Whitman didn't just pioneer free verse — he pioneered relentless self-promotion.
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The free verse adds to the beauty and rawness of the story.
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There was a lot of free verse, maybe even some blank verse.
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Life is like a rollercoaster, a free verse poem by Alex Schachter.
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They each receive a moment in the spotlight in Bryan's free-verse telling.
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Rather, it's an unexpected connection between Whitman's free verse and Weston's tightly controlled photographs.
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I would maybe attempt to pull back from rhyme and try some free verse.
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The author's prowess as a rapper comes across in extended sections of punchy free verse.
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Dreamy music and melancholy images accumulate, and Mr. Frost even speaks in what sounds like free verse.
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He became a mentor and, she recalled, advised her that her forays into free verse were premature.
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Especially in those years Denise Levertov when I was trying to figure out what free verse was.
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Probably free verse wasn't really Perry's thing, and who knows if he surfed on his own time.
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Debbie quickly catches the lie, but is impressed by Lupe's diary, which is full of gritty free-verse poetry.
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Probably not, but the poet has been meaning to check out Miami anyway—and free verse is really, really hard.
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If the adage is true that history often rhymes if it doesn't repeat, then this year is strictly free verse.
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On January 22, she posted a YouTube video of her performing a free-verse poem about bullying and suicide at her school.
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The poet Avery R. Young recites Ms. Mitchell's free verse, relating the futurist tale of Mandorla to the contemporary black freedom struggle.
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Base phrase: Free verse (verse + ailles) FREE VERSAILLES This week's celebrity guest is the hilarious novelist and former David Letterman writer, Bill Scheft.
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This might not sound too exciting at first glance, because the mobile-obsessed masses could hardly be bothered to read rhyming or free verse.
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That's Shore precisely, with artfulness aplenty but so understated—somewhat akin to the shrewdness of Whitman's free-verse cadences—as to be practically subliminal.
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And she considers herself a poet at heart, sometimes offering her editing notes in free verse, at all times of the day and night.
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The result feels a bit like browsing an analog Internet, where memes mutate into free-verse poetry, while simultaneously channel-surfing noise radio stations.
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Jacqueline Woodson's memoir in free verse, "Brown Girl Dreaming," won the National Book Award for Young People's Literature in 2014, and became a best-seller.
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In free verse, Ms. Williams, whose account is verified on the site, described the proposal on the "isaidyes" subreddit, which is dedicated to engagement stories.
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During CNN's town hall on Wednesday, his father, Max, recited a free verse poem the 14-year-old wrote two weeks prior to his death.
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A prose poem, a sprawling free-verse composition, and a sequence of economical sestets: they sound little like one another, but they all sound like Wright.
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The artist, who lives and works in Taipei, Taiwan, is also blurring boundaries between formalism and free verse, preparation and presentation, the poetic and the mundane.
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French poets may now diverge from the alexandrine to explore vers libre, free verse; Mallarmé still believes in form, but form is to be rediscovered, recomposed.
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Capitalize on their ear for the phony free verse of Twitter and texting and give them better words to make sense of themselves and their world.
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Let's capitalize on their ear for the phony free verse of Twitter and texting and give them better words to make sense of themselves and their world.
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There was "The Trial of the Catonsville Nine," a one-act play in free verse drawn directly from the court transcripts, and "Prison Poems," written during his incarceration in Danbury.
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The recipient of a MacArthur fellowship in 2000, Ms. Perillo writes shrewd, well-organized free verse that marches straight down the page while its meanings peel off in multiple directions.
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This jars with the way the rest of the play emphasizes the plight of women, using free verse that walks a fine line between modern psychology and the plot's mythological roots.
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Beyond the rules Like poets who write Elizabethan sonnets rather than free verse, pharmaceutical namers must make difficult decisions based on arcane rules, but their work is still a form of artistry.
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Their free verse poetry eschews difficult metaphors in favor of clear, plain language, and this accessibility is precisely what has garnered the new wave of "Instapoets" such a large and dedicated following.
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Here, his flow is as meandering as ever, buffeted by a few intrusions of free verse from iLoveMakonnen (and one very sharp guest appearance by Tommy Genesis on "2 Girl Fantasy 2").
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In this charming book of linked poems — the story of a pup who speaks, but only in verse — the distinguished children's poet Greenfield glides gracefully between rhyme, free verse, haiku and rap.
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" Tim Powers on William Ashbless: "The college paper printed poetry, and it was close enough to the '60s that the poetry was all just horrible free verse about children and flowers and rainbows.
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For him, music had fallen behind: it had nothing that rivalled free verse in poetry, the drift toward abstraction in painting, and the investigation of mystical spheres that was happening across the arts.
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Harris invokes Ntozake Shange's term "choreopoem" to describe a collagelike construction that incorporates free verse, choral speaking, dance, tableaux vivants and (in his case, not hers) text message chains about getting gonorrhea in Berlin.
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Twenty years later, Anderson has written about her own rape at age 13 for the first time in a free-verse memoir — because she's incensed by criticism and doubt that has followed the #MeToo movement.
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Additionally, The Blind Man: New York Dada, 1917 contains a highly useful and amusing booklet of translations by Elizabeth Zuba of all the French texts and free verse poems in The Blind Man and Rongwrong.
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Published as a book in 1915, this compilation of brief free-verse poems — which expand tombstone epitaphs into pithy self-portraits of those buried beneath them — were once popular choices for audition pieces and classroom discussions.
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Instagram therapists are the new Instagram poets, in a way — only instead of posting free verse in typewriter font, they deal in pithy pronouncements about embracing imperfection, self-care, "growth mindset," mothering oneself, impostor syndrome and trauma.
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Here, Mallarmé leapfrogs over the most radical exponents of free verse: a text of seven hundred and fourteen words is scattered across eleven double pages, in staggered lines and in type of varying sizes, often with independent sentences juxtaposed.
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There, Whitman uses an effervescent free verse to let the "I" wander around — much like Jack in the cemetery — line by line, through the history of cities and languages, through the mind and the body, and ultimately, back into itself.
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Bagel's day job as a copywriter — and sometimes-contributor to Medium — probably helps him craft his "name poems," which, like an assignment you may have had in elementary school, involves taking the letters from his would-be suitors' names and creating a sort of short free verse.
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"Marks of Identity," which he called his "first adult novel," reconstructs the past of an exile who returns to Barcelona after the Spanish Civil War, his life evoked through a swirl of memories, snippets of newspaper articles and police reports and interior monologues rendered in free verse.
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The difference between his lyrics and poems is tissue-paper thin except when he was writing some wretched approximation of free verse: His cry his perfect word pitched against The baffled contradictions of the heart Wrestling them embracing them Strangling them with a jealous conjugal desperation.
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Mehitabel's sidekick was a cockroach named Archy, a free-verse poet in a previous life whose cynical views of the world were typed in all lowercase letters, and without punctuation, as he was unable to hit both the shift and letter keys on Mr. Marquis's typewriter to produce a capital letter.
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"If They Come for Us" encompasses clear, compact free verse, ghazals (a kind of couplet with South Asian roots), a crown of sonnets and poems that imitate Mad Libs, glossaries, floor plans and crosswords, all set against the kinds of frustration and injustice, existential and political, that Asghar has seen or known.
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" And this is from the start of the review by the novelist and critic Stacey D'Erasmo in Rolling Stone: "Ever since Joni Mitchell spread her free-verse wings, many a female singer-songwriter has tried to master the introspective idiom only to sink into the swamp of banality or shoot off into some chilly, abstract emotional ozone.
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As her chatty lines ("We go see the Rockettes …") move through the gestures of the modern lyric — only one poem goes over a page, and most use a staccato, colloquial free verse — we get the sense of a writer trying to come to terms with something that is part of her country's reality but not part of her own.
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"Leaves of Grass," Whitman's revolutionary collection of free-verse poems celebrating nature, the body and the vastness of America, which first appeared in 1855, stands as one of the landmarks of 19th-century American literature — "our cultural Declaration of Independence," as the Whitman scholar Karen Karbiener, who curated the Grolier show with the private collector Susan Jaffe Tane, put it.
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Early Futurist poetry relied on free verse as their poetical vehicle. However, free verse "was too thoroughly bound up with tradition and too fond of producing…stale effects"Clough, p. 61 to be effective. Furthermore, by using free verse, the Futurist realized they would be working under the rules of syntax and therefore interfering with intuition and inspiration.
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His thesis was entitled Modes of Organization in Modern Hebrew Free Verse.
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Although conventionally the innovation of free verse poetry is attributed to other 19th century french poets such as Gustave Kahn and Jules Laforgue, Marie Krysinska actually published free verse poetry in 1882, five years before other volumes featuring free verse poetry would appear in 1887 giving her a more authentic claim to the title 'innovator of free verse'Hélène Millot Marie Krysinska : Femmes poètes du xixe siècle Une anthologie, PUL, 1998 ; p. 153/154. Regardless, it is important to note both Krysinska's role in the innovation of free verse poetry, and her erasure from its history.
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The 16-lines of free verse does not follow any particular poetic structure.
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The group, "Free Verse Front", was founded by him and has been giving prizes since 1967. Free Verse Front Prize Trust was founded on 31 July 1979 in Hyderabad.The Encyclopedia of Indian Literature, by Amaresh Datta, Volume 1, pp.307.
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Allen, Charles 'Cadenced Free Verse', College English, vol 9, no 6 January 1948 By referring to the Psalms, it is possible to argue that free verse in English first appeared in the 1380s in the John Wycliffe translation of the Psalms and was repeated in different form in most biblical translations ever since. Walt Whitman, who based his long lines in his poetry collection Leaves of Grass on the phrasing of the King James Bible, influenced later American free verse composers, notably Allen Ginsberg. One form of free verse was employed by Christopher Smart in his long poem Jubilate Agno (Latin: Rejoice in the Lamb), written some time between 1759 and 1763 but not published until 1939. Many poets of the Victorian era experimented with free verse.
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The topic of his thesis was "A Study of Free Verse in Punjabi (up to 1950)".
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The rest cluster between 1942 and 1954. Reading the interviews sequentially, the reader comes to appreciate that the New Formalists do not constitute a monolith. None is an ideologue. None believes a formal poem is automatically superior to its free verse cousin, and some write free verse themselves.
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"Word Roots: Notes on Free Verse". Conversant Essays: Contemporary Poets on Poetry, Wayne State University Press, , p. 153155.
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Iraqi poet Badr Shakir al- Sayyab is considered to be the originator of free verse in Arabic poetry.
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The book consists of 128 poems composed in different forms, including sonnets, geets, free verse, haiku, ghazals and muktak.
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Free verse is usually defined as having no fixed meter and no end rhyme. Although free verse may include end rhyme, it commonly does not. Whirl up, sea— Whirl your pointed pines, Splash your great pines On our rocks, Hurl your green over us, Cover us with your pools of fir. —H.D.
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Free verse does not "proceed by a strict set of rules … is not a literary type, and does not conform to a formal structure." It is not considered to be completely free. In 1948, Charles Allen wrote, "The only freedom cadenced verse obtains is a limited freedom from the tight demands of the metered line."Allen, Charles, "Cadenced Free Verse", College English, vol 9, number 6, January 1948 Free verse contains some elements of form, including the poetic line, which may vary freely; rhythm; strophes or strophic rhythms; stanzaic patterns and rhythmic units or cadences.
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His latest collection, Wowsers, is a tour-de-force of erudite allusion, equally at ease with traditional forms and free verse.
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The poetry in Khushbu, like most of Shakir's subsequent work, can be divided into two categories: the ghazal [plural: ghazalyaat], and free verse.
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Both free verse and rhymed poetry styles are studied, including cinquain, haiku, tanka, rhopalic, echo and refrain poems, acrostics, alphabet and dictionary poems.
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In 1916 he wrote a noteworthy article on the Free verse form noting "every man's free verse is different".Form in Free Verse ,New Republic March 1916 In 1916 Storer moved to Italy and from 1917 to 1941 lived in Rome. Here he founded and edited "Atys" – "Foglio d'Arte e di Letteratura Internazionale/Occasional Broadsheet of Art and Literature" from 1918 to 1921. During this period he was in close contact with Italian painters and poets who belonged to the second Futurism: he created a particular movement not well defined and not officially recognized, but with specific features.
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These were his initial exercises of poetry, which could not last for a longer period of time, and so ultimately he developed and maintained his own style. He rebelled against the traditional form of the 'ghazal' and became the first major exponent of free verse in Urdu Literature. His first book, 'Mavra', introduced free verse and is technically accomplished and lyrical.
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I read Gunn's free verse because I admired Gunn so much, and I read a lot of the American free verse poets, but I never wanted to do it myself."William Baer (2016), Thirteen on Form: Conversations with Poets, Measure Press. Page 255. Davis also recalled, however, "My brother committed suicide when he was nineteen and I was twenty-one.
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In 1925, Pichamoorthi married Saratha. Between 1924 and 1938 he practised as a lawyer in the Lower court of Kumbakonam. He also worked as Editor and Subeditor of several magazines during his lifetime. He was considered the father of free verse in Tamil (Puthu Kavithai); he was inspired by Subramania Bharati who was contributing to free verse kind of poetry.
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"Modes of organization in modern Hebrew free verse". WorldCat. Retrieved May 28, 2016. 5\. Alcalay, Ammiel (1996). Keys to the Garden: New Israeli Writing.
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Ushnas composed poems in a variety of formats, including haiku, geet, ghazal, sonnets, free verse, with most composed in Sanskrit meters such as Shikharini.
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"Not My Business" is a free-verse poem by Niyi Osundare. It is included in Cluster 2, Poems from Different Cultures, of the AQA Anthology.
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Finally, one critic sees the complexity of the poem's structure resulting in "the first major 'free-verse' poem in the language".Collini, 1988, p. 41.
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Back then, it seemed to be what people were doing, and what you were supposed to do. But I very quickly realized that I wasn't interested in writing free verse. I think it was Raymond Chandler who once said you should write the kind of novels that you'd like to read, and I'd never particularly enjoyed reading free verse. I read it dutifully, of course.
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His first collection of poems, an-Nas fi Biladi ("People In My Land") published in 1956, marked the beginnings of the free verse movement in Egyptian poetry.
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Llwyd is commonly associated with strict poetic metre, though some of his poems (especially those written under the pseudonym Meilir Emrys Owen) are written in free verse.
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26 Also in 1908, Vieața Nouă had published Densusianu's influential praise of free verse poetry, Versul liber și dezvoltarea estetică a limbii literare ("Free Verse and the Aesthetic Development of the Literary Language"). In particular, news about the spread of Futurism divided local writers: Densusianu's skepticismSandqvist, p.244 was overshadowed by the indignation of Dumitru Karnabatt. The latter, who would subsequently become a contributor to traditionalist papers,Chendi, p.
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"The Death of a Soldier" is a poem from Wallace Stevens's first book of poetry, Harmonium. The poem uses free verse to describe the death of a soldier.
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In addition, he used classic poetic language (aeoche 雅語體) to sing about an individual's emotions and was praised for opening the horizons for free verse in Korea.
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The Greater Hartford Arts Council and the New Boston Fund have honored with excellence several free-verse poems that were later included in the first chapter of this book.
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Dr. Lillian Rosanoff Lieber wrote this treatise on mathematical thinking in twenty chapters. The writing took a form that resembled free-verse poetry, though Lieber included an introduction stating that the form was meant only to facilitate rapid reading, rather than emulate free-verse. Lieber's husband, a fellow professor at Long Island University, Hugh Gray Lieber, provided illustrations for the book.Lillian Lieber, The Education of T.C. MITS (Philadelphia: Paul Dry Books Incorporated, 2007).
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Rashed edited an anthology of modern Iranian poetry which contained not only his own translations of the selected works but also a detailed introductory essay. He rebelled against the traditional form of 'ghazal' and became the first major exponent of 'free verse' in Urdu literature. While his first book, Mavra, introduced free verse and is more technically accomplished and lyrical. Urdu literary world was shocked when he used the theme of sex in his poems.
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Poet symbolist in its infancy, Phileas Lebesgue written in verse as well as traditional free verse. He wrote a poem in free verse or traditional, often evoking the landscapes of his country of Bray.Jacques Charpentreau et Georges Jean, Dictionnaire des poètes et de la poésie , coll. al. « folio junior en poésie », Gallimard, 1983 He is a novelist, songwriter, playwright, literary critic, columnist, translator, and mayor of La Neuville-Vault from 1908 to 1947.
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Aurima-Devatine writes traditional poetry in the Tahitian language and free verse in French. She has been a member of the , the Tahitian academy, since it was created in 1972.
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In his poetry, Alliksaar celebrates individual freedom. His poems are innovative and critical of his era. Mainly, he wrote in free verse. His language is innovative and full of wordplay.
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McCollough's books have been reviewed in print journals including Denver Quarterly, Colorado Review, and Publisher's Weekly as well as in online journals such as Free Verse, Coldfront, NewPages and Eclectica.
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Agésilas is, along with Psyché, the only Corneille piece to use cross rhyming (ABAB) for the entire piece, along with free verse (the play mixes verses of 8 and 12 feet).
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A young writer's experiences are described in twenty seven mostly free verse poems. Topics included are roadkill, Venus Flytraps, and a grandmothers senility. Others discuss snow angels, little brothers, and "Ma".
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Lionel Abrahams (1928-2004) was a poet, novelist, editor, essayist, and publisher. Abrahams's work is largely philosophical, praising integrity and compassion. His poems are characterised by free verse with emotional strength.
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Not only does it paint a vivid picture of his memories, it also allows one to virtually live the experiences Nagari acquired as an adolescent. He writes mostly in free verse.
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Much later (1844), Burgos published a revised version, which, although still flawed, has remained a reference - for instance, it is appreciated for its use of the sapphic stanza with free verse.
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The idea that cadence should be substituted for metre was at the heart of the Imagist credo according to T. E. Hulme.Hughes, Glenn, Imagism and the Imagist, Stanford University, New York 1931 Unrhymed cadence in Vers libre is built upon 'organic rhythm,' or the rhythm of the speaking voice with its necessity for breathing, rather than upon a strict metrical system .Lowes, John Livingston Conventions and Revolt in Poetry Houghton Mifflin, Boston 1919 Cadence in Free verse came to mean whatever the writer liked, some claiming verse and poetry had it, but prose did not, but for some it was synonymous with Free verse,Charles O. Hartman, Free Verse: An Essay on Prosody, Northwestern University Press, 1980. where each poet has to find the cadence within himself.
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His poems gained such prizes as: Special Prize from "Modern Haiku Magazine" Cicada Prize from "Cicada, the Journal of Canadian Haiku Society" He has published his three- line and free-verse haiku poems in Frogpond, The official journal of the Haiku Society of America; Modern Haiku; Cicada; New Cicada; Bottlerocket (in press) ; Contemporary Haibun and others. Published “Free verse haibun” poetry, where the traditionally prose part of haibun is replaced with English free-verse. Okazaki Proposed “Haiku-Ballad Theory,” that defines classical haiku form as a tri-meter/ tetra-meter/ tri-meter iambic triplet ballad. Okazaki is an old member of the Haiku Society of America, and one of very few Japanese who writes and publishes English language poems overseas.
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Perennials: New & Selected Poems marks Albrizio’s break from traditional forms. It was published in 2007. Although it includes some of her most well received poems from her previous two books, it also consists of over 30 new poems that are largely written in free verse or in forms of her own creation. She continues to teach poetry workshops, but has since added a segment on applying the rhetorical devices used in formal verse to free-verse writing.
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"William Baer (2016) Thirteen on Form: Conversations with Poets, Measure Press. Pages x-xi. In a 2017 book review for the LA Review of Books, Patrick Kurp wrote, in a sign that the conflict between free versers and New Formalist was ongoing, "Poets, critics, and readers on both sides of the form/free verse divide are frequently guilty of the Manichean heresy. Stated bluntly: Free verse, the more unfettered the better, is good; meter and rhyme, bad.
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He died the next year of tuberculosis, his wife following him shortly thereafter. When he died, he left an unfinished book of free verse, Des Fleurs de Bonne Volonté, and an unfinished final essay for his series, Moral Tales. Influenced by Walt Whitman, Laforgue was one of the first French poets to write in free verse. In fact, his translations of Whitman's poetry, which were published by La Vogue, are believed to have influenced Laforgue's compatriot Gustave Kahn.
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Arvo Antonovich Mets (; 29 April 1937 – 1997) was an Estonian-born Russian poet. He is regarded as a master of Russian free verse. He also translated works of Estonian poets into Russian.
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Qassim Haddad (born 1948) is a Bahraini poet, particularly notable within the Arab world for his free verse poetry. His poems have been translated in several languages including German, English and French.
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Burned is a young adult novel written by American author Ellen Hopkins and published in April 2006. Like all of Ellen Hopkin's works, the novel is unusual for its free verse format.
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Gale Cengage Learning, 2002, p. 303 Unlike other modernists who experimented with free verse, Yeats was a master of the traditional forms.Finneran, Richard. Yeats: An Annual of Critical and Textual Studies 1995.
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The two main styles she wrote in were ghazal and āzād nazm (free verse) where she utilized several literary techniques and examined delicate topics to create a full image of the female experience.
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Beginning with They Feed They Lion, typically Levine's poems are free-verse monologues tending toward trimeter or tetrameter. The music of Levine's poetry depends on tension between his line-breaks and his syntax.
