query: how many lines are in the poem birches

pos: Birches (poem) Birches (poem) "Birches" is a poem by American poet Robert Frost (1874-1963). It was included in Frost's third collection of poetry "Mountain Interval", which was published in 1916. Consisting of 59 lines, it is one of Robert Frost's most anthologized poems. Along with other poems that deal with rural landscape and wildlife, it shows Frost as a nature poet. Frost's writing of this poem was inspired by another similar poem "Swinging on a Birch-tree" by American poet Lucy Larcom and his own experience of swinging birch trees at his childhood. Frost once said "it was almost sacrilegious climbing a birch

neg:
Birches (poem) tree till it bent, till it gave and swooped to the ground, but that's what boys did in those days". Written in 1913-1914, "Birches" first appeared in "Atlantic Monthly" in the August issue of 1915 and was later collected in Frost's third book "Mountain Interval" (1916). Birches When I see birches bend to left and right
 Across the lines of straighter darker trees,
 I like to think some boy's been swinging them.
 But swinging doesn't bend them down to stay
 As ice-storms do. Often you must have seen them
 Loaded with ice a sunny winter morning
 After a rain. They

neg: Birches (poem) birches. Because he is an adult, he is unable to leave his responsibilities behind and climb toward heaven until he can start fresh on the earth. In fact, the narrator is not even able to enjoy the imagined view of a boy swinging in the birches. In the fourth line of the poem, he is forced to acknowledge the “Truth” of the birches: the bends are caused by winter storms, not by a boy swinging on them. Significantly, the narrator’s desire to escape from the rational world is inconclusive. He wants to escape as a boy climbing toward heaven, but

neg: Birches (poem) to escape from the world of harsh realities. But he does not want to remain in the world of fancy forever. He wants a momentary escape from the troubles of the earth, only to return to it to enjoy all the charms it provides. Youth also comes as a theme in this poem as the speaker imagines "some boy" despite coming across one. The poem is written in blank verse. The language is conversational (use of first person 'I' and second person 'You'.) Birches (poem) "Birches" is a poem by American poet Robert Frost (1874-1963). It was included in Frost's

neg: Ulysses (poem) iambic pentameter is often interrupted by spondees (metrical feet that consist of two long syllables); such laboured language slows the poem (and in other places may cast doubt upon the reliability of Ulysses' utterances): <poem> </poem> Observing their burdensome prosodic effect, the poet Matthew Arnold remarked, "these three lines by themselves take up nearly as much time as a whole book of the "Iliad"." Many of the poem's clauses carry over into the following line; these enjambments emphasize Ulysses' restlessness and dissatisfaction. The poem's seventy lines of blank verse are presented as a dramatic monologue. Scholars disagree on how Ulysses'

neg: Birches (poem) he also wants to return to the earth: both “going and coming back.” The freedom of imagination is appealing and wondrous, but the narrator still cannot avoid returning to “Truth” and his responsibilities on the ground; the escape is only a temporary one. The poem is full of ambiguity and it has got a very aesthetic sense to it. Written in conversational language, the poem constantly moves between imagination and fact, from reverie to reflection. In the opening, the speaker employs an explanation for how the birch trees were bent. He is pleased to think that some boys were swinging

neg: Birches (poem) love expressed here is for life and himself. This shows Frost's agnostic side where heaven is a fragile concept to him. This becomes clear when he says "the inner dome of heaven had fallen". Rich metaphoric thinking and imagery abound in the poem, where Frost presents some sharp descriptions of natural phenomena. The poem centers on various themes of balance, youth, spirituality, and the natural world. It deals with the issue of how to reconcile between impulse and caution, between spontaneity and structure. This act of balancing remains a crucial theme in Frost's thought, and his typical suggestion for this

neg: Birches (poem) childhood experience with swinging on birches, which was a popular game for children in rural areas of New England during the time. Frost’s own children were avid “birch swingers,” as demonstrated by a selection from his daughter Lesley’s journal: “On the way home, i climbed up a high birch and came down with it and i stopped in the air about three feet and pap cout me.” In the poem, the act of swinging on birches is presented as a way to escape the hard rationality or “Truth” of the adult world, if only for a moment. As the boy

neg: Birches (poem) place for love. This poem is written in blank verse, with a particular emphasis on the “sound of sense.” For example, when Frost describes the cracking of the ice on the branches, his selections of syllables create a visceral sense of the action taking place: “Soon the sun’s warmth makes them shed crystal shells / Shattering and avalanching on the snow crust — / Such heaps of broken glass to sweep away…” Originally, this poem was called “Swinging Birches,” a title that perhaps provides a more accurate depiction of the subject. In writing this poem, Frost was inspired by his

neg: The Battle of Maldon original poem and another on the word "ofermōde". The Battle of Maldon "The Battle of Maldon" is the name given to an Old English poem of uncertain date celebrating the real Battle of Maldon of 991, at which the Anglo-Saxons failed to prevent a Viking invasion. Only 325 lines of the poem are extant; both the beginning and the ending are lost. The poem is told entirely from the perspective of the English, and names many individuals that Mitchell and Robinson believe were real Englishmen. Mitchell and Robinson conjecture that the lost opening of the poem must have related how

neg: Pan Tadeusz from "Pan Tadeusz" are well known in translation, above all its opening lines: <poem style="margin-left: 2em">"Litwo! Ojczyzno moja! ty jesteś jak zdrowie;" "Ile cię trzeba cenić, ten tylko się dowie," "Kto cię stracił."</poem> <poem style="margin-left: 2em"> Lithuania, my fatherland! You are like health; How much you must be valued, will only discover The one who has lost you. </poem> <poem style="margin-left: 2em"> O Lithuania, my country, thou Art like good health; I never knew till now How precious, till I lost thee. </poem> <poem style="margin-left: 2em"> Lithuania, my country! You are as good health: How much one should prize you,

neg:
Birches (poem) by climbing a birch tree,
 And climb black branches up a snow-white trunk
 Toward heaven, till the tree could bear no more,
 But dipped its top and set me down again.
 That would be good both going and coming back.
 One could do worse than be a swinger of birches.
 When the speaker (the poet himself) sees a row of bent birches in contrast to straight trees, he likes to think that some boy has been swinging them. He then realizes that it was not a boy, rather the ice storms that had bent the birches. On a winter morning,

