Poem Sentence Examples
Have you read the beautiful poem, "Waiting"?
Sometimes, if a poem was very pleasing, he gave the poet a prize.
The poem is dedicated to James IV., not without some lesson in commendation of virtue and honour.
Chretien de Troyes' treatment of him is contradictory; in the Erec, his earliest extant poem, Lancelot's name appears as third on the list of the knights of Arthur's court.
He inspired the production of The Dangers and Adventures of the Famous Hero and Knight Sir Teuerdank, an allegorical poem describing his adventures on his journey to marry Mary of Burgundy.Advertisement
John Mayne (1759-1836), a native of Dumfries, commemorated the gathering in an excellent humorous poem called "The Siller Gun."
No MS. of the poem is extant.
These breaks in continuity show what might also be inferred from frequent repetitions of lines which have appeared earlier in the poem, and from the rough workmanship of passages in the later books, that the poem could not have received the final revision of the author.
Another alliterative poem in the northern dialect, of 15th-century origin, is based on the Historia de proeliis, and was edited by Skeat for the E.E.T.S.
He had no scholarly interest in the past, and he never hesitated to transform the texts when he could give contemporary "point" to a poem; but his instinct was good, and he did much to stimulate an ignorant public to fresh enjoyment.Advertisement
As poet-laureate, his occasional verses did not escape adverse criticism; his hasty poem in praise of the Jameson Raid in 1896 being a notable instance.
That national poet collected in the earliest Scottish poem, written in the reign of Bruce's grandson, the copious traditions which clustered round his memory.
The poem appears, on the authority of Laing, to have been printed at the press of Chepman & Myllar about 1508, but the fragments which Laing saw are not extant.
But much the greater mass of the illustrations of his philosophy indicate that, while engaged on his poem he must have passed much of his time in the open air, exercising at once the keen observation of a naturalist and the contemplative vision of a poet.
Foremost among these were the writings of Epicurus; but he had also an intimate knowledge of the philosophical poem of Empedocles, and at least an acquaintance with the works of Democritus, Anaxagoras, Heraclitus, Plato and the Stoical writers.Advertisement
The peculiarity of the poem of Lucretius, that which makes it unique in literature, is that it is a reasoned system of philosophy, written in verse.
As in the case of nearly all the great works of Roman literary genius, the form of the poem was borrowed from the Greeks.
The fragments of the poem of Empedocles show that the Roman poet regarded that work as his model.
The main idea of the poem is the irreconcilable opposition between the truth of the laws of nature and the falsehood of the old superstitions.
Although the title of the poem implies that it is a treatise on the "whole nature of things," the aim of Lucretius is to treat only those branches of science which are necessary to clear the mind from the fear of the gods and the terrors of a future state.Advertisement
All phenomena, moral as well as material, are contemplated by him in their relation to one great organic whole, which he acknowledges under the name of "Natura daedala rerum," and the most beneficent manifestations of which he seems to symbolize and almost to deify in the "Alma Venus," whom, in apparent contradiction to his denial of a divine interference with human affairs, he invokes with prayer in the opening lines of the poem.
The cardinal line of the poem, "Tantum religio potuit suadere malorum," is elicited from him as his protest against the sacrifice of Iphigenia by her father.
The Henriade was at last licensed in France; Brutus, a play which he had printed in England, was accepted for performance, but kept back for a time by the author; and he began the celebrated poem of the Pucelle, the amusement and the torment of great part of his life.
He was soon again in trouble, this time for the poem of Le Mondain, and he at once crossed the frontier and then made for Brussels.
In the same year he wrote a poem on Fontenoy, he received medals from the pope and dedicated Mahomet to him, a.nd he wrote court divertissements and other things to admiration.Advertisement
The original story was probably contained in an old epic poem called Mcvuas 7roeiats, the authorship of which was ascribed to Prodicus of Phocaea.
He had sixteen children, his son Patrick being the "auld Wodrow" of Burns's poem "Twa Herds."
That of course does not exclude the possibility of the bulk of the poem having been composed at an earlier period; it only ascribes its completion or perhaps final revision to Nasir's sojourn in Egypt.
Forced back by Seti, the Kheta returned and were found holding Kadesh by Rameses II., who, in his fifth year, there fought against them and a large body of allies, drawn probably in part from beyond Taurus, the battle which occasioned the monumental poem of Pentaur.
The story is the subject of a poem by Robert Browning, and also of one by Julius Wolff.
The poem was technically known as a Bar or Gesetz, the melody as a Ton or Weis.
A part of this poem, as is mentioned in the article C.Edmon, is extant only in an Old English translation.
Such external evidence as exists bearing on the origin of the Heliand and the companion poem is contained in a Latin document printed by Flacius Illyricus in 1562.
The suspicion of some earlier scholars that the Praefatio and the Versus might be a modern forgery is refuted by the occurrence of the word vitteas, which is the Old Saxon fittea, corresponding to the Old English fitt, which means a "canto" of a poem.
It is not provided with a glossary, but contains an elaborate and most valuable analysis of the diction, synonymy and syntactical features of the poem.
In all forms the rhyme is the same throughout the poem, and is confined to the second half of the line except in the first line where the two halves rhyme.
The first of these is the requirement that each line should have a complete sense in itself; this produces a certain jerkiness, and often led among the Arabs to displacement in the order of the lines in a long poem.
The other feature, peculiar to the long poem (gasida, elegy), is that, whatever its real object, whatever its metre, it has a regular scheme in the arrangement of its material.
Then at last comes the real subject of the poem, usually the panegyric of some man of influence or wealth to whom the poet has come in hope of reward and before whom he recites the poem.
Anstruther fair supplied William Tennant (1784-1848), who was born and buried in the town, with the subject of his poem of "Anster Fair."
According to Sostratus, author of an elegiac poem called Teiresias, he was originally a girl, but had been changed into a boy by Apollo at the age of seven; after undergoing several more transformations from one sex to the other, she (for the final sex was feminine) was turned into a mouse and her lover Arachnus into a weasel (Eustathius on Odyssey, p. 1665).
The colouring is that of classic mythology, but the spiritual element is as individual as that of any classical poem by Milton, Gray, Keats or Tennyson.
This poem was to treat of man's position in the Universe, first in an isolated state, and then in society.
Suzanne represents the torso of a Biblical poem on a very large scale, in six cantos.
There he wrote the best known of all his verses, the pathetic Jeune captive, a poem at once of enchantment and of despair.
She was said to have played an important part in the poem of Stesichorus, and subsequently became a favourite figure in tragedy.
Whittier had in his lifetime commemorated him in his poem "The Hero," in which he called him "the Cadmus of the blind"; and in 1901 a centennial celebration of his birth was held at Boston, at which, among other notable tributes, Senator Hoar spoke of Howe as "one of the great figures of American history."
