1 The children of the Czar Played with a bouncing ball In the May morning, in the Czar's garden, Tossing it back and forth. It fell among the flowerbeds Or fled to the north gate. A daylight moon hung up In the Western sky, bald white. Like Papa's face, said
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Never give all the heart, for love
Will hardly seem worth thinking of
To passionate women if it seem
Certain, and they never dream
That it fades out from kiss to kiss;
For everything that's lovely is
But a brief, dreamy, kind delight.
O never give the heart
I heard a Fly buzz – when I died – The Stillness in the Room Was like the Stillness in the Air – Between the Heaves of Storm – The Eyes around – had wrung them dry – And Breaths were gathering firm For that last Onset – when the King Be witnessed – in the Room – I willed my
With roots in the Civil Rights Movement, Malcolm X and the Nation of Islam, and the Black Power Movement, Black Arts is usually dated from approximately 1960 to 1970. African American artists within the movement sought to create politically engaged work that explored the African American cultural and historical experience.
One of the most
In April 2014 A Poet’s Glossary by Academy Chancellor Edward Hirsch was published. As Hirsch writes in the preface, “This book—one person’s work, a poet’s glossary—has grown, as if naturally, out of my lifelong interest in poetry, my curiosity about its vocabulary, its forms and genres, its histories and traditions, its classical, romantic, and modern movements, its various outlying groups, its small devices and large mysteries—how it works.” Each week we will feature a term and its definition from Hirsch’s new book.
oral-formulaic method: Milman Parry (1902–1935) and his student Albert Lord (1912–1991) discovered and studied what they called the oral-formulaic method of oral epic singers in the Balkans. Their method has been variously referred to as “oral-traditional theory,” “the theory of Oral-Formulaic Composition,” and the “Parry-Lord theory.” Parry used his study of Balkan singers to address what was then called the “Homeric Question,” which circulated around the
Irony certainly isn’t the first word that comes to mind when we think of the poems of Walt Whitman, whose vast, brilliant, and uneven body of work is more often characterized by terms like earnestness and sincerity, directness and plain speech. This most American of American poets invented, after all, free verse as we know it, and not just in terms of an open, conversational voice, presented in an arrangement on the page often determined by content rather than by strict measures. His form mimics the process of thinking itself, and he allows the poem, in a markedly modern way, to grope toward meaning, using metaphor, image, analogy, and argument in ways quite unlike the dominant verse of his time. He gives a kind of breathing, seemingly spontaneous form to his questions, and thus his readers feel involved in a process of coming to knowledge, brought into an intimate relationship with at least a version of the speaker’s subjectivity. In this way he seems, along with his fellow