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Perfect is a young adult novel written by American author Ellen Hopkins. Like all of Ellen Hopkin's works, the novel is unusual for its free verse format. Perfect is the sequel to Impulse.
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Mark Rudman suggests that "Briggflatts" is an example of how free verse can be seen as an advance on traditional metrical poetry. He cites the poem to show that free verse can include a rhyme scheme without following other conventions of traditional English poetry. To Rudman, the poem allows the subject to dictate the rhyming words and argues that the "solemn mallet" is allowed to change the patterns of speech in the poetry to meet with the themes discussed in the text.Rudman, Mark.
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Sharp Teeth is a 2007 novel in free verse by American writer Toby Barlow. It won the 2009 Alex Award and is the Horror entry on the 2009 Best Adult Genre Fiction Reading List.
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420, 431 and published Avant-garde poems in free verse -- inspired by the work of Russian Futurists.Grigorescu, p.420 With fellow modernists Ion Vinea and Stephan Roll, he later issued the literary magazine Punct.
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Prabhava) and novelist (e.g. Veerasimha Vijayasimhulu). He introduced free verse into his socially concerned poetry through Maha Prasthanam. He wrote visionary poems in a style and metre not used before in Telugu classical poetry.
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In a similar manner, all of Bécquer's poetry is collected in Rimas. The 79 poems are short, have 2,3, or 4 stanzas (with rare exceptions), generally employ assonant rhyme, and are written in free verse.
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The song then closes with a Christmas greeting from all four of the Beatles. At the end, "Auld Lang Syne" is played on the organ as Lennon reads one of his original nonsense free verse poems.
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McGuinness, xii. Writing in A. R. Orage's magazine The New Age, the poet and critic F. S. Flint (a champion of free verse and modern French poetry) was highly critical of the club and its publications.
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William Lawlor asserts that much of Ferlinghetti's free verse attempts to capture the spontaneity and imaginative creativity of modern jazz; the poet is also notable for frequently incorporating jazz accompaniments into public readings of his work.
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This new technique, as defined by Kahn, consists of the denial of a regular number of syllables as the basis for versification; the length of line is long and short, oscillating with images used by the poet following the contours of his or her thoughts and is free rather than regular.Hulme, T. E., Lecture on Modern Poetry, Kensington Town Hall 1914 Although free verse requires no meter, rhyme, or other traditional poetic techniques, a poet can still use them to create some sense of structure. A clear example of this can be found in Walt Whitman's poems, where he repeats certain phrases and uses commas to create both a rhythm and structure. Pattern and discipline is to be found in good free verse: the internal pattern of sounds, the choice of exact words, and the effect of associations give free verse its beauty.
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In 1941 she published Mountain Dooryards, her last book of poetry, a work that was written in modernist free verse and used the dialect of the people of the Appalachians and expressed their traditional but changing world.
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During this time, he wrote free verse influenced by Walt Whitman.M. Gwyn Thomas, (1995)"Whitman in the British Isles", in Walt Whitman and the World, ed. Gay Wilson Allen and Ed Folsom. University of Iowa Press. p.
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Weidenfeld & Nicolson, 1998. Michael Schmidt (poet) observed that her "free verse is fast-moving, urgent with narratives, softly spoken. Her cadence is natural, her diction undecorated." Bhatt has been recognized as a distinctive voice in contemporary poetry.
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Pichamoorthi's works was inspired by literature and poetry works from the West where free verse poetry was already in existence. Pichamoorthi also wrote short stories with simple themes based on social happenings which had deep philosophical meaning.
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Ed Nather’s The Story of Mel details the extraordinary programming prowess of a former colleague of his, "Mel", at Royal McBee Computer Corporation. Although originally written in prose, Nather’s story was modified by someone into a "free verse" form which has become widespread.The Story of Mel free verse version Little is known about Mel Kaye, beyond the fact that he was credited with doing the "bulk of the programming" on the 1959 ACT-1 compiler for the Royal McBee LGP-30 computer."In particular, Mel Kaye of Royal McBee...", FOLDOC, imperial.ac.
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Ranga Rao has been the Principal Investigator of two major research projects of University Grants Commission (UGC), New Delhi. The two projects are "Concept of Democracy and National Integration in Free-Verse" and "National, International and Human Facets in Post-Independence Telugu Free-Verse". During 2004–06, he was also Senior Fellow, Department of Culture, Government of India Ranga Rao's research interests include Classical Literature, Indian Poetics, Modern Poetry, Novel and Criticism & Studies in Sanskrit Literature. He has made a significant contribution in the field of Modern Telugu Poetry and Research & Literary Criticism.
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" The New York Times. October 4, 1964. p. BR34. Lowell wrote in both formal, metered verse as well as free verse; his verse in some poems from Life Studies and Notebook fell somewhere in between metered and free verse. After the publication of his 1959 book Life Studies, which won the 1960 National Book Award and "featured a new emphasis on intense, uninhibited discussion of personal, family, and psychological struggles," he was considered an important part of the confessional poetry movement.National Book Award Website "National Book Awards – 1960""Robert Lowell (1917-1977).
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Poetic form is more flexible in modernist and post- modernist poetry and continues to be less structured than in previous literary eras. Many modern poets eschew recognizable structures or forms and write in free verse. But poetry remains distinguished from prose by its form; some regard for basic formal structures of poetry will be found in even the best free verse, however much such structures may appear to have been ignored. Similarly, in the best poetry written in classic styles there will be departures from strict form for emphasis or effect.
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After World War II, there was a largely unsuccessful movement by several poets to write poems in free verse (shi'r hurr). Iraqi poets Badr Shakir al-Sayyab and Nazik Al-Malaika (1923-2007) are considered to be the originators of free verse in Arabic poetry. Most of these experiments were abandoned in favour of prose poetry, of which the first examples in modern Arabic literature are to be found in the writings of Francis Marrash,Jayyusi (1977), p. 23. and of which two of the most influential proponents were Nazik al-Malaika and Iman Mersal.
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Starting from the 1930s, quốc ngữ poems abounded, often referred to as thơ mới ("New Poetry"), which borrowed from Western traditions in both its free verse form as well as modern existential themes.Nguyen 1975, pp xx-xxi, 159.
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She is also associated with the New Formalist movement in contemporary poetry, although she has published free verse as well as formal verse. Her formal poems tend to bend the "rules" of poetic forms and employ slant rhyme.
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Twilight Comes Twice is a children's book of free verse written by Ralph Fletcher and illustrated by Kate Kiesler. It was first published in 1997 and describes the transitions from night to day and from day to night.
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In fact, those were five relevant pieces of information from each original verse, to be translated in a poetic and rhythmic language akin to free verse, achieving an unprecedented fluent and natural flow of Shakespeare's plays in Croatian.
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In 1926 he wrote a long poem about antisemitism in Europe called "Roman Holiday: Conversation Piece," which was not published until 1947 (New York, T. Yoseloff). His play, Punchinello (New York, Mitchell Kennerley, 1923) was written in free verse.
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El-Zahiri, M.S. (1994) Tahiyat al-oulema. In Lanasri, (Ed.) Anthologie de la poésie algérienne de la langue arabe (p.162). Paris: Published. During the War of Independence, most of the Arabic poetry in Algeria was written in Free verse.
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The Realm of Possibility is a 2004 young adult novel by David Levithan. Presented as a "collection of interrelated monologues written in free verse," it tells the individual stories of twenty teenagers struggling with high school angst and adolescent life.
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Her poems and essays were published in magazines as Free Verse, Wisconsin Poet's Calendar, and Wisconsin River Valley Journal.Norbert Blei (1935-2013) "Edith Nash", Poetry Dispatch & Other Notes from Underground, online journal and website Edith Nash died in Wisconsin Rapids, Wisconsin.
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Kim's major work in the earlier years of his career is "Bomeun ganda" (1918). It maintains the four-meter form and the fixed pattern of traditional poetry but shows aspects of modern free verse in that it emphasizes the symbolism and significance of poetic language and gives shape to an individual's subjective emotions. Haepariui norae (1923) is his poetry collection representative of his earlier works that contain the characteristics of his poetry before his interest in folk-poetry. Most of the poems in this collection are not written in the classical Chinese style and rather have individualistic rhythm and free verse.
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There will always be groups advocating new types of poetry, some of it genuine, just as there will always be conservative opposing forces trying to maintain the conventional methods. But the revival of rhyme and meter among some young poets creates an unprecedented situation in American poetry. The New Formalists put the free-verse poets in the ironic and unprepared position of being the status quo. Free verse, the creation of an older literary revolution, is now the long-established, ruling orthodoxy, formal poetry the unexpected challenge... Form, we are told authoritatively, is artificial, elitist, retrogressive, right-wing, and (my favorite) Un-American.
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Although Habayeb is known to be a prose writer, her early beginnings were with poetry—particularly, free verse. In May 1990, a collection of fourteen free- verse poems by Habayeb—under the title "Images"—were published in the 23rd issue of An-Naqid magazine, a London-based magazine that has closed down. The most notable poetry work by Habayeb is a poetry collection called "Begging," published in 2009 by the Arab Institute for Research and Publishing [AIRP], which is the publishing house that has published most of her works. The collection has received rave reviews from critics.
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Though not involved in active politics, Valath was attracted to communist ideals and his works focused mainly on the effects of capitalism and poverty. He published a poem on Mahatma Gandhi, titled The Light of the 20th Century in Mathrubhumi Azhchappathippu while serving as a civilian clerk in British Military at Bangalore for which he was dismissed from British service. Later, going against the normal practice followed in the 1940s, he pioneered free verse in Malayalam poetry, by writing poems without following poetic rules, metre, or rhythms. Idimuzhakkam, MinnalVelicham, Chakravalathinapuram, Randu Mazha Veenalo and Aarkkariyanam were written in free verse.
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Ross was to live in this house for the rest of his life. Ross began writing poetry in or around 1923. His earliest works "are written in free verse and reflect a knowledge of both imagism and Japanese poetry." In 1925, Ross developed the 'laconic' as a distinctly Canadian verse form, "one that would be 'native' and yet not 'free verse,' one that would be unrhymed and yet definitely a 'form.'"Allan Mortifee, Introduction to "Letters of Gustafson and Ross," Canadian Poetry: Documents/Studies/Reviews, No. 17 (Fall/Winter, 1985 ), Canadian Poetry, UWO, Web, April 8, 2011.
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The cultural upheavals of the Vietnam War era, with its suspicion of government and centralized power, were ripe for the growth of an aesthetic which favored free verse and a subjective 'I' that rebelled against the New Critical orthodoxy still in vogue in the academy."Jay Parini (2004), Oxford Encyclopedia of American Literature, Volume 3, page 251. According to William Baer, "Despite the fact that a number of distinguished poets - like Howard Nemerov, Richard Wilbur, Anthony Hecht, and James Merrill - continued to write and publish formal poetry, the dominant trend in the late 1950s, the 1960s, and the 1970s was for short, free verse lyrics, often autobiographical. The emergence of various groups like the Beats, the Black Mountain poets, the New York School, the Deep Imagists, and others encouraged this trend, as did the fact that free verse quickly became the lingua franca of the newly forming creative writing programs in the American universities.
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Free verse is an open form of poetry, which in its modern form arose through the French vers libre form. It does not use consistent metre patterns, rhyme, or any musical pattern. It thus tends to follow the rhythm of natural speech.
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Thirty-four short free verse poems that express the feelings of a twelve-year-old boy moving from Massachusetts to Ohio. Some of the topics include packing, the discovery of long-lost treasures, giving things away, and doing things one last time.
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Wakoski also called Robert Pinsky, a nice man, but, "not one of the searchers for a new American voice." She also praised tenured free verse poets as, "guerrilla fighters in the universities." Robert McPhillips (2006), The New Formalism: A Critical Introduction, page 4.
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The book consists of 59 ghazals; 6 muktak; 24 free verse and 99 geet poems, composed in a colloquial language. It includes the poem "Ek Sanyukta Geet", which was composed in collaboration with Anil Joshi, the Gujarati author, on 6 October 1985.
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Critics have suggested that Densusianu's image of Symbolism was rather complex and its agenda still eclectic: Vieața Nouă harbored a group of authors with distinct Neoclassical traits, who treasured free verse as a puristic form of poetic expression.Braga, p.8; Călinescu, p.
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Rose's 2004 essay on poet Felix Dennis, Felix Dennis, No Pro, Has Spotted His Foe: Poetry's Status Quo; He Likes Meter and Rhyme, Calls Free Verse a Crime And Dog Poems Sublime, was "much discussed.". In 2007 tensions between Rose and Jonathan Franzen drew attention.
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The work consists of 88 lines of free verse, divided into eleven stanzas of differing lengths. This was a common ode arrangement in the 18th century.Erich Trunz. In: Johann Wolfgang von Goethe, Goethes Werke, Anmerkungen, Hamburger Ausgabe, Band I, C.H. Beck, München 1998, p. 491.
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Vianu, Vol.II, p.348, 349, 395-398 One of these pieces, titled Hinov after the village and stone quarry in Rasova, gives Macedonski a claim to being the first modern European poet to have used free verse, ahead of the French Symbolist Gustave Kahn.Călinescu, p.
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7–17, 70–81, 294, etc. published in 2007 and taken directly from the free verse notebooks he kept during this period, which he in his "Introduction" and his publishers on the back cover both call "an Anti-Beat Manifesto".See The New Jerusalem, pp.
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When people moved towards other Sanskritic metres like tripadi (three line verse), the saptapadi (seven line verse), the ashtaka (eight line verse), the shataka (hundred-line verse), hadugabba (song-poem) and free verse metres. Other works in Hoysala literature period were also in this style.
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The movement declined after Osman's immigration to Syria in 1994 and his subsequent reorientation toward Arabic poetry. However, it left a mark on contemporaries like Perhat Tursun and Tahir Hamut and the next generation of Uyghur poets, who continued to write in free verse.
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The poetic movement of New Formalism, a return to rhyme and meter, would also spring from a backlash against free verse that had become popular in Confessional poetry. Another poetry movement that formed, in part, as a reaction to confessional poetry included the Language poets.
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In the book Milton's Prosody, he took an empirical approach to examining Milton's use of blank verse, and developed the controversial theory that Milton's practice was essentially syllabic. He considered free verse to be too limiting, and explained his position in the essay "Humdrum and Harum-Scarum". His own efforts to "free" verse resulted in the poems he called "Neo-Miltonic Syllabics", which were collected in New Verse (1925). The metre of these poems was based on syllables rather than accents, and he used the principle again in the long philosophical poem The Testament of Beauty (1929), for which he was appointed to the Order of Merit in that year.
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Fulton first proposed her ideas for a new poetics based on the concepts of fractals and emergent patterns in her 1986 essay, "Of Formal, Free, and Fractal Verse: Singing the Body Eclectic," in which she uses the term "fractal" to suggest "a way to think about the hidden structures of free verse." Tigerlily states that Fulton "coined the phrase 'fractal poetry' as a method of revisioning the value of both formal and free verse, calling the 'poetry of irregular form fractal verse.'" Some critics have taken Fulton to task for an inexact usage of "fractal." Other critics have countered that her use of "fractal" is more metaphorical than literal.
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April 4, 2009 But he has also fiercely criticized other formalist poets like Les Murray and Derek Walcott and praised a small handful of free verse poets like Louise Gluck and Anne Carson. Logan has been especially critical of popular free verse poets like Mary Oliver, Billy Collins, and Sharon Olds as well as more experimental poets like Jorie Graham and Rae Armantrout.See W. Logan's "Chronicles" columns in The New Criterion magazine. Although he's best known for his often extreme reviews of poets, Logan has written some mixed reviews of poets like Kay Ryan, John Ashbery, and Frank O'Hara whom he has judged to be flawed but admirable.
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In addition he translated from various languages. One of his translations, the libretto of Handel's oratorio Esther (apparently done at the request of the Jews of England and Holland), is one of the first free verse translations from English to Hebrew without recourse to the traditional meters.
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The poems of Der Aufbruch are a celebration of the poet's joy in life and are written in long, free verse lines inspired by the example of Walt Whitman. Stadler was killed in battle at Zandvoorde near Ypres in the early months of World War I.
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The volume's namesake comes from a poem in the first section titled "Coal". It is written in free- verse and first-person. The idea of an identity consisting of several layers is exemplified in this poem. One's true identity is often hidden behind several muddled layers.
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Lerman writes in free verse; i.e. unrhymed with no definite pattern of scansion. There appears nevertheless to be some regularity in the distribution of stressed syllables in the line. The poems occasionally begin with one or two lines of traditional iambic pentameter, and drift toward pentameter elsewhere.
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Mehdi Akhavān-Sāles , or Akhavān-Sāless () (March 1, 1929 in Mashhad, Iran – August 26, 1990 in Tehran, Iran), pen name M. Omid (م. امید, Hope) was a prominent Iranian poet. He is one of the pioneers of Free Verse (New Style Poetry) in the Persian language.
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The Crazy Man is a 2005 Canadian children's novel written by Pamela Porter. This realistic family novel told in free verse has received many awards and was selected for the Governor General's Literary Award.Synopsis and Awards, Pamela Porter, The Crazy Man. Toronto: Groundwood Books/ House of Anansi Press, 2005.
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Jaya Mehta writes rationalist poetry in free verse. Her poetry is logical and socially aware instead of enclosed in emotional world. Her poetry collections are Venetian Blind (1978), Ek Divas (1982), Akashma Tarao Choop Chhe (1985), Hospital Peoms (1987). Renu and Ek Aa Khare Pandadu (1989) are her novels.
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Simek (2007:105). Her story was retold in free verse by the Icelandic poet Gerður Kristný in her Blóðhófnir, which won the 2010 Icelandic Literature Award.Björn Þór Sigbjörnsson, Bergsteinn Sigurðsson, and others, Ísland í aldanna rás, 2001-2010: Saga lands og þjóðar ár frá ári (Reykjavík: JPV, 2012), 390.
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In addition to his book Blindness which was translated into several languages, he also wrote free verse. Among his published poems were: "Lines written on the death of Reverend Jame Reeb", "To Paul Dever" (former Governor of Massachusetts), and "Search for Identification" (on the death of Malcolm X).
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Born in Tacna, Peru on May 12, 1868, his Symbolist-influenced verse, which frequently took advantage of free verse forms, was important in the development of Latin American modernism. Freyre spent much of his time abroad, especially in Tucumán, Argentina, teaching Literature at the Padres Lourdistas' Secondary School.
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Greg Neri (pen name G. Neri) is an American author and is known for his work in young adult fiction. He has written books in free verse and novelistic prose, as well as graphic novels. Neri has received awards from the American Library Association and the International Reading Association.
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The novel is in prose, with several quotations of free verse by one of the characters, Lilja, and passages where the prose style itself could be seen to drift into free verse. Chapters are short, and chapter titles prosaic and sometimes detailed, evoking eighteenth-century novels (for example, 'Á leiðinni á annan fund terroristaklúbbsins' [on the way to the second meeting of the terrorist club'] and 'Frásögn Geira af ferð sinni til Palestínu' [Geiri's account of his journey to Palestine]). The novel is divided into two parts, the first part ('fyrri hluti') set in September 2008 and the second ('seinni hluti') set in November 2008. The narrative of the novel's present is presented linearly and in the present tense.
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Muhammad Izhar ul Haq is best known in the classical genre of Ghazal, although his mastery in free-verse and prose-poem has also been established among the literary circles of South Asia. Endorsing his art of poetry, the veteran Pakistani fiction writer Intizar Hussain commented that Izharul Haq is equally well-versed in the ghazal as well as in free verse. In both forms, he has been able to devise a diction, which distinguishes his verse from those of his contemporaries.Review by Intizar Hussain He is one of those prominent poets of the 1970s who revisited the tradition and blended it with Islamic and historical metaphors in order to define their own individuality.
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In the following years, between 1928 and 1932, there is a radical change in Aleixandre's poetic conception. Inspired by the predecessors of surrealism (especially Arthur Rimbaud and Lautréamont) and by Freud, he adopts prose poetry (Passion of the Earth, 1935), free verse, and plainly surreal methods such as free verse and the visionary image (Swords like Lips, 1932; Destruction or Love, 1935; Shadow of Paradise, 1944) as his form of expression. The aesthetics of these poems are irrational, and the expression comes close to "flow", even without accepting it as a dogma of faith. Along with surrealism, the poet does not take on any tradition, not even the metric, and frees himself.
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Until the early 1920s, Kim Ok mainly introduced foreign literary theories to Korea and pursued Western-style free verse, freely singing of his emotions. In the mid-1920s, however, he turned his attention to traditional poetry and forms, translating Chinese poetry, discovering folk songs, and composing Eastern-style fixed verse.
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Arapi was a professor of History and Philology at the University of Tirana. Arapi was a pioneer of free verse and experimental poetry in 1960s Albanian literature. He wrote about the maritime universe. He authored more than twenty-five books including six poetry collections and many short stories and novels.
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Shamsur Rahman wrote most of his poems in free verse, often with the rhythm style known as Poyaar or Okhshorbritto. It is popularly known that he followed this pattern from poet Jibanananda Das. He also wrote poems in two other major patterns of Bengali rhythmic style, namely, Matrabritto and Shwarobritto.
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"For Owen" is a poem by Stephen King first published in King's 1985 collection Skeleton Crew. The thirty-four line free verse poem consists of eleven unrhymed, unmetered verse paragraphs. The poem concerns King walking his son Owen to school, as the boy describes a fantastical school attended by anthropomorphized fruit.