Tracking down the truth about the " Roswell incident " is like hunting the mythical snark in the Carroll poem.
Copy out the four lines of Shakespeare's poem and continue it by adding a stanza or two of your own.
In the first stanza, Gunn briefly introduces the general premiss of the poem, which is fully developed in the fourth stanza.
There are eight three line stanzas, each a mini poem - a linked series of Haikus.
It is a very strong poem and set me dreaming too.
In June 1829 Alfred Tennyson won the Chancellor's prize medal for his poem called "Timbuctoo."
The public was at first greatly mystified by the nature and object of this poem, which was not merely a chronicle of Tennyson's emotions under bereavement, nor even a statement of his philosophical and religious beliefs, but, as he long afterwards explained, a sort of Divina Commedia, ending with happiness in the marriage of his youngest sister, Cecilia Lushington.
The poet wrote the sections as they occurred to him, and did not think of weaving them together into a single poem until it was too late to give them real coherency.
It is odd that this irregular poem, with its copious and varied music, its splendid sweep of emotion, its unfailing richness of texture - this poem in which Tennyson rises to heights of human sympathy and intuition which he reached nowhere else, should have been received with bitter hostility, have been styled "the dead level of prose run mad," and have been reproved more absurdly still for its "rampant and rabid bloodthirstiness of soul."
The noble poem Lucretius, one of the greatest of Tennyson's versified monographs, appeared in May 1868, and in this year The Holy Grail was at last finished; it was published in 1869, together with three other idyls belonging to the Arthurian epic, and various miscellaneous lyrics, besides Lucretius.
He went on quite calmly, however, sure of his mission and of his music. His next volume (1872), Gareth and Lynette and The Last Tournament, continued, and, as he then supposed, concluded The Idylls of the King, to the great satisfaction of the poet, who had found much difficulty in rounding off the last sections of the poem.
Nor, as he was to find, was the poem yet completed, but for the time being he dismissed it from his mind.
His few lyrics were spirited ballads of adventure, inspired by an exalted patriotism - "The Revenge" (1878), "The Defence of Lucknow" (1879) - but he reprinted and finally published his old suppressed poem, The Lover's Tale, and a little play of his, The Falcon, versified out of Boccaccio, was produced by the Kendals at their theatre in the last days of 1879.
The long poem celebrating the triumph of Christ and His saints was called forth by the favour shown him by Pope Leo VII., during whose pontificate he visited Rome, and he devotes fourteen books to the history of the popes.
This particular variant appears to be of British-Celtic origin, and the most faithful representative of the original tale is now very generally held to be the English Syr Percyvelle of Galles, a poem preserved in the Thornton manuscript.
Two manuscripts, indeed, the British Museum and Mons texts, preserve a fragment relating the birth and infancy of the hero, which appears to represent the source at the root alike of Chretien and of the German Parzival, but it is only a fragment, and so far no more of the poem has been discovered.
Chretien left his poem unfinished, and we do not know how he intended to complete the adventures of his hero; but those writers who undertook the task, Wauchier de Denain, Gerbert de Montreuil and Manessier, carried it out with such variety of detail, and such a bewildering indifference to Chretien's version, that it seems practically certain that there must have been, previous to Chretien's work, more than one poem dealing with the same theme.
It is certain that Gerbert knew, and used, a Perceval which, if not Kiot's poem, must have been closely akin to it; as he too makes the Swan-Knight a descendant of the Grail hero.
Later, however, stories which certainly derive from an early non-Grail tradition are introduced, and there are references which imply a knowledge of the prose Lancelot and of Chretien's poem.
This was at one time claimed as the original source of all the Perceval romances, but this theory cannot be maintained in face of the fact that the writer gives in one place what is practically a literal translation of Chretien's text in a passage which there is strong reason to believe was borrowed by Chretien from an earlier poem.
The value and interest of the Perceval romances stand very high, not alone for their intrinsic merit, though that is considerable - Chretien's Perceval, though not his best poem, is a favourable specimen of his work, and von Eschenbach's Parzival, though less elegant in style, is by far the most humanly interesting, and at the same time, most deeply spiritual, of the Grail romances - but also for the interest of the subject matter.
The immediate source of this version is the poem of Wolfram von Eschenbach, though the Grail, of course, is represented in the form of the Christian relic, not as the jewel talisman of the Parzival; but the psychological reading of the hero's character, the distinctive note of von Eschenbach's version, has been adapted by Wagner with marvellous skill, and his picture of the hero's mental and spiritual development, from extreme simplicity to the wisdom born of perfect charity, is most striking and impressive.
Still more important service was rendered by him in his long Saturnian poem on the first Punic war, in which he not only told the story of contemporary events but gave shape to the legend of the settlement of Aeneas in Latium, - the theme ultimately adopted for the great national epic of Rome.
His greatest work, which made the Romans regard him as the father of their literature, was his epic poem, in eighteen books, the Annales, in which the record of the whole career of Rome was unrolled with idealizing enthusiasm and realistic detail.
The general results of the last fifty years of the first period (130 to 80) may be thus summed up. In poetry we have the satires of Lucilius, the tragedies of Accius and of a few successors among the Roman aristocracy, who thus exemplified the affinity of the Roman stage to Roman oratory; various annalistic poems intended to serve as continuations of the great poem of Ennius; minor poems of an epigrammatic and erotic character, unimportant anticipations of the Alexandrian tendency operative in the following period; works of criticism in trochaic tetrameters by Porcius Licinus and others, forming part of the critical and grammatical movement which almost from the first accompanied the creative movement in Latin literature, and which may be regarded as rude precursors of the didactic epistles that Horace devoted to literary criticism.
Since the Annals of Ennius no great and original poem had appeared.
This isolation from the familiar ways of his contemporaries, while it was, according to tradition and the internal evidence of his poem, destructive to his spirit's health, resulted in a work of genius, unique in character, which still stands forth as the greatest philosophical poem in any language.
In the form of his poem he followed a Greek original; and the stuff out of which the texture of his philosophical argument is framed was derived from Greek science; but all that is of deep human and poetical meaning in the poem is his own.
While we recognize in the De Rerum Natura some of the most powerful poetry in any language and feel that few poets have penetrated with such passionate sincerity and courage into the secret of nature and some of the deeper truths of human life, we must acknowledge that, as compared with the great didactic poem of Virgil, it is crude and unformed in artistic design, and often rough and unequal in artistic execution.
But he has ever in form so far surpassed his originals that he alone has gained for the pure didactic poem a place among the highest forms of serious poetry, while he has so transmuted his material that, without violation of truth, he has made the whole poem alive with poetic feeling.
And, though he cannot unroll before us the page of heroic action with the power and majesty of Homer, yet by the sympathy with which he realizes the idea of Rome, and by the power with which he has used the details of tradition, of local scenes, of religious usage, to embody it, he has built up in the form of an epic poem the most enduring and the most artistically constructed monument of national grandeur.