neg: The Battle of Maldon The Battle of Maldon "The Battle of Maldon" is the name given to an Old English poem of uncertain date celebrating the real Battle of Maldon of 991, at which the Anglo-Saxons failed to prevent a Viking invasion. Only 325 lines of the poem are extant; both the beginning and the ending are lost. The poem is told entirely from the perspective of the English, and names many individuals that Mitchell and Robinson believe were real Englishmen. Mitchell and Robinson conjecture that the lost opening of the poem must have related how Byrhtnoth, the Anglo-Saxon leader, hearing of the Viking

neg: Birches (poem) freezing rain covers the branches with ice, which then cracks and falls to the snow-covered ground. The sunlight refracts on the ice crystals, making a brilliant display. When the truth strikes the speaker, he still prefers his imagination of a boy swinging and bending the birches. The speaker says he also was a swinger of birches when he was a boy and wishes to be so now. When he becomes weary of this world, and life becomes confused, he would like to go toward heaven by climbing a birch tree and then coming back again, because earth is the right

neg: To Kosciusko Polish and many of Coleridge's political heroes were British. Hunt and Keats viewed Kosciusko as a political ideal that was connected to King Alfred, a figure that was believed to have established English constitutional liberty. The praise within the poem is similar to how Coleridge praised Fayette; he believed that both were political prisoners that were martyred for their beliefs. Coleridge discussed Kosciusko and the issues surrounding Poland in many of his works, including during a lecture series that Coleridge gave in 1795 and articles within Coleridge's newspaper, "Watchman". The first four lines of Coleridge's poem are related in style

neg: How Many Miles to Babylon? (novel) and careful description" to depict the chaotic environment created by war. The novel also includes small abstracts from poetry and songs. The title of the novel is derived from a traditional nursery Rhyme, How Many Miles to Babylon?: <poem> </poem> When re-reviewing the novel in 2011, Philip Womack described the novel as "slim but emotionally hefty." For Womack, it's a poignant retelling of how the First World War erased lines of class, and its emotional toil: "Johnston's novel conveys both the insanity of war and the poignancy of unspoken tenderness." In 1982 it was adapted for television by the BBC,

neg: How Many Miles to Babylon? How Many Miles to Babylon? "How Many Miles to Babylon" is an English language nursery rhyme. It has a Roud Folk Song Index number of 8148. The accepted modern lyrics are: <poem>How many miles to Babylon? Three score miles and ten. Can I get there by candle-light? Yes, and back again.. If your heels are nimble and your toes are light, You may get there by candle-light.</poem> A longer Scottish version has the lyrics: <poem>King and Queen of Cantelon, How many miles to Babylon? Eight and eight, and other eight. Will I get there by candle-light? If your horse be

neg: Little Gidding (poem) to Anne Ridler dated 10 March 1941, stated that he was trying to avoid such connections within "Little Gidding". Critics such as Malcolm Cowley and Delmore Schwartz describe mixed emotions about the religiosity of the poem. Cowley emphasised the mystical nature of the poem and how its themes were closer to Buddhism than Anglicanism while mentioning his appreciation of many of the passages. Schwartz also mentioned the Buddhist images and his admiration for many of the lines in "Little Gidding". F. B. Pinion believed that the fourth section of the poem caused "Eliot more trouble and vexation than any passage

neg: Borovoe Borovoe "Kumuskol", which means "silver lake". The nature of Borovoe is proclaimed in Saken Seifulin’s poem “Kokshetau”: <poem>Burabay water’s more limpid than dew One cannot withhold admiration its view. Its shore’s overgrown with glorious trees Magnificent pines, white birches make scenery splendid indeed.</poem> Borovoe Borovoe () is one of the Burabay lakes in the north of Kazakhstan, in the Burabay District of Akmola Region, in the eastern foothills of Kokshe Mountain. The shores of the lake are overgrown with pine forest. The name of the lake originates from the word "bor", which means "pine forest". The historical name is Auliekol,

neg: Birches (poem) is to execute things in a way that requires control and skill – be it a question of climbing and swinging a Birch tree or an act of writing or any other issue of real life. Each of us is disillusioned in life. There are so many problems and troubles that fill us with anxiety and tension. Sometimes we feel highly burdened. So we want an escape from our woes. We want to do something to reach a place of calm and exhilaration. The poet's desire to rise up on the branch of a birch is symptomatic of our desire

neg: Anyone lived in a pretty how town adapted into a short film of the same name by George Lucas. In the poem, Cummings states the lines, "spring summer autumn winter", (3) and "sun moon stars rain", (8) multiple times. In reiterating these lines he changes the order of the seasons, "autumn winter spring summer", (11) and "stars rain sun moon", (21). Anyone lived in a pretty how town "anyone lived in a pretty how town" is a poem written by E. E. Cummings. First published in 1940, the poem details the lives of residents in a nameless town. Like much of Cummings's work, the poem is actually

neg: Trees (poem) which the poem was written looked down the hill over the family's "well-wooded lawn" that contained "trees of many kinds, from mature trees to thin saplings: oaks, maples, black and white birches, and I do not know what else." A published interview with Joyce Kilmer in 1915 mentioned the poet's large woodpile at the family's Mahwah home: while Kilmer might be widely known for his affection for trees, his affection was certainly not sentimental—the most distinguished feature of Kilmer's property was a colossal woodpile outside his home. The house stood in the middle of a forest and what lawn it

neg:
Birches (poem) click upon themselves
 As the breeze rises, and turn many-colored
 As the stir cracks and crazes their enamel.
 Soon the sun's warmth makes them shed crystal shells
 Shattering and avalanching on the snow-crust—
 Such heaps of broken glass to sweep away
 You'd think the inner dome of heaven had fallen.
 They are dragged to the withered bracken by the load,
 And they seem not to break; though once they are bowed
 So low for long, they never right themselves:
 You may see their trunks arching in the woods
 Years afterwards, trailing their leaves on the ground
 Like girls on hands

neg: Charles Guenther Faces of Autumn," (from the book "Phrase/Paraphrase") is an example of Guenther's sometimes concise, clipped style: <poem>Now sunfire stains the tupelos and the shadows in trapeziums off the haybarns straggle and gather by rocks and birches where the crickets' still-fast whirr cries against the closed season</poem> Other poems, like "Escalator" and "Arch" were more experimental and avant-garde. Guenther also wrote elegies and poems commemorative of places, people and events. Guenther also worked tirelessly to promote poetry and poets. He was a frequent correspondent and mentored many younger poets. For 15 years he served as Regional Midwest Vice-President for the Poetry

