There's even an open mike if your inner sonneteer longs to be released; newyorkcitypoetryfestival.com.
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Forget About It: Sonneteer has raced 10 times in his career and still has not won.
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Sonneteer hasn't yet even won a race, but he's had enough near misses to earn his way into the field.
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Hence was 11th, followed by Untrapped, Girvin, one-eyed Patch, J Boys Echo, Sonneteer, Fast And Accurate, Irap, and State of Honor.
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In many realms, processing speed is hardly relevant (there's no great advantage to the speedy sonneteer); in other realms, it's obviously critical (a truck driver can't ask for extra time in deciding whether to brake).
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Fast And Accurate, who will start from the third gate, and Sonneteer, who drew the 12th spot and has never won in 10 starts to date, have the longest odds in the field at 50-1.
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A sonnet is addressed to an indifferent object of passion; even if the actual lover warms up, the sonneteer can't become too easily complacent—a dark lady suddenly sunny produces no one's idea of a poem.
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The colt Sonneteer harkens even farther back, to Buchanan (1884) and Brokers Tip (1933), who won their first lifetime races in the Derby, but also to Sir Barton, who followed up his maiden win in Louisville with victories in the Preakness and the Belmont Stakes at a time — 1919 — before the three-race sweep had even been christened the Triple Crown.
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Lone Sailor (one win in seven races at this distance), Sonneteer (0 for 3), Chess Chief (0 for 4), Tenfold (1 for 43) and Silver Dust (0 for 4), who was also disqualified in the Louisiana Stakes by the Louisiana State Racing Commission because of a positive drug test after he won the Mineshaft Stakes here a few weeks later, have all struggled with nine furlongs.
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In 2011, Purpuro played the role of Livvy in The Sonneteer, by Nick Salamone. She appeared in Kristen Lazarian's Love Like Blue.
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William e Smith (1933) was an English sonneteer, poet, and friend of Edmund Spenser. He participated in The Phoenix Nest (1593), England's Helicon (1600) and published a sonnet sequence Chloris or The Complaint of the passionate despised Shepheard in 1596.
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The book which followed Gerard's Monument was a volume of Poems containing some 30 sonnets, which at once established the reputation of the writer as a sonneteer. Glan Alark succeeded, and after that Quarterman's Grace. In little more than a year appeared Ender the Aspens, shortly to be followed by Songs and Sounds. In 1884 she issued The Rhyme of the Lady of the Rock.
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William Beckford parodied the perceived easiness of Smith's sonnets with a poem called "Elegiac Sonnet to a Mopstick." Anna Seward, a major female sonneteer to follow Smith, criticized Smith for deviating from the prescribed forms. Similarly, when Mary Robinson published her own sonnet sequence in 1796, she emphasized her own adherence to formal rules in the title Sappho and Phaon: In a Series of Legitimate Sonnets.
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39 That Warwick's reputation as a sonneteer was notable in his day is demonstrated by his name being included as a writer of sonnets next to Bampfylde's in "a list of living English poets" in The Gentleman's Magazine for 1792.Gentleman's Magazine, Volume 72, p.691. That Warwick had died before 1792 was later noted in a correction on p.972. Both of Warwick’s longer works focused on mediaeval relationships.
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Many critics, in light of what they see as his overworking of old themes, view Spenser as being a less original and important sonneteer than contemporaries such as Shakespeare and Sir Philip Sidney. However, Spenser also revised the tradition that he was drawing from. Amoretti breaks with conventional love poetry in a number of ways. In most sonnet sequences in the Petrarchan tradition, the speaker yearns for a lover who is sexually unavailable.
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The sonnet employs the Petrarchan conceit of "tyranny" to imply the power the object's beauty imposes over the sonneteer and argues for her beauty based on the power she exerts over him. It also uses the word "groan", another common practice from Petrarch, to superficially reinforce the lover's depth of emotion; but it does so ambivalently, possibly implying the word's connotation of pain or distress, or even its alternate meaning that refers to venereal disease.
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Other true poets are the sonneteer João Penha, the Parnassian Goncalves Crespo, and the symbolist Eugénio de Castro. The reaction against the use of verse for the propaganda of radicalism in religion and politics has succeeded and the most considered poets of the early twentieth century, Correia de Oliveira, and Lopes Vieira, were natural singers with no extraneous purpose to serve. They owe much to the "Só" of António Nobre, a book of true race poetry.
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Three years later, Copeland and Day published (again privately) The Deserted City, "nineteen lyrical and finely disciplined sonnets on faith and love, described by Roberts as the work of a ‘master sonneteer’." Modelled on Dante Gabriel Rossetti's "House of Life," the sonnet sequence "demonstrates Sherman’s attempts to reconcile spiritual/secular dichotomies by exploring the soul/body conflict." The Deserted City "exhibits a less elevated language and explores the Canadian scene in a more realistic sense" than in his earlier work.
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Like the best of the Elizabethans, Sidney was successful in more than one branch of literature, but none of his literary output was published until after his death. His finest achievement was his connected sequence of 108 love sonnets. These sonnets which owe much to Petrarch and Ronsard in tone and style, place Sidney as the greatest Elizabethan sonneteer except Shakespeare. Written to his mistress, Lady Penelope Rich, though dedicated to his wife, they reveal true lyric emotion couched in a language delicately archaic.