In his Fasti he treats a subject of national interest; it is not, however, through the strength of Roman sentiment but through the power of vividly conceiving and narrating stories of strong human interest that the poem lives.
The most remarkable poetical product of the time is the long-neglected astrological poem of Manilius which was written at the beginning of Tiberius's reign.
The premature death and high talents of these young men, and the association of one of them with the most popular poem of the age, have made Hallam's family afflictions better known than any other incidents of his life.
Late in life he wrote a work on the great Roman families, wrongly identified with an extant poem De progenie Augusti Caesaris bearing the name of Messalla, but really a 15th-century production.
In the autumn of 1504 he began his Decennali, or Annals of Italy, a poem composed in rough terza rima.
But the most discriminating character of Garrick, slightly tinged with satire, is that drawn by Goldsmith in his poem of Retaliation.
The fame of Erasmus Darwin as a poet rests upon his Botanic Garden, though he also wrote The Temple of Nature, or the Origin of Society, a Poem, with Philosophical Notes (1803), and The Shrine of Nature (posthumously published).
The Botanic Garden (the second part of which - The Loves of the Plants - was published anonymously in 1789, and the whole of which appeared in 1791) is a long poem in the decasyllabic rhymed couplet.
It is significant that botanical notes are added to the poem, and that its eulogies of scientific men are frequent.
The Pelagians were attacked in a glowing polemical poem of about 1000 lines, Adversus ingratos, written about 430.
In 1835 he obtained a scholarship at University College; and in 1836 he gained the Newdigate prize for a poem on "The Knights of St John," which elicited special praise from Keble.
But it was pointed out 2 that in the oldest MS. existing in the Cambridge university library the figure 4 had been imperfectly erased before the word "cent," a discovery which harmonized with the results of a criticism of the contents of the poem itself.
His chief poem of the later period was the Argonautae, closely modelled on the epic of Apollonius Rhodius.
Varro was also the author of a Cosmographia, or Chorographia, a geographical poem imitated from the Greek of Eratosthenes or of Alexander of Ephesus, surnamed Lychnus; and of an Ephemeris, a hexameter poem on weather-signs after Aratus, from which Virgil has borrowed.
The poem, which extends to loot lines written in the irregular alliterative rhymed stanza, is a bird-allegory, of the type familiar in the Parlement of Foules.
The text of the poem is preserved in the Asloan and Bannatyne MSS.
In 1836 he was elected a member of the Academy of Inscriptions, and in 1837 he published (with an introduction the conclusions of which would not now all be endorsed) a translation of a Provencal poem on the Albigensian war.
In June of the same year he wrote a Latin poem on the birth of the young prince James, whom he described as serenissimus princeps of France and England.
The commonest method of sacrifice was by hanging the victim on a tree; and in the poem Hdvamfil the god himself is represented as sacrificed in this way.
This superstition has been immortalized in Keats's poem, "The Eve of St Agnes."
He is sometimes called Quintus Calaber, because the only MS. of his poem was discovered at Otranto in Calabria by Cardinal Bessarion in 1450.
Handlyng Synne, a poem of nearly 13,000 lines, is a free translation, with many additions and amplifications, from William of Waddington's Manuel des Pechiez.
It is to be noted, however, that in this little poem he is to some extent confounded with the planet named after him (Ares, or Mars).
In 1845 he published Mara, a poem in four cantoes (85 pp., Longmans), containing a description of a young poet who printed 1000 copies of his first poem, of which only 10 were sold.
Unlike the people of other Slavonic countries, the Poles are comparatively poor in popular and legendary poetry, but such compositions undoubtedly existed in early times, as may be seen by the writings of their chroniclers; thus Gallus translated into Latin a poem written on Boleslaus the Brave, and a few old Polish songs are included in Wojcicki's Library of Ancient Writers.
Sometimes he is descriptive, as in his Polish poem entitled Flis (" The Boatman"), in which he gives a detailed account of the scenery on the banks of the Vistula.
There is also another poem attributed to Potocki called the New Mercury.
His most important poem is Wladystaus IV., King of Poland, in which he sings in a very bombastic strain the various expeditions of the Polish monarch.
He translated the Cid of Corneille, and wrote a poem on the subject of Psyche, based upon the well-known Greek myth.
Krasicki wrote an epic on the war of Khotin - the same as had furnished the subject of the poem of Potocki, of which Krasicki in all probability had never heard, and also that of the Dalmatian Gundulich.
Krasicki's poem is at best but a dull affair, in fact a pale copy of a poor original, the Henriade of Voltaire.
His most celebrated pieces are Hugo; Mnich (" The Monk"); Lambro, a Greek corsair, quite in the style of Byron; Anhelli, a very Dantesque poem expressing under the form of an allegory the sufferings of Poland; Krol duck (" The Spirit King"), another mysterious and allegorical poem; Waclaw, on the same subject as the Marya of Malczewski, to be afterwards noticed; Beniowski, a long poem in ottava rima on this strange adventurer, something in the style of Byron's humorous poems; Kordyan, of the same school as the English poet's Manfred; Lilla Weneda, a poem dealing with the early period of Slavonic history.
It would be impossible to analyse here his extraordinary poem Nieboska komedja (" The Undivine Comedy"), Irydion, and others.
Anton Malczewski (1793-1826) wrote one poem, Marya, a Ukrainian tale which passed School.
The chief poem is Severin Goszczynski (1803-1876) is Zamek Kaniowski (" The Tower of Kaniow").
The most interesting poem of Bogdan Zaleski is his "Spirit of the Steppe" (Duch od stepu).
Besides the longer poem previously mentioned, he is the author of many charming lyrics in the style of the Little Russian poems, such as Shevchenko has written in that language.
A poet of great vigour was Stephen Garczynski (1806-1833), the friend of Mickiewicz, celebrated for his War Sonnets and his poem entitled The Deeds of Waclaw.
He wrote a fine descriptive work, Obrazy z zycia i podrozy (" Pictures of Life and Travel"), and also a poem, Piesn o ziemi naszej (" Song of our Land").
In 1855 he published Mohort, a poem relating to the times of Stanislaus Poniatowski.
As lyrical poets may also be mentioned Jachowicz; Jaskowski, author of a fine poem, The Beginning of Winter; Edmund.
Bedier, is that there was one poem, and one only, at the root of the various versions preserved to us, and that that poem, composed in England, probably by an AngloNorman, was a work of such force and genius that it determined for all time the form of the Tristan story.
Moreover the evidence of the author of the principal Tristan poem preserved to us points in another direction.
This poet was an Anglo-Norman named Thomas; and, although little over 3000 lines of his poem have been preserved, we have three translations; a German, by Gottfried von Strassburg; a Scandinavian, by a certain Brother Robert; and an English, by Thomas, sometimes identified with Thomas of Ercildoune, though this is doubtful.