neg: Ovid ends with an address by Drusus to Livia assuring him of his fate in Elysium. Although this poem was connected to the "Elegiae in Maecenatem", it is now thought that they are unconnected. The date of the piece is unknown, but a date in the reign of Tiberius has been suggested because of that emperor's prominence in the poem. The "Halieutica" is a fragmentary didactic poem in 134 poorly preserved hexameter lines and is considered spurious. The poem begins by describing how every animal possesses the ability to protect itself and how fish use "ars" to help themselves. The ability

neg: The Ruin end of the manuscript, on both sides of a leaf, with the end of the poem continuing on to the next page. The section has a large diagonal burn from a kind of branding in the center of the page. The burn has rendered many parts of the script illegible. The poem consists of forty-nine lines (some of which are illegible) describing decayed, broken buildings. The speaker imagines how the towers, walls, baths, and palaces must have looked at the time of their completion and envisions them full of life and action. This imagery is contrasted with the desolate reality

neg: Kubla Khan narrator, or it could connect with the second half of the poem to show how a reader is to interpret the lines by connecting himself with the persona in a negative manner. The Preface and the poem are different in their locations, as the Preface discusses Coleridge's England while the poem discusses ancient China, but both discuss the role of the poem and his abilities. The poet of the Preface is a dreamer who must write and the poet of the poem is a vocal individual, but both are poets who lose inspiration. Only the poet of the poem feels

neg: Dura Navis in a note to the poem: I well remember old Jemmy Bowyer, the plagose Orbilius of Christ's Hospital, but an admirable Educer no less than Educator of the Intellect, bad me leave out as many epithets as would turn the whole into 8-syllable Lines,-and then asked myself if the Exercise would not be greatly improved. How often have I thought of this proposal since then-and how many thousand bloated and puffing lines have I read that by this process would have tripped over the tongues excellently. Likewise I remember that he told me on the same occasion—'Coleridge! the connections of

neg: Michael Row the Boat Ashore riber overflow. O poor sinner, how you land? Riber run and darkness comin'. Sinner row to save your soul. Michel, row the boat a-shore Hallelujah! Then you'll hear the trumpet blow Hallelujah! Then you'll hear the trumpet sound, Hallelujah! Trumpet sound the world around Hallelujah! Trumpet sound the jubilee Hallelujah! Trumpet sound for you and me Hallelujah!</poem> This song originated in oral tradition, and there are many versions of the lyrics. It begins with the refrain, "Michael, row the boat ashore, Hallelujah." The lyrics describe crossing the River Jordan, as in these lines from Pete Seeger's version: <poem>Jordan's river is

neg: Education for Leisure backdrop of rising social problems in the United Kingdom during the 1980s and can be considered critical of Thatcherism. The poem references Gloucester's lines in Act 4 of King Lear, “As flies to wanton boys are we to the Gods/ They kill us for their sport”, lines which show how humankind is at the whim of the gods. In 2008 concerns about the levels of teenage knife crime in the United Kingdom led to complaints about the inclusion of the poem in a GCSE textbook. Exam Board AQA were accused of censorship after it removed the poem from its AQA

neg: Absalom and Achitophel and makes Charles a very reluctant and loving man who has to be king before father. The poem also refers to some of the Popish Plot furore. There are many different ways of understanding Dryden’s poem Absalom and Achitophel. The most common reading compares “the connections between fatherhood and kingship”. Through biblical allusions Dryden connects ancient fatherhood with current events not only to show a precedent, but also to show how it connects with a royal’s responsibilities. Dryden uses the fatherly indulgence of David (lines 31-33) to explore the legitimacy of Absalom's succession. Dryden uses an old story, The Prodigal

neg: The Ruined Maid Amelia's past while the second part of the stanza discusses her present. Hardy uses imagery to help the reader read between the lines. The unknown speaker in the poem illustrates how Amelia's life is before by reminding her of how things had looked so long ago, and the reader can understand how things are now because of the imagery of the jewels and fine clothing. Hardy uses every word in his poems with meaning; each has a set purpose to enhance the reader's understanding of the poem. Though each word illustrates a specific emotion to show the reader how each

neg: Tithonus poem to be a single poem, fragment 58 in the Lobel-Page (and subsequently Voigt) numbering systems. The poem on the Cologne papyrus, however, only contains 12 lines. These begin with line 11 of P. Oxy. 1787, confirming the long-standing suggestion that the poem began there. The Cologne version of the poem is thus missing what were long believed to be the final four lines of the poem. Much of the scholarly discussion of the poem has concerned the difference between the endings of the Tithonus poem preserved in the two papyri. Scholars disagree about how this should be interpreted. André Lardinois

neg: The Aboriginal Mother more revealing," showing the discovery of the dead bodies of the children killed during the event as well as more details about the trials in court. In addition, it shows how a woman and a baby were able to escape and how two other children tried to escape but failed. The poem is nine stanzas long, with each stanza having eight lines, making a total of 72 lines. The poem follows an ABCB rhyme scheme throughout. The first stanza is composed of the following: The poem has been recounted by scholars as relating to the poems "Indian Woman's Death Song,"

neg: The Phoenix (Old English poem) part of the poem is based solely on Lactantius' piece; the second part of the poem is based on scripture, mostly from Job, especially 29:18 (with references to the New Testament, Revelation, and Genesis), and Ambrose's piece. The story of the Phoenix resembles the resurrection of Christ. The first 380 lines paraphrase the Latin version "De Carmen de ave phoenice" with many of the pagan elements removed from the original Phoenix story. The last 297 lines are an allegorical application of Christiantiy, and applied to the story of the phoenix. Within the last eleven lines, the poem concludes by combining

neg: Dream of the Rood to God for what he has seen and is filled with hope for eternal life and his desire to once again be near the glorious Cross. There are various, alternative readings of the structure of the poem, given the many components of the poem and the lack of clear divisions. Scholars like Faith H. Patten divide the poem into three parts, based on who is speaking: Introductory Section (lines 1–26), Speech of the Cross (lines 28–121), and Closing Section (lines 122–156). Though the most obvious way to divide the poem, this does not take into account thematic unity or differences

neg: Howl other members of the 200 members of parliament. It is unclear how many of the other signatories actually had heard the broadcast. The interpellation text only contained a short extract of six lines (considered to be offensive, and representative of the poem) of over seventy from the poem, and the debate was mainly based upon them. Also, a report of an offence was filed to the criminal investigation department of Helsinki police district because the obscenity of the poem allegedly offended modesty and delicacy. The report was filed by Suomen kotien radio- ja televisioliitto (The radio and television association of

