Launch Season 1 and Big Machine Records artist POESY, Meghan Patrick, Jules, Martha and the Muffins and Canadian Idol contestant Mookie & The Loyalists.

Together with August Horislav Škultéty and Štefan Marko Daxner he inscribed number of collected folk fairytales into the so-called Codex Tisovecký, that has belonged to the fundamental streams, sources in publishing of folk fairytales. The fairytales collected by him were issued also in Francisci Slovenské Povesti, or Dobšinský Prostonárodné Slovenské Povesti. Together with the August Horislav Škultéty, he published funny magazine Zornička, pap magazine for children, which was the basic literary work in the literature for Slovak youth. Here he published a quantity of his own poetry—prose and poesy dedicated especially for children.

The various tests of Shayari and Songs are the reflection of his journey and experiences. One of his friend Dr. Shabab Aalam, Chairman Grameen Mukt Vidhyalayi Shiksha Sanstha(GMVSS), Delhi told that Turaz is a poet of unique type poesy (In Urdu & Hindi). As per the direction of Shayari Turaz uses so many rhyme scheme( Radif & Qaafiyaa) like “Udi neende ankho se, Judi rate Khwabo se, Mudi ye Jane Mai kahan” In the world no body ever used Qaafiyaa in first and last word of the couplet. Turaz touches emotions and captures mind by his magical words.

Like his work on the war films, he employed found footage and animation to verify, illustrate, and document what was being said in the voice-over narration." Capra later described the films, "Those four films about science, hand woven with bits of celluloid, were sprightly patterns of poesy and fact; fresh ideas were their main charm, a rather elegant charm, we thought, much like the light-hearted but disciplined charm of a Mozart composition." After the Bell series, Capra returned to feature films as the director of A Hole in the Head (1959). Capra's screenplays called for two principal characters, "Dr.

Sidney An Apology for Poetry (or The Defence of Poesy) is a work of literary criticism by Elizabethan poet Philip Sidney. It was written in approximately 1580 and first published in 1595, after his death. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction.

It is the same with humanity, which forever strives towards and tries to recreate a new Golden Age – a paradisaic Age of harmony between man and nature that was assumed to have existed in earlier times. This Age was described by Plato, Plotinus and Frans Hemsterhuis, the last of whom was an extremely important figure for the German Romantics. This idea of a romantic universal poesy can be seen clearly in the romantic triad. This theoretical structure always shows its recipient that the described moment is exactly the moment (kairos) in which the future is decided.

The Hours by Maria Cosway, an illustration to Gray's poem Ode on the Spring, referring to the lines "Lo! where the rosy-bosomed Hours, Fair Venus' train, appear" Gray considered his two Pindaric odes, The Progress of Poesy and The Bard, as his best works. Pindaric odes are to be written with fire and passion, unlike the calmer and more reflective Horatian odes such as Ode on a distant Prospect of Eton College. The Bard tells of a wild Welsh poet cursing the Norman king Edward I after his conquest of Wales and prophesying in detail the downfall of the House of Plantagenet.

In 1798 he was elected organist of St Mary Woolnoth. In the spring of 1799, his early oratorio was produced by Wilhelm Cramer under the name of The Prophecy, perhaps to avoid comparison with Georg Handel's 'Messiah.' Busby then set to work on settings of Thomas Gray's 'Progress of Poesy,' Pope's 'Ode on St. Cecilia's Day,' and a cantata from Ossian, 'Comala'; but it is not clear whether any of these were performed. A secular "oratorio", 'Britannia' (words by John Gretton), was sung at Covent Garden in 1801 with Gertrud Elisabeth Mara as the principal soprano.

In 1951, Garfein was offered his first job in television, directing short dramatic sketches for The Kate Smith Hour on NBC. His direction of the short teleplay Rooftop was described by Ben Gross of the Daily News as "an exceptionally good dramatic interlude" and "one of the most moving dramatic vignettes seen on TV in a long time; a simple story of love among the tenements, combining realism with a touch of poesy." Gross further praised the "vividness and economy" of Garfein's direction. Several years later, Garfein directed an episode of the first prime time network color television series, The Marriage, which aired on NBC from July to August 1954.

109 In 1870, Mark Twain wrote an essay on "Post-mortem Poetry",Mark Twain, Post- mortem Poetry in which he remarked that: :In Philadelphia they have a custom which it would be pleasant to see adopted throughout the land. It is that of appending to published death-notices a little verse or two of comforting poetry. Any one who is in the habit of reading the daily Philadelphia LEDGER must frequently be touched by these plaintive tributes to extinguished worth. In Philadelphia, the departure of a child is a circumstance which is not more surely followed by a burial than by the accustomed solacing poesy in the PUBLIC LEDGER.