He did not live to complete his poem, but happily he carried it up to the point where the original fragments 1_.
Besides the version of Thomas, we have a fragment by a certain Beroul, also an Anglo-Norman, and a German poem by Eilhart von Oberge, both of which derive from a common source.
There also exists in two manuscripts a short poem, La Folie Tristan, relating how Tristan, disguised as a fool, visits the court of King Mark.
This poem is valuable, as, presuming upon the sufficiency of his disguise, Tristan audaciously gives a resume of his feats and of his relations with Iseult, in this agreeing with the version of Thomas.
The "Gerbert" continuation of the Perceval contains the working over of one of two short Tristan poems, called by him the Luite Tristran; the latter part, probably a distinct poem, shows Tristan, in the disguise of a minstrel, visiting the court of Mark.
Like the story of Perceval that of Tristan has been made familiar to the present generation by Richard Wagner's noble music drama, Tristan and Isolde, founded upon the poem of Gottfried von Strassburg; though, being a drama of feeling rather than of action, the story is reduced to its simple elements; the drinking of the love-potion, the passion of the lovers, their discovery by Mark and finally their death.
A broadside entitled Davy Dycars Dreame, a short and seemingly alliterative poem in the manner of Piers Plowman, brought him into trouble with the privy council, but he was dismissed with a reprimand.
Haverhill was the birthplace of Whittier, who lived here in 1807-1836, and who in his poem Haverhill, written for the 250th anniversary of the town in 1890, and in many of his other poems, gave the poet's touch to the history, the legends and the scenery of his native city.
This is shown by the facts that he addressed to Anastasius, emperor of the East (491-518), a laudatory poem, and that the MSS.
For ten years he lived a life of ease in London, where he became the intimate friend of Robert Browning, of whose poem "Waring" he was the subject.
Nordlands Trompet (The Trumpet of Nordland), his greatest and most famous poem, was not published till 1739; Den norska Dale-Vise (The Norwegian Song of the Valley) appeared in 1696; the Aandelig Tidsfordriv (Spiritual Pastime), a volume of sacred poetry, was published in 1711.
Matthew Arnold's poem "St Brandan" gives fine expression to the old story that, on account of an act of charity done to a leper at Joppa, Judas was allowed an hour's respite from hell once a year.
His best known productions are Adams and Liberty, a once popular song written in 1798, The Invention of Letters (1795), and The Ruling Passion, the Harvard Phi Beta Kappa poem of 1797.
Here also he wrote a long poem against commerce, which he produced as an exposition of his opinions when, on his return to England, his father announced his intention of placing him in a commercial house at Bordeaux.
Against such a destiny D'Israeli's mind strongly revolted; and he carried his poem, with a letter earnestly appealing for advice and assistance, to Samuel Johnson; but when he called again a week after to receive an answer, the packet was returned unopened - the great Doctor was on his.
In the beginning of 1 788 he returned home, and in the next year he attacked Peter Pindar (John Wolcot) in The Gentleman's Magazine in a poem in the manner of Pope, "On the Abuse of Satire."
The authorship of the poem was much debated, and it.
Meanwhile the reactionaries of Vienna were goading the Magyar Liberals into revolt, and Arany found a safety-valve for his growing indignation by composing a satirical poem in hexameters, entitled "The Lost Constitution."
Arany sent in his work, and shortly afterwards was awarded the 25-gulden prize (7th of February 1846) by the society, which then advertised another prize for the best Magyar epic poem.
He also attempted to write another epic poem, but the time was not favourable for such an undertaking.
The same year he won the Nádasdy prize of the Academy with his poem "Death of Buda."
The longest, Theriaca, is an hexameter poem (958 lines) on the nature of venomous animals and the wounds which they inflict.
He is said to have written a poem on the best means of making Ionia prosperous.
But it was not till 1857 that he wrote his first poem in Catalan - a copy of verses to the Virgin of Montserrat.
In 1856 he published his first book, Within and Without, a dramatic poem; following it in 1857 with a volume of Poems, and in 1858 by the delightful " faerie romance Phantastes.
Many are mere fragments, and even in the longest there are often lacunae; but the compiler evidently set down all that he could collect of a poem from the memory of the rawis, and did not, like Abu Tammam, choose only the best portions.
Insertions of this or of a similar character may be of almost any length, from a few words to a whole chapter or a complete poem.
Traces of foreign influence are observable in El Moro Exposito (1833), a narrative poem dedicated to John Hookham Frere; these are still more marked in Don Alvaro o La Fuerza del sino (first played on the 22nd of March 1835), a drama of historical importance inasmuch as it established the new French romanticism in Spain.
His first poem, correct in rhyme and form,, was written before he was seven.
At nine he began "Eudosia, a poem of the Universe."
The one success of his Oxford career was the winning the Newdigate Prize by his poem "Salsette and Elephanta," which he recited in the Sheldonian Theatre (June 1839).
Chretien de Troye's Perceval (c. 1175) is doubtless based on an Anglo-Norman poem.
The second poem is the sequel to Ipomedon, and deals with the wars and subsequent reconciliation between Ipomedon's sons, Daunus, the elder, lord of Apulia, and Protesilaus, the younger, lord of Calabria.
The Anglo-Norman poem on the Life of Richard Coeur de Lion is lost, and an English version only has been preserved.
In Early English Lyrics (Oxford, 1907) we have a poem in which a lover sends to his mistress a love-greeting composed in three languages, and his learned friend replies in the same style (De amico ad amicam, Responcio, viii and ix).
So entirely did even his immediate circle ignore his religion that a court skald composed a poem on his death representing his welcome by the heathen gods into Valhalla.
The extant hexameter poem De viribus (or virtutibus) herbarum, ascribed to Macer, is a medieval production by Odo Magdunensis, a French physician.
Aemilius Macer must be distinguished from the Macer called Iliacus in the Ovidian catalogue of poets, the author of an epic poem on the events preceding the opening of the Iliad.
The magnetical needle, and its suspension on a stick or straw in water, are clearly described in La Bible Guiot, a poem probably of the r3th century, by Guiot de Provins, wherein we are told that through the magnet (la manette or l'amaniere), an ugly brown stone to which iron turns of its own accord, mariners possess an art that cannot fail them.
The Libel of English Policie, a poem of the first half of the 15th century, says with reference to Iceland (chap. x.) "Out of Bristowe, and costes many one, Men haue practised by nedle and by stone Thider wardes within a litle while."
His doctrinal position is explained in his letters to his patron Eusebius, bishop of the imperial city of Nicomedia, and to Alexander of Alexandria, and in the fragments of the poem in which he set forth his dogmas, which bears the enigmatic title of " Thalia " (06XECa), used in Homer, in the sense of " a goodly banquet," most unjustly ridiculed by Athanasius as an imitation of the licentious style of the drinking-songs of the Egyptian Sotades (270 B.C.).