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Tomas Tranströmer, 2014. In the 1930s and 1940s, poetry was influenced by the ideals of modernism. Distinguishing features included the desire to experiment, and to try a variety of styles, usually free verse without rhyme or metre. The leading modernist figure soon turned out to be Hjalmar Gullberg (1898–1961).
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Autograph layout (1896). Un coup de dés jamais n'abolira le hasard (A Throw of the Dice will Never Abolish Chance) is a poem by the French Symbolist poet Stéphane Mallarmé. Its intimate combination of free verse and unusual typographic layout anticipated the 20th century interest in graphic design and concrete poetry.
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Blood Run is a volume of free verse poetry written by Allison Hedge Coke. It was published in the UK by Salt Publications in November 2006,"Blood Run by Allison Adelle Hedge Coke," Salt Publishing website, undated. Retrieved 18 August 2010. and was subsequently published in the US in February 2007.
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Nalini Natarajan). Greenwood Press, London: 1996, 253. He wrote poetry in free verse and composed two volumes of poetry: Vagde Pani (‘Running Waters’) in 1938, and Antim Lehran (‘Winding Waves’) which was published posthumously in 1962. His poetry often revolved around criticism of the British Raj and of organized religion.
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205 In contrast to his early enthusiasm, he became appalled by the realities of war. The conflict also made Ungaretti discover his talent as a poet, and, in 1917, he published the volume of free verse Il porto sepolto ("The Buried Port"), largely written on the Kras front.Picchione & Smith, p. 205; Talbot, p.
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As a poet, she composed in a traditional way, using the sonnet or long and rhymed poems, but also using modern forms of free verse. Her work has been incorporated into various anthologies of literature such as Poesía hondureña del siglo XX by Claude Couffon, 1997. She died in Tegucigalpa, May 9, 2003.
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S. Pickwick Esq. P.P.M.P.C. Despite his lack of formal schooling, Debussy read widely and found inspiration in literature. Lesure writes, "The development of free verse in poetry and the disappearance of the subject or model in painting influenced him to think about issues of musical form." Debussy was influenced by the Symbolist poets.
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1915, when he published free verse with unusual imagery, becoming relatively famous for his metaphor of "chocolate cows".Iorga, p. 242; Lovinescu, pp. 224–225 The work, often taken up in the mainstream review Flacăra, infuriated classicist poet Duiliu Zamfirescu, who used it as his focal point for a critique of modernist tendencies.
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Julia Boynton Green (May 25, 1861 – July 10, 1957) was an American author and poet. She is remembered as an "anti-modernist who railed against free verse". She was the author of a volume of poems entitled Lines and Interlines, as well as This Enchanted Coast: Verse on California Themes and Noonmark.
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Sepid poetry (sepid, "white") or "White Poetry" is a free verse movement of Modern Persian poetry that departs from Classical Persian prosody and adopts "new content, viewpoint, and diction".Gabrielle van den Berg, "Perceptions of Poetry. Some Examples of Late 20th Century Tajik Poetry," Oriente Moderno 22 (83).1 (2003), p. 42.
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First edition (publ. Houghton Mifflin) Live or Die is a collection of poetry by American poet Anne Sexton, published in 1966. Many of the poems in the collection are in free verse, though some are in rhyme. The poems, written between 1962 and 1966, are arranged in the book in chronological order.
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Shaw, Luci. Biography. Accessed October 16, 2007. Shaw usually works in free verse, and typically her poems are quite short, less than a page. Nevertheless, in tone and content, she affiliates most readily with the transcendental poets, often finding in natural details and themes the touch of the eternal or other-worldly.
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He wrote in free verse as well as in traditional forms, specifically, sonnets, which he mastered fully, as seen in Sonetos del Mar, del Amor, de la Soledad, de la Muerte, de Dios, among others. His last book to reach the public, Sonetos a Galicia, a book dedicated to the land of his father, was published posthumously in 1994 by the poet's widow, María Luisa Méndez de Chevremont and his daughter Iris Ribera-Chevremont Méndez, through the Xunta de Galicia in Spain.Poesía Puertorriqueña, Act no52 Ribera Chevremont published his first volume of verse, Desfile Romántico, in 1914. In 1974, the poet published El Caos de los Sueños, a book of poems in free verse of a profound, lyrical and universal nature.
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Although Badawi refused to introduce modern Arabic wording to his poetry, his work was influenced to a certain extent by his modern experience of exile, poverty and political activism. Thus, while his poems are generally considered to be representative of the conservative genre, his work went "much beyond the mere imitation of classical models", according to Stefan Sperl. In Badawi's view, the incorporation of shi'r hurr (free verse) into modern Arabic poetry is an unnecessary innovation, arguing that the classical Arabic form is a satisfactory means of expression in the modern day. He did not consider free verse to be poetry at all, but rather a completely different form of literature, insistent that eventually Arabic poets would return to the classical tradition.
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However, mainstream literary critics during the 1980s, many of whom were college and university professors, chose to oversimplify the debate by alleging that it was a battle in America's culture wars. Poets who taught in the universities and wrote free verse and Confessional poetry were stereotyped as socially progressive, as New Left Marxists, and as adherents of the 1960s Counterculture. New Formalist poets, on the other hand, were stereotyped as rich White Anglo-Saxon Protestant Anglophiles filled with nostalgia for the British Empire, as Gordon Gekko- style yuppie capitalists, and as socially conservative supporters of U.S. President Ronald Reagan. American poetry in traditional verse forms was, according to poets and critics who believed in "The Free Verse Revolution", reactionary, Eurocentric, un-American, White Supremacist, and even Fascist.
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Pembe Marmara belonged to the "40s generation of poems" of Turkish Cypriot literature. Whilst being traditionally grouped together with her other Turkish Cypriot poets as a "romantik hececi" ("romantic syllabist"), she had a distinct style more influenced by the Garip movement of poets in Turkey led by Orhan Veli Kanık. Marmara widely used free verse in her poetry. According to Tamer Öncül, who calls Marmara "one of the most qualified poets of the period", Marmara stayed away from the other "romantic hececiler" and the prominent Turkish Cypriot poets of her time, who wrote in the nationalist publication Çığ, and wrote ironic and satirical poems on social issues in free verse, with evidence of inspiration by the Garip movement and Nazım Hikmet.
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Fr. Daniel Berrigan wrote a play in free verse, The Trial of the Catonsville Nine, about the trial. The version performed is usually an adaptation into regular dialogue by Saul Levitt. The play is based on a partial transcript of the trial. In 1972 a film version of the play was produced by Gregory Peck.
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First edition (US) Heartbeat is a 2004 children's book by Sharon Creech, published by HarperCollins in the US and Bloomsbury in the UK. It is aimed at children aged 10 and above. Like Love That Dog, the book is written in free verse, which alters according to both the subject and the main character's mood.
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He has been a member of the board of directors of East Midlands Arts, an artistic assessor for Arts Council England, a Fellow of the Royal Society of Arts, and a Fellow of the English Association. He has been awarded two Hawthornden Fellowships (1999, 2008). Woods writes poetry in free verse, syllabics and regular metre.
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The same is true for stanza forms, which are worth considering only as far as they help produce the particular effect of any given poem. Free verse, with varying line lengths and sometimes little else to distinguish it from prose, uses the particular lengths and line breaks to call attention to particular words or details.
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Depicts a map of Cape Cod with National Seashore shaded in green In Blackwater Woods is a free verse poem written by Mary Oliver (1935-2019). The poem was first published in 1983 in her collection American Primitive, which won the 1984 Pulitzer Prize..Horne, Dee Alyson. Mary Oliver's Grass Roots Poetry. Peter Lang, 2019.
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Hyōtō ("Icy Island") published in 1934 was Hagiwara's last major anthology of poetry. He abandoned the use of both free verse and colloquial Japanese, and returned to a more traditional structure with a realistic content. The poems are occasionally autobiographical, and exhibit a sense of despair and loneliness. The work received only mixed reviews.
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The book contains thirty-one free verse poems about love arranged into two sections, "Falling In" and "Falling Out". The poetic voice is that of a young male and the poems trace the development of a relationship from the beginning with the first poem "First Look" through its demise with the last poem "Seeds".
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Much of Raab’s poetry is written in free verse, with no set rhyme or meter. The principal theme present in Raab’s work is nature; she references particular plants and often describes the land of Israel in her works. Much of Raab's poetry also manipulates traditional ideas of sex and gender, challenging a concrete gender binary.
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The trip spawned a book-length poem, "Adequate Earth", in 1972, and the subject reappeared in his 1978 book, Endurance: An Antarctic Idyll.Sorkin, Michael D. "Donald Finkel, celebrated St. Louis poet", St. Louis Post Dispatch, November 18, 2008. Accessed November 23, 2008. Finkel's wrote his poetry in free verse, juxtaposing different subjects against each other.
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A poetic form free from limitations of regular metric rhythm and fixed rhyme schemes. The lack of regularity and conventional rhyme schemes allows the poet to shape the poem freely. Such irregularity and lack of refrain also evoke a sense of artistic expression. Examples of free verse include 'A Noiseless Patient Spider' by Walt Whitman.
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His architecture and art adhered strictly to modernist principles. As an academic, he was one of the earliest Indian champions of sustainable urbanism. He published two booksPrakash, Aditya Reflections on Chandigarh Navyug Traders, New Delhi, 1983, and Prakash, Aditya Chandigarh – a presentation in free verse Marg Publications, Bombay, 1975 and several papers on this topic.
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All strophes rhyme ABAB. The Sapphic stanza is still used in translations form Sappho's or Horace's poems. The scheme of Sapphic stanza is so recognizable, that it can be preserved even in free verse. Lucylla Pszczołowska points out that Czesław Miłosz sometimes composed four-line stanzas with last line of five syllables and other lines of different length.
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The exoticism of the Arabian Nights continued to interest Ravel. In the early years of the 20th century he met the poet Tristan Klingsor,Orenstein, p. 28 who had recently published a collection of free-verse poems under the title Shéhérazade, inspired by Rimsky-Korsakov's symphonic suite of the same name, a work that Ravel also much admired.Orenstein, p.
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He corresponded with scores of authors, including Ezra Pound, Kirkwood, Mo. native Marianne Moore, and E. E. Cummings. Ezra Pound, who Guenther met in 1951, was a great influence on Guenther's work, particularly his translations. Guenther also wrote original formal and free verse poetry, in addition to his translations. He was a literary critic for 50 years.
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Byzantine Mosaics, Volume 7. Athens, Greece: Ekdotike Athenon, 1994, p.22 David also played a personal role in reviving Georgian religious hymnography, composing the Hymns of Repentance, a sequence of eight free-verse psalms. In this emotional repentance of his sins, David sees himself as reincarnating the Biblical David, with a similar relationship to God and to his people.
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However, it was only until 1969 did women finally emerge on the free verse and prose scene, with the publication of Shazaya (, meaning "shrapnel") by Hamda Khamis, which was coincidentally Khamis' first experience in poetry. Iman Asiri was the first recorded poet to write and publish a prose poem in the country in the late 1960s.
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313, UPenn.edu, May 8, 2011. Garvin also similarly praised Stringer's blank verse drama Sappho in Leucadia. Stringer's chief claim to poetic fame today rests on his 1914 book, Open Water, the first book by a Canadian poet to use free verse; in its preface he proclaimed that the modernist movement of which he was part was a "natural evolution".
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The Flea was an online literary and art magazine (webzine or e-zine). Its content was mostly related to poetry, and included work belonging the differing styles of formalism and free verse by established authors and new writers. It focused partly on the authors and resources of a number of online poetry forums, such as Eratosphere and The Gazebo.
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"In Blackwater Woods" is a free verse poem with 9 stanzas. The first 8 stanzas all consist of 4 lines each, and the 9th stanza consists of five lines. Oliver favors short lines in this poem, mimicking the silence and blank space that must be allowed for when paying attention to the world or being introspectiveGregerson, Linda. Poetry, vol.
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Why not follow that long and illustrious tradition of sonnet writers, for example? I find it very strange to ignore form. After all, there are not many poets who write good free verse, but there are many other writers who have mastered the other forms. Even Cummings wrote many fine sonnets - I know some of them by heart.
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Romero writes almost entirely in free-verse form. He writes his poems in both English and Spanish. His first full book of poetry (In the Gathering of Silence) was published in 1996. By 2010, Romero continued to write on the side while working as a visiting Research Scholar in the School of Architecture and Planning at UNM.
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The Penguin Book of Contemporary Verse. Penguin Books. (See introductory note.) Imagism, which had made free verse a discipline and a legitimate poetic form, influenced a number of poetry circles and movements. Its influence can be seen clearly in the work of the Objectivist poets, who came to prominence in the 1930s under the auspices of Pound and Williams.
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In the case of free verse, rhythm is often organized based on looser units of cadence rather than a regular meter. Robinson Jeffers, Marianne Moore, and William Carlos Williams are three notable poets who reject the idea that regular accentual meter is critical to English poetry. Jeffers experimented with sprung rhythm as an alternative to accentual rhythm.
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What My Mother Doesn't Know (2001) is a novel in verse by Sonya Sones. The free-verse novel follows ninth-grader Sophie Stein as she struggles through the daily grind of being a freshman in high school, her romantic crushes, and her family life. It has been translated into French, German, Indonesian and Swedish,WorldCat. Retrieved 2016-04-09Goodreads.
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As the French-language term vers libre suggests, this technique of using more irregular cadences is often said to have its origin in the practices of 19th-century French poets such as Gustave Kahn and Jules Laforgue, in his Derniers vers of 1890. Taupin, the US-based French poet and critic, concluded that free verse and vers libre are not synonymous, since "the French language tends to give equal weight to each spoken syllable, whereas English syllables vary in quantity according to whether stressed or unstressed."Taupin, Rene. The Influence of French Symbolism on Modern American Poetry (1986), (translated by William Pratt), Ams Studies in Modern Literature, The sort of cadencing that we now recognize in free verse can be traced back at least as far as the Biblical Hebrew psalmist poetry of the Bible.
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Statue of Badr Shakir al-Sayyab in Basra Badr Shakir al-Sayyab's experiments helped to change the course of modern Arabic poetry. He produced seven collections of poetry and several translations, which include the poetry of Louis Aragon, Nazim Hikmet, and Edith Sitwell, who, with T. S. Eliot, had a profound influence on him.Divine Inspiration: The Life of Jesus in World Poetry By Robert Atwan, George Dardess, Peggy Rosenthal Published by Oxford University Press US, 1997 p 177 At the end of the 1940s he launched the free verse movement in Arabic poetry, with Nazik al-Mala'ika, Abd al-Wahhab Al-Bayati and Shathel Taqa, giving it credibility with the many fine poems he published in the fifties.Badr Shakir al-Sayyab and the Free Verse Movement, by Issa J. Boullata 1970 Cambridge University Press.
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Like many other Romanian Symbolists, from Eugeniu Ştefănescu-Est and Ion Minulescu to N. Davidescu, George Bacovia and D. Iacobescu, Isac made a point of using free verse to as a way of airing ideological differences, and, according to critic Vladimir Streinu, "cultivated literary scandal either in macabre or immoral motifs, or in a meter that defied all norms".Nicolescu, p.125 Alternating free verse with more conventional forms (he was among the few affiliates of the movement to still appreciate the traditional metrical foot),Nicolescu, p.128 his Symbolist poetry is defined by Călinescu as a compilation of elements borrowed from poets based in the Kingdom of Romania: Minulescu (in his descriptions of furnished interiors) and Bacovia (the "heart rending" ambiance and the references to musical instruments).
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Ramsay has published three collections of free verse poems. Reviewer Barbara Collash describes the first volume, Under Basil Leaves (2010), as displaying a "decidedly female perspective, female sensibility," and says they "constitute a fresh poetic retelling of the black tragic." She has also published or contributed to numerous textbooks, preparatory texts for the CAPE and CSEC exams, and academic texts.
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This collection contained poems that she wrote while she was still a student. Her poems reflect the influence poets such as Gerard Manley Hopkins, John Keats, W.H. Auden, William Blake, and Walt Whitman have had on her and her poetry. Her second collection of poems published was Once More Out of Darkness. Majority of the poems were written in free verse.
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His second work got 'CNARE' Puraskaram (the award in the name of poet Sri. Dr. C. Narayana Reddy). His contribution to Telugu poetry has been recognized and appreciated by various literary bodies of Telugu language. He was conferred with Kundurti Free Verse Front Award for his Gogupuvvu in 1994 and the famous Cinare (Dr C Narayana Reddy) award for his work Palakankula Kala.
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Qedrîcan was one of the first Kurdish poets to write poetry in the modern Free verse style. His poetry is similar to that of Mayakovsky and Nazim Hikmet and he promoted socialism through his poetry. In addition to poetry, he also wrote short stories and biographies. Most of his works were published in the Kurdish journals Hawar, Ronahî and Roja Nû.
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Obstfelder is widely regarded as the first Norwegian modernist poet. His poems have left an indelible mark on Norwegian poetry. Choosing to depart from the traditional "rimtvangen" and the rigid structure of typical Norwegian verse, he created his own free verse, which was marked for its musicality. His poems are often tinged with anxiety, loneliness and alienation as well imparting a spiritual inclination.
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In this way, Hopkins sprung rhythm can be seen as anticipating much of free verse. His work has no great affinity with either of the contemporary Pre-Raphaelite and neo-romanticism schools, although he does share their descriptive love of nature and he is often seen as a precursor to modernist poetry, or as a bridge between the two poetic eras.
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2,000) gleaned from the licensed publishing of thousands of copies of his works.. Thus he gained a large following among Bengali readers. He published such works as Naivedya (1901) and Kheya (1906). Non-Bangla translations were also published, but these were frequently of mediocre quality. In response to requests by admirers (including painter William Rothenstein), Tagore began translating his poems into free verse.
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Directly across the water, these images (and the direct imperative "Listen!") were to be later echoed by Matthew Arnold, an early admirer (with reservations) of "Intimations", in his poem "Dover Beach", but in a more subdued and melancholy vein, lamenting the loss of faith, and in what amounts to free verse rather than the tightly disciplined sonnet form that so attracted Wordsworth.
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Rhymed prose is a literary form and literary genre, written in unmetrical rhymes. This form has been known in many different cultures. In some cases the rhymed prose is a distinctive, well-defined style of writing. In modern literary traditions the boundaries of poetry are very broad (free verse, prose poetry, etc.), and some works may be described both as prose and poetry.
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In addition, there was a featured interview with a contemporary poet, publisher or editor, or a critical article. Published poetry was not required to strictly adjust to a given pattern and included modernist and post-modernist views and poetic forms ranging from sonnet, sestina and haiku to tanga and experimental free verse. Among many others, published poets included Jim Dunlap, Amir Or, Aberjhani.
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Jim Tilley's work appears in the college textbook anthology "Literature to Go" (Bedford/St. Martin’s), edited by Michael Meyer. His first book of poetry, "In Confidence," was published in January 2011 by Red Hen Press. His poems range from lyric to narrative, and while he generally writes in free verse, about half the poems in the book are in the form of sonnets.
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The third stage is marked by the gradual coming together of poetry and music starting with the use of fixed melody types (') in Shaiva and Vaishnava Bhakti texts. The stage culminates with the spread of musical forms in the 17th, 18th, and early 19th-century. The final stage appears with the introduction of free verse and prose-poetry in the early 20th century.
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What My Girlfriend Doesn't Know (2007) is a novel in verse by Sonya Sones. The free verse novel follows ninth-grader Robin as he struggles with being an outsider at his high school and dealing with the joys of having a girlfriend, Sophie, and seeing his artistic talent recognized by his teacher and parents. It has been translated into French, Indonesian and Swedish.WorldCat.
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Barron, et al. of Padma Translation Committee (1998) opened the discourse into English with their translation of the Nelug Dzö in free verse with the Tibetan verse on the facing page for probity along with its prose autocommentary by Longchenpa the Desum Nyingpo, housing both works within the one bound volume.Longchen Rabjam (1998). The Precious Treasury of the Way of Abiding.
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"The wind shifts" explains why John Gould Fletcher detected a poet out of tune with life and with his surroundings. (See the main Harmonium essay.) Buttel cites this poem as an example of Stevens's mastery of repetition within free verse. The repetition of "the wind shifts" underscores the associated human feelings, and "heavy and heavy" adds to the effect of leaden monotony.
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It's too idiosyncratic. But I've been pleased with the shorter lyrics I've done. In the past, I've only seen a few translations of Frost into Spanish, and I don't care for any of them. One of them actually translated Frost into free verse, which I don't think is appropriate at all, and I'm sure that Frost was turning in his grave.
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Venkata Mahalingam (15 August 1900 – 4 December 1976), who wrote under the name of N. Pichamoorthi, was an Indian poet and writer. He is considered father of free verse (Puthu Kavidai) in Tamil. He wrote more than 127 short stories, 11 stage plays and a couple of novels. He was a lawyer by profession and also worked as editor in magazines.
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The collection features a variety of styles and formats, including uses blank verse, free verse, prose, and several metrical patterns. Onomatopoeia is used throughout, as well as alliteration and fine sensory detail. She also sprinkles her text with Scottish words and phrases such as "trow" and "stumba" ("dense mist or fog"). She divides the book into three sections of related poems.
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It was a striking change from his first works, and was composed in a jazz style with quick changes and intellectually dense, rich allusions. In 1979 a collection of Tolson's poetry was published posthumously, entitled A Gallery of Harlem Portraits. These were poems written during his year in New York. They represented a mixture of various styles, including short narratives in free verse.