1401 The poem describes the three figures as wearing "placid sandals" and "white robes", which alludes to the Grecian mythology that commonly appears in the 1819 odes. The images pass the narrator three times, which causes him to compare them to images on a spinning urn (line 7). In line 10, the narrator uses the word "Phidian" again as a reference to the Elgin marbles, whose creation was thought to have been overseen by Phidias, a Grecian artist. As the poem progresses, the narrator begins to discuss the intrusion upon his indolence by the figures of Love, Ambition, and Poesy, and he suggests that the images have come to "steal away" his idle days.

His best travel writing has secured a permanent following. The Path to Rome (1902), an account of a walking pilgrimage he made from central France across the Alps and down to Rome, has remained continuously in print. More than a mere travelogue, The Path to Rome contains descriptions of the people and places he encountered, his drawings in pencil and in ink of the route, humour, poesy, and the reflections of a large mind turned to the events of his time as he marches along his solitary way. His book The Pyrenees, published in 1909, shows a depth of detailed knowledge of that region such as would only be gained from personal experience.

Some of these characters appear in the poems "Before and After Tampico", "Four Family", and "My Pico Boulevard". The later poem literally emphasizes and politicizes the French poet Blaise Cendrars' declaration and manifesto, "Poetry is in the Streets" ("Le Poesy es en la rue"), while extending his claim to the notion that the poetry emerging from these streets is historical and demands a radical disclosure and expression regarding the ideologies of power and censorship underlying and undermining the subject. These and several other of his poems are a compassionate and bitter witnessing of injustice and attest to a realism with ethical concerns stretching back to the Jewish Prophets of the First Testament. One of his more noted poems, "For Neruda",Robbins, Roots 11.

In his second term of priestliness, Kalalelle Ananda Sagara continued his career as a teacher and promoted his style of Poesy, compiling verses such as Kalakanniya, Kelani Withthi, Paddiyavatiya, Mal Hamy and Visirinu Tharu under the pseudonym KAS (Kayes). His best works are regarded to have been Sudo Sudu and the KAS Markup Script, both of which contributed to his recognition as one among the leading literary figures in the country. Palansuriya went on to renounce his monkhood, reverting to his lay name Sagara Palansuriya, and entered politics in 1947, joining the Viplavakari Lanka Sama Samaja Party led by Philip Gunawardena. He was able to secure a place in Parliament in 1956, representing the Horana Electoral District for the Mahajana Ekasth Peramuna led by S. W. R. D. Bandaranaike.

He later moved to Ingersoll, Ontario, then a town of 5,000 on the banks of the Thames in Oxford County, the heart of Canadian dairy country at the time. He opened a furniture factory on the river as well as a store which sold furniture, along with such items as pianos and coffins. He was well loved in the community, from which he often received aid in hard times, due in part to his poesy and oratorical skills—he was called on to speak at every kind of social gathering in Ingersoll. The region seems to have inspired him, and it was in celebration of the proud history of Canada, the natural beauty and industry of the region, and especially (as noted above) its cheese, that the majority of his oeuvre was written.

The Art of English Poesy: A Critical Edition Ithaca: Cornell UP, 2007, p. 149. According to Daniel Wright, these combined passages confirm that Oxford was one of the concealed writers in the Elizabethan court. Critics of this view argue that Oxford nor any other writer is not here identified as a concealed writer, but as the first in a list of known modern writers whose works have already been "made public", "of which number is first" Oxford, adding to the publicly acknowledged literary tradition dating back to Geoffrey Chaucer..:'this very passage has been misread in support of the argument, now thoroughly discredited, that a 'stigma of print' discouraged publication by members of the nobility. Oxford was one of many noblemen whose poems and names were broadcast in print.

314 Within the many poems that explore this idea—among them Keats's and the works by his contemporaries—Keats begins by questioning suffering, breaks it down to its most basic elements of cause and effect, and draws conclusions about the world. His own process is filled with doubt, but his poems end with a hopeful message that the narrator (himself) is finally free of desires for Love, Ambition, and Poesy. The hope contained within "Ode on Indolence" is found within the vision he expresses in the last stanza: "I yet have visions for the night/And for the day faint visions there is store." Consequently, in her analysis of Keats' Odes, Helen Vendler suggests that "Ode on Indolence" is a seminal poem constructed with themes and images that appeared more influential in his other, sometimes later, poems.

The four speakers are Sir Robert Howard [Crites], Lord Buckhurst [Eugenius], Sir Charles Sedley [Lisedeius], and Dryden himself (neander means "new man" and implies that Dryden, as a respected member of the gentry class, is entitled to join in this dialogue on an equal footing with the three older men who are his social superiors). On the day that the English fleet encounters the Dutch at sea near the mouth of the Thames, the four friends take a barge downriver towards the noise from the battle. Rightly concluding, as the noise subsides, that the English have triumphed, they order the bargeman to row them back upriver as they begin a dialogue on the advances made by modern civilization. They agree to measure progress by comparing ancient arts with modern, focusing specifically on the art of drama (or "dramatic poesy").