neg: Der Mensch lebt und bestehet first of "Acht geistliche Gesänge" (Eight Sacred Songs). The German text is a short poem in four lines by Matthias Claudius. The poem reflects how short-lived and transient are both the human existence and the splendor of the world, in contrast to one who is eternal. The shorter last line states that "we" are in his hands. The piece in A minor is scored for eight voices in two choirs SATB. It is in alla breve time and marked "Ziemlich langsam" (rather slowly). Reger repeats the first two lines of the text, with modified music the second time, arriving at

neg: Birches Green house since the 1780s. Birches Green Evangelical Free Church is a small church located near to the Lad in the Lane pub, built on a former football ground. Birches Green Allotments are based just off the Tyburn Road / Kingsbury Road junction and consists of 90 plots. Pupils from Birches Green School maintain their own plot on the site. Birches Green Birches Green () is a small area of Tyburn in Birmingham, England. It is located between Gravelly Hill and Bromford. The first mention of Birches Green dates from the 17th century and it may be named after the Birch

neg: Christmas traditions he neither parks his sleigh on rooftops nor climbs chimneys, his visits are usually accompanied by a diabolic-looking servant named Krampusz (in Austria, Slovenia, and Croatia: Krampus, in Czech and Slovak regions he is simply "čert", i.e. devil, without any name) who gives golden coloured birches for so called badly behaved children. Actually all children get both gifts and golden birches (Hungarian: "virgács") in their shoes, no matter how they behaved themselves. In some German-speaking communities, in the German-speaking Europe; particularly in Catholic regions of western and southern Germany, Switzerland, Austria, South Tyrol and Liechtenstein, as well as in other

neg: Attack on RUC Birches barracks an escape route. A partially-disabled American tourist and two local civilians were slightly injured in the blast. A member of the British security forces who gave Mark Urban a briefing on the Birches barracks said of the attack:"The Birches RUC station was destroyed by the bomb, creating problems for the authorities about how to re-build it. The Tyrone IRA was able to combine practical skills such as bomb-making and the welding needed to make mortars with considerable resources. Its members went on operations carrying the latest assault rifles and often wore body-amour similar to that used by the security forces,

neg:
Birches (poem) And not one but hung limp, not one was left
 For him to conquer. He learned all there was
 To learn about not launching out too soon
 And so not carrying the tree away
 Clear to the ground. He always kept his poise
 To the top branches, climbing carefully
 With the same pains you use to fill a cup
 Up to the brim, and even above the brim.
 Then he flung outward, feet first, with a swish,
 Kicking his way down through the air to the ground.
 So was I once myself a swinger of birches.
 And so I dream

neg: Frank Redpath Village and Other Poems" (Sonus Press, 1986) and "How It Turned Out: Selected Poems" (Rialto, 1996). In 2015 his poem "In and Out" was published in the "Times Literary Supplement", mistakenly presented as a newly discovered poem by Philip Larkin, a mistake that resulted in Redpath trending on Twitter. Lines from a poem of Redpath’s are inscribed on a statue off Great Union Street in the Drypool district of East Hull. The statue sits on the site of St Peter's church, which was destroyed by enemy action in 1941, and Redpath's poem is in the voice of the apostle Simon

neg: St Oswald's Church, Ashbourne found on the National Pipe Organ Register. St Oswald's bells inspired lines in "Lalla Rookh" by Thomas Moore, who lived in the area for four years: <poem> Those evening bells! Those evening bells! How many a tale their music tells Of youth and home and that sweet time When last I heard their soothing chime. Those joyous hours are passed away: And many a heart that then was gay Within the tomb now darkly dwells And hears no more those evening bells. And so 'twill be when I am gone: That tuneful peal will still ring on While other bards

neg: Mutability (poem) thirst, and desire, we might be nearly free; but now we are moved by every wind that blows and a chance word or scene that that word may convey to us." The prose version enunciates the identical themes of the poem, that man cannot control his thoughts because man has a subconscious that he cannot completely control. James Bieri described the poem: "The "Alastor" theme of loss is continued in 'Mutability,' with its lovely initial lines, 'We are as clouds that veil the midnight moon; / How restlessly they speed, and gleam, and quiver.'" The theme of change and transformation

neg: Hero and Leander (1819 poem) looked out, and trembling augured ill. The darkness held its breath so very still. (lines 223–229) </poem> The poem describes how love allows Leander to swim the Hellespont to meet with Hero: <poem style="margin-left: 2em;"> He thinks it comes! Ah, yes,—'tis she! 'tis she! Again he springs; and though the winds arise Fiercer and fiercer, swims with ardent eyes; And always, though with ruffian waves dashed hard. Turns thither with glad groan his stout regard; And always, though his sense seems washed away. Emerges, fighting tow'rds the cordial ray. (lines 248–254) </poem> Leander, as he dies, keeps changing between thoughts

neg: Valla Wood right beside two important neighbours: Valla Farm and Old Linköping. These three should be considered as a group. The idea is that visitors can see how the land was used in Sweden long ago and the connections between village, forest, and farm. Cattle grazed in the Wood up until the 1930s. Currently sheep graze in one fenced-off area. The Wood's fauna includes everything from insects and frogs, to birds, hares, and even deer. The flora ranges from the usual lush moss that covers many rocks and fallen logs, to birches, maples, pines, and spruce. Less usual are the orchids and

neg: France: An Ode it revealed about him politically. Robert Southey, Coleridge's friend, mentioned in a letter in May 1799: "Coleridge's 'Ode upon France' is printed in the Spirit of the Public Journals under the title of 'the Recantation.' How will he like this, and how will they like it who do not allow it to be a recantation?" In a 1799 review in the "New London Review", an anonymous reviewer claimed that Coleridge plagiarised lines from "Samson Agonistes" when he referenced John Milton's poem in lines 53 and 54 of the poem. Later, Thomas DeQuincey made this same argument in an 1834 review

neg: Petrarch's and Shakespeare's sonnets his beloved with the gift of immortality in his lines of verse. The changing rhymes emphasize the dualist nature of beauty (how those things which are beautiful in their prime inevitably grow old, fade, and die), while the alternating pattern provides continuity. The independently rhymed couplet introduces yet another shift in the poem; the speaker reiterates how his beautiful beloved will be eternally preserved as long as men can breathe and see, and as long as the poem exists the beloved does, too. The term sonnet sequence might be rephrased as series or cycle of sonnets. Sonnets become more significant

neg: Poetry analysis powerful, rolling, and very evident rhythm, and they rhyme in a way that is impossible to ignore. In other words, the "physicality" of the language—how it sounds and feels—accounts for a large measure of the poem's effect. The poem does not have a deep, hidden, symbolic meaning. Rather, it is simply pleasurable to read, say, and hear. Critical terminology becomes useful when one attempts to account for "why" the language is pleasurable, and "how" Byron achieved this effect. The lines are not simply rhythmic: the rhythm is regular within a line, and is the same for each line. A poem