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Soon after, Fontaine wrote a series of works in free verse and prose which comprised the show Comme à la radio at the Théâtre du Vieux-Colombier before being turned into an album of the same name. Recorded with the Art Ensemble of Chicago, this album marks a clean break with traditional French songs, building the first bridges to world music.
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Sadhu is considered to be one of the most important Gujarati ghazal poets. He experimented with new metres and used a conversational style in ghazal. Along with ghazals, he wrote free verse. Yayavari, his first collection of poems, was published in 1973, followed by Thoda Bija Kavyo, Indradhanush (1987), Atmakathana Pana (1991; "Pages of Autobiography") and Sanj Dhali Gayi (2002).
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He also co-owned and edited the local newspaper, the Bancroft Blade. After a trip to the Black Hills, Neihardt published A Bundle of Myrrh, romantic poetry in free verse. In 1920, Neihardt moved to Branson, Missouri. In the summer of 1930, as part of his research into the American Indian Ghost Dance movement, Neihardt contacted an Oglala holy man named Black Elk.
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The Shit Creek Review is an online literary and art magazine (webzine or e-zine). Its content is mostly related to poetry, and includes work belonging the differing styles of formalism and free verse by established authors and new writers. It draws on the authors and resources of a number of online poetry forums, such as Eratosphere and The Gazebo.
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His first short film, Wing Beat (1927) was an investigation into telepathy and featured himself and HD in acting roles. The film survives only in fragments. Macpherson described the film as 'A study in thought... a free verse poem'. His second short, Foothills (1928), footage of which was discovered in 1979, concerns a city-woman visiting the countryside, with 'added psychoanalytic ingredients'.
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Marmara's work has been praised by Turkish literary historian Nihat Sami Banarlı. On poetry, Marmara herself said "Poetry is only poetry when it washes our soul in a rain of meaning and emotion, I do not distinguish between poems with rhyme or free verse poems but I am a bit conservative. I look for emotion, meaning and sense, music in poetry".
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During the 1990s, Lowitz helped to bring many modern Japanese poets and fiction writers into English for the first time. She was editor and co-translator with Miyuki Aoyama and Akemi Tomioka of the groundbreaking anthology: A Long Rainy Season: Contemporary Japanese Women’s Poetry (1994), which introduced Western readers to the haiku and tanka (waka) of Fumi Saito, Yuko Kawano, Machi Tawara, Akitsu Ei and thirteen others. Lowitz and Aoyama later published The Collected Tanka of Akitsu Ei (AHA Poetry Press.) A companion volume, Other Side River: Free Verse (1995) featured contemporary Japanese women free-verse poets in translation. It contains the work of three dozen Japanese women writers, including well- known poets as Shiraishi Kazuko, Ishigaki Rin and Ibaragi Noriko, who appeared alongside emerging Korean-Japanese (Zainichi) poets Chuwol Chong, Kyong Mi Park and Ainu poet Mieko Chikapp, among others.
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Bach Digital Source 00000626 at The text authors of the pasticcio and its components are largely unknown, apart from those of the Lutheran hymn texts, for instance Paul Gerhardt's "O Haupt voll Blut und Wunden" (movement 18), and Michael Weiße's "Christus, der uns selig macht" (movements 2, 24, 27, 30, 38, 40 and 42). For the free verse no librettist is known. There is no direct quote from the Gospel's Passion texts: the Passion's story isn't told by an Evangelist role in recitatives, nor in direct speech by any of its characters such as a vox Christi or turba choruses, but exclusively hinted at by the reflective texts of the free verse and the chorales. Closest to a Passion narrative in this sense are the interspersed stanzas of "Christus, der uns selig macht", which recall successive scenes of Christ's Passion.
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James Oppenheim (1882-1932) was an American poet, novelist, and editor. A lay analyst and early follower of Carl Jung, Oppenheim was also the founder and editor of The Seven Arts, an important early 20th-century literary magazine. He was a well-known writer of short stories and novels. His poetry followed Walt Whitman's model of free verse ruminations on "social and democratic aspects of life".
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The Chicago Tribune reviewed Your Own, Syliva, writing about the novel that "rarely is there such a striking and successful blend of literary form and subject." Your Own, Sylvia also won the Myra Cohn Livingston Award in 2008. Hemphill's 2010 novel, Wicked Girls, is a free-verse historical novel of the Salem Witch Trials. Wicked Girls was a 2010 L.A. Times Book Prize Finalist.
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His contribution to Telugu poetry has been recognized and appreciated by various literary bodies of Telugu language. His poetry has an immense touch of revolution with emphasis on "Human Values Plus Sentiments". His works include - Gogupuvvu, Palakankula Kala,Daakhala and Kalala Saagu(Cultivation of Dreams). His first work 'Gogupuvvu' was recognized with Free Verse Front award and had won the hearts of many Telugu language fans.
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His writings include a number of poems in classical metres, and some free verse, such as "Pryddest Llywarch Hen" and "Rhieingerdd Elwy ac Alwen", he also wrote a novel, Y Sesiwn yng Nghymru ("On the Great Sessions of Wales"), which won an eisteddfod prize. A number of his poems were written for the Voelas family, and he may have been considered their household bard.
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As a result, his poetry demonstrates a wide-ranging mastery of form, from long or epic poems (e.g., A Treatise on Poetry) to poems of just two lines (e.g., "On the Death of a Poet" from the collection This), and from prose poems and free verse to classic forms such as the ode or elegy. Some of his poems use rhyme, but many do not.
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His works, described as "brilliant caustic, controversial, wickedly funny, and associative free-verse commentaries". also appear on his and other Somali websites, skewering aspects of Somali politics and experience. The poems, which often examine and reflect on subjects that are taboo in public Somali discourse, and they may be expressed with vulgar language to reinforce the point. Religious, philosophical, literary and pop culture references abound.
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The majority of Savageau's poems in Mother/Land are written in free verse, while it is worth noting that several poems are concrete poems, meaning that the structure of the poem visually reflects or represents the subject of the poem. Her poems about material objects like pieces of her mother's jewelry use this aesthetic poetic form. Savageau also includes several prose poems in Mother/Land.
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Persian metres are patterns of long and short syllables in Persian poetry. Over the past 1000 years the Persian language has enjoyed a rich literature, especially of poetry. Until the advent of free verse in the 20th century, this poetry was always quantitative—that is the lines were composed in various patterns of long and short syllables. The different patterns are known as metres (US: meters).
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His upper primary education shifted to well-known Nobel College in near-by Bandar at age 11. His father Shobhanadri, who almost lost his wealth due to his charity by then, thought that English centric Education can help his son to get a good living. He worked as the first principal of Karimnagar Government College (1959–61).CiNaRe: A pioneer of ‘free verse’ in Telugu literature.
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He liked Rydberg's free verse, expressing both erotic and political ideas. The heroic element possibly appealed to his own battles "with everybody and everything". Sibelius chose dramatic scenes from the poem, such as Snöfrid's "If you choose me, then you choose the tempest." The instrumental prelude depicts a storm at night, with whining strings, howling brass, thundering percussion, but "dominated by melodic and harmonic elements".
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Professor Ghulam Nabi Firaq (15 July 1927 – 17 December 2016) was a Kashmiri poet, writer and an educationist. From the last fifty years he had been writing poetry and prose. In doing so he used, besides traditional ones, several poetic forms including blank verse, free verse, sonnets, quatrains, metric poems and lyrics. He also translated dozens of English poems of outstanding English poets into Kashmiri.
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Sinchesi (hangul: 신체시, literally "new poetry") was established, and contributed to the formation of modern free verse poetry which is called Jayusi (hangul: 자유시). Sinchesi abandoned the fixed metaphor found in classical Korean poetry, influenced by the French vers libre. Many biographical works were published in the late Joseon period where the main character was often depicted as a hero. These works cultivated patriotism and national consciousness.
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As was typical for his generation, he wrote free verse, not bound by rhyme or syllable-count. He also wrote novels, a classic work being the partly autobiographical Flowering Nettles, in 1935. His most remarkable work was, however, Aniara, 1956, a story of a spaceship drifting through space.Algulin, p.230-231 Arguably the most famous Swedish poet of the 20th century is Tomas Tranströmer (1931–2015).
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Read's first volume of poetry was Songs of Chaos, self-published in 1915. His second collection, published in 1919, was called Naked Warriors, and drew on his experiences fighting in the trenches of the First World War. His work, which shows the influence of Imagism and of the Metaphysical poets, was mainly in free verse. His Collected PoemsRead, Herbert, Collected Poems, London: Faber & Faber, 1966.
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She also became friends with a Brisbane poet, James Devaney, who introduced her to John Shaw Neilson, who Brand thought was Australia's finest lyric poet. During the 1960s, Brand began to write verse narration for Margaret Barr's dance dramas. At this period, Brand also collaborated with modern composer, John Antill. Barr and Antill both insisted on free verse format, which changed Brand's writing styles to some extent.
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Some of the seniors, who were writing in traditional poetry and free verse, opposed this short form of poetry. They argued that it is degrading the value of the modern poetry. But many poets got motivated for writing mini poetry and lot of literature came in Telugu. All these movements are going in Telugu and also English language through English newspapers in Andhra Pradesh.
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They note that Frost's poems "show a successful striving for utter colloquialism" and always try to remain down to earth, while at the same time using traditional forms despite the trend of American poetry towards free verse which Frost famously said was "'like playing tennis without a net.'"Ellman, Richard and Robert O'Clair. The Norton Anthology of Modern Poetry, Second Edition. New York: Norton, 1988.
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"A Lecture on Modern Poetry" was a paper by T. E. Hulme which was read to the Poets' Club around the end of 1908. It is a concise statement of Hulme's influential advocacy of free verse. The lecture was not published during Hulme's lifetime. The lecture commences with an apparent attack on the attitudes of some members of the Club, including its president Henry Simpson.
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Greenwood Press, London: 1996, p. 251. His poetry was composed in free verse and explored the experience of villagers, peasants and the poor. Among his famous works in English are The Sisters of the Spinning Wheel (1921), Unstrung Beads (1923), The Spirit of Onental Poetry (1926); in Punjabi, Khulhe Maidan, Khulhe Ghund (1923), Khulhe Lekh (1929), and Khulhe Asmani Rang ( 1927) . Seven Baskets of Prose Poems.
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As in the West, most poetry written today is free verse." The New Poetry Movement did not just depart from Sino-Vietnamese poetic forms and script, it also introduced more lyrical, emotional and individualistic expression.Asian and African studies: Volume 9 Slovenská akadémia vied. Kabinet orientalistiky - 1974 "This involved the movement of "The New Poetry" (Tho moi) which stood up against the canons of Vietnamese classical prosody.
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Portrait of Whitman by Thomas Eakins, 1887–88 Whitman's work breaks the boundaries of poetic form and is generally prose-like.Reynolds, 314 He also used unusual images and symbols in his poetry, including rotting leaves, tufts of straw, and debris.Kaplan, 233 He also openly wrote about death and sexuality, including prostitution. He is often labeled as the father of free verse, though he did not invent it.
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His poems are mainly written in free verse, ignoring traditional rules such as regular meter, rhyme, and alliteration. According to Roberts these characteristics of poetry "would not translate the same in other languages."“City poet to attend Jordan festival”, The Oklahoman, August 21, 2005. Oklahoma City, OK However, in 2020, Roberts had a poem translated into Cherokee for inclusion in the anthology Amaravati Poetic Prism 2019.
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Agrell wrote mainly symbolist poetry, with an emphasis on form, but his interest in writing diminished as modern free verse poetry gained popularity in Sweden. At the same time, he became more focused on his academic work. He is perhaps most known for his work in runology, particularly for formulating the Uthark theory. He focused on the magical and mystical aspects of runes (gematria).
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Kadach (may be), his first anthology of poems, was published in 1970, followed by Ame Barafna Pankhi (1981) and Paniman Ganth Padi Joi (2012). He has worked in different genres of poetry such as Geet, Free Verse and Ghazals. But, he mainly noted in Gujarati literature for his contribution in Geet. Statue (1988) and Pavan Ni Vyaspithe (1988) are two of his collection of Essay.
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There she has taught English as a second language and worked as a university and arts administrator. Her poetry and prose is written in both Greek and English, with Absence: New and Selected Poems reissued in a second edition in 1998. Her work, written in free verse, has been described as having an almost metaphysical detachment. It is characterised by an austere allusiveness unusual in Australian poetry.
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Robert Frost, in a comment regarding Carl Sandberg, later remarked that writing free verse was like "playing tennis without a net." Sandberg responded saying, in part, “There have been poets who could and did play more than one game of tennis with unseen rackets, volleying airy and fantastic balls over an insubstantial net, on a frail moonlight fabric of a court.”The Robert Frost Encyclopedia. Nancy Lewis Tuten, John Zubizarreta.
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As noted above, prose generally makes far less use of the aesthetic qualities of language than poetry. However, developments in modern literature, including free verse and prose poetry have tended to blur the differences, and American poet T.S. Eliot suggested that while: "the distinction between verse and prose is clear, the distinction between poetry and prose is obscure".Eliot T.S. 'Poetry & Prose: The Chapbook. Poetry Bookshop: London, 1921.
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The Tie that Binds. Homestead: Olivant Press, 1980. Oden's fourth book Appearances, published in 2004 at the age of 81, is by far her most ambitious work both in length (numbering almost 90 poems and over 200 pages) and in content. Doing away with much of her more formal or metered style of the past these poems vary in form and length, employing a great deal of free verse.
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Chicago Poems is a 1916 collection of poetry by Carl Sandburg, his first by a mainstream publisher. Sandburg moved to Chicago in 1912 after living in Milwaukee, where he had served as secretary to Emil Seidel, Milwaukee's Socialist mayor. Harriet Monroe, a fellow resident of Chicago, had recently founded the magazine Poetry at around this time. Monroe liked and encouraged Sandburg's plain-speaking free verse style, strongly reminiscent of Walt Whitman.
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The State News The first Fetus-X comics were drawn by artist Casey Sorrow, who later left to create the comic Feral Calf. The storylines of Fetus-X generally revolve around Millikin's use of the occult in both romantic relationships and battles with various ghosts, demons, aliens, and monsters. The artwork is mixed media, combining expressionist paintings with found objects. The text is often written in free verse.
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She was 60 when she began studying French and spent her time reading books, studying encyclopedias and magazines. She also wrote some free verse poetry. The justification of her authorship of Semilla de Mostaza became an obsession for Hall and in 1981, she made a compilation of the sources that she had consulted to document her work. Hall died in Guatemala City on 20 May 1982 surrounded by her family.
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Gunathilake Bandara Senanayake (14 July 1913 – 16 March 1985) (known as G.B Senanayake) was a prominent Sinhala writer who portrayed Sinhala middle-class life in his novels. He is credited with introducing free verse poetry to Sinhala. He became blind later in his life and still managed to write 16 books with help from his sister. The second stage of Sinhala short stories begins with G.B. Senanayake's short stories.
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Fixed verse forms are a kind of template or formula that poetry can be composed in. The opposite of Fixed verse is Free verse poetry, which by design has little or no pre-established guidelines. The various poetic forms, such as meter, rhyme scheme, and stanzas guide and limit a poet's choices when composing poetry. A fixed verse form combines one or more of these limitations into a larger form.
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While living in Islamabad, she became influenced by the poetry of her grandfather, Josh Malihabadi. She started writing free verse poetry at the early age of 12. During that time, literary gatherings were held on a regular basis at her residence. She regularly attended these gathering (Urdu: مشاعره) and as a result of the influences, she slowly developed her own writing style and gradually developed into a mature poet.
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Pity the Beautiful (2012) marked Gioia's return to poetry after his term in public office as chairman of the NEA. As with his previous books of poetry, it featured both metrical verse and free verse. "Special Treatments Ward" garnered notice for its description of a pediatric cancer ward. "Haunted", the central poem in the collection, is a long dramatic monologue that is both love story and ghost story.
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Landing Light is an 88 page book consisting of 38 free verse poems that range from 1 paragraph to 10 pages in length (i.e. "The Alexandrian Library, Part III"). The book contains multi-sectional narratives that turn memento mori and are painted with dark humor. In some of the poems, Paterson expresses appreciation for simple, yet meaningful moments in his life whilst struggling with his feelings and identity.
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Duffy's first poetry volume appeared in 1968. Nine came out altogether, including Environmental Studies (2013), which was long-listed for the Green Carnation Prize, and most recently Pictures from an Exhibition (2016). Her Collected Poems, 1949–84 appeared in 1985. Her poetry ranges widely, in form from the villanelle to free verse, and in content from erotic and lyrical love poetry to a humanist mass; family memories to political comment.
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Harikrishna Pathak has experimented with several genres of literature. His first work, a satire, Natakno Takhto was published in Chandani while his first poem was published in Kumar. Sooraj Kadach Uge (1974) was his first poetry collection which had 82 poem including metrical poetry, sonnets, songs, ghazals and free verse. It has traditional as well as experimental poems. Halavi Hawane Pankhe (2005), Tapu and Jalna Padgha are his another poetry collections.
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Anton Podbevšek was the beginner and main representative of the first, radical phase of the Slovenian historical avant-gardes. He deviated from the established poetic forms: in his poems, he used free verse, a nominal or telegraphic style and unusual imagery. He gradually moved from relatively simple poems to longer, graphical hymns in lyrical prose. The themes of his poetry were existential experiences, war, as well as romantic themes.
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The Mother is a play by the German modernist playwright Bertolt Brecht. It is based on Maxim Gorky's 1906 novel of the same name. It was written in collaboration with Hanns Eisler, Slatan Dudow and Günther Weisenborn in 1930–31 in prose dialogue with unrhymed irregular free verse and ten initial songs in its score, with three more added later. Eisler rewrote the incidental music as a cantata, op.
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There are many views as to why Shakespeare chose to vary the rhyme scheme in Sonnet 125. Philip McGuire believes this type of free verse is meaningful. McGuire argues that Shakespeare, with his variation in verse, is claiming to not be a "dweller on form" (line 5) and "free" (line 10) from the repetitive form of the traditional "English sonnet", adding to the symbolism contained in the lines.
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"Song of Myself" includes passages about the unsavory realities of the United States before the Civil War, including one about a multi-racial slave The poem is written in Whitman's signature free verse style. Whitman, who praises words "as simple as grass" (section 39) forgoes standard verse and stanza patterns in favor of a simple, legible style that can appeal to a mass audience.Redding, Patrick. "Whitman Unbound: Democracy and Poetic Form".
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Skipwith Cannell (1887–1957) was an American poet associated with the Imagist group. His surname is pronounced with the accent on the second syllable. He was a friend of William Carlos Williams, and like Ezra Pound he came from Philadelphia. Cannell studied at the University of Virginia and was enthusiastic about the work of Edgar Allan Poe and the free verse of The King James Version of The Bible.
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Ozaki was born in what is now part of Tottori city in Tottori prefecture. Ozaki's interest in haiku and writing began at an early age, and he was influenced by the pioneer of free verse style haiku, Ogiwara Seisensui, while still in high school. Ozaki attended the prestigious Tokyo Imperial University, graduating on 16 October 1909. During this period he proposed marriage to , a long-time friend and distant maternal relative.
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25 The poetic style used in both of his books of poetry, The Black Riders and Other Lines and War is Kind, was unconventional for the time in that it was written in free verse without rhyme, meter, or even titles for individual works. They are typically short in length; although several poems, such as "Do not weep, maiden, for war is kind", use stanzas and refrains, most do not.
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Al-Malaika alongside Badr Shakir al-Sayyab, can be considered the initiator of the Free Verse Movement in Arabic poetry. Al-Malaika's poetry is characterised by thematic variations and the use of imagery. She also wrote The Case of Contemporary Poets which is considered a major contribution to Arab literary criticism. Other major post- war poetic voices include Fadwa Touqan (Palestine, 1917-2003), Rabāb al-Kāẓimī (Iraq, b.
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Mary Zimmerman's Metamorphoses is based on David R. Slavitt's free-verse translation of The Metamorphoses of Ovid. She directed an early version of the play, Six Myths, in 1996 at the Northwestern University Theater and Interpretation Center. Zimmerman's finished work, Metamorphoses, was produced in 1998. Of the many stories told in Zimmerman's Metamorphoses, only the introductory "Cosmogony" and the tale of Phaeton are from the first half of Ovid's Metamorphoses.
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Sindhi drama has also flourished, and Aziz Kingrani has written scores of plays. Young writers have experimented with new forms of prose and poetry. Free verse, sonnets and ballads have been written in addition to classical poetry forms such as Kafi, Vaee, beit, Geet and Dohira. Notable Sindh poets are Makhdoom Muhammad Zaman Talib-ul-Mola, Ustad Bukhari, Shaikh Ayaz, Darya Khan Rind, Ameen Faheem, and Imdad Hussani.
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Many of Hartt’s written works have been self-published in small press formats. One of his most celebrated pieces is his three-word-per- line free-verse adaptation of The Epic of Gilgamesh. Others include - "The Night They Raided Rochdale College", and special publications, DVDs and CDs related to symposia with animation legends Bob Clampett, Friz Freleng, Grim Natwick and Shamus Culhane. Rochdale College at The CineForum in Toronto.