"A Leopard Lives in a Muu Tree" is a poem by the Kenyan poet Jonathan Kariara. It concerns a native farmer besieged by a tree-bound leopard that has apparently broken his fences, torn his medicine bags and stifled his wives' sensuality. Featured in such poesy anthologies as An Introduction to East African Poetry, The Penguin Book of Modern African Poetry and Over This Soil, it has been subjected to a wide range of interpretations, most of them erotic. The poem begins with the line that also constitutes its title, adding that the leopard's gaze is fixed on the home of the speaker, whose lambs(read children) are born with speckles and whose wives "tie their skirts tight / And turn away" (4-5), fearing that (presumably through the leopard's voracious attentions) they might spawn similarly stippled offspring.

In December 1757, only four months after The Bard was published, Gray was offered the Poet Laureateship . Favourable, even enthusiastic, reviews appeared in the Critical Review, Monthly Review and Literary Magazine, and their voices were soon echoed by many others. John Brown, a then fashionable social commentator, reportedly called The Bard and The Progress of Poesy the best odes in the language; David Garrick thought them the best in any language; Thomas James Mathias compared The Bard favourably to Pindar, Horace, Dante and Petrarch; and by 1807 even Percival Stockdale had changed his mind, and could write of its "poetical excellence". One exception to this trend was Samuel Taylor Coleridge, who in 1799 wrote that "The Bard once intoxicated me, & now I read it without pleasure", and more than thirty years later could still remark that he found it "frigid and artificial".

Antistrophe (, "a turning back") is the portion of an ode sung by the chorus in its returning movement from west to east, in response to the strophe, which was sung from east to west. It has the nature of a reply and balances the effect of the strophe. Thus, in Gray's ode called "The Progress of Poesy" (excerpt below), the strophe, which dwelt in triumphant accents on the beauty, power and ecstasy verse, is answered by the antistrophe, in a depressed and melancholy key: When the sections of the chorus have ended their responses, they unite and close in the epode, thus exemplifying the triple form, in which the ancient sacred hymns of Greece were coined, from the days of Stesichorus onwards. As Milton says: "strophe, antistrophe and epode were a kind of stanza framed for the music then used with the chorus that sang".

In the fourth stanza, the poet states that he will fly to the nightingale rather than it to him, moving upon the "wings of Poesy", which leaves Walter Jackson Bate to believe that while the poet intends to identify with the bird by describing the poem as being "to" it, the real identification in the narrative exists between the poet and his perceptions of the nightingale's song.Bate. 1953. p.500 In its closing, the poem questions whether the bird's song has been real or part of a dream: "Was it a vision, or a waking dream? / Fled is that music:—do I wake or sleep?" (lines 79–80), and the theme of imagination once again arises as the poet appears, according to Timothy Hilton, unable to distinguish between his own artistic imagination and the song which he believes to have spurred it into action.Hilton. 1971.

Nightingale (Luscinia megarhynchos) "Ode to a Nightingale" is the longest of the 1819 odes with 8 stanzas containing 10 lines each. The poem begins by describing the state of the poet, using negative statements to intensify the description of the poet's physical state such as "numbless pains" and "not through envy of thy happy lot" (lines 1–5). While the ode is written "to a Nightingale", the emphasis of the first line is placed upon the narrator rather than the bird, and Helen Vendler suggests that the negation of the reader as a party in the discourse happens just as the song of the nightingale becomes the "voice of pure self-expression".Vendler. 1983. p.20 In the third stanza, the poet asks the nightingale to "Fade far away", casting it off just as the narrator in "Ode to Indolence" rejects the Love, Ambition, and Poesy and the poet in "Ode on a Grecian Urn" banishes the figures on the urn to silence.

For two years the poem remained unfinished, but then in 1757 he attended a concert by John Parry, a blind harpist who claimed that the traditional Welsh harp repertoire went back as far as the druids. Gray was so inspired by this experience that he returned to The Bard with new enthusiasm, and was soon able to tell his friend William Mason, "Mr Parry, you must know, has set my Ode in motion again, and has brought it at last to a conclusion." Gray sold the copyright of this poem and of his "The Progress of Poesy" to the publisher Robert Dodsley for 40 guineas, and Dodsley issued them together under the title Odes by Mr. Gray. The book was printed by Gray's friend Horace Walpole who had just set up a printing press at his home, Strawberry Hill, and who had set his heart on inaugurating the enterprise with Gray's poems.