neg: This Lime-Tree Bower My Prison An Elysium to which I have often passed by your Cerberus, and Tartarean tan-pits!". The first version of the poem was sent in a letter to Southey and was only 56 lines. The 1800 edition, the first published edition, was 76 lines long. The poem was also revised and published under another name in Southey's "Annual Anthology". A later revised edition was included in "Sibylline Leaves", Coleridge's 1817 collection of poems. The poem begins by explaining how the narrator was separated from his friends: The poem then describes the journey in the Quantocks from Lamb's point of view, and then

neg: Sonnet 42 rhymes at the end of the lines: especially in the second quatrain as a poetic device, similar to sonnet 40. "The poem is essentially a sad one…it's sadness heightened by the feminine endings, six in all [out of seven]". Many critics seem to agree with this reading of the feminine endings, and note that additionally, the author uses two words to imply the emotionality tied up in his sonnet. The word "loss" is repeated throughout this poem, appearing six times. The repetition of this word emphasizes how strongly the speaker feels that he has been deprived of the two most

neg: Tithonus poem poem is one of very few substantially complete works by Sappho, and deals with the effects of ageing. There is scholarly debate about where the poem ends, as four lines previously thought to have been part of the poem are not found on the 2004 papyrus. Two lines of the poem are preserved in Athenaeus' "Deipnosophistae". In addition to this quotation, the poem is known from two papyri: one discovered at Oxyrhynchus in Egypt and first published in 1922; the other first published in 2004. The lines quoted by Athenaeus are part of the poem as preserved on the Oxyrhynchus

neg: Joy Harjo with a specific trait or characteristic following that. They were all the same but at the same time, different." Harjo is using horses in her poem to compare herself to all of the people in her community. She is using horses in her poem to explain how she feels in her community with others around her. Julia Morse wrote, "Harjo's poems ache with grit, grief and nature. Her lines are curt and heavy but they construct delicate stories." In this poem, Harjo explains her growing years by using an animal very important in Native American culture. Harjo uses symbolism to

neg: Naupactia by an anonymous Milesian poet, but he himself judges that it was most likely by Carcinus of Naupactus; Pausanias' reasoning is open to doubt. It is not known how long the poem was. In current critical editions, only ten lines of the poem's text survive. Pausanias records that the poem was "written about women"; fewer than a dozen other fragmentary references give indications as to the content, but they tend to suggest that the content was largely genealogical. These two facts combined suggest similarities with the pseudo-Hesiodic poem the "Catalogue of Women". More than half of the surviving fragments are

neg: Sonnet 25 "Marigold", How duely, ev'ry morning, she displayes Her open breast, when "Titan" spreads his Rayes; ... How, when he downe declines, she droopes and mournes, Bedew'd (as 'twere) with teares, till he returnes; ... (lines 1-4, 7-8) </poem> but whereas for Wither the sun represents God and the marigold's reliance upon it is a virtue, Shakespeare's "sun" is mortal and fickle and reliance upon this sun is a risk. Edmond Malone noted the resemblance of lines 5-8 to this section of Wolsey's farewell in "Henry VIII": <poem> This is the state of man: to-day he puts forth The tender leaves

neg: Syllabic verse perceived as (usually) 3-stress lines. Syllabic poetry can also take a stanzaic form, as in Marianne Moore's poem "No Swan So Fine", in which the corresponding lines of each stanza have the same number of syllables. This poem comprises 2 stanzas, each with lines of 7, 8, 6, 8, 8, 5, and 9 syllables respectively. The indented lines rhyme. As in accentual-syllabic verse, there is some flexibility in how one counts syllables. For example, syllables with y- or w-glides may count as one or two syllables depending on the poet's preference. Moore counts "Dahlias" (a y-glide) as 2 syllables, and

neg: Birches Head Birches Head Birches Head is an area within Stoke-on-Trent. It lies on the edge of the town of Hanley. Formerly Birches Head Farm the area had new housing built on it to meet modern demands. These houses are centered on wide, open spaces. An old railway line runs across the estate which runs past the High School. The local High School is called Birches Head Academy. The old High School site is now a Church, The Potter's House Church (Stoke-on-Trent). There is also a Canal running through the suburb, the Caldon Canal. The canal runs from another part of the

neg: The World Is Too Much with Us one of those works. It reflects his view that humanity must get in touch with nature to progress spiritually. The rhyme scheme of this poem is "a-b-b-a", "a-b-b-a", "c-d-c-d", "c-d". This Italian or Petrarchan sonnet uses the last six lines (sestet) to answer the first eight lines (octave). The first eight lines (octave) are the problems and the next six (sestet) are the solution. Wordsworth gives a fatalistic view of the world, past and future. The words "late and soon" in the opening verse describe how the past and future are included in his characterization of mankind. The author knows

neg: Nothing Gold Can Stay (poem) a poem in which the metaphors of Eden and the Fall cohere with the idea of felix culpa." John A. Rea wrote about the poem's "alliterative symmetry", citing as examples the second line's "hardest – hue – hold" and the seventh's "dawn – down – day"; he also points out how the "stressed vowel nuclei also contribute strongly to the structure of the poem" since the back round diphthongs bind the lines of the poem's first quatrain together while the front rising diphthongs do the same for the last four lines. In 1984, William H. Pritchard called the poem's "perfectly

neg: Summum Bonum (poem) Summum Bonum (poem) "Summum Bonum" is a poem by Robert Browning. It was published in poet's last book, "Asolando" in 1889. It is a short poem or epigram. The title is a Latin phrase that means "the highest good". The poem is composed of eight lines. They are not equally long. Some are fifteen syllables long, while others are only six syllables long. The metre is anapaestic. The longer lines are built of five feet: and the shorter of only two feet: while Browning frequently employs what might be considered cretic substitutions: The lines rhyme according to the scheme ABABBCAC

neg: The Man He Killed the senselessness of how war seems. The poem's form is a dramatic monologue in the voice of a returned soldier. There are five stanzas with four lines, following a regular metre and an ABAB rhyme scheme in each stanza. The first, second and last line of each verse is about six syllables long. and the third line is a little longer with eight syllables. This gives the poem a sort of conversational tone, setting up the scene and portraying the dark themes of the poem. The poem presents a prose that speaks to the mind because of the way the