In 1375 (he gives the date, and his age as 60) he composed his best known poem The Brus, for which he received, in 1377, the gift of ten pounds, and, in 1378, a lifepension of twenty shillings.
Despite a number of errors of fact, notably the confusion of the three Bruces in the person of the hero, the poem is historically trustworthy as compared with contemporary verse-chronicle, and especially with the Wallace of the next century.
Extensive portions of the poem have been incorporated by Wyntoun (q.v.) in his Chronicle.
In the curious poem in the Sallier papyrus (II.), written about 1800 B.C., Duan, son of Khertu, expatiates on the effects of divers handicrafts on the workmen as compared with the elevating influences of a literary life.
Adalberon wrote a satirical poem in the form of a dialogue dedicated to Robert, king of France, in which he showed his dislike of Odilo, abbot of Cluny, and his followers, and his objection to persons of humble birth being made bishops.
In 1761 he announced the discovery of an epic on the subject of Fingal, and in December he published Fingal, an Ancient Epic Poem in Six Books, together with Several Other Poems composed by Ossian, the Son of Fingal, translated from the Gaelic Language, written in the musical measured prose of which he had made use in his earlier volume.
Berard, Les Phe'niciens et l'Odyssee (1902-1903), who regards the Odyssey as "the integration in a Greek voo-Tos (home-coming) of a Semitic periplus," in the form of a poem written 900-850 B.C. by an Ionic poet at the court of one of the Neleid kings of Miletus.
They were perhaps influenced by the example of Goethe, who in his Autobiography describes, at considerable length, the plan of a poem he had designed on the Wandering Jew.
Thus, probably, he suggested Grenier's poem on the subject (1857).
C. von Kleist (1715-1759), a Prussian officer, whose fine poem, Der Frzihling, had won for him Lessing's warm esteem.
The poem, which has been compared with the Chanson de Roland and the Romance of the Cid, undoubtedly contains a kernel of fact, although it cannot be regarded as in any sense an historical record.
The account of his distress is one of the finest and most touching passages in the poem.
William Bedwell, the Arabic scholar, was vicar of Tottenham, and published in 1632 a Briefe Description of the Towne of Tottenham, in which he printed for the first time the burlesque poem, the Turnament of Tottenham.
Among the prominent men who have lived in Fairfield are Roger Sherman, the first President Dwight of Yale (who described Fairfield in his Travels and in his poem Greenfield Hill), Chancellor James Kent, and Joseph Earle Sheffield.
Of his many works the most important are his chronicles of the four kings of Castile during whose reigns he lived; they give a generally accurate account of scenes and events, most of which he had witnessed; he also wrote a long satirical and didactic poem, interesting as a picture of his personal experiences and of contemporary morality.
Nicephorus was also the author of lists of the emperors and patriarchs of Constantinople, of a poem on the capture of Jerusalem, and of a synopsis of the Scriptures, all in iambics; and of commentaries on liturgical poems.
Randolph, the adopted "son" of Ben Jonson, addressed a poem of compliment to him, and became his friend, and that Feltham attacked Ben Jonson in an ode shortly before the aged poet's death, but contributed a flattering elegy to the J onsonus Virbius in 1638.
It probably received its charter from Alexander III., was created a royal burgh in 1367 and was the scene of the poem of Peblis to the Play, ascribed to James I.
About the same time he also wrote his Anaq, a poem on grammar, of which only 97 lines out of 400 are preserved.
References to events of mythical and later times are introduced, and the poem ends with a reference to Alexander the Great, who was to unite Asia and Europe in his world-wide empire.
The poem is evidently intended to display the writer's knowledge of obscure names and uncommon myths; it is full of unusual words of doubtful meaning gathered from the older poets, and many long-winded compounds coined by the author.
He received only ten guineas for this stately and vigorous poem; but the sale was rapid and the success complete.
A few days after the publication of this poem, his tragedy of Irene, begun many years before, was brought on the stage by his old pupil, David Garrick, now manager of Drury Lane Theatre.
Indeed, the publication of this little volume bore immediate fruit in introducing its author to various men of letters, among whom was Dante Gabriel Rossetti, through whose offices Patmore became known to Holman Hunt, and was thus drawn into the eddies of the pre-Raphaelite movement, contributing his poem "The Seasons" to the Germ.
In the next year he republished, in Tamerton Church Tower, the more successful pieces from the Poems of 1844, adding several new poems which showed distinct advance, both in conception and treatment; and in the following year (1854) appeared the first part of his best known poem, "The Angel in the House," which was continued in "The Espousals" (1856), "Faithful for Ever" (1860), and "The Victories of Love" (1862).
A fragment of a Welsh poem seems to confirm this tradition, which certainly lies at the root of her later abduction by Meleagaunt.
The Pricke of Conscience is a long religious poem, in rhyming couplets, dealing with the beginning of man's life, the instability of the world, why death is to be dreaded, of doomsday, of the pains of hell, and the joys of heaven, the two latter subjects being treated with uncompromising realism.
Rolle wrote in the northern dialect, but southern transcripts are also found, and the poem exists in a Latin version (Stimulus conscientiae).
Holmes read a poem.
In that case he would have been put to shame, even in the eyes of many of his own followers, by the first poem that came to hand.
The last is interesting as being the first poem containing that form of the story of Aeneas's flight to which Virgil afterwards gave currency in his Aeneid.
In the last book of his epic poem, in which he seems to have given various details of his personal history, he mentions that he was in his 67th year at the date of its composition.
Till the appearance of Ennius, Roman literature, although it had produced the epic poem of Naevius and some adaptations of Greek tragedy, had been most successful in comedy.
But the work which gained him his reputation as the Homer of Rome, and which called forth the admiration of Cicero and Lucretius and frequent imitation from Virgil, was the Annales, a long narrative poem in eighteen books, containing the record of the national story from mythical times to his own.
Although the whole conception of the work implies that confusion of the provinces of poetry and history which was perpetuated by later writers, and especially by Lucan and Silius Italicus, yet it was a true instinct of genius to discern in the idea of the national destiny the only possible motive of a Roman epic. The execution of the poem (to judge from the fragments, amounting to about six hundred lines), although rough, unequal and often prosaic, seems to have combined the realistic fidelity and freshness of feeling of a contemporary chronicle with the vivifying and idealizing power of genius.
The inspiring idea of the poem was accepted, purified of all alien material, and realized in artistic shape by Virgil in his national epic. He deliberately imparted to that poem the charm of antique associations by incorporating with it much of the phraseology and sentiment of Ennius.
The funeral procession is headed by a number of poor, and generally blind, men, chanting the profession of the faith, followed by male friends of the deceased, and a party of schoolboys, also chanting, generally from a poem descriptive of the state of the soul after death.
