Articles related to "Quatrain"

Elementary school teachers can teach students how to write a quatrain poem, a haiku, an alphabet or ABC poem, and a concrete poem and display their poetry in class.

The speaker in Bryant's "The Yellow Violet" celebrates the onset of spring by observing a yellow violet, to which he adds an observation about humility and modesty.

Quatrains by Nostradamus warn of worldwide natural disasters in the year 2012, according to the History Channel's documentary, Nostradamus 2012. Global warming is nigh.

This article looks at Simic's irony through the lens of a poetry workshop filled with those serious postmodernists out to teach the world to sing nonsense and trivia.

In marriage sonnet 15, the speaker employs the Time metaphor again to persuade the young man that his only hope for deliverance from decrepitude is to produce offspring.

A carpe diem theme runs through Richard Wilbur's poem, which relies heavily on imagery that appeals to all five senses.

In an uproariously funny drama, the speaker likens himself to a naughty baby who chases and cries for his mother after she speeds off to fetch a fleeing chicken.

The speaker in Emily Dickinson's "A Light exists in Spring" is striving to portray a certain kind of light that "exists [only] in Spring" or very near spring.

The omniscient speaker metaphorically compares a thirsty traveler to a spiritual seeker on the path to God-realization.

In "I measure every Grief I meet," the speaker examines the nature of human suffering. The poem is long by Dickinson standards, filling out a whopping ten quatrains.

Proclaiming ironically how easy it is to master the art of losing, Bishop's speaker asserts that it just takes practice and then catalogues all the things she has lost.

With this article, Poetry begins featuring a poet whose birthday falls in the current month. Born September 15, 1889, Claude McKay is a featured poet for September.

Merrill tackles the illusive nature of emotional attachment in his poem entitled "A Renewal".

The second marriage sonnet continues the speaker's plea to the young man to marry. He urges the lad to think "carpe diem" before his beauty fades.

Sonnet 3 of the "Marriage Sonnets" focuses on the young man's image in the mirror. Again the speaker appeals to young man to marry and reproduce to bequeath his beauty.

Sonnet 34 portrays with an extended metaphor of weather, sun, and clouds the crests and troughs of the ever-evolving activity of the speaker's writing talent.

In sonnet 70, the speaker addresses his artist soul, assuaging the pangs it might be feeling from unfair criticism.

This poem is one of Dickinson's many fun poems loaded with clever plays on words, making a keen observation that serves to remind the reader of images stored in memory.

Paramahansa Yogananda's poem, "God! God! God!," dramatizes the speaker's one-pointed concentration on the Divine from waking, through daily activities, to sleeping.

As a poetic form, pantoums are both exact in their setup, haunting in their repetition, and an enjoyable challenge to write.

History Channel's documentary, Nostradamus 2012, interprets some of the quatrains of Nostradamus. Most foretell doom and gloom, but the astrologer left a message of hope.

Emily Dickinson was born December 10, 1830, in Amherst, Massachusetts. Her poem "'Twas just this time, last year, I died" looks beyond the death of the speaker.

E. E. Cummings did not legally change his name to e. e. cummings as is often claimed in legend; he became rather conventional in his values despite his innovative style.

The speaker in this Robert Frost poem muses on the connection between the natural world and the human world, as Frost's speakers often do.

Robert Frost's literary vignette portrays the speaker's neighbor, who likes to tell a little story to villagers about planting a garden while she was still a girl.

Father Hopkins' poem, "The Habit of Perfection," dramatizes the importance of silencing and stilling each of the five senses in order to advance in the spiritual realm.

The speaker of Shakespeare's marriage poem 12 again shows how changing nature always comes under "Time's scythe," and only one remedy can fend him off: producing an heir.

Sonnet 128 is purely for fun; the speaker plies his clever creativity as he dramatizes his feigned jealousy of the keyboard on which his lady is playing music for him.

In sonnet 149, the speaker poses six questions to the "dark lady," trying still to establish her reason for the constant cruelty she metes out to him who adores her so.

William Blake's "A Poison Tree" makes a didactic but unworkable statement about the efficacy of talking out one's difficulties with enemies.

In six quatrains, Blake presents a speaker who dramatizes the pathetic plight of children forced to labor in squalid conditions in London during the 18th century.

The speaker in "Because I Could Not Stop for Death" details the gentility of an anthropomorphized Death, who takes her on a carriage ride through life and beyond.

In Charlotte Brontë's poem, "On the Death of Anne Brontë," the speaker dramatizes her reaction to the death of her sister, who was "one [she] would have died to save."

Emily Dickinson famously lived a reclusive life, and she cherished her privacy. She often dramatizes in poems the great joy this solitude afforded her.

It is human nature to wonder how one will be remembered after one's death. Hardy's speaker dramatizes his speculations in rhetorical questions.

Sonnet 116 dramatizes the nature of love, not ordinary affection but abiding love that he defines as the "marriage of true minds" that cannot be destroyed by fickle time.

In sonnet 132, the speaker dramatizes the dark lady's "pretty ruth," likening her "mourning" eyes to the sun in the morning and then in the evening.

The speaker of the "dark lady" sonnets has become addicted to this form of poetic rhetoric, employing it often, posing four questions in the quatrains of sonnet 150.

Shakespeare sonnet 18 begins the thematic group in which the speaker/poet muses on his writing talent, often addressing his Muse, his ability, and even his poems.

In Sonnet 19, the speaker personifies and challenges Time to devastate his art as he does all living creatures as they age; then he declares that Time cannot do so.

The speaker of sonnet 5 dramatizes the young man's youth as summer and compares old age to horrid winter, while portraying offspring as the distillation of flowers.

In Shakespeare's "Marriage Sonnet 8," the speaker for the first time evokes the joyful state of marriage itself, as he continues urging the young man to produce an heir.

Henry Vaughn's poem appeals to the soul of the devotee who is making the effort to achieve the exalted state of Christ Consciousness.

Musing on his blindness, 17th century poet John Milton created a new sonnet form. In addition to the Petrarchan and Elizabethan, a new Miltonic sonnet came into being.

Oscar Wilde is noted more for his plays than for his poems. He was a proponent of "art for art's sake," a kind of precursor to the fragmentation of modernism.

Addressing the sonnet, the speaker/poet in Shakespeare sonnet 106 celebrates the poem's ability to skillfully portray beauty that outshines that of the ancients

In sonnet 139, again addressing the "dark lady," the speaker bemoans and condemns her infidelity, as the tension grows between his desire and his intelligence.

Edmund Spenser's sonnets offer a variant of the English sonnet, differing in rime scheme, but similarly featuring three quatrains and a couplet.

The speaker of Shakespeare's sonnets demonstrates the skills of a verbal gymnast, acrobat, or tightrope walker, and he always feels confident enough to sway and swagger.

In sonnet 94, the speaker argues a philosophical point that despite a pleasing appearance and personality, an individual's behavior might still stink.