neg: Robert Gould How, oft, into their Closets they retire, Where flaming "Dil–" does inflame desire, And gentle "Lap-d--s" feed the am’rous fire. How curst is "Man!" when "Brutes" his Rivals prove, Ev’n in the sacred business of his "Love!" Unless Religion pious thoughts instil Shew me the Woman that would not be ill, If she, conveniently, cou’d have her will?" (lines 114-123) </poem> These lines are less scathing than the repetition of the anecdote of the Ephesian lady (from Juvenal) who would meet her lovers at her husband's tomb, the statement that women envy the greatness of Eve's sin, and that a

neg: Lines Written at Shurton Bars incorporating a quote from William Wordsworth, a poet that he would become close friends with following 1795: The poem continues with words that express Coleridge's closeness to Fricker and are an attempt to comfort her before their wedding: Further into the poem is an image of alienation: The poem ends with the soon to be experienced act of conjugal love: How oft, my Love! with shapings sweet I paint the moment, we shall meet! With eager speed I dart — I seize you in the vacant air, And fancy, with a husband’s care I press you to my heart! 'Tis

neg: Libeaus Desconus to King Arthur’s court, where Arthur grants Libeaus the lady’s hand. A forty-day feast follows, after which the newly-weds are escorted back to Synadowne by Arthur and his knights, where they live happily together for many years. "Libeaus Desconus" is a late-fourteenth century Middle English poem of around 2200 lines (the exact number of lines varies amongst the six manuscripts). Like many Middle English romances (e.g. The Wedding of Sir Gawain and Dame Ragnelle and Emaré) the poem is divided into stanzas of tail-rhyme verse, a rhyming couplet followed by a tail-rhyme, repeated four times in each stanza in a

neg: The Lark Ascending the published work. They are the opening and closing lines (so the entire poem is invoked), and between them the six lines in which the lark is made to embody the wine. In choosing these lines Vaughan Williams may have been drawing out a eucharistic resonance in Meredith's image. <poem>He rises and begins to round, He drops the silver chain of sound, Of many links without a break, In chirrup, whistle, slur and shake. For singing till his heaven fills, 'Tis love of earth that he instils, And ever winging up and up, Our valley is his golden cup And

neg: Mariana (poem) Tennyson represents how the title figure is unable to linguistically control her own poem, which reinforces the themes of the poem. This technique is used again in Tennyson's later poem, "The Two Voices". The rhyme scheme of the poem, ABAB CDDC EFEF, is different than the standard ballad rhyme that serves to contain the poem then allow a free expression. The middle quatrain of the stanzas returns in theme to the beginning in a cyclical pattern while the last quatrain's lines contain the same words. Within the poem, Tennyson does not teach the audience what melancholy means. Instead, he describes

neg: The Hop-Garden is split into two books totaling 733 lines (429 lines and 304 lines respectively) and written in Miltonic blank verse. It may have been expected that Smart would rely on Augustan rhyming couplets for his poem, even though Pope stated that Miltonic language might be inappropriate for a pastoral theme. However, Smart does not hide this fact; instead, he emphasizes it when he says: With these words Smart also introduces the georgic basis of the poem and that he would "teach" how to farm hops in order to use them to flavor alcoholic drinks. However, Smart does more than "teach

neg: Birch "Swinging" birch trees was a common game for American children in the nineteenth century. American poet Lucy Larcom's "Swinging on a Birch Tree" celebrates the game. The poem inspired Robert Frost, who pays homage to the act of climbing birch trees in his more famous poem, "Birches". Frost once told "it was almost sacrilegious climbing a birch tree till it bent, till it gave and swooped to the ground, but that's what boys did in those days". Birch A birch is a thin-leaved deciduous hardwood tree of the genus Betula (), in the family Betulaceae, which also includes alders, hazels,

neg: Auguries of Innocence Night" by Jim Morrison and The Doors. The Agatha Christie novel "Endless Night"s title was inspired by this poem. Six lines of the poem were recited in a 1995 film, "Dead Man". The lines were recited by the character named Nobody. The lines of the poem beginning ′A truth...′ are quoted in Chapter 11 of the Phillip Pullman Novel "The Amber Spyglass" (2000). The first four lines of the poem were recited in the film "" (2001) by Angelina Jolie. On May 10, 2015, the first four lines of the poem were recited in Season 2 Episode 2 (titled "Verbis

neg: Paris: A Poem The speaker goes on a daylong stroll, beginning in a metro tunnel, before emerging onto the streets and visiting sites such as gardens and museums. References to advertisements, art pieces, literature, and music, as well as conversation fragments, are interspersed throughout. Parts of the poem imitate the appearance of the thing being described, such as posters and plaques. While the poem is primarily written in English, many of the lines use French and a couple words are in Greek. Mirrlees never wrote anything similar in style after "Paris". The first edition of the poem, Hogarth Press's fifth publication, was printed

neg: The Masque of Anarchy the sleeve of The Jam's 1980 album "Sound Affects". Lines from the poem inspired and are featured in the John Vanderslice song "Pale Horse". The poem's lines "like lions after slumber, in unvanquishable number" are quoted by the title and closing lines of the Scritti Politti song "Lions After Slumber". They are also referenced in the opening lines of the song "Blaze" by Strike Anywhere. The chorus of the song "Robin Hood" by The Mekons contains the lines "Rise like lions, shake your chains, babe. Ye are many, they are few". In the episode of "Heartbeat" titled "The Heart of

neg: The School Boy copies of Songs of Innocence are exactly alike as some of them are incomplete or were colored in posthumously "in imitation of" other copies. "The School Boy" is a poem written in the pastoral tradition that focuses on the downsides of formal learning. It considers how going to school on a summer day "drives all joy away". The boy in this poem is more interested in escaping his classroom than he is with anything his teacher is trying to teach. In lines 16-20, a child in school is compared to a bird in a cage. Meaning something that was born

neg: Lines Written at Shurton Bars Coleridge's side which caused him to leave her for London over the course of a few months. During the engagement, he wrote a few poems dedicated to her including the conversation poem "The Eolian Harp" and "Lines Written at Shurton Bar". The "Lines" were inspired by Coleridge's walk along the Shurton Bars and he sought to write the poem in order comfort Fricker before their marriage; during his absence, many people opposed their marriage and grew distant from her. The poem was eventually published in Coleridge's 1796 "Poems on Various Subjects" (see 1796 in poetry). Coleridge begins his poem by

