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I didn’t start writing songs, honestly, until I started making my album. I was always doing poetry, but I never thought I could write songs. I discouraged myself and thought it was so hard. But starting this process and learning just what it is to be a songwriter and performer taught me that you don’t have to feel discouraged about anything. You don’t even have to follow any rules.” —Alessia Cara Provocative poetry quotes Baldwin, James (7 January 1971). "Open Letter to my Sister, Angela Davis". New York Review of Books. Quotation: "If they come for me in the morning, they will come for you in the night." Davis, Angela Y. (1971). If They Come in the Morning: Voices of Resistance. The Third Press. ISBN 9780893880224. About: “Amsterdam Review is an online literary magazine of poetry (including translations), flash fiction, interviews, review, essays, and visual arts which publishes works by international contributors twice a year, and is always open for submissions. ”
Poetry Submissions: Top Places To Submit Your Poems in 2023 Poetry Submissions: Top Places To Submit Your Poems in 2023
The belle is identified in many ways with the display of vessels and treasures around her, both as a consumer and as a figure who takes on some of the properties of those riches, yet her attractions are in the end not so much displayed as set in motion; she 'rises in her charms', 'awakens' and 'calls forth' her wonders and graces, culminating in the dispersal of both her body and her allure in the reader's eye. [8] Another poem, like the Vaughan, about the silence that follows losing someone. In this poem, Lawrence (1885-1930) laments the fact that all noises become swallowed up again by an overwhelming, all-encompassing silence. Boedeker, Deborah & Sider, David [Eds.] 2001. The New Simonides: Contexts of Praise and Desire, New York & Oxford: Oxford U. Press - USA. A collection of essays on the Simonides papyri.The third poem is a curious piece which I leave to the reader’s discretion as I move to the fourth. ‘Three years she grew’ is the longest of the set and relates Nature’s decision ‘to take Lucy for her own’. Being longer, it allows for slightly more complexity, and the poem shows beautiful use of enjambement and pattern. The fourth stanza begins, The paragone was another long-running debate, typically rather more competitive, comparing painting and sculpture. Amy Clampitt, ‘ A Silence’. Clampitt (1920-94) is often overlooked in the annals of twentieth-century American poetry, but as ‘A Silence’ (from her last collection, A Silence Opens) shows, she deserves a wide readership. The poem considers the importance of silence in nature and in a life of religious devotion and contemplation. Ceos lies only some fifteen miles south-east of Attica, whither Simonides was drawn, about the age of thirty, by the lure of opportunities opening up at the court of the tyrant Hipparchus, a patron of the arts. His rivalry there with another chorus-trainer and poet, Lasus of Hermione, became something of a joke to Athenians of a later generation—it is mentioned briefly by the comic playwright Aristophanes [16] who earmarked Simonides as a miserly type of professional poet (see The Miser below) There is more of wisdom in nature—in general revelation—than in the special revelations of books. (The theological language is no mistake: for in the next stanza the throstle is called ‘no mean preacher’—surely a remark that gives away that Wordsworth’s ‘Matthew’ is buried in something like recondite religious scholarship.) The middle remark on the linnet and the sweetness of his music could, decontextualised, persuade me I were reading a (very good) English translation of Goethe. Wordsworth exhorts ‘Matthew’ again in one of his finest distichs:
poem - Exposure by Wilfred Owen - AQA - GCSE English The poem - Exposure by Wilfred Owen - AQA - GCSE English
W. J. T. Mitchell trenchantly observed that "We tend to think that to compare poetry with painting is to make a metaphor, while to differentiate poetry from painting is to state a literal truth." [6] Simonides composed verses almost entirely for public performances and inscriptions, unlike previous lyric poets such as Sappho and Alcaeus, who composed more intimate verses to entertain friends—"With Simonides the age of individualism in lyric poetry has passed." [60] Or so it seemed to modern scholars until the recent discovery of papyrus P.Oxy.3965 [61] in which Simonides is glimpsed in a sympotic context, speaking for example as an old man rejuvenated in the company of his homo-erotic lover, couched on a bed of flowers. [62] Some of the short passages identified by ancient or modern authors as epigrams may also have been performed at symposia. Very little of his poetry survives today but enough is recorded on papyrus fragments and in quotes by ancient commentators for many conclusions to be drawn at least tentatively (nobody knows if and when the sands of Egypt will reveal further discoveries).
Simonides was adept too at lively compositions suited to dancing ( hyporchema), for which he is commended by Plutarch. [69] He was highly successful in dithyrambic competitions according to an anonymous epigram dating from the Hellenistic period, which credited him with 57victories, possibly in Athens. [70] The dithyramb, a genre of lyrics traditionally sung to Dionysus, was later developed into narratives illustrating heroic myths; Simonides is the earliest poet known to have composed in this enlarged form [71] (the geographer Strabo mentioned a dithyramb, Memnon, in which Simonides located the hero's tomb in Syria, indicating that he didn't compose only on legends of Dionysus.) [72] This is not Hood’s most famous poem, but as it’s a sonnet about silence more profound than the silence of the grave or the bottom of the ocean, it earns its place on this list of the best poems about silence. This ‘true Silence’ is ‘self-conscious and alone’. Simonides championed a tolerant, humanistic outlook that celebrated ordinary goodness, and recognized the immense pressures that life places on human beings. [83] This attitude is evident in the following poem of Simonides (fr.542), [84] quoted in Plato's dialogue, the Protagoras, and reconstructed here according to a recent interpretation, making it the only lyric poem of Simonides that survives intact: [84] [a]
Silent Poetry | Princeton University Press
Gotthold Ephraim Lessing opens his Laocoön: An Essay on the Limits of Painting and Poetry (1766) by observing that "the first who compared painting with poetry [ Simonides of Ceos] was a man of fine feeling," [4] though, Lessing makes it clear, not a critic or philosopher. Lessing argues that painting is a synchronic, visual phenomenon, one of space that is immediately in its entirety understood and appreciated, while poetry (again, in its widest sense) is a diachronic art of the ear, one that depends on time to unfold itself for the reader's appreciation. He recommends that poetry and painting should not be confused, and that they are best practiced and appreciated "As two equitable friendly neighbouring states." [5]Marcuse, Harold; Niemöller, Martin. "Of Guilt and Hope". University of California at Santa Barbara.
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