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I just saw the full moon, And it just reminded me of > Thurman Munson, And that's it. The website Verbatim Poetry has been publishing found poems weekly since March 2009. It emphasizes the poetry found in ordinary places, and employs traditional poetic forms such as the Shakespearean sonnet as well as free verse. The Internet's first formal literary journal devoted to found poetry, The Found Poetry Review, debuted in 2011.
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At this time, he wrote the poem "Açların Gözbebekleri" ("Pupils of the Hungry"), which introduced free verse into the Turkish language for, essentially, the first time.Earlier poets, such as Ahmed Hâşim, had experimented with a style of poetry called serbest müstezâd ("free müstezâd"), a type of poetry which alternated long and short lines of verse, but this was not a truly "free" style of verse insofar as it still largely adhered to prosodic conventions (Fuat 2002). Much of Nâzım Hikmet's poetry subsequent to this breakthrough would continue to be written in free verse, though his work exerted little influence for some time due largely to censorship of his work owing to his Communist political stance, which also led to his spending several years in prison. Over time, in such books as Simavne Kadısı Oğlu Şeyh Bedreddin Destanı ("The Epic of Shaykh Bedreddin, Son of Judge Simavne", 1936) and Memleketimden İnsan Manzaraları ("Human Landscapes from My Country", 1939), he developed a voice simultaneously proclamatory and subtle.
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Any discussion of sex was still considered a taboo back then. His main intellectual and political ideals reached maturity in his last two books. His readership is limited and recent social changes have further hurt his stature and there seems to be a concerted effort to not to promote his poetry. His first book of free verse, Mavra, was published in 1940 and established him as a pioneering figure in 'free form' Urdu poetry.
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Longfellow circa 1850s Much of Longfellow's work is categorized as lyric poetry, but he experimented with many forms, including hexameter and free verse. His published poetry shows great versatility, using anapestic and trochaic forms, blank verse, heroic couplets, ballads, and sonnets. Typically, he would carefully consider the subject of his poetic ideas for a long time before deciding on the right metrical form for it. Much of his work is recognized for its melodious musicality.
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Vajjala Shiva Kumar is a well known free verse Telugu poet. Vajjala Shiva Kumar was born in 1956 in Vemulawada, Karimnagar district, Telangana. He is the only son of Vajjala Samba Shiva Sharma and Radha Bai and was born and brought up in Vemulawada a temple town. Retired librarian from Kendriya Vidyalaya Sangathan he is currently living with his family in 'Shivananda Lahari'1-20-198/2,Gokul Nagar, Venkatapuram, Secunderabad-15.
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Includes a Residency Fellowship at the Fine Arts Work Center in Provincetown, the New Measure Prize from Free Verse Editions, the E. Marvin Lewis Award from WeberStudies, the Pavement Saw Chapbook Prize, the Wick Chapbook Prize from Kent State, the Billie Murray Denny Poetry Prize, the Jovanovich Prize from the University of Colorado, and five Pushcart nominations. He currently teaches at Colorado State University, and is a poetry editor for Colorado Review.
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The cadence of many of the poems in the collection are simple free verse. The rhythm and dictation of much of the collection is normal and easily accessible. Though "What Work Is" takes on many sophisticated subjects such as death, love, loss, and struggle, the collection maintains an easy-to-access feeling. Levine's work in this collection is not to obscure or make grandiose, but instead to reveal and show plainly matters that are important.
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Free Verse: An Essay on Prosody. Princeton: Princeton University Press, 1980. She credited the poetry of Edith Sitwell as "intensifying her interest in rhythm and encouraging her rhythmic eccentricities". In response to a biographical sketch in 1935, Moore indicated "a liking for unaccented rhyme, the movement of the poem musically is more important than the conventional look of lines upon the page, and the stanza as the unit of composition rather than the line".
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In 1922, during the 25th annual dinner and business meeting of the Ohio Society of St. Louis, Winn was elected as a director. In 1926, she spoke in front of the Society of St. Louis Authors on "The Woman on the Job". In 1921 Winn, speaking on free verse as a "protest against old-fashioned rhymes," called Walt Whitman the "father of the new movement" and Sara Teasdale the "Shelley of America".
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Salah Abdel Sabour (), (May 1931 - 14 August 1981) was an Egyptian free verse poet, editor, playwright and essayist. He showed an interest in literature in his early life and started to write verses at the age of 13. Salah graduate from Cairo University in 1951 with a degree in Arabic literature. Soon after graduation from the university, he took up teaching Arabic at state high school, a job he did not enjoy doing.
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Lyrics from this song (ending in "without you all this killing can't go on") were quoted in Owen Edwards' article "Kilroy Was Here" in the October 2004 edition of Smithsonian. The author identifies the lyrics as "free verse" from "a mysterious poem" that was found written on a cot from a Vietnam War era troopship. The true authorship of the words was provided by more than 285 readers who wrote in to provide a correction.
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Adonis joined ranks with Syro-Lebanese poet Yusuf al-Khal in editing Majallat Shiʿr (English: "Poetry Magazine"), a modernist Arabic poetry magazine, which Al- Khal established in 1957. His name appeared as editor from the magazine's fourth edition. By 1962 the magazine appeared with both Adonis and Al-Khal's names side by side as "Owners and Editors in Chief". While at Shiʿr, Adonis played an important role in the evolution of free verse in Arabic.
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"The Red Wheelbarrow" is a poem by American modernist poet and physician William Carlos Williams (1883–1963). The poem was originally published without a title and was designated as "XXII" as the twenty-second work in Williams' 1923 book Spring and All, a hybrid collection which incorporated alternating selections of free verse poetry and prose. It is one of Williams' most frequently anthologized poems, and is considered a prime example of early twentieth-century Imagism.
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Aldington's poetry was associated with the Imagist group, championing minimalist free verse with stark images, seeking to banish Victorian moralism. The group was key in the emerging Modernist movement.Doyle, Charles (2016) Richard Aldington: A Biography, Springer, pp xiv – xxEzra Pound coined the term imagistes for H.D. and Aldington (1912).Michael H. Levenson, A Genealogy of Modernism (1984), p. 69. Aldington's poetry forms almost one third of the Imagists' inaugural anthology Des Imagistes (1914).
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Not an easy thing to do, but the memorable story in poetry always begins there." Poet David Dooley remarked about his second collection of poems, What Persists: "Allen Hoey's What Persists takes a leap beyond his own fine first book. Already in A Fire in the Cold House of Being Hoey demonstrated intelligence, skill with both meter and free verse, a sure sense of poetic shape, and a talent for natural description.
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He included the letter in a later part of Paterson. He encouraged Ginsberg not to emulate the old masters, but to speak with his own voice and the voice of the common American. From Williams, Ginsberg learned to focus on strong visual images, in line with Williams' own motto "No ideas but in things." Studying Williams' style led to a tremendous shift from the early formalist work to a loose, colloquial free verse style.
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Although the vocal line is mostly undecorated, it is accompanied by a rhythmically active violin counterpoint following the circle of fifths. The obbligato line reaches a double cadence before the soprano entrance. The tenor recitative on another verse from the psalm, "" (It is fortunate for him, whose help the God of Jacob is), is quite short and is considered unremarkable. The fourth movement is a tenor aria in free verse, "" (Thousand-fold misfortune, terror).
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His free-verse poem, "Portico of the Mystery of the Second Virtue", has gone through more than 60 editions in France. It was a favorite book of Charles de Gaulle. When the Great War broke out, Péguy became a lieutenant in the 19th company of the French 276th Infantry Regiment. He died in battle, shot in the forehead, near Villeroy, Seine-et-Marne on the day before the beginning of the Battle of the Marne.
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Joyce's poem is not written in free verse, but in rhyming quatrains. However, it strongly reflects Pound's interest in poems written to be sung to music, such as those by the troubadours and Guido Cavalcanti. The book met with little popular or critical success, at least partly because it had no introduction or commentary to explain what the poets were attempting to do, and a number of copies were returned to the publisher.
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The most popular English translation of the Kathamrita is The Gospel of Sri Ramakrishna by Swami Nikhilananda. Nikhilananda's translation rearranged the scenes in the five volumes of the Kathamrita into a linear sequence. Swami Nikhilananda worked with Margaret Woodrow Wilson, daughter of President Woodrow Wilson, who helped the swami to refine his literary style into "flowing American English". The mystic hymns were rendered into free verse by the American poet John Moffitt.
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Starting from 2001, each individual member of Wu Ming also authored one or more "solo" novels. Some of them have been translated into other languages, but not yet in English. Wu Ming 1 is the author of New Thing (2004), an "unidentified narrative object" blending fiction, journalism and free verse. It is an allegorical tale on free jazz and the 1960s, set in 1967 New York City and constructed around John Coltrane's final days.
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Otilio Andrés Marcelino Celestino Vigil Díaz, commonly known as Vigil Díaz (1880–1961) was a Dominican poet and writer remembered as the creator of the vanguard literary tendency, Vedrinismo. His travels and association with avant-garde writers in France, Cuba, and New York compelled him to reinvigorate the Dominican poetic sensibility by rejecting formal models and rhyme, being the first poet to introduce free verse in Dominican letters with his poem, Arabesco (1917).
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Michizō tested out of the fifth year of high school and directly entered college choosing to study science; which required English. He joined the Literary Club and shifted from using tanka to free verse in his poetry. Michizō also began reading the German poet Rilke as well as French poets Valéry and Baudelaire. Michizō graduated from First College in 1934 and entered the Imperial University, a three-year course of study, as an architecture major.
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Walt Whitman (; May 31, 1819 – March 26, 1892) was an American poet, essayist, and journalist. A humanist, he was a part of the transition between transcendentalism and realism, incorporating both views in his works. Whitman is among the most influential poets in the American canon, often called the father of free verse. His work was controversial in its time, particularly his poetry collection Leaves of Grass, which was described as obscene for its overt sensuality.
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The story begins in a drawing room on an April evening "just after the Great War". A young woman, Marcia, is there alone, feeling an "immeasurable gulf that [separates] her soul" from her uninspiring surroundings: 20th-century life and the "strange home" in which she lives. She wonders whether she was born in the wrong age. She leafs through a magazine to look for some soothing poetry, and lands on an atmospheric free verse poem.
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Ravuri Bharadhwaja won the 3rd Jnanpith Award for Telugu literature in 2013 for Paakudu Raallu, a graphic account of life behind the screen in film industry. Kanyasulkam, the first social play in Telugu by Gurajada Appa Rao, was followed by the progressive movement, the free verse movement and the Digambara style of Telugu verse. Other modern Telugu novelists include Unnava Lakshminarayana (Maalapalli), Bulusu Venkateswarulu (Bharatiya Tatva Sastram), Kodavatiganti Kutumba Rao and Buchi Babu.
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Seisensui co-founded the avant-garde literary magazine Sōun ("Layered Clouds") in 1911, together with fellow haiku poet Kawahigashi Hekigoto. Ogiwawa was a strong proponent of abandoning haiku traditions, especially the "season words" so favored by Takahama Kyoshi, and even the 5-7-5 syllable norms. In his Haiku teisho (1917), he broke with Hekigoto and shocked the haiku world by advocating further that haiku be transformed into free verse. His students included Ozaki Hōsai and Taneda Santōka.
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A special case is the mystic poet Hai Zi, who became very famous after his suicide. However, even today, the concept of modern poetry is still debated. There are arguments and contradiction as to whether modern poetry counts as poetry. Due to the special structure of Chinese writing and Chinese grammar, modern poetry, or free verse poetry, may seem like a simple short vernacular essay since they lack some of the structure traditionally used to define poetry.
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In 1979, he discovered about 30 Hawaiian petroglyphs on Kahoolawe, which strengthened the case against the experimental bombings. He continued to publish editorials, translations, and poetry until his car was hit by an allegedly drunk driver in 1984. He died soon after in Hilo Hospital. Westlake is best known for his free verse poetry, which reflects both his lighthearted Taoist-style views on life and his struggles with such issues as U.S.-Hawaiian conflicts and poverty.
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Sweeney was in the Washington camp and became editor of the Conservator in 1904. Sweeney exhibited some ineptness as a manager and businessman while there, as he often missed publication dates for considerable periods of a time. As a poet, Sweeney was considered to be one of the "Chicago poets" and thought to have written the first poem by a black man employing the technique of free verse. The list of poems below is from Mather.
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24, 2013 Initially, some modernists fostered a utopian spirit, stimulated by innovations in anthropology, psychology, philosophy, political theory, physics and psychoanalysis. The poets of the Imagist movement, founded by Ezra Pound in 1912 as a new poetic style, gave modernism its early start in the 20th century,Pratt, William. The Imagist Poem, Modern Poetry in Miniature (Story Line Press, 1963, expanded 2001). . and were characterized by a poetry that favoured a precision of imagery, brevity and free verse.
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Yankevich wrote poems in both traditional metre and in syllabics, and only occasionally in free verse. He was a prolific translator, having rendered into English poems by Mikhail Lermontov, Georg Trakl, Rainer Maria Rilke, Stanisław Grochowiak, Czesław Miłosz, Alexander Blok, Leopold Staff, Nikolay Gumilev, Bolesław Leśmian, and many others. He has a large internet presence with work published in scores of online publications, ranging from the Pittsburgh Post-GazetteOnion Snow, post- gazette.com; accessed October 21, 2014.
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She became a teacher of art and English in Connecticut. Later she was a teacher and director of the Uplands Sanatorium in Pleasant Hill, Tennessee."Eastman- Goodale-Dayton Family", Sophia Smith Collection: Women's History Archives, Smith College, Northampton, MA, accessed 3 February 2011 She attracted positive reviews when she published her last book of poetry at age 75 in 1941, in which she combined modernist free verse with the use of Appalachian dialect to express her neighbors' traditional lives.
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The publication of the twelve books of La Fontaine's Fables extended from 1668 to 1694. The stories in the first six of these derive for the most part from Aesop and Horace and are pithily told in free verse. Those in the later editions are often taken from more recent sources or from translations of Eastern stories and are told at greater length. The deceptively simple verses are easily memorised, yet display deep insights into human nature.
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Shiva Prakash (1997), pp. 168–169, 171; Sahitya Akademi (1988), p. 1324 Kannada literature written in the champu metre, composed of prose and verse, was popularised by the Chalukyan court poets. However, with the advent of the Veerashaiva (lit, "brave devotees of the god Shiva") religious movement in the mid-12th century, poets favoured the native tripadi (three-line verse composed of eleven ganas or prosodic units), hadugabba (song-poem) and free verse metres for their poems.
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After this he often used a personal form of free verse. He was a member of the Fantaisiste group of French poets. Certain of his poems were set to music by composers including Charles Koechlin, Georges Hüe and Georges Migot, and he is best remembered as providing the texts for Ravel’s song cycle Shéhérazade (1903). He and Ravel belonged to the Paris avant-garde artistic group known as Les Apaches for whose meetings he was sometimes the host.
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Eric Pankey (born 1959 in Kansas City, Missouri) is an American poet and artist. He is married to the poet Jennifer Atkinson (born 1955). Pankey's poetry has moved from the literal and narrative as in _Heartwood,_ towards the suggestiveness of Emerson, without the hopefulness implicit in Emerson's transcendentalism. In Pankey's poems, often written in free verse forms or in prose poetry, the hint of grand comprehensiveness is suggested, without the hope of absorption into a universalizing or redemptive whole.
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Poetry was the principal form of literature Bahraini women engaged in during the 20th century. In fact, it was estimated that one-sixth of all Bahraini poets between 1925 and 1985 were women. Prominent female writers at the time included the likes of Iman Asiri, Fatima al-Taytun, Fathiya 'Ajlan, Hamda Khamis and Fawziyya al-Sindi. In the second half of the 20th century, prose as well as free verse poetry gained popularity in the country, especially amongst women.
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This story is told in free verse. The novel centers on 16-year-old Clare, who has dreamed of becoming a dancer all her life and has worked hard to achieve her dreams. She hopes to be selected for City Ballet, a program for very skilled dancers, although there are only sixteen positions available. After a growth spurt, she is judged too tall for professional ballet and advised to take a dance class for adult amateurs.
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Makhmoor Saeedi wrote his first poem in 1948 when he was ten years old. He soon mastered the technique of writing Urdu poetry and excelled at writing Ghazals and Nazms in the conventional rhymed formats as well as in unrhymed blank and free-verse. He was greatly influenced by Mohammad Iqbal, Akhtar Sheerani and Josh Malihabadi. He is consider one of the preeminent practitioners of modern poetry in Urdu alongside Basheer Badr, Ali Sardar Jafri and Kaifi Azmi.
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Notable English versions have been made by Anglo-Irish poets Arland Ussher, Edward Pakenham, 6th Earl of Longford, and by the Irish Jewish poet David Marcus. A free verse translation has been made by Thomas Kinsella and a partial rhymed translation by Seamus Heaney. Brendan Behan is believed to have written an unpublished version, since lost. Frank O'Connor's translation into heroic couplets, which is the most popular, was banned by the Censorship Board of the Irish State in 1945.
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Spring and All is a hybrid work consisting of alternating sections of prose and free verse. It might best be understood as a manifesto of the imagination. The prose passages are a dramatic, energetic and often cryptic series of statements about the ways in which language can be renewed in such a way that it does not describe the world but recreates it. These passages are interspersed with poems that demonstrate this recreation in both their form and content.
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Page xiii. McPhillips continued, "The New Formalism remains for me a generational movement concerned with purifying poetic diction without ridding it of its inherent lyricism and rendering it more prosaic. By championing a shift back to form, the New Formalists have returned poetry to that wide audience of readers that had abandoned free-verse poetry because it had failed to mirror and trigger their deepest human sympathies."Robert McPhillips (2006), The New Formalism: A Critical Introduction, Textos Books.
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Deleanu's poetry evolved from the modernism of his early days to a more traditional style of classical poetry in his later years. Its motives, concepts and expressive works of the period between the first and second world wars, are modern, fitting perfectly in the direction of Romanian poetry of those years. He used modernist techniques and stylistic devices of poetry including free verse. In the 1950s and 1960s, however, Deleanu's literary profile took a new and different form.
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They dealt a blow at the post-Victorian magazine poets... They livened things up a lot. They made free verse popular... And they tried to attain an exacting if narrow standard of style in poetry.' Indirectly they did more. The Imagists, above all other prewar coteries, put into the hands of the poets of the twenties the technical charts and compasses by which to find their poetic way across the hard dry sands of the Wasteland.
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Biker poetry often embraces form, and may include fixed verse, free verse, folk song, concrete poetry, poetry slam and even "Baiku", a form of Haiku. Notable biker poets include Diane Wakoski, who authored a collection known as The motorcycle betrayal poems. Writers such as Colorado T. Sky and K Peddlar Bridges work with experimental poetry, however the biker genre tends to work with form, especially rhyming verse. Groups such as The Highway Poets Motorcycle Club have an international membership.
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His poems are written as free verse, and their main themes are same sex love, contemporary forms of neo-barbarism, and social marginality. In 1995 he received the poetry prize "Città di Corciano" from Edoardo Sanguineti. Some of his poems appeared in the journals "Alias", "Argo", "Forum Italicum", "Gradiva", "Idioteca", "Italian Poetry Review", "mumble:" and "Semicerchio". He was active as a translator into Italian, translating poems by Lawrence Ferlinghetti, Ed Sanders, Anne Waldman and Philip Lamantia for City Lights.
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Characteristically Goran often sees the woman in Nature and Nature in the woman as in the poem Beauty and the woman. In his mature years, Goran turned to free verse as a means of expressing his political commitment to his people's fight for freedom and the working class struggle. He exposed, in his subtle and innovative poetry, gender discrimination against women, specially honor killing. He strongly condemned honor killing in one of his poems, Berde-nûsêk (A Tomb-Stone).
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1903 - May 1904), a country which became a passion. During a trip on French canals by barge (1905), Couchoud and his two friends, sculptor Albert Poncin and painter André Faure, composed haiku in French. They published their work anonymously in a limited edition (30 copies) of Au fil de l'eau (Along the waterways), a collection of free-verse tercets which was well received. It still is considered one of the most successful adaptations of haiku in French.
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As the author casts these subjects into his lines,he uses a sharp and complex style. His stanzas variegate in length and his poetry disturbs and re-forms the routine language. The word combinations strikingly violate the order with outstanding, unexpected images. His free-verse often depends on the cadence or grouping of phrases, and the reading depends on either a slowing down or a speeding up till it reaches an emphasis in the final lines.
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Haunted is a 2005 novel by Chuck Palahniuk. The plot is a frame story for a series of 23 short stories, most preceded by a free verse poem. Each story is followed by a chapter of the main narrative, is told by a character in main narrative, and ties back into the main story in some way. Typical of Palahniuk's work, the dominant motifs in Haunted are sexual deviance, sexual identity, desperation, social distastefulness, disease, murder, death, and existentialism.
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Eratosphere is a free-to-join workshop for formal poetry. Additionally, it is a forum for free verse, for poetry and prose translation, fiction, art, literary criticism, and critical discussions on writing. It was founded in 1999 by Alexander Pepple as a workshop complement to Able Muse. Eratosphere moderators have included some of the best known formal poets, with the Poet Laureate of Wisconsin Marilyn Taylor, A. M. Juster, A. E. Stallings, and R. S. Gwynn among them.
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Poetry magazine editorial offices Christian Wiman took the editorship in 2003. Partly thanks to direct-mail campaigns, the magazine's circulation has grown from 11,000 to almost 30,000. The look of the magazine was redesigned in 2005. Wiman "expressed in print a stern preference for formal poems, and a disdain for what he calls 'broken-prose confessionalism' and 'the generic, self-obsessed free-verse poetry of the seventies and eighties", according to a New Yorker magazine article.