neg: The Hollow Men the last four lines of the poem are "probably the most quoted lines of any 20th-century poet writing in English." The sheer variety of references moves some of the questions concerning the poem's significance outside the traditional domain of literary criticism and into the much broader category of cultural studies. Examples of such influences include: The Hollow Men "The Hollow Men" (1925) is a poem by T. S. Eliot. Its themes are, like many of Eliot's poems, overlapping and fragmentary, but it is recognized to be concerned most with post–World War I Europe under the Treaty of Versailles (which Eliot

neg: Birches Bridge Birches Bridge Birches Bridge is an area of Codsall, Staffordshire. It is situated to the northwest of Wolverhampton between Bilbrook and Codsall. Birches Bridge takes its name from The Birches, a large estate first mentioned in court rolls of 1716 and in a Codsall Parish Register of 1730. The estate stood between the present day Birches Road and Lane Green Road. "Birch" coming from old English "braec" or "brec", meaning a newly cultivated piece of land. Birches Bridge is home to Bilbrook railway station and Birches Bridge Shopping Centre, which features The Flower Shop which was established when the parade

neg: Rhyme scheme overall sound of the verse. The number of different possible rhyme schemes for an "n"-line poem is given by the Bell numbers, which for "n" = 1, 2, 3, ... are Examples: We find one rhyme scheme for a one-line poem (A), two different rhyme schemes for a two-line poem (AA, AB), and five for a three-line poem: AAA, AAB, ABA, ABB, and ABC. These counts, however, include rhyme schemes in which rhyme is not employed at all (ABCD). There are many fewer rhyme schemes when all lines must rhyme with at least one other line; a count of these

neg: The Hollow Men The Hollow Men "The Hollow Men" (1925) is a poem by T. S. Eliot. Its themes are, like many of Eliot's poems, overlapping and fragmentary, but it is recognized to be concerned most with post–World War I Europe under the Treaty of Versailles (which Eliot despised: compare "Gerontion"), the difficulty of hope and religious conversion, and, as some critics argue, Eliot's own failed marriage (Vivienne Haigh-Wood Eliot might have been having an affair with Bertrand Russell). The poem is divided into five parts and consists of 98 lines of which the last four are "probably the most quoted lines of

neg: Birches (poem) them when he is suddenly reminded that it is actually the ice-storm that bends the trees. Thus, the poem makes some shift of thought in its description. An abrupt shift occurs when the speaker yearns to leave this earth because of its confusion and make a heaven-ward journey. But the speaker does not want to die by leaving earth forever. He wants to come back to this earth, because to the speaker, the earth is, though not perfect, a better place for going on. The speaker is not one who is ready to wait for the promise of afterlife. The

neg: Lines on the Antiquity of Microbes Lines on the Antiquity of Microbes Lines on the Antiquity of Microbes, also known simply as Fleas, is a couplet commonly cited as the shortest poem ever written, composed by American poet Strickland Gillilan in the early 20th century. The poem reads in full: "Lines on the Antiquity of Microbes" is frequently said to be the shortest poem in the English language, or the shortest in the world. However, many shorter poems have since been written. A notable example was composed by boxer Muhammad Ali. On June 4, 1975, after giving a speech at Harvard University, Ali was discussing poetry

neg: The Destiny of Nations not published in full until 1817. The final version of the poem contains the 1797 lines, of which lines 1–120 correspond to lines 1–119 of "Joan of Arc" Book II. These lines are followed by the lines published in the "Morning Post", which make up lines 121–271a. The poem is concluded with a series of fragments from "Joan of Ark" Book II that make up the rest of what he wrote for the epic. The poem begins with the narrator's searching for the divine through use of his senses: Then, the poem introduces the figure of the Greenland Wizard: The

neg: Margaret Cavendish, Duchess of Newcastle-upon-Tyne warned that if readers lost their place or missed lines, they would miss the meaning of the entire work. Cavendish followed some of her epistles with poems that instructed the reader how the poems came to be published and how they should be received. The proximity of the poems to the epistles and their similarity in subject and tone, suggests that they may be interpreted as being written from Cavendish's own point of view. The poem "The Poetresses hasty Resolution", like many of Cavendish's epistles, contained excuses for any errors that might be found in the poet's work and begged

neg: Kalevala metre and other forms of trochaic tetrameter. There are also four additional rules: There are two main schemes featured in "The Kalevala": The verses are also sometimes inverted into chiasmus. Verses 221 to 232 of song forty. Very little is actually known about Elias Lönnrot's personal contributions to "The Kalevala". Scholars to this day still argue about how much of "The Kalevala" is genuine folk poetry and how much is Lönnrot's own work. During the compilation process it is known that he merged poem variants and characters together, left out verses that did not fit and composed lines of his

neg: The Masque of Anarchy stanza again during his speech at the Pyramid stage at the 2017 Glastonbury Festival. Academic and writer John Sutherland has suggested that the title of the party's 2017 manifesto, "For the Many, Not the Few", was derived from the poem. The phrase 'a community in which power, wealth and opportunity are in the hands of the many, not the few' also appears in the revised version of Clause IV of the Labour Party Constitution. The same variation, "For The Many, Not The Few", was the sub-title to Robert Reich's 2016 book, "Saving Capitalism". Lines from the poem are quoted on

neg: Birch reference to the birch's white bark. The Proto-Germanic rune "berkanan" is named after the birch. The generic name "betula" is from Latin, which is a diminutive borrowed from Gaulish "betua" (cf. Old Irish "bethe", Welsh "bedw"). Birches often form even-aged stands on light, well-drained, particularly acidic soils. They are regarded as pioneer species, rapidly colonizing open ground especially in secondary successional sequences following a disturbance or fire. Birches are early tree species to become established in primary successions, and can become a threat to heathland if the seedlings and saplings are not suppressed by grazing or periodic burning. Birches are

neg: And Still I Rise Hagen calls it a "shouting poem" due to its short lines and repetition. In "Lady Luncheon Club", Angelou humorously describes an overly intellectual speaker at a woman's club. Critic Robert B. Stepto states that the poem "One More Round" is heavily influenced by the work and protest songs of the past. The even-number stanzas in the eight-stanza poem create a refrain like those found in many work songs and are variations of many protest poems. He is impressed with the creation of a new art form out of work and protest forms, but does not feel that Angelou develops it

neg: Stanzaic Morte Arthur audience. He cast his work in the metre of a minstrel romance ballad, each stanza containing eight lines rhyming "ABABABAB", and each line having four beats. As the poem has come down to us there are seven places where the stanza is two lines short, but the original poem may not have had that fault. The poet took many liberties with his rhymes, and also used more alliteration than is common in a Middle English rhyming romance. It survives in one manuscript only, British Museum Harley 2252, a collection of texts compiled in the early 16th century by a London