It extends to the death of Christian I., in 1481, which may be supposed to be approximately the date of the poem.
Beside these works Ranch wrote a famous moralizing poem, entitled " A new song, of the nature and song of certain birds, in which many vices are punished, and many virtues praised."
The first prize offered was won by Christian Braumann Tullin (1728-1765) for his beautiful poem of May-day.
After a struggling youth of great poverty, he published, in 1807-1809, a translation of Ossian; in 181 4 a volume of lyrical poems; and in 1817 he attracted considerable attention by his descriptive poem of The Tour in Jutland.
For many years he resided at Mantua, and superintended the education of the celebrated Lucrezia Gonzaga, in whose honour he composed a long poem.
These phenomena have been explained as due to later expansion, but the poem has all the appearance of being a unity, and the language, style and rhythm all point to a later age.
About the same time he commenced, at the desire of the ruler of the neighbouring Shirvan, his second romantic poem, the famous Bedouin love-story of Laila and Majnun, which has so many points in common with Ariosto's Orlando Furioso, and finished it in the short space of four months.
In this poem, which was written 593 A.H., at the request of Nur-uddin Arslan of Mosul, the son and successor of the abovementioned `Izz-uddin, Nizami returned once more from his excursion into the field of heroic deeds to his old favourite domain of romantic fiction, and added a fresh leaf to the laurel crown of immortal fame with which the unanimous consent of Eastern and Western critics has adorned his venerable head.
Procopius, De Aedificiis and the poem of Paulus Silentiarius on the dedication of St Sophia should be read in connexion with this subject.
In view of the connexion, the poem is interpreted as expressing Lamech's exultation at the advantage he expects to derive from Tubal-Cain's new inventions; the worker in bronze will forge for him new and formidable weapons, so that he will be able to take signal vengeance for the least injury.
But the poem probably had originally nothing to do with the genealogy.
The court of session was the most valuable and permanent of James's innovations, and his poem " The King's Quhair " attests his real genius.
Against the Portuguese claim it is argued that the Villancico corresponding to Joao de Lobeiro's poem is an interpolation in the Spanish text, that Portuguese prose was in a rudimentary stage of development at the period when--ex hypothesi - the romance was composed, and that the book was very popular in Spain almost a century before it is even mentioned in Portugal.
The poem contains some good descriptive passages, as well as some very curious indications of the state of zoological knowledge in the author's time.
Dryden (5909), including The Craft of Venerie from a 15th-century MS. and a 13thcentury poem La Chasse d'on cerf.
After obtaining the Ireland scholarship and Newdigate prize for an English poem (The Gypsies), he was in 1839 elected fellow of University College, and in the same year took orders.
The last step, that of combining such ballads into one long epic poem, was not taken till after the canon was closed.
The later one is entirely in verse, and shows off the author's mastery of the artificial rules of prosody and poetics, according to which a poem, a maha-kavya, ought, according to the later writers on the Ars poetica, to be composed.
This division seems incredible, especially in face of the poem inserted in the chronicle (sub anno 942).
His abundant energy found still further expression in a poem entitled Esther, Queen of Persia (1714), and in the compilation of a grammar of ten languages entitled The Complete Linguist (2 vols., London, 1719-1721).
An extant poem (70 hexameters) also bears her name.
It is now generally agreed that the poem (the MS. of which was discovered in the monastery of Bobbio in 1493, but has long been lost) is not by Sulpicia, but is of much later date, probably the 5th century; according to some it is a 15th-century production, and not identical with the Bobbio poem.
In favour of the authorship of Lucilius are the facts that he was a friend of Seneca and acquainted with his writings; that he had for some time held the office of imperial procurator of Sicily, and was thus familiar with the locality; that he was the author of a poem on Sicilian subjects.
It is objected that in the 79th letter of Seneca, which is the chief authority on the question, he apparently asks that Lucilius should introduce the hackneyed theme of Aetna merely as an episode in his contemplated poem, not make it the subject of separate treatment.
Goethe's hero changed with the author's riper experience and with his new conceptions of man's place and duties in the world, but the Gretchen tragedy was taken over into the finished poem, practically unaltered, from the earliest Faust of the Sturm and Drang.
But in 1798 appeared Hermann and Dorothea, one of Goethe's most perfect poems. It is indeed remarkable - when we consider by how much reflection and theoretic discussion the composition of the poem was preceded and accompanied - that it should make upon the reader so simple and "naive" an impression; in this respect it is the triumph of an art that conceals art.
In its original form the poem was the dramatization of a specific and individualized story; in the years of Goethe's friendship with Schiller it was extended to embody the higher strivings of r8th-century humanism; ultimately, as we shall see, it became, in the second part, a vast allegory of human life and activity.
The poem had accompanied him from early manhood to the end and was the repository for the fullest "confession" of his life; it is the poetic epitome of his experience.
A collection of oracles, a theogony, an epic poem on the Argonautic expedition, prose works on purifications and sacrifices, and a cosmogony, were attributed to him.
A striking exception to the lack of unity among the tribes is afforded by the account of the defeat of Sisera, and here the old poem represents a combined effort to throw off the yoke of a foreign oppressor, while the later prose version approximates the standpoint of Josh.
A French poem written seemingly within a generation after his death represents him as a wizard.
The evidence concerning Eustace is collected by Herren Wendelin Forster and Johann Trost, in their edition of the French poem "Wistasse le moine" (Halle, 1891).
Vikramanka, the hero of Bilhana's historical poem, came to the throne in A.D.
During his college course he wrote a number of trivial pieces for a college magazine, and shortly after graduating printed for private circulation the poem which his class asked him to write for their graduation festivities.
He contributed poems to the daily press, called out by the Slavery question; he was, early in 1846, a correspondent of the London Daily News, and in the spring of 1848 he formed a connexion with the National Anti-Slavery Standard of New York, by which he agreed to furnish weekly either a poem or a prose article.
The book was not premeditated; a single poem, called out by the recruiting for the abhorred Mexican war, couched in rustic phrase and sent to the Boston Courier, had the inspiriting dash and electrifying rat-tat-tat of this new recruiting sergeant in the little army of Anti-Slavery reformers.
Lowell himself discovered what he had done at the same time that the public did, and he followed the poem with eight others either in the Courier or the Anti-Slavery Standard.
One with verses relating to the battle of Actium is believed to belong to a poem of Rabirius.
We hear of an early poem named Pontius Glaucus the subject of which is uncertain, and of translations of Xenophon's Oeconomica and the Phenomena of Aratus.
The Romans at this time had no manuals of philosophy or any philosophical writings in Latin apart from the poem of Lucretius and some unskilful productions by obscure Epicureans.
When the news came to Rakka, where Harun was residing, not one of the ministers ventured to tell him, until at last a poet introduced it in a poem which pleased the monarch.