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The Wyndham Sisters, by John Singer Sargent, 1899 (Metropolitan Museum) He was born into British nobility, the youngest son of a Scottish peer, Edward Tennant, 1st Baron Glenconner, and the former Pamela Wyndham, one of the Wyndham sisters and of The Souls clique. His mother was also a cousin of Lord Alfred Douglas (1870–1945), Oscar Wilde's lover and a sonneteer. On his father's death, Tennant's mother married Lord Grey, a fellow bird-lover. Tennant's eldest brother Edward – "Bim" – was killed in the First World War.
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He imitated Petrarch, Ariosto, Sannazaro, and still more closely the minor Italian poets, and in 1604 a number of his plagiarisms were exposed in the Rencontres des Muses de France et d'Italie. As a sonneteer he showed much grace and sweetness, and English poets borrowed freely from him. In his old age Desportes acknowledged his ecclesiastical preferment by a translation of the Psalms remembered chiefly for the brutal mot of Malherbe: "Votre potage vaut mieux que vos psaumes." He published in 1573 an edition of his works including Diane, Les Amours d'Hippolyte, Elegies, Bergeries, Œuvres chrêtiennes, etc.
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Shakespeare derides the "vain" sonneteer who searches for images even from the heavens to "ornament" his comparison and who will "rehearse" or 'describe at length' his "fair" by comparison with every other "fair" to make a "couplement", either a coupling in a comparison or a couplet or stanza. The repetition of "fair" echoes Sonnet 18's "And every fair from fair some time declines". Shakespeare will resist their practice of "proud compare" to the sun, moon, the "rich gems" of earth and sea, and "April's first-born flowers", both 'born' and 'borne'. He will disregard "all things rare" that are contained within the bounds of the universe ("hems"), which another poet's pen might use.
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Chicago Tribunes Michael Phillips praised "Mystery of Love" and "Visions of Gideon" for being "piercing original songs" and found them to help the viewer find sympathy with understanding Elio's emotions. Elliot Kronsberg from North by Northwestern enjoyed "Mystery of Love" the most out of Stevens' three contributions, stating: "I got so excited when it was on and it’s been stuck in my head for almost a week." Hannah Fleming, a writer for Paste, felt that the song "solidifies Stevens as a kind of modern Shakespeare sonneteer", while the staff at Vanity Fair described it as "heartfelt". The Daily Campuss Abby Brone praised the song's ability to "accentuate the captivating quality of the film".
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He joined the Saba Poetry Association headed by Tabar Esfahani, which gave him the opportunity to know more about Ode and classic poetry. He left Saba because he found it limited to the classical poetry and joined the poetry recital sessions of Association of Poets of Isfahan in the library of Chaharbagh. In these sessions, more than a hundred classic and modern poets gathered for poetry readings and poetry critique. One of the Iranians’ famous Sonneteer, Saeeid Biyabanaki, emerged from such gatherings. Biyabanaki has commented about Sharif Saiidi’s presence in the Association of Poets of Isfahan that ‘when Saiidi goes starts reciting his poem on the microphone, all poets hold their breath’ (Farkhar Journal with a special issue for Mohammad Sharif Saiidi).
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Dante shown holding a copy of the Divine Comedy, next to the entrance to Hell, the mount of Purgatory and the city of Florence, with the spheres of Heaven above, in Michelino's fresco, 1465 Another Italian voice originated in Sicily. At the court of Emperor Frederick II, who ruled the Sicilian kingdom during the first half of the 13th century, lyrics modelled on Provençal forms and themes were written in a refined version of the local vernacular. The most important of these poets was the notary Giacomo da Lentini, inventor of the sonnet form, though the most famous early sonneteer was Petrarch.Ernest Hatch Wilkins, The invention of the sonnet, and other studies in Italian literature (Rome: Edizioni di Storia e letteratura, 1959), 11–39 Guido Guinizelli is considered the founder of the Dolce Stil Novo, a school that added a philosophical dimension to traditional love poetry.
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The narrator realizes that the novel is in fact about his own wife Flora, whom the painter had once pursued. In this novel within the novel, Laura is "destroyed" by the narrator (the "I" of the book). Delage-Toriel also notes that the names of Laura and Flora, possibly refer to well-known High Renaissance portraits of women by Titian and Giorgione, both evoking the Italian sonneteer Petrarch's unconsummated obsession with a woman named Laura. According to Delage-Toriel, the meaning of "the Original" is unclear: > Does it refer to the mistress of the “I,” the Laura of My Laura, or to the > probable mistress of this novel’s author, the Flora of The Original of > Laura? The manuscript’s playful juxtapositions obviously incite the reader > to fuse both ‘originals’ into a single original, a gesture which Nabokov > graphically performs in ‘chapter’ 5, by contriving an amusing hybrid, > ‘Flaura’. On close observation of the manuscript, one notices that the name > contains in fact two capital letters, ‘F’ and ‘L’, as though Nabokov had > been loath to give precedence to either name and had instead opted for some > typographical monster, a bicephalous cipher of sorts.
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