neg: Ode on a Grecian Urn involvement of the narrator, the description of the urn within the poem implies a human observer that draws out these images. The narrator interacts with the urn in a manner similar to how a critic would respond to the poem, which creates ambiguity in the poem's final lines: "'Beauty is truth, truth beauty,' – that is all / Ye know on earth, and all ye need to know." The lack of a definite voice of the urn causes the reader to question who is really speaking these words, to whom they are speaking, and what is meant by the words,

neg: Requiem (Reger) words appear to echo various psalms, such as , "Bless the Lord, O my soul". Hebbel, however, evokes an "eternal rest" that is distinctly non-religious: the poem offers no metaphysical reference, Christian or otherwise, but calls for remembrance as the only way to keep the dead alive. The first lines, in which the speaker calls upon the soul not to forget the dead, are repeated in the centre of the poem and again at its conclusion, as a refrain that sets apart two longer sections of verse. The first of these sections describes how the dead, nurtured by love, enjoy

neg: The Husband's Message 10th century, with some estimates placing the origin of the book as early as 970. The book contains over 90 riddles as well as many other poetic works. The manuscript suffered burn damage to the first passage of the poem. The burn spots prevent anyone from knowing the actual meaning of lines 2 to 8 because some of the words are missing. From the random words of those lines, it can be determined that the poem is told in first person, that the speaker refers to his origin as a tree, that there is a frequent journey by ship, that

neg: The School Boy vines, on the left of the print is a bird about to take flight. "Both victory and liberty [...] are associated with bird wings." Birds can also symbolize knowledge and nature. The presence of the bird, further indicated the freedom and learning that can come from education from nature rather than the formal classroom. Arranged in six stanzas with five lines each, this poem follows a consistently patterned structure. It also contains a rhyme scheme of ababb. This poem highlights Blake's affinity for alternative methods of education. Consistently repeated is the draining element of schoolroom education and how it causes

neg: Hildebrandslied However, it does not seem likely that much more than a dozen lines are missing. The poem starts: The basic structure of the poem comprises a long passage of dialogue, framed by introductory and closing narration. A more detailed analysis is offered by McLintock: While this structure accurately represents the surviving manuscript text, many scholars have taken issue with the position of ll. 46–48 ("I can see from your armour that you have a good lord at home and that you were never exiled under this regime"). In these lines, as it stands, Hildebrand comments on Hadubrand's armour and contrasts

neg: Burnt Norton during 1935. The connection between the poem and the play is deep; many of the lines for the poem come from lines originally created for the play that were, on E. Martin Brown's advice, removed from the script. Years later, Eliot recollected: There were lines and fragments that were discarded in the course of the production of "Murder in the Cathedral". 'Can't get them over on the stage,' said the producer, and I humbly bowed to his judgment. However, these fragments stayed in my mind, and gradually I saw a poem shaping itself round them: in the end it came

neg: Empedocles Humans, animals, and even plants are such spirits. The moral conduct recommended in the poem may allow us to become like gods again. There are about 450 lines of his poem "On Nature" extant, including 70 lines which have been reconstructed from some papyrus scraps known as the "Strasbourg Papyrus". The poem originally consisted of 2000 lines of hexameter verse, and was addressed to Pausanias. It was this poem which outlined his philosophical system. In it, Empedocles explains not only the nature and history of the universe, including his theory of the four classical elements, but he describes theories on

neg: Gregory Corso but death is death no matter how it happens. The poem moves on to other death imagery and at time becomes a prayer to the bomb. The speaker offers to bring mythological roses, a gesture that evokes an image of a suitor at the door. The other suitors courting the bomb include Oppenheimer and Einstein, scientists who are responsible for the creation of the bomb. He concludes the poem with the idea that more bombs will be made "and they'll sit plunk on earth's grumpy empires/ fierce with moustaches of gold" (lines 87–8). Christine Hoff Kraemer states the idea succinctly,

neg: When Lilacs Last in the Dooryard Bloom'd that is cited as a prominent example of the elegy form and of narrative poetry. In its final form, published in 1881 and republished to the present, the poem is divided into sixteen sections referred to as cantos or strophes that range in length from 5 or 6 lines to as many as 53 lines. The poem does not possess a consistent metrical pattern, and the length of each line varies from seven syllables to as many as twenty syllables. Literary scholar Kathy Rugoff says that "the poem... has a broad scope and incorporates a strongly characterized speaker, a complex

neg: Toil (Shlonsky poem) found in how prayer shawls and phylacteries are used as metaphors to describe the emotions of the pioneers as they build roads: "Dress me, good mother, in a glorious robe of many colors, ..." In the poem "toil" becomes a form of worship itself, or, per Chowers (2012), "an altar at which to worship". The poem has been translated into English several times: Toil (Shlonsky poem) "Toil" (Hebrew: עָמָל Amal) is a 1928 poem by Avraham Shlonsky. The poem forms part of a sequence named after Mount Gilboa. and reflects the author's life six years after his arrival in Palestine,

neg: Summum Bonum (poem) this eighty-year-old man standing at the edge of a grave thinks that the greatest happiness in life is in 'kissing a girl'." Summum Bonum (poem) "Summum Bonum" is a poem by Robert Browning. It was published in poet's last book, "Asolando" in 1889. It is a short poem or epigram. The title is a Latin phrase that means "the highest good". The poem is composed of eight lines. They are not equally long. Some are fifteen syllables long, while others are only six syllables long. The metre is anapaestic. The longer lines are built of five feet: and the shorter

neg: Honkadori are often found in the form of a poem spoken by one of the characters. In a waka poem, this is usually the first line of the poem. Honkadori is not merely a reference to another poem even though lines are sometimes copied word for word. The use of honkadori attempts to affect the reader in the same way as the original poem, the only difference being in the meaning and atmosphere. Debates occur while interpreting poems over the difference between honkadori and seishi (lines from poetry which have already been used and are not allowed to be repeated. Because

neg: Epithalamion (poem) good at the end. Epithalamion follows a rhyme a scheme of ABACC, DEDEFF, and so on (except the 15th stanza.). The structure is 24 stanzas, each with either 18 lines or 19 (15th stanza has 17 lines). There are 365 lines in total. There are 24 stanzas and 365 lines in the poem to represent the year leading up to Spenser's wedding day. The poem starts at midnight of the day of the wedding, as Spenser grows anxious of the future he is embracing. Every stanza is an hour of that day, eventually leading to the event and then to