During the Civil War the city was occupied on different occasions by Unionists and Confederates, and was made famous by Whittier's poem "Barbara Frietchie."
In pieces such as Liszt's " Poemes symphoniques," Ce qu'on entend sur la montagne (1848-1856), after a poem by Victor Hugo, and Die Ideale (1853-1857), after a poem by Schiller, the hearer is bewildered by a series of startling orchestral effects which succeed one another apparently without rhyme or reason.
Incidents of the poem or the play are illustrated or alluded to as may be convenient, and the exigencies of musical form are not unfrequently disregarded for the sake of special effects.
The subject of the poem is the exploits of Beowulf, son of Ecgtheow and nephew of Hygelac, king of the " Geatas," i.e.
In the first place, a very great part of what the poem tells about Beowulf himself is not presented in regular sequence, but by way of retrospective mention or narration.
There are, however, many other episodes that have nothing to do with Beowulf himself, but seem to have been inserted with a deliberate intention of making the poem into a sort of cyclopaedia of Germanic tradition.
Of Britain there is no mention; and though there are some distinctly Christian passages, they are so incongruous in tone with the rest of the poem that they must be regarded as interpolations.
If this Danish Beowulf had been the hero of the poem, the opening would have been appropriate; but it seems strangely out of place as an introduction to the story of his namesake.
If the mass of traditions which it purports to contain be genuine, the poem is of unique importance as a source of knowledge respecting the early history of the peoples of northern Germany and Scandinavia.
This noteworthy result suggests the possibility that what the poem tells of Hygelac's near relatives, and of the events of his reign and that of his successor, is based on historic fact.
There are other points of contact between Beowulf on the one hand and the Scandinavian records on the other, confirming the conclusion that the Old English poem contains much of the historical tradition of the Gautar, the Danes and the Swedes, in its purest accessible form.
Of the hero of the poem no mention has been found elsewhere.
As the historical character of Hygelac has been proved, it is not unreasonable to accept the authority of the poem for the statement that his nephew Beowulf succeeded Heardred on the throne of the Gautar, and interfered in the dynastic quarrels of the Swedes.
The Danish king " Scyld Scefing," whose story is told in the opening lines of the poem, and his son Beowulf, are plainly identical with Sceldwea, son of Sceaf, and his son Beaw, who appear among the ancestors of Woden in the genealogy of the kings of Wessex given in the Old English Chronicle.
Sarrazin has pointed out the striking resemblance between the Scandinavian legend of Bodvarr Biarki and that of the Beowulf of the poem.
The forms under which Scandinavian names appear in the poem show clearly that these names must have entered English tradition not later than the beginning of the 7th century.
The limits of this article do not permit us to state and criticize the many elaborate theories that have been proposed respecting the origin of the poem.
An interesting light on the history of the written text seems to be afforded by the phenomena of the existing MS. The poem is divided into numbered sections, the length of which was probably determined by the size of the pieces of parchment of which an earlier exemplar consisted.
It may reasonably be inferred that there once existed a written text of the poem that did not include these lines.
Many difficulties will be obviated if we may suppose that this passage is the beginning of a different poem, the hero of which was not Beowulf the son of Ecgtheow, but his Danish namesake.
Sarrazin, Beowulf-studien (1888), which advocates the strange theory that Beowulf is a translation by Cynewulf of a poem by the Danish singer Starkadr, contains, amid much that is fanciful, not a little that deserves careful consideration.
Bugge, in Beitrage zur Geschichte der deutschen Sprache and Litteratur and other periodicals, are of the utmost importance for the textual criticism and interpretation of the poem.
The poem called the Cypria was said to have been given by Homer to Stasinus of Cyprus as a daughter's dowry.
The connexion with Cyprus appears further in the predominance given in the poem to Aphrodite.
The further question, however, remains, What shorter narrative piece fulfilling the conditions of an independent poem has Lachmann succeeded in disengaging from the existing Iliad?
The several episodes of the poem are not so many distinct stories, each with an interest of its own.
Consequently the type of epic poem which would be produced by an aggregation of shorter lays is not the type which we have in the Iliad.
But the original nucleus and parts of the incidents may be the work of a single great poet, and yet other episodes may be of different authorship, wrought into the structure of the poem in later times.
Grote in particular held that the original poem, which he called the Achilleis, did not include books ii.-vii., ix., x., xxiii., xxiv.
The chief incidents in that part of the poem - the panic rush to the ships, the duels of Paris and Menelaus, and of Hector and Ajax, the Aristeia of Diomede - stand in no relation to the mainspring of the poem, the promise made by Zeus to Thetis.
These examples will show that mere statistics of the occurrence of words prove little, and that we must begin by looking to the subject and character of each poem.
The scene of the poem is a real place, and the poet sings (as Ulysses says of Demodocus) as though he had been present himself, or had heard from one who had been.
Zeus has acquired the character of a supreme moral ruler; and although Athena and Poseidon are adverse influences in the poem, the notion of a direct contest between them is scrupulously avoided.
The theory of Avataras which makes the deity - also variously called Narayana, Purushottama, or Vasudeva - periodically assume some material form in order to rescue the world from some great calamity, is fully developed; the ten universally recognized" descents "being enumerated in the larger poem.
See the edition of L'Estoire de la guerre sainte by Gaston Paris in the Collection des documents inedits sur l'histoire de France (1897); the editor discusses in his introduction the biography of Ambrose, the value of the poem as a historical source, and its relation to the Itinerarium.
The subject of each poem is generally suggested by some part of the lessons or the gospel or the epistle for the day.
One thing which gives these poems their strangely unique power is the sentiment to which they appeal, and the saintly character of the poet who makes the appeal, illumining more or less every poem.
Dante showed both in his epic poem and in his lyrics that he had not abandoned the sphere of contemporary thought.
It was under these conditions that Spenser gave his romantic epic to the world, a poem which derived its allegory from the middle ages, its decorative richness from the Italian Renaissance, its sweetness, purity, harmony and imaginative splendour from the most poetic nation of the modern world.
Not less excellent is the didactic poem on orange trees, De hortis Hesperidum.
But the form of the sentences in B eeda's prose shows a close adherence to the parallelistic structure of Old English verse, and the alliterating words in the poem are in nearly every case the most obvious and almost the inevitable equivalents of those used by Bwda.
Sievers argued, on linguistic grounds, that it was a translation, with some original insertions, from a lost poem in Old Saxon, probably by the author of the Heliand.
Sievers's conclusions were brilliantly confirmed in 1894 by the discovery in the Vatican library of a MS. containing 62 lines of the Heliand and three fragments of an old Saxon poem on the story of Genesis.
The Exodus is a fine poem, strangely unlike anything else in Old English literature.
The poem is obviously the work of a scholar, though the Bible is the only source used.