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Lewis Carroll Light poetry, or light verse, is poetry that attempts to be humorous. Poems considered "light" are usually brief, and can be on a frivolous or serious subject, and often feature word play, including puns, adventurous rhyme and heavy alliteration. Although a few free verse poets have excelled at light verse outside the formal verse tradition, light verse in English usually obeys at least some formal conventions. Common forms include the limerick, the clerihew, and the double dactyl.
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Watson originally was known as an author of short stories, however changed focus to poetry after many rejections from companies. Watson's shift was inspired by one such company noting that his writing contained good poetic elements. Watson's first poems were in sonnet form, in contrast to the free verse of his current style. The themes of his poetry range from observations of everyday experience, to the effects of colonisation in a vividly direct, almost tactile, language.
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Some Notes on Rhythm in Verse by Donald Davie first appeared in the Agenda poetry journal, in the Autumn / Winter issue 1972-73, and was later collected in his book of essays and interviews, Trying To Explain. It is a short piece comprising seven numbered paragraphs. He makes a case for scansion being 'a sort of crutch or scaffolding in the act of composition'. The first paragraph states that the boundary between free verse and metred verse is 'smudged'.
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He was a perfectionist as a writer and emphasized technical perfection in his works. Although he mostly wrote in free verse, his command of rhyme and rhythm was great. As an editor of his historical magazine Kavita (Poetry), the first magazine in India devoted only to the cause of modern Bengali poetry, he demonstrated his ability to identify the best talents of 20th century Bengal. His prose style was also established on a diction developed by himself.
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Like E.J. Pratt, W.W.E. Ross, Arthur Stringer (whose Open WaterArthur Stringer, Open Water (Toronto: Bell and Cockburn, 1914). was the first book of modernist free verse by a Canadian), and others, Knister was a "Transitional modern"Sandra Djwa, "The 1920s: E.J. Pratt: Transitional Modern," The E.J. Pratt Symposium (Ottawa: University of Ottawa Press, 1977), 55–68. whose poetry, fiction, and criticism showed the effects of the many forces which were changing Canadian poetry and Canadian society.
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Though Migjeni did not publish a single book during his lifetime, his works, which circulated privately and in the press of the period, were an immediate success. Migjeni paved the way for modern literature in Albania and other Albanian speaking territories. This literature was, however, soon to be nipped in the bud. Indeed, the very year of the publication of Free Verse saw the victory of Stalinism in Albania and the proclamation of the People's Republic.
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Subsequently, he returned to the US and worked as an editor in New York. He later completed his B.A. at Columbia University's School of General Studies in 1948, and completed his M.A. and Ph.D. at Columbia University in 1950 and 1959, respectively. His first book was The Arrivistes, published in 1949. It was hailed for its strong formal verse, but Simpson later moved away from the style of his early successes and embraced a spare brand of free verse.
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Dalkhithi Saav Chhutan (Gujarati: ડાળખીથી સાવ છૂટાં) (English: Severed From Its Branch) is a collection of committed poetry in Gujarati written by Ashok Chavda 'Bedil'. The book won the Yuva Puraskar (2013) instituted by Sahitya Akademi, New Delhi. The book consists of deep and intense emotions of the poet expressed in different forms of poetry such as ghazal, Geet, and free verse. The poems in this book deal with social issues in India, such as castism and untouchability.
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Reviews for A Bad Boy Can Be Good For a Girl were mostly positive, with Kirkus Reviews panning the book while the Kansas City Star gave a positive rating. The English Journal praised the book, recommending it to educators as a summer reading book for their students. The School Library Journal cited the free verse as a highlight of the book, naming A Bad Boy Can Be Good For a Girl its "Book of the Week" in January 2006.
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Although writers of ' consistently continued to use rhyme, many of them accepted categories of rhyme which were previously considered "careless" or unusual. The alexandrine was not their only metrical target; they also cultivated the use of ' — lines with an odd, rather than even, number of syllables. These uneven lines, though known from earlier French verse, were relatively uncommon and helped suggest a new rhythmic register. ;'''' ' is the source of the English term free verse, and is effectively identical in meaning.
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Before finding work, Heine visited the North Sea resort of Norderney which inspired the free verse poems of his cycle Die Nordsee.Sammons, pages 113 to 118 First page of first edition of Heine's Buch der Lieder, 1827 In Hamburg one evening in January 1826 Heine met , who would be his chief publisher for the rest of his life. Their stormy relationship has been compared to a marriage. Campe was a liberal who published as many dissident authors as he could.
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At 1968 he started to write poems in the literary column of the newspaper Laiko Vima, which was the only printed media allowed to be published in Greek language, in communist Albania (1945–1991). He mainly composed poems in free verse. During 1970-1990 he composed several poems, but due to strict censorship by the authorities of the People's Republic of Albania he decided to bury them in order to avoid persecution. Those works were published after the restoration of Democracy (1991).
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Johnson writes most often in free verse on topics generally revolving around femininity and the commodification of female bodies. Her writing has been described as both "snarky" and "vulnerable" as it discusses and critiques American cultural norms and the societal expectations of women. Her poems also make frequent pop culture references to prominent figures including Marilyn Monroe, Betty Boop, Justin Bieber, and Victoria's Secret. Johnson has stated that she draws inspiration from Gurlesque poets like Chelsey Minnis and Mary Biddinger.
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Saadi Youssef studied Arabic literature in Baghdad. He was influenced by the free verse of Shathel Taqa and Abd al-Wahhab Al-Bayyati and was also involved in politics from an early age. At that time, his work was heavily influenced by his socialist and pan-Arab sympathies but has since also taken a more introspective, lyrical turn. He has also translated many well-known writers into Arabic, including Oktay Rifat, Melih Cevdet Anday, Garcia Lorca, Yiannis Ritsos, Walt Whitman and Constantine Cavafy.
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Tussman's early poetry was in sonnet form, but she also experimented with triolets, and in her late works, she wrote in free verse. Tussman also translated works into Yiddish, and was known as the bridge between generations of Yiddish poets for her connection with younger poets and her work. Her work has been translated by her students, of which some was featured in With Teeth in the Earth (1992) by Marcia Falk. Tussman won the Itzik Manger Prize for Yiddish literature in 1981.
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Her poems, many published while she attended Wilson Junior College, ranged in style from traditional ballads and sonnets to poems using blues rhythms in free verse. In her early years, she received commendations on her poetic work and encouragement from James Weldon Johnson, Richard Wright and Langston Hughes. James Weldon Johnson sent her the first critique of her poems when she was only sixteen years old. Her characters were often drawn from the inner city life that Brooks knew well.
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Eleanor Cook observes that "Tea" is one of two "seemingly (but far from) slight poems that close both editions of Harmonium," adding that this "eight- line, one-sentence, free-verse virtuoso performance" offers a very effective implicit leave-taking.Cook, p. 85 (The other poem she is referring to is "To the Roaring Wind", quoted at the bottom of the main Harmonium essay.) Cook compares "Tea" to Domination of Black, as being representative of "all the troping of leaves through the collection".Cook, p.
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He gave lectures on both the principles of modernism and his work in Brazilian folk music, and read his "Extremely Interesting Preface." As the climactic event of the Semana, he read from Paulicéia Desvairada. The poems' use of free verse and colloquial São Paulo expressions, though related to European modernist poems of the same period, were entirely new to Brazilians. The reading was accompanied by persistent jeers, but Andrade persevered, and later discovered that a large part of the audience found it transformative.
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In Dear Poetic Conscience, written at university, Forbes explores the relationship between himself and as poet. Aspiring to be a poet from an early age, these works ask questions of what it takes to be a poet and he makes reference to Arthur Rimbaud, Paul Verlaine, and his wife Emily Roe-Darley. It is considered by many as being in diary form rather than poetry. Though much of the book is written in free verse, its rhythmic structure maintains its poetic characteristics.
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In 1915, Hagiwara attempted suicide because of his continued ill-health and alcoholism. However, in 1916, Hagiwara co-founded with Murō Saisei the literary magazine Kanjō ("Sentiment"). The magazine was centered on the "new style" of modern Japanese poetry that Hagiwara was developing, in contrast to the highly intellectual and more traditionally structured poems in other contemporary literary magazines. In 1917, Hagiwara brought out his first free- verse collection, Tsuki ni Hoeru ("Howling at the Moon"), which had an introduction by Kitahara Hakushū.
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In addition to these three books of poetry, she also published several essays on the study of sociology. Fawziyya Abu Khalid is one of the contemporary Saudi writers who has faced censorship due to the strict interpretation of Islamic law, known as Wahhabism. Despite Saudi Arabia's rigid laws, Abu Khalid has not allowed this censorship to limit her artistic expression. Fawziyya Abu Khalid's poetry is full of free verse as well as discursive strategies that represent her eastern and Arab roots.
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Alberti p 54 Sermones y moradas (1929–31) was neither clearly conceived as a unified work nor ever completed. It consists of poems in free verse, full of complex surrealist imagery that is almost impenetrable. They convey an atmosphere of helplessness and total desolation. Yo era un tonto y lo que he visto me ha hecho dos tontos (1929) is Alberti's homage to the American silent comedians whose films he admired so greatly – Buster Keaton, Harold Lloyd, Harry Langdon etc.
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"Preludes" is a poem by T. S. Eliot, composed between 1910 and 1911. It is in turns literal and impressionistic, exploring the sordid and solitary existences of the spiritually moiled as they play out against the backdrop of the drab modern city. In essence, it is four poems rather than one, and it is duly labelled as such. Preludes comes to just 54 lines and its four parts are uneven, irregular and written in free verse symptomatic of the speaker's stream of consciousness.
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Ekalta Ni Bheedman (2012), his first anthology of ghazal, was published in 1992, followed by Andar Diwadandi (2002), Maun Ni Mahefil (2009), Jivavano Riaz (2010), Khud Ne Ya Kyan Malyo Chu? (2012), Jhakal Ne Tadka Ni Vachche and Aabh Doryu To Surya Ugyo'to. His collection of Urdu ghazals includes Kandil (1998), Sargoshi (2004), Mera Apna Aasman (2011), Khamoshi Hain Ibadat (2013) and Manzilo Ko Hatake Chalte Hain. Kodiyaman Petavi Raat (2015) is his collection of short poetry and free verse.
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Rostislav Melnikov and Yuriy Tsaplin of the New Literary Review wrote in 2007: > Zhadan's prose is so poetic, his free verse so prosaic. It is difficult to > assign a genre to his work: memoir, travelogue, timely or untimely > meditation – or a mixture of all these, centered on the themes my generation > and our epoch. Kirill Ankudinov, writing for Vzglyad.ru in June 2008, said: > There is no summarizing the spicy, hot, sweet, vicious improvisations of > Serhiy Zhadan – this is verbal jazz.
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Early Roman literature was influenced heavily by Greek authors. From the mid-Republic, Roman authors followed Greek models, to produce free-verse and verse-form plays and other in Latin; for example, Livius Andronicus wrote tragedies and comedies. The earliest Latin works to have survived intact are the comedies of Plautus, written during the mid- Republic. Works of well-known, popular playwrights were sometimes commissioned for performance at religious festivals; many of these were Satyr plays, based on Greek models and Greek myths.
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Mallory and his former wife had two daughters, Natalee and Misty, the latter of whom was a fellow poet who committed suicide in 1999. She'd had an onset of mental illness and had difficulty coping with life on medication. She left a note that said she hoped her family would understand. Before her death, she was notified that a Laguna Beach publishing house would be releasing her first book of free-verse poems, which was published posthumously and edited by her father.
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Sholeh Wolpé was born in Tehran, Iran, and spent most of her teen years in Trinidad and the UK before settling in the United States. The Poetry Foundation has written that “Wolpé’s concise, unflinching, and often wry free verse explores violence, culture, and gender. So many of Wolpé’s poems deal with the violent situation in the Middle East, yet she is ready to both bravely and playfully refuse to let death be too proud.” Wolpe's literary translations have garnered several prestigious awards.
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His Tales from Ovid (1997) contains a selection of free verse translations from Ovid's Metamorphoses. He also wrote both poetry and prose for children, one of his most successful books being The Iron Man, written to comfort his children after their mother Sylvia Plath's suicide. It later became the basis of Pete Townshend's rock opera of the same name, and of the animated film The Iron Giant. Hughes was appointed Poet Laureate in 1984 following the death of John Betjeman.
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He attended elementary and middle school in Tatsuno and wrote poems, haiku and tankas as a student. At the age of 17, he published his first collection of poems, and at 20 his poetry collection Haien, which received attention at the time for its free verse. Miki was regarded as an early talent and he gained attention along with Hakushū Kitahara, to whom he has been compared in style and stature. He studied literature at Waseda University and Keiō University.
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Tembang sunda, also called "seni mamaos cianjuran", or just cianjuran, is a form of sung poetry which arose in the colonial-era of Cianjur. It was first known as an aristocratic art; one cianjuran composer was R.A.A. Kusumahningrat (Dalem Pancaniti), ruler of Cianjur (1834–1862). The instruments of Cianjuran are kacapi indung, kacapi rincik and suling or bamboo flute, and rebab for salendro compositions. The lyrics are typically sung in free verse, but a more modern version, panambih, is metrical.
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Schadewaldt is known to a broader audience as translator of Homer's Iliad and Odyssey, which along with the renderings of Johann Heinrich Voss are regarded as the best German versions of the two epics. Unlike Voss, Schadewaldt opted not to employ the hexameter in his versions. He translated the Odyssey (1957) in prose; his posthumously published version of the Iliad (1975) employs free verse. In addition to Homer, Schadewaldt's translations include tragedies by Aeschylus and Sophocles, as well as the Carmina Burana.
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Pembe Marmara (25 December 1925 – 31 January 1984) was a Turkish Cypriot poet. She was one of the most important Turkish Cypriot poets of the 1940s and one of the earliest female Turkish Cypriot poets. Her poetry was influenced heavily by the Garip movement in Turkey and she wrote works of satire in free verse. Her poetry is also distinct from the nationalism characterising Turkish Cypriot poetry of her time, instead focusing more on the experience of being a Turkish Cypriot.
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Sri Sri was instrumental in popularising free verse in spoken Telugu (vaaduka bhasha), as opposed to the pure form of written Telugu used by several poets in his time. Devulapalli Krishnasastri is often referred to as the Shelley of Telugu literature because of his pioneering works in Telugu Romantic poetry. Viswanatha Satyanarayana won India's national literary honour, the Jnanpith Award for his magnum opus Ramayana Kalpavrukshamu. C. Narayana Reddy won the Jnanpith Award in 1988 for his poetic work, Viswambara.
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Espada wrote the poem in 1980 in Madison, Wisconsin. It is free verse in form and utilizes imagery and metaphor as the main literary elements in the poem. In a talk he gave at the University of Arizona in 1992, Espada stated that in his "wanderings" between New York and Puerto Rico, he traveled to Wisconsin to go to school. He came upon hard times, and ultimately found himself "officially destitute," which is when he visited the Saint Vincent de Paul Food Pantry.
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She was said to be the "first poet and the only woman poet before the twentieth century" to follow his lead in using free verse. However, the New York Times reported the Walt Whitman had disassociated himself from Menken's work, implying he thought little of it. Beginning in New York, her poetry expressed a wider range of emotions related to relationships, sexuality, and also about women's struggle to find a place in the world. Her collection Infelicia went through several editions and was in print until 1902.
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Across Duluoz's subsequent trips to Big Sur and interleaved lifestyle in San Francisco, he drunkenly embarrasses Cody by introducing Billie to Cody's wife, and finds himself unable to emotionally provide for the increasingly demanding Billie and to integrate into suburban life. Duluoz's inner turmoil culminates in a nervous breakdown during his third journey to Big Sur. An addendum to the book contains a free verse poem by Keroauc, "Sea: Sounds of the Pacific Ocean at Big Sur", written from the perspective of the Pacific Ocean.
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Harriet Monroe, a fellow resident of Chicago, had founded the magazine Poetry in 1912. Monroe liked and encouraged Sandburg's plain-speaking free verse style, strongly reminiscent of Walt Whitman. Chicago Poems established Sandburg as a major figure in contemporary literature. Sandburg has described the poem as The Chicago Poems, and its follow-up volumes of verse, Cornhuskers (1918) and Smoke and Steel (1920) represent Sandburg's attempts to found an American version of social realism, writing expansive verse in praise of American agriculture and industry.
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Ulysse was an epic poem in free verse, the first such work in Fondane's career, and testing a format later adopted in Titanic and L'Exode.Răileanu & Carassou, p. 94, 141 Although quite similar to Voronca's own work, which also used Homer's Odyssey as the pretext for a comment on social alienation, it included an additional allegory of Jewishness (according to critic Petre Răileanu, Voronca had stripped his own text of Jewish symbolism, in the hope of not entering a competition with Fondane).Răileanu & Carassou, p.
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The typical representative of realism was Millosh Gjergj Nikolla, Migjeni (1913–1938). His poetry Free Verse (Vargjet e lira, 1936; English, 2015), and prose are permeated by a severe social realism on the misery and tragic position of the individual in the society of the time. The characters of his works are people from the lowest strata of Albanian society. Some of Migjeni's stories are novels in miniature; their themes represent the conflict of the individual with institutions and the patriarchal and conservative morality.
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In his Sources of Cubism and Futurism, art historian Daniel Robbins reviews the Symbolist roots of modern art, exploring the literary source of both Cubist painting in France and Futurism in Italy.Daniel Robbins, Sources of Cubism and Futurism, Art Journal, Vol. 41, No. 4, (Winter 1981): pp. 324-27, Published by College Art Association The revolution of free verse with which Gustave Kahn was associated, was a principle example of the correspondence between progress in art and politics; a growing conviction among young artists.
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Carmen M. Pursifull (born September 1, 1930) is a former New York City Latin dance and Latin American music figure of the 1950s, and since 1970 in Illinois, is an English-language free verse poet who was a top ten finalist nominee for Poet Laureate of that state in 2003.Probing the Depths of Mind and Matter, Carmen M. Pursifull, (Champaign, Illinois: Hawk Productions, 2007) , pp. 230-232. Since late 2009 she has been a local public television personality in the Champaign-Urbana area.
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It also, true to its name, published early collections from elsewhere in the British Empire: a 1921 anthology Voices From Summerland compiled by J. E. Clare McFarlane in Jamaica, and a series of Dominion and Colonial Verse collections. The League's magazine, Poetry and the Play (initially Poetry), ran from 1917 to 1932, when the League foundered. The Jamaica Poetry Society, formally a branch, persisted into the 1950s. The work of the League in publishing new poets made few reputations, and Wright was outspoken against free verse.
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Moore's most famous poem is perhaps the one entitled, appropriately, "Poetry", in which she hopes for poets who can produce "imaginary gardens with real toads in them". It also expressed her idea that meter, or anything else that claims the exclusive title "poetry", is not so important as delight in language and precise, heartfelt expression in any form. Moore's meter was radically separate from the English tradition; writing her syllabic poems after the advent of free verse, she was encouraged thereby to try previously unusual meters.Hartman, Charles.
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This was story published in a book titled as "KHEER BARIYA HATHRA" 1960 by KAHANI. Her story "HI SHAHAR" (This City) is everlasting portrayal of a meek Nepali watchman in a lower middle class apartment building in this city as a vast ruthless and soul less machine, unmindful of the personal loss or tragedy. Sundri has tried her hand at traditional poetry with proper meter but it is in free verse where she has found her niche. She has four poetry collections to her credit.
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Lee Geunbae's early sijos expressed affection for the mother country, his spiritual home country. By revealing the spirit of freedom based on humanism, he also displayed how sijo is a free verse form of a certain type, one that reaches the life's inner sides with emotions and rules. In the 1960s when he had debuted, there were too many poems in Korea that over-emphasized on social commentary or were difficult to understand. In such a time, Lee Geunbae's works contributed towards the revival of traditional lyricism.
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This was particularly evident in her visual and concrete poetry as well as in her experimental math / science poems such as "The Fickle Nature of the Parabola" and "Holocaust Genealogy". To date, her stylistic focus is free verse. While Carr's poetry primarily is written in English, she also composes poems in French, Spanish, Italian, Yiddish and the Chinese Mandarin dialect. Even though she occasionally translates the works of other poets, she tends to focus on bilingual and trilingual side-by-side translations of her own poetry.
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Crosby was a vegetarian and supporter of animal rights,Iacobbo & Iacobbo, Vegetarian America: A History, (Praeger, 2004), pp. 143–147. authoring an essay entitled "The Meat Fetish", published in the Humanitarian League's quarterly publication, the Humane Review in 1904; this was later published as a pamphlet. He was also president of the New York Vegetarian Society. Like the Englishman Edward Carpenter, the subject of his book Poet and Prophet, Crosby's poetry (in the volume Swords and Plowshares) followed the example of Whitman's free verse.
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Kawaji was born in Tokyo, and was a graduate of the Japanese Painting School of the Tokyo School of the Arts (present day Tokyo National University of Fine Arts and Music). However, rather than to pursue a career as an artist, he chose to become a writer of free verse poetry instead. His poetry was influential, as it was among the first to be written in the modern Japanese language. He won the Japan Art Academy literary award in 1957 for his anthology Nami ("Waves").