Even though these "epics" were still no more than sketches, in March 1857 Hetzel wrote to Hugo, rejecting Fin de Satan and Dieu, but accepting with enthusiasm the Petites Epopées. This new commission was nevertheless transformed by the influence of Hugo's latest ideas and most recent works, created with the same dash and fire and in a sort of magma of inspiration: a mixture of poesy, mysticism and philosophy which is characteristic of Hugo's first decade of exile. This inspiration normally led him to write a large number of poems, more or less brief, which would finally be published as components in projects which were constantly shifting and evolving. In this case Hugo integrated the little epics into his poetical system by casting them as the "human" panel in a triptych of which "God" and "Satan" were the wings, with the implication that they were merely sparse fragments stolen from a greater epic: the whole of human experience itself.

Balzac wrote Modeste Mignon after returning to France from Saint Petersburg, where he spent the summer of 1843 with his future wife the Countess Ewelina Hańska, to whom the work is dedicated: > Daughter of an enslaved land, angel through love, witch through fancy, child > by faith, aged by experience, man in brain, woman in heart, giant by hope, > mother through sorrows, poet in thy dreams - to thee belongs this book, in > which thy love, thy fancy, thy experience, thy sorrow, thy hope, thy dreams, > are the warp through which is shot a woof less brilliant than the poesy of > thy soul, whose expression, when it shines upon thy countenance, is, to > those who love thee, what the characters of a lost language are to > scholars.Balzac, Modeste Mignon, Dedication "To a Polish Lady", translated > by Katharine Prescott Wormeley. In Saint Petersburg Balzac had read a French translation of the correspondence between the German poet Johann Wolfgang von Goethe and the young German Romantic Bettina Brentano, who was thirty-seven years his junior.Bettina Brentano von Arnim, Briefwechsel mit einem Kinde (1835).

However, when he had started to work on the film, the manager that was financing the movie was discouraged from carrying it out. However, César had already written the first verses to a song for the movie, and upon his return to Lima he finished his poesy. In 1941, Jesús Vásquez performed this song for the first time, and it was called “Todos Vuelven” (“Everybody Returns”), and as he started to sing the first verses of the song, he knew that Miró had written a glorious new page as a native song… “Todos vuelven a la tierra en que nacieron, / al embrujo incomparable de su sol, / todos vuelven al rincón donde vivieron, / donde acaso floreció más de un amor…” (“Everyone returns to the land where they were born, / to a bewitching incomparable of its sun, / everyone returns to the corner where they lived, / where perhaps more than one love had flourished…”). His tondero “Malabrigo” had similar luck to “Todos Vuelven,” and when José María Arguedas wanted to film a movie about the lives of fishermen, he searched for an adequate port and arrived at the port of Malabrigo.

In early-19th-century England, the poet William Wordsworth defined his and Samuel Taylor Coleridge's innovative poetry in his Preface to Lyrical Ballads (1798): > "I have said before that poetry is the spontaneous overflow of powerful > feelings: it takes its origin in emotion recollected in tranquility: the > emotion is contemplated till, by a species of reaction, the tranquility > gradually disappears, and an emotion, kindred to that which was before the > subject of contemplation, is gradually produced, and does itself actually > exist in the mind." The poems of Lyrical Ballads intentionally re-imagined the way poetry should sound: "By fitting to metrical arrangement a selection of the real language of men," Wordsworth and his English contemporaries, such as Coleridge, John Keats, Percy Shelley, and William Blake, wrote poetry that was meant to boil up from serious, contemplative reflection over the interaction of humans with their environment. Although many stress the notion of spontaneity in Romantic poetry, the movement was still greatly concerned with the difficulty of composition and of translating these emotions into poetic form. Indeed, Coleridge, in his essay On Poesy or Art, sees art as “the mediatress between, and reconciler of nature and man”.

Cowley based the principle of his Pindariques on an apparent misunderstanding of Pindar's metrical practice but, nonetheless, others widely imitated his style, with notable success by John Dryden. With Pindar's metre being better understood in the 18th century, the fashion for Pindaric odes faded, though there are notable actual Pindaric odes by Thomas Gray, The Progress of Poesy and The Bard. > There was a time when meadow, grove, and stream, The earth, and every common > sight, To me did seem Apparelled in celestial light, The glory and the > freshness of a dream. It is not now as it hath been of yore;— Turn > wheresoe'er I may, By night or day, The things which I have seen I now can > see no more.... Our birth is but a sleep and a forgetting: The Soul that > rises with us, our life's Star, Hath had elsewhere its setting, And cometh > from afar: Not in entire forgetfulness, And not in utter nakedness, But > trailing clouds of glory do we come From God, who is our home... (Excerpt from Wordsworth's Intimations of Immortality) Around 1800, William Wordsworth revived Cowley's Pindarick for one of his finest poems, the Intimations of Immortality ode.