The poem is certainly Northumbrian and earlier than the date of Cynewulf.
The author of the Harmonica Institutio wrote numerous lives of the saints and a curious poem on bald men, dedicated to Charles the Bald.
Having distinguished himself in classics at Trinity College, Dublin, Oscar Wilde went to Magdalen College, Oxford, in 1874, and won the Newdigate prize in 1878 with his poem "Ravenna," besides taking a first-class in classical Moderations and in Literae Humaniores.
The long poem on the history of Joseph, twice edited by Bedjan (Paris, 1887 and 1891) and by him attributed to Ephraim, is more probably the work of Balai.
Besides the Palingenesie, Ballanche wrote a poem on the siege at Lyons (unpublished); Du sentiment considers dans la littrature et dans les arts (i 80 i); Antigone, a prose poem (1814); Essai sur les institutions sociales (1818), intended as a prelude to his great work; Le Vieillard et le jeune homme, a philosophical dialogue (1819); L'Homme sans nom, a novel (1820).
Cinna's chief work was a mythological epic poem called Smyrna, the subject of which was the incestuous love of Smyrna (or Myrrha) for her father Cinyras, treated after the manner of the Alexandrian poets.
He was also author of prose Lucubrationes and perhaps of an epic poem on Caesar's Gallic wars (Pragmatia Belli Gallici).
His other writings include A Poem Dedicated to the Memory of the Reverend and Excellent Mr Urian Oakes (1682); The Present State of New England (1690); The Life of the Renowned John Eliot (1691), later included in Book III.
Each poem contains twenty-two stanzas, corresponding to the twenty-two letters of the Hebrew alphabet; and each stanza begins with its proper letter.
His poem is rather lyrical than narrative, which may account for some obscurities in the connexion of thought; but his alphabetic scheme proves that he designed twenty-two stanzas, not sixty-six detached couplets.
She is the subject of a beautiful poem by Longfellow, "Santa Filomena," and the popular estimate of her character and mission was summed up in a particularly felicitous anagram, Flit on, cheering angel.
This version of Peter's career seems as old as the Chanson des chetifs, a poem which Raymond of Antioch caused to be composed in honour of the Hermit and his followers, soon after 1130.
For the same period we derive a considerable amount of information with regard to Swedish affairs from the Anglo-Saxon poem Beowulf.
The poem contains several allusions to this disaster.
The latter fled for protection to the Guar and the war which ensued cost the lives of Eanmund and of Heardred the son and successor of Hygelac. According to the poem Beowulf himself now became king of the Gotar and assisted Eadgils in a campaign which resulted in the death of Onela and the acquisition of the throne by his nephew.
What is said in the poem with regard to the end of Beowulf belongs to the realm of myth, and for three centuries after this time we have no reference to Swedish affairs in English or other foreign authorities.
The Ynglingatal, a poem said to have been composed by Th1060lfr of Hvin, court-poet of Harold Fairhair, king of Norway, The gives a genealogy of Harold's family, which it carries Ynglingatals back to the early kings of the Svear.
The king whom he found reigning there is called Bjorn (Bern) and is generally identified with the king Bjorn for whom Bragi the Old composed the poem called Ragnarsdrapa.
In 1690 he translated Guarini's Pastor Fido, and in or just after 1697 published, in a folio volume without a date, his Kunga-Skald, the first original poem in ottava rima produced in Swedish.
A short narrative poem, The Death of the Countess Spastara (1783), has retained its popularity.
His first publication was the epic of Vladimir the Great (1817); to this succeeded the romantic poem Blanda.
Through his poem, this tradition is perfectly familiar to every Persian at the present day; and the primitive features of tales, whose origin must be dated 4000 years ago, are still preserved with fidelity.
A poem in the Morning Chronicle brought him a guinea, and when that was spent he enlisted in the 15th Dragoons under the name of Silas Tomkyn Comberbache.
A second edition of the Lyrical Ballads in 1800 included another poem by Coleridge - Love, to which subsequently the sub-title was given of An Introduction to the Tale of the Dark Ladie.
Ennius called his didactic poem on natural philosophy Epicharmus after the comic poet.
Seldom was Voltaire wider of the mark than when he called Telemaque a Greek poem in French prose.
Two lines in the poem suggest that the satirist, who inveighed with just severity against the worst corruptions of Roman morals, was not too rigid a censor of the morals of his friend.
There is extant a Latin epic poem, consisting of about 1000 hexameters, called Orestes Tragoedia, which has been ascribed to.
Immediately on its appearance The Lusiads took rank as the national poem par excellence, and its success moved many writers to follow in the same path; of these the most successful was Jeronymo Corte Real (q.v.).
Its immediate cause was the preface which Castilho contributed to the poem Mogidade of Pinheiro Chagas, and it proclaimed the alliance of poetry with philosophy.
Rudolph of Ems about 1220 expanded it into a long poem of 16,000 lines, celebrating the victory of Christian over heathen teaching.
It is likely that both these settlements were colonies from the Suebi of whom we hear in the Anglo-Saxon poem Widsith as neighbours of the Angli, and whose name may possibly be preserved in Schwabstedt on the Treene.
It is doubtful whether, as has often been supposed, Varro wrote a philosophical poem somewhat in the style of Lucretius; if so, it should rather be classed with the prose technical treatises.
He was the author of a Latin poem, De Reditu Suo, in elegiac metre, describing a coast voyage from Rome to Gaul in A.D.
The poem was in two books; the exordium of the first and the greater part of the second have been lost.
After reaching manhood, he passed through the tempestuous period between the death of Theodosius (395) and the fall bf the usurper Attalus, which occurred near the date when his poem was written.
While making but few direct assertions about historical characters or events, the poem forces on us important conclusions concerning the politics and religion of the time.
The whole poem is intensely pagan, and is penetrated by the feeling that the world of literature and culture is and must remain pagan; that outside paganism lies a realm of barbarism.
We see by the aid of his poem a senate at Rome composed of past office-holders, the majority of whom were certainly pagan still.
Perhaps the most interesting lines in the whole poem are those in which Rutilius assails the memory of "dire Stilicho," as he names him.
With regard to the form of the poem, Rutilius handles the elegiac couplet with great metrical purity and freedom, and betrays many signs of long study in the elegiac poetry of the Augustan era.
Of the many interesting details of the poem we can only mention a few.
His volumes include Cueille d'avril (1885); Les Cygnes (1887; new series, 1892); La Chevauchee d'Yeldis (1893); Swanhilde, a dramatic poem (1894); Laus Veneris (1895), a volume of translations from Swinburne; Poemes et Poesies (1895), a collection containing much of his earlier work; Phocas le jardinier (1898); and La Legende ailee de Wieland le Forgeron (1899), a dramatic poem.
Kolar's principal poem is the Slavy dcera (daughter of Slavia), a personification of the Slavic race.