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211 Most of the mélodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne à la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Fauser, p. 228 Saint-Saëns composed more than sixty sacred vocal works, ranging from motets to masses and oratorios.
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Sherchan was the most successful poet to popularize free verse. He has analyzed humans and human life in different ways but his biggest contribution to Nepalese society is that he has tried to show the way to the new generation through his numerous poems. His Himalayan nationalism can be seen in his poem "Hami" ("Us"), where he claimed that Nepalese are brave, but foolish (because they are brave). Sherchan produced several odes to the martyrs of Nepal, including "Sahid Ko Samjhana," "Main Batti Ko Sikha," and "Ghantaghar".
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The second category of poems are generally urban-themed, opting in favor of modernist means in both subjects and vocabulary. Discussing young Caragiale's conflict with Zamfirescu, Șerban Cioculescu concluded: "Luca may have seemed like an avant-garde poet, one of those who cultivated free verse and willingly simulated prosaic writing, into filming the everyday, with methods such as images caught from various angles." He added: "The poet is a lucid one, a modern one, who [...] demystifies, demythifies and desacralizes poetry's old themes."Cioculescu, p.
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The pictorial style in which the poem is written owes much to the photographs of Alfred Stieglitz and the precisionist style of Charles Sheeler, an American photographer-painter whom Williams met shortly before composing the poem. The poem represents an early stage in Williams' development as a poet. It focuses on the objective representation of objects, in line with the Imagist philosophy that was ten years old at the time of the poem's publication. The poem is written in a brief, haiku-like free-verse form.
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Star Black is a poet, photographer, and artist. She has authored six collections of poetry and currently teaches in the MFA program at Stony Brook Southampton. She was recently published in The Paris Review, and has written three books of sonnets, a collection of double sestinas, and a book of collaged free verse. Her poems have been anthologized in The Penguin Book of the Sonnet, 110 Stories: New York Writers After September 11, and The Best American Erotic Poems: From 1880 to The Present.
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Important poets of the Republic of Turkey period include Ahmet Haşim, Yahya Kemal Beyatlı and Nâzım Hikmet (who introduced the free verse style). Orhan Veli Kanık, Melih Cevdet Anday and Oktay Rifat led the Garip movement; while Turgut Uyar, Edip Cansever and Cemal Süreya led the İkinci Yeni movement. Outside of the Garip and İkinci Yeni movements, a number of other significant poets such as Fazıl Hüsnü Dağlarca, Behçet Necatigil and Can Yücel also flourished. Orhan Pamuk is a leading Turkish novelist of post-modern literature.
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Her first published work appeared in 1910 in Atlantic Monthly. The first published collection of her poetry, A Dome of Many-Coloured Glass, appeared two years later, in 1912. An additional group of uncollected poems was added to the volume The Complete Poetical Works of Amy Lowell, published in 1955 with an introduction by Louis Untermeyer, who considered himself her friend. Though she sometimes wrote sonnets, Lowell was an early adherent to the "free verse" method of poetry and one of the major champions of this method.
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William John Edwards (6 October 1898 - 11 January 1978), was a leading exponent and teacher of the Welsh singing medium of Cerdd Dant (Free verse singing). Cerdd Dant is sung to a particular tune selected for the verse and the singer is accompanied by a harpist playing a different but complementary melody. It is a major feature of all Eisteddfod festivals. Edwards was born the eldest son and second child of William Charles and Jane Edwards on a farm named Pentre Draw in Pentrellyncymer, Denbighshire.
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Tembang sunda, also called seni mamaos cianjuran, is a style of classical vocal music that originated in the Priangan highland of western Java. Unlike Sundanese gamelan music, tembang sunda was developed in the court of the regent Kabupaten Cianjur during the Dutch colonial period (mid-nineteenth century). The traditional vocal portion is sung free verse poetry, the instrumental accompaniment being performed on kacapi (zither), suling (bamboo flute) and sometimes, rebab (violin). A more modern, and metrical, form of lyrics exists that is called panambih.
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Darwish's early writings are in the classical Arabic style. He wrote monorhymed poems adhering to the metrics of traditional Arabic poetry. In the 1970s he began to stray from these precepts and adopted a "free-verse" technique that did not abide strictly by classical poetic norms. The quasi- Romantic diction of his early works gave way to a more personal, flexible language, and the slogans and declarative language that characterized his early poetry were replaced by indirect and ostensibly apolitical statements, although politics was never far away.
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Ahmatjan Osman (; born 1964), also spelled Ekhmetjan, Exmetjan, or Ahmetcan, is an Uyghur poet and Uyghur independence activist who writes in both Uyghur and Arabic. A leader of the Uyghur New Poetry (gungga) movement in the 1980s, he is considered one of the "foremost Uyghur poets of his generation". His use of free verse was influential in subsequent Uyghur poetics. His poetry has been described as trying to "capture the sacred and philosophical, the ineffable and the transient, in a wholly unique lyric voice".
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Guo Xiaochuan (; 1919-1976), original name Guo Enda, was a Chinese poet. He joined the Eighth Route Army in 1937, and began to write free-verse poems during the second Sino-Japanese War. After 1949, he worked for the Publicity Department of the Communist Party of China. Guo's best known poems includes One and Eight (on which Zhang Junzhao's film of the same name is based), Tree Songs on Forested Areas, Forest of Sugar Cane -- Gree Gauze Curtain and Gazing at the Starring Sky.
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Similarly, portrayals of any East German as "uncivilized", through extreme violence or delinquency, or the suggestion that East Germans might suffer from problems such as alcoholism or suicidal depression were also to be excluded. In addition to censoring content, the government also reserved the right to disallow publication or exhibition on the basis of form. Anything not considered a "proper" form was barred. Disallowed forms and techniques included free verse poetry; internal monologue and stream of consciousness; nonsense or avant-garde; and abstract art.
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Whether in Scots or English, the poetry is characterised by a respect for, and sensitivity too, form and rhythm; this applies to his later 'free verse' as much as to his earlier metrical work. Recurrent themes are the lyrical concerns of love and loss, time and memory. Some, like Above the Formidable Tomb and Had I Twa Herts, are profoundly metaphysical. He also wrote a poem in Middle Scots (Ressaif My Saul), and gently satirised some of his contemporaries in Doun the Watter wi the Lave.
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In eleven lines of free verse, "Root Cellar" consists almost in its entirety of images of the root cellar. The poem highlights the "dank" humidity of its setting and engages with a range of the reader's senses. The verse abounds with dynamic visual imagery of the roots, bulbs, and stems practically growing before the eyes of the speaker. The olfactory imagery of the cellar's rankness, presented largely in a litany following the sixth line, blends with the tactile nature of the "slippery planks" in the ninth line.
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The poet's major stylistic change in his shift towards free verse roughly within a decade that included much of the 1960s, combined with the other changes in his life -- his move from England to America, from academic Cambridge to bohemian San Francisco, his becoming openly gay, his drug-taking, his writing about the "urban underbelly" -- caused many to conjecture how his lifestyle was affecting his work. "British reviewers who opposed Gunn's technical shifts blamed California, just as American critics would, later on, connect his adventurous lifestyle with his more 'relaxed' versification," according to Orr, who added that even as of 2009, critics were contrasting "Gunn's libido with his tight metrics -- as if no one had ever written quatrains about having sex before". In Gunn's next book, Jack Straw's Castle (1976), the dream modulates into nightmare, related partly to his actual anxiety-dreams about moving house, and partly to the changing American political climate. "But my life," he wrote, "insists on continuities -- between America and England, between free verse and metre, between vision and everyday consciousness." The Passages of Joy reaffirmed those continuities: it contains sequences about London in 1964–65 and about time spent in New York in 1970.
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Ravi Varma's poems ignored the metre and used free verse and he was one among the group of poets who pioneered modernism in Malayalam literature. His oeuvre consists of several poems compiled under three anthologies, translation of four novels from Tamil which include two of Sundara Ramaswamy and one of Rajathi Salma, two books of translation of Tamil poetry and an edited work of poems of young writers. It was Ravi Varma who translated the Bhakthi poems on the Malayalam calendar in vattezhuthu script published by Moozhikulam Sala.
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Henry Oliver Walker's 1896 Lyric Poetry in the Library of Congress's Thomas Jefferson Building Lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person.Scott,Clive, Vers libre : the emergence of free verse in France, 1886–1914 Clarendon Press, Oxford It is not equivalent to song lyrics, though they are often in the lyric mode. The term derives from a form of Ancient Greek literature, the lyric, which was defined by its musical accompaniment, usually on a stringed instrument known as a lyre.Miller, Andrew.
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Romantic English poets such as William Wordsworth, Percy Bysshe Shelley, and John Keats used blank verse as a major form. Shortly afterwards, Alfred, Lord Tennyson became particularly devoted to blank verse, using it for example in his long narrative poem "The Princess", as well as for one of his most famous poems: "Ulysses". Among American poets, Hart Crane and Wallace Stevens are notable for using blank verse in extended compositions at a time when many other poets were turning to free verse. Marlowe and then Shakespeare developed its potential greatly in the late 16th century.
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Light poetry or light verse is poetry that attempts to be humorous. Light poems are usually brief, can be on a frivolous or serious subject, and often feature word play including puns, adventurous rhyme, and heavy alliteration. Typically, light verse in English is formal verse, although a few free verse poets have excelled at light verse outside the formal verse tradition. While light poetry is sometimes condemned as doggerel or thought of as poetry composed casually, humor often makes a serious point in a subtle or subversive way.
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In the 1920s, most Canadian poetry was similar to that of English poets of the Victorian era. This style had been popularized around the time of Confederation by Charles G. D. Roberts, Bliss Carman, Archibald Lampman and Duncan Campbell Scott, and continued to prevail among Canadian poets until the early 1940s. Some Canadians, though, were writing modernist poetry: W. W. E. Ross, R. G. Everson,"Ronald Gilmour Everson". The Canadian Encyclopedia Raymond Knister, and Dorothy Livesay were each individually publishing Imagist poetry in free verse in American and English literary publications.
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The literature of Bahrain has a strong tradition in the country. Most traditional writers and poets write in the classical Arabic style, contemporary poets that write in this style include Ali al-Sharqawi, Qassim Haddad, Ebrahim Al-Arrayedh, and Ahmad Muhammed Al Khalifa. In recent years, the number of younger poets influenced by western literature are rising, most writing in free verse or prose poetry, and often including political or personal content. Almost all publications of poetry in the country are in Arabic, with poetry rarely published in English without requiring prior translation.
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Jeongrye Choi was born in a city near Seoul. She studied Korean poetry at Korea University and received her PhD from the same school."Choi Jeong-rye" LTI Korea Datasheet available at LTI Korea Library or online at: She participated in the IWP (International Writing Program) as a poet at University of Iowa in 2006 and stayed one year at University of California in Berkeley as a visiting writer in 2009. Her poems were printed in Free Verse, Iowa Review, Text Journal, World Literature Today and various Japanese literary magazines.
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Phèdre (1880), Alexandre Cabanel The French baroque composer Jean-Philippe Rameau's first opera Hippolyte et Aricie (1733) was based on Racine's Phèdre as was Simon Mayr's 1820 opera Fedra. The British poet laureate Ted Hughes produced a highly regarded free verse translation of Phèdre. This version was staged shortly before his death with Diana Rigg playing the title role. Another English production of the Hughes translation premiered at the Royal National Theatre in June 2009, with a cast including Helen Mirren as Phèdre, Dominic Cooper as Hippolytus, and Margaret Tyzack as Oenone.
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Born in West Brome, Quebec,Frank Oliver Call at The Canadian Encyclopedia. Call was educated at Bishop's University, in Paris and Marburg and at McGill University, and was subsequently a professor of languages at Bishop's and McGill. His publications as a poet included In a Belgian Garden (1916), Acanthus and Wild Grape (1920), Blue Homespun (1924) and Sonnets for Youth (1944). Acanthus and Wild Grape, his most famous work, was divided in two sections: Acanthus followed more traditional Victorian poetic styles, while Wild Grape was written as free verse.
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Before leaving Portland he left most of his negatives of historic Portland buildings with the Oregon Historical Society. White spent the first two years of World War II in Hawaii and in Australia, and later he became Chief of the Divisional Intelligence Branch in the southern Philippines. During this period he rarely photographed, choosing instead to write poetry and extended verse. Three of his longer poems, "Elegies," "Free Verse for the Freedom of Speech," and "Minor Testament," spoke to his experiences during the war and to the bonds of men under extreme conditions.
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Some of his journalism was published posthumously as Cuadernos de vivir y pensar (Notebooks of Living and Thinking, 1984).mostly from Prieto, "Memorias…"; Tratado de la pena and the Municipal Prize for Literature are mentioned in Efemérides' "Algunos amigos…". As a translator, Mastronardi was mainly known for translating the French Symbolist poets into Spanish. As a poet, although identified personally with the avant-garde of his time, he wrote largely in traditional forms rather than free verse, and rejected what he viewed as his contemporaries' excessive use of metaphor.
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Lewis Turco's Book of Forms from 1968 was revised and reissued in 1986 under the title 'New Book of Forms. Alfred Corn's The Poem's Heartbeat, Mary Oliver's Rules of the Dance, and Stephen Fry's The Ode Less Travelled are other examples of this trend. The widely used anthology An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art (University of Michigan Press, 2002), edited by Annie Finch and Kathrine Varnes, defines formalist poetry as a form on a par with experimental, free verse, and even prose poetry.
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Meanwhile, attacks by free verse and confessional poets against Formalists like Nemerov, Wilbur, Turco, and Hecht grew ever lounder. According to Baer, "...both meter and rhyme were considered, at best, an outdated aspect of the literary past, or, much worse, a debilitated form of bourgeois or capitalist control. Occasionally, these attacks at their worst and most shrill, even descended into fantastic charges that formal poetry was actually fascist (as William Carlos Williams once delineated the sonnet)..."William Baer (2006), Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms, Writer's Digest Books. Pages 236-237.
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As a result of the public controversy, some poets began to see themselves as part of the loose movement that would be identified as the New Formalism." Robert McPhillips (2006), The New Formalism: A Critical Introduction, pages 4-5. Accord to Gerry Cambridge, "This attack generated five responses, from Robert Mezey, Lewis Turco, David Radavich, Brian Richards, and Dana Gioia. Most of them denied any necessary link between aesthetic and politics, in particular between form and conservatism, citing Ezra Pound as an example of a Fascist who wrote free verse.
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He began writing poetry with “Flores de cardo”, a book published in 1908, which broke the mold of metric rhyme and marked the introduction of free verse in his country. In 1912, “La casa abandonada” introduced prose poetry, breaking the tradition of versified poetry and founding poetic prose. In 1913, he published “El llamado del mundo”, which was followed in 1915 by the prose poem “Los diez, el claustro, la barca”. That same year, “Los Pájaros Errantes” emerged, which is reputedly his most accomplished lyrical work, utilizing Parnassianism and symbolism.
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His popular works include Ramayana Kalpa Vrukshamu (Ramayana the wish-granting divine tree), Kinnersani Patalu (Mermaid songs) and the novel Veyipadagalu (The Thousand Hoods). Among many awards, he was awarded the Jnanpith Award in 1970, the first for a Telugu writer, and Padma Bhushan in 1971. The parallel "free-verse" movement in easy prose of Telugu literature criticised him as a bigot who hung onto the strict rules of poetry such as Yati, Prasa (rhyme) and Chandas (meter). However this only covers a part of the wide variety of literature he created.
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Spoon River Anthology (1915), by Edgar Lee Masters, is a collection of short free verse poems that collectively narrates the epitaphs of the residents of Spoon River, a fictional small town named after the Spoon River, which ran near Masters' home town of Lewistown, Illinois. The aim of the poems is to demystify rural and small town American life. The collection includes 212 separate characters, in all providing 244 accounts of their lives, losses, and manner of death. Many of the poems contain cross-references that create an unabashed tapestry of the community.
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The poem is often recited by Reverend Jesse Jackson, and was used as part of PUSH-Excel, a program designed to motivate black students.The Reader's Companion to American History college.hmco.com by Clayborne Carson (archived) Jackson recited the free verse poem on Sesame Street in 1972, geared to fulfilling Sesame Street’s initial curriculum for serving under-privileged city children, as well as promoting cultural understanding. On Sesame Street, lines of "I am/Somebody" or "But I am/Somebody" were recited in a call and response fashion by Jackson and the children.
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Blake sang with madrigal groups at Shakespeare festivals in England and studied acting with Agnes Moorehead at age 11.copy of the Press Release on a fan site Backstreet Records 1983 Press Release In 1978 she matched free verse poetry with synthesizers and drum machines to produce her signature sound. In 1982 she met up with producer Steve Hague and pressed 1000 copies of 12" vinyl "Kinetic b/w "I Live" for Sirus Records. Kinetic was voted "Screamer of Week" by listeners of Long Island radio station WLIR on January 2, 1983.
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From such incantations, epic songs such as Okinawa's umui and kwēna and Amami's omori and nagare emerged. Epic songs then evolved into lyric songs, including Amami's shima-uta and Okinawa's ryūka. He claimed that the development of lyrical ryūka from epic omoro happened in the 15th to 16th centuries, when Okinawan people were supposedly liberated from religious bondage and began to express personal feelings. He also considered that the introduction of sanshin helped the transition from the long, relatively free verse forms to the short, fixed verse form.
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Thomson William "Thom" Gunn (29 August 1929 – 25 April 2004), was an English poet who was praised for his early verses in England, where he was associated with The Movement, and his later poetry in America, even after moving towards a looser, free-verse style. After relocating from England to San Francisco, Gunn wrote about gay-related topics—particularly in his most famous work, The Man With Night Sweats in 1992—as well as drug use, sex and his bohemian lifestyle. He won major literary awards and his best poems have a compact philosophical elegance.
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This children's picture book details the life of Harriet Tubman in a free verse journey on a train. It begins with Tubman as an old woman and moves backwards chronologically. The author outlines the many roles of Tubman: a suffragist, a boatman who ferried slaves across the Combahee River, a Union spy, a nurse for soldiers, a savior who helped her parents flee from slavery, a conductor on the Underground Railroad, a slave named Minty, and finally a young slave named Araminta. She chooses to change her name to Harriet when she leaves slavery.
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Yellow Star is a 2006 biographical children's novel by Jennifer Roy. Written in free verse, it depicts life through the eyes of a young Jewish girl whose family was forced into the Łódź Ghetto in 1939 during World War II. Roy tells the story of her aunt Syvia, who shared her childhood memories with Roy more than 50 years after the ghetto's liberation. Roy added fictionalized dialogue, but did not otherwise alter the story. The book covers Syvia's life as she grows from four and a half to ten years old in the ghetto.
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His poetry, which has won various prizes, is in both free-verse and highly structured forms including sonnets and sestinas. Colebatch was described by Peter Alexander, Professor of English at the University of New South Wales, in his biography of Les Murray, as being among Australia's best writers. His seventh book of poetry, The Light River, with a foreword by Les Murray, was published by Connor Court Publishing in 2007. In the foreword Murray stated that Colebatch's work had been unjustly suppressed by the Australian literary establishment because of his refusal to join poetic cliques.
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Together with Zafer Şenocak she had bilingual readings in Memphis, New York City, Cambridge, San Francisco und Los Angeles.:: slope issue 11-12 :: She received several awards and research fellowships like NEA„‚Elizabeth's about the best translator of free verse I've worked with‘, said John DuVal, UA professor of translation. ‚When I consider Elizabeth and her talent for translating, I see her taking Zafer Şenocak, say, and tactfully nudging his words into just the English that best reflects his zany German. Şenocak is full of wit, but his ideas can be difficult to understand, imprecise.
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A la pintura (‘On Painting’) (1945- ). During his exile, Alberti took up painting again and began a series of poems to draw together his thinking on this subject, to which he continued to add over a period of many years. He wrote a series of sonnets about the raw materials – the retina, the hand, the canvas, the brush etc.; a series of short poems in free verse about colours; and finally a series of poems in homage to various painters such as Titian, El Greco etc. Ora Maritima (‘Maritime Shore’) (1953).
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Ziadeh's first published work, Fleurs de rêve (1911), was a volume of poetry, written in French, using the pen name of Isis Copia. She wrote quite extensively in French, and occasionally English or Italian, but as she matured she increasingly found her literary voice in Arabic. She published works of criticism and biography, volumes of free-verse poetry and essays, and novels. She translated several European authors into Arabic, including Arthur Conan Doyle from English, 'Brada' (the Italian Contessa Henriette Consuelo di Puliga) from French, and Max Müller from German.
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The same year, with José de Ciria y Escalante, he launched Reflector, which Tzara included in his list of présidents Dada. In 1923 he published a book of Dadaist poems, Helixes, which makes extensive use of calligrams, negative space, free verse, proparoxytones, and the mechanistic frenzy of Futurism. The book's cover was designed by Rafael Barradas, and it was illustrated with woodcuts by Norah Borges. Critics savaged the unorthodox work, which is noteworthy for including some of the first haikus written in Spanish: :::::::::::La tijera del viento :::::::::::corta las cabelleras :::::::::::de las espigas más esbeltas.
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From such incantations, epic songs such as Okinawa's umui and kwēna and Amami's omori and nagare emerged. Epic songs then evolved into lyric songs (feelings of individuals) including Amami's shima-uta and Okinawa's ryūka. He claimed that the development of lyrical ryūka from epic omoro happened in the 15th to 16th centuries when Okinawan people were supposedly liberated from religious bondage and began to express personal feelings. He also considered that the introduction of sanshin helped the transition from the long, relatively free verse forms to the short, fixed verse form.
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The confessional writes that a person needs to analyze and understand themselves and only then they can be Christians and go to confession. The book also includes two hymns – translations of Adoro te devote by Thomas Aquinas in syllabic verse and Salve regina in free verse. These are quite poor translations and Daukša did not exhibit greater poetic skills. The book does not have any original texts, even forewords were translated, but Daukša did not blindly follow the Polish original and modified the text to better suit the needs of local Lithuanians.
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Its publication gained him a reputation as a leading figure in Japanese symbolist poetry. However, this came at a time when the literary world was gravitating rapidly towards free verse, and as Ariake refused to adapt to the new trends, he gradually withdrew from literary circles. In 1947 he published of his autobiographical novel, , which was the final poetic work of his career, although he continued to work on translations of European poets as well as literary criticism. In 1948, Ariake was inducted into the Japan Art Academy.
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Though often said to be less successful than their counterparts in fiction writing, poets also experimented with the vernacular in new poetic forms, such as free verse and the sonnet. Given that there was no tradition of writing poetry in the vernacular, these experiments were more radical than those in fiction writing and also less easily accepted by the reading public. Modern poetry flourished especially in the 1930s, in the hands of poets like Zhu Xiang (朱湘), Dai Wangshu, Li Jinfa (李金發), Wen Yiduo, and Ge Xiao (葛蕭).
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Two years later he won a British Council fellowship to study English language and literature at Oxford University. He abandoned his use of blank verse and free verse in favor of the sonnet, both the Italian form used in Portuguese poetry (two quatrains, two tercets) and the English form (three quatrains and a couplet). He was considered one of the most prominent of the "Generation of '45", a group of Brazilian writers in the 1930s and 1940s who rejected early modernism in favor of traditional forms and vocabulary.
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The line "I do not believe" (Chinese: 我不相信 wǒ bù Xiangxin) here almost became a buzzword at the time. The publication of further Menglong poems immediately initiated a year-long debate on the freedom of the individual and the author and his commitment to society, the state, and the party. The group influenced Uyghur poets like Ahmatjan Osman, a leader in the gungga (hazy, vague, or uncertain) movement of the 1980s. The movement had several lasting impacts on Uyghur poetics, such as the introduction of free verse.
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Raz is primarily a ghazal writer, but he has also experimented – though not extensively – with other forms of poetry, such as free verse or rhyming couplets. Raz's poetry can be seen as an extension of his personality, as it majorly deals with his experiences and surroundings, and the lessons he has learned from life. Raz claims this in a couplet, saying: > "Not for a friend, nor for advising the enemy, I speak of the mirror for my own needs." Adhering to ghazal tradition, Raz's work often contains an abundance of metaphors and similes.
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Motion Picture and Television Magazine, November 1952, page 34, Ideal Publishers For his contributions to the film industry, Boyd has a motion pictures star on the Hollywood Walk of Fame at 1734 Vine Street. In 1995, he was inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma. The inner sleeve of the original American Pie album by Don McLean featured a free verse poem written by McLean about Boyd, with a picture of Boyd in full Hopalong regalia.
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Muhammad al-Maghout (1934–April 3, 2006) () was a renowned Syrian writer and poet. He was born in the town of Salamiyah of Hama Governorate in Syria to an Isma'ili family. Muhammad Maghout was credited as the father of the Arabic free verse poetry, liberating the Arabic poems from the traditional form and revolutionizing the structure of the poem. He penned his first poems on cigarette papers while in prison in the 1950s, he wrote it as his personal memoir of the prison experience later to be discovered as revolutionary poetry.
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King David's historian calls Gelati Academy Besides Gelati there also were other cultural-enlightenment and scholarly centers in Georgia at that time, e.g. the Academy of Ikalto. David himself composed, c. 1120, "Hymns of Repentance" (გალობანი სინანულისანი, galobani sinanulisani), a sequence of eight free-verse psalms, with each hymn having its own intricate and subtle stanza form. For all their Christianity, cult of the Mother of God, and the king’s emotional repentance of his sins, David sees himself to be similar to the Biblical David, with a similar relationship to God and to his people.
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The first publications of Élise Voïart (sometimes spelled Voyart) were translations from German and English into French. She produced 30 volumes between 1817 and 1821; most were sentimental novels by August Lafontaine, which she did not hesitate to revise, thus appropriating the writing. For Fridolin by Friedrich Schiller, however, Élise opted instead to stick rigorously to the text, saying it was the only way to make "the touching and naive simplicity inherent to the character and the German language." In doing so, she freed the work from rhyme, thus promoting free verse poetry.
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Jacobsen's Jord og jern, written in free verse, introduced the urban world, racing cars, airplanes, and electrical turbines. Because of the choice of his subjects Jacobsen's work was connected to Marinetti and Futurism, but his view was all but romantic. He did not share the Futurists' euphoria over modern inventions, the beauty of "a roaring motorcar, which runs like a machine-gun," but saw the relationship between machines and human civilization as more complex. Jacobsen's diverse literary and other artistic influences included the Poetic Edda, Karel Čapek's play R.U.R., and Carl Sandburg's poetry.
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Gunvor Hofmo, who was personally affected by the war, came with the remarkable collections Jeg vil hjem til menneskene (I Want to Go Home to the People) and Fra en annen virkelighet (From an Alternate Reality). Modernism appeared on a broad front in the Norwegian poetry of the 1950s. It impacted the lyrics produced by Tarjei Vesaas, Ernst Orvil, Astrid Tollefsen and Olav H. Hauge. Among the younger poets, such as Astrid Hjertenæs Andersen, Paal Brekke, Hans Børli, Harald Sverdrup and Marie Takvam, free verse was the preferred form.
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The Shit Creek Review combines poetry with art which seeks to reflect somehow the content or feel of the poem. The look and layout changes fairly comprehensively from issue to issue, so there is no real continuity of visual style, apart from the fact that each new issue seems to create a new self-contained narrative appropriate to its theme. Much of the poetry uses the traditional forms of New Formalism, though there is also a strong representation of Free Verse. The Shit Creek Review also publishes reviews and articles from time to time.
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A bust of Migjeni in front of the Migjeni Theatre in Shkodër. His slender volume of verse (thirty-five poems) entitled Vargjet e Lira ("Free Verse") was printed by Gutenberg Press Publisher in Tirana in 1936, but was banned by government censorship. The second edition, published in 1944, was missing two old poems Parathanja e parathanjeve ("Preface of prefaces") and Blasfemi ("Blasphemy") that were deemed offensive, but it did include eight new ones. The main theme of Migjeni was misery and suffering, a reflection of the life he saw and lived.
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Her style is powerfully evocative and spare and she employs mostly free verse (though aware of other forms). Though for the most part she is a lyric poet, traces of oral Indian tradition and the chant come through in her poetry. As she says in her introduction to Bone Dance, “if the words cannot be sung in the genuine language of the old way, they must be written.” Another stylistic choice she makes is frequently beginning with an epigraph from the written records of the long assault on Native Peoples.
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Whitman claimed that after years of competing for "the usual rewards", he determined to become a poet.Kaplan, 185 He first experimented with a variety of popular literary genres which appealed to the cultural tastes of the period.Reynolds, 85 As early as 1850, he began writing what would become Leaves of Grass,Loving, 154 a collection of poetry which he would continue editing and revising until his death.Miller, 55 Whitman intended to write a distinctly American epicMiller, 155 and used free verse with a cadence based on the Bible.
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Common lilac (Syringa vulgaris) In the late 1850s and early 1860s, Whitman established his reputation as a poet with the release of Leaves of Grass. Whitman intended to write a distinctly American epic and developed a free verse style inspired by the cadences of the King James Bible. The small volume, first released in 1855, was considered controversial by some, with critics attacking Whitman's verse as "obscene." However, it attracted praise from American Transcendentalist essayist, lecturer, and poet Ralph Waldo Emerson, which contributed to fostering significant interest in Whitman's work.
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Lincoln's funeral procession on Pennsylvania Avenue on April 19, 1865 Whitman's biographers explain that Whitman's verse is influenced by the aesthetics, musicality and cadences of phrasing and passages in the King James Bible. Whitman employs several techniques of parallelism—a device common to Biblical poetry. While Whitman does not use end rhyme, he employs internal rhyme in passages throughout the poem. Although Whitman's free verse does not use a consistent pattern of meter or rhyme, the disciplined use of other poetic techniques and patterns create a sense of structure.
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The other hero in the tales is his adopted son Ahwazkhan, child of a fairy mother. His tales are told in all-night storytelling sessions in free verse. The background presumed known by the audience, they start without much introduction and are accompanied by music from a two-stringed lute, the dombra. Later brought into line with Islam, the stories originate from a time before Islam reached the area but became a "vehicle for the transmission of religious and moral instruction, especially targeted at the masses of nonliterate Muslims".
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Apart from teaching Arabic and English Literature, he is an expert on the works of T. S. Eliot and those of William Shakespeare. He had translated Eliot's "Waste Land" into Arabic and republished it in his book: T.S Eliot in Baghdad, A Study in Eliot's Influence on the Free Verse Movement in Iraq and the Arab World, 2014. He is also an expert on Iraqi media and academia. Jawad has written 15 books on literature and media, and has edited some literary magazines and newspapers in English and Arabic.
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It was there that he cultivated an interest in formal verse and began, to use his words, "collecting forms." Turco collected these forms in the Book of Forms, published in the 1960s, a time when it would seem odd to do so since most poets were writing free verse. Turco taught at Fenn College in Cleveland (now Cleveland State University) where he founded the Cleveland Poetry Center and at the State University of New York at Oswego where he was founding Director of the Program in Writing Arts.
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Hand-painted Chinese New Year's dui lian (对联 "couplet"), a by-product of Chinese poetry, pasted on the sides of doors leading to people's homes, at Lijiang City, Yunnan. Classical Chinese poetry includes, perhaps first and foremost shi (詩/诗), and also other major types such as ci (詞/词) and qu (曲). There is also a traditional Chinese literary form called fu (賦/赋), which defies categorization into English more than the other terms, but perhaps can best be described as a kind of prose- poem. During the modern period, there also has developed free verse in Western style.
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Traditional forms of Chinese poetry are rhymed, however the mere rhyming of text may not qualify literature as being poetry; and, as well, the lack of rhyme would not necessarily disqualify a modern work from being considered poetry, in the sense of modern Chinese poetry. For example, lines from I Ching are often rhymed, but may not be considered to be poetry, whereas modern verse may be considered to be poetry even without rhyme. A cross- cultural comparison to this might be the Pre-Socratic philosophical works in ancient Greece which were often written in verse versus free verse.
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The Bridge comprises 15 lyric poems of varying length and scope. In style, it mixes near-Pindaric declamatory metre, free verse, sprung metre, Elizabethan diction and demotic language at various points between alternating stanzas and often in the same stanzas. In terms of its acoustical coherence, it requires its reader, novelly, to follow both end- paused and non end-paused enjambments in a style Crane intended to be redolent of the flow of the Jazz or Classical music he tended to listen to when he wrote. Though the poem follows a thematic progress, it freely juggles various points in time.
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The Horn Book Magazine has singled out her novels in verse to highlight, calling the poetry in her 2012 work, Sisters of Glass, "elegant." In 2013 she wrote, Hideous Love, which is also written in free-verse is about the writer Mary Shelley. Hideous Love was considered by to be faithful to the history of Shelley's life, especially in imagining the difficulties of living under the principals of free love and "the compromises culture required of a woman of genius during the time period." While Hemphill's novels received much praise from various sources others have been more critical.
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Her World War II historical novel, Gone to Soldiers (1987) follows the lives of nine major characters in the United States, Europe and Asia. The first- person account in Gone to Soldiers is the diary of French teenager Jacqueline Levy-Monot, who is also followed in the third person after her capture by the Nazis.Marge Piercy, "Gone to Soldiers," Ballantine Books, 1987 Piercy's poetry tends to be highly personal free verse and often centered on feminist and social issues. Her work shows commitment to social change—what she might call, in Judaic terms, tikkun olam, or the repair of the world.
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The classicists feared that the dismantling of meter by the decadent Symbolist 'barbarians' would undermine the French language, and thus attack the very foundations of social order. Elasticity, one of Kahn's favorite words used to describe free verse, would become the title of well known Futurist works by Umberto Boccioni, as well as two paintings by Roger de La Fresnaye, a proto- Cubist work and later a cubist work entitled Marie Ressort (ressort meaning elasticity or spring). These paintings, writes Robbins, are an homage to the prose of Jules Laforgue, whose poems concerned the life of his sister Marie.
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Alexandre Mercereau arrives in the Spring of 1907 with a Russian wife who speaks no French. The group supports itself through the fine quality printing run by Linard and Gleizes. Occasional visitors include the painters Berthold Mahn, Jacques d'Otémar and Henri Doucet. Albert Gleizes, 1909, Les Bords de la Marne (The Banks of the Marne), oil on canvas, 54 x 65 cm, Museum of Fine Arts of Lyon The poets of the Abbaye, Arcos, Duhamel and Barzun, develop a distinctive style dealing in free verse, with epic subjects influenced by Walt Whitman, Emil Verhaeren and, especially, the French epic Symbolist poet René Ghil.
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While still a student at the University of Padua, Gasparinetti's play in free verse, Amore vendicato, was performed at the Teatro Obizzi in Padua in May 1795. Although it was not a particular success with the audiences, it drew favourable notice from the critic of the Gazzetta Urbana Veneta. He also wrote several poems during this time, including a sonnet, Tacea la notte, which was published in a collection marking the marriage of Agostino Nani and Pisana Savorgnan, members of two prominent families in the Veneto. Towards the end of 1795, he published a novella in ottava rima entitled Giannuccio e Cecilia.
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Ezra Pound T.S. Eliot Numerous other poets made important contributions at this revolutionary juncture, including Gertrude Stein (1874–1946), Wallace Stevens (1879–1955), William Carlos Williams (1883–1963), Hilda Doolittle (H.D.) (1886–1961), Marianne Moore (1887–1972), E.E. Cummings (1894–1962), and Hart Crane (1899–1932). The cerebral and skeptical Romantic Stevens helped revive the philosophical lyric, and Williams was to become exemplary for many later poets because he, more than any of his peers, contrived to marry spoken American English with free verse rhythms. Cummings remains notable for his experiments with typography and evocation of a spontaneous, childlike vision of reality.
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It is also considerably more lavish and more faithful to the original than previous film versions of the play. The film had 4,732,136 admissions in France. Subtitles are used for the non-French market; the English-language version uses Anthony Burgess's translation of the text, which uses five-beat lines with a varying number of syllables and a regular couplet rhyming scheme, in other words, a sprung rhythm. Although he sustains the five-beat rhythm through most of the play, Burgess sometimes allows this structure to break deliberately: in Act V, he allows it to collapse completely, creating a free verse.
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Commemorative plaque on Döblin's Berlin residence At the end of September 1924, he set out on a two-month trip through Poland, subsidized by the Fischer Verlag and prompted in part by the anti-Semitic pogroms in Berlin's Scheunenviertel of 1923, an event that awakened Döblin's interest in Judaism.; ; His description of his travels to Warsaw, Vilnius, Lviv, and Kraków, among other cities, was published in November 1925 under the title Reise in Polen (Journey to Poland). From 1926 to 1927 Döblin worked on his free verse epic Manas, about a figure from Indian mythology, which was published in May 1927.
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Dubbed "Spoke", and using the tag-line "The Flash That Holds The Wheel Of Life Together", the program aired from 10 PM to midnight and featured unnamed announcers using stage-whisper delivery laden with plate reverb, obtuse biker-style free verse intros delivered over backgrounds of electronic music, mid-eastern music and sound effects. It was replaced in 1969 with a syndicated program from the ABC Radio Network entitled "Love", voice-tracked by "Brother John" Rydgren, and which aired from 7 PM to 1 AM. Shortly afterwards, WLS-FM adopted a full-time progressive rock format.
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In response, New Formalist poets and critics pointed out the instrumental role played in the Free Verse Revolution by American poet Ezra Pound, an avowed anti-Semite who collaborated with Fascist Italy during World War II and who compared Adolf Hitler to Joan of Arc. Other New Formalists poets and critics accused those intolerant of Formal verse of seeking to impose "Cultural Fascism" upon American literature. In 1986, Michigan State University professor Diane Wakoski denounced New Formalism in print as socially conservative and therefore boring and evil. In the same article, Wakoski compared old Formalist poet John Hollander to Satan.
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In 1972 essay, Borges was echoed by American poet Richard Wilbur, who wrote, "A good poem is a good poem, whatever its technical means, and I cheerfully grant that much of the best work of recent years has been done in free forms. It does seem about time, however, to abandon the notion that free verse is daring and progressive, that it is peculiarly suited to conveying present-day experience, and that 'experiment' must consist of the abandonment of disciplines."Robert Bagg and Mary Bagg (2017), Let Us Watch Richard Wilbur: A Biographical Study, University of Massachusetts Press. Page 198.
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'"William Baer (2006), Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms, page 234. In a reference to Robert Frost's famous comparison of free verse to tennis played without a net, Baer concluded with the words, "Tennis anyone?"William Baer (2006), Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms, page 235. In a 2007 essay titled Why No One Wants to be a New Formalist, A.E. Stallings wrote, "People debate over who gets to be in the church of the Avant Garde — who gets to be among the Elect, who gets to be in the Canon Outside the Canon.
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Or vice versa. The schema turns political and nasty when form is associated with conservatism and free verse with progressivism, as though Ronald Reagan commanded poets to compose villanelles." Kurp continued, "Baer collects interviews he conducted with first- and second-generation New Formalists, most of whom are squeezed into another convenient pigeonhole, baby boomers: Wyatt Prunty, Dana Gioia, Timothy Steele, Rachel Hadas, Brad Leithauser, Charles Martin, R. S. Gwynn, Frederick Turner, Mary Jo Salter, David Middleton, Dick Davis, Rhina P. Espaillat, and A. E. Stallings. The oldest is Espaillat, born in 1932; the youngest, Stallings, in 1968.
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The opera libretto from its inception (ca. 1600) was written in verse, and this continued well into the 19th century, although genres of musical theatre with spoken dialogue have typically alternated verse in the musical numbers with spoken prose. Since the late 19th century some opera composers have written music to prose or free verse libretti. Much of the recitatives of George Gershwin's opera Porgy and Bess, for instance, are merely DuBose and Dorothy Heyward's play Porgy set to music as written – in prose – with the lyrics of the arias, duets, trios and choruses written in verse.
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In more "free" forms, and in free verse in particular, conventions for the use of line become, arguably, more arbitrary and more visually determined such that they may only be properly apparent in typographical representation and/or page layout. One extreme deviation from a conventional rule for line can occur in concrete poetry where the primacy of the visual component may over-ride or subsume poetic line in the generally regarded sense, or sound poems in which the aural component stretches the concept of line beyond any purely semantic coherence. At another extreme, the prose poem simply eschews poetic line altogether.
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J.B. is a 1958 play written in free verse by American playwright and poet Archibald MacLeish and is a modern retelling of the story of the biblical figure Job – hence the title: J.B./Job. The play went through several incarnations before it was finally published. MacLeish began the work in 1953 as a one-act production but within three years had expanded it to a full three-act manuscript. There are two versions of J.B. available: the original book, published by Houghton Mifflin Harcourt, and the script which MacLeish revised substantially for Broadway, published by Samuel French Inc.
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According to the poet Dragan Kolundžija, Stojanović's poems are lyrical miniatures composed in free verse, focused on man and nature, and filled with melancholy. Kolundžija finds that what inspired Stojanović to write poetry is reflected in his verse Krvav je bol (Pain is bloody). According to poet Miroslav Feldman, who first met Stojanović in 1919 in Zagreb, his poems were sad and permeated with a yearning for a brighter, more joyous life. Stojanović wrote an essay, which is published as the foreword to a 1920 book of poetry by Feldman, titled Iza Sunca (Behind the Sun).
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Shamlou is known for employing the style and words of the everyman. He developed a simple, free poetic style, known in Iran as Sepid Persian Poetry (literally meaning white), which is a kind of free verse that departs from the tightly balanced rhythm and rhymes of classical Persian poetry. The themes in his poetry range from political issues, mostly freedom, to human condition. Shamlou's poems are filled with mythological concepts and symbols to glorify seemingly simple and ordinary figures who are politically condemned for their revolutionary beliefs that, regardless of governmental suppression, actually reflect the activists’ deep love of their nation and people.
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113 The poem is a monologue in free verse describing his household (a boy reading to him, a woman tending to the kitchen, and the Jewish landlord), and mentioning four others (three with European names and one Japanese) who seem to inhabit the same boarding house. The poem them moves to a more abstract meditation on a kind of spiritual malaise. It concludes with the lines, :Tenants of the house :Thoughts of a dry brain in a dry season. which describes the monologue as the production of the "dry brain" of the narrator in the "dry season" of his age.
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Moreover auditors tend to perceive word stresses to fall at equal intervals in time, making English a perceptually "stress-timed" language; it seems that the same amount of time occurs between stresses.Chatman 1965, p 21-22. So the conventional patterns of accentual and accentual-syllabic English verse are perceived as regularly rhythmic, whereas to the listener, syllabic verse generally is not distinguishable from free verse. Thus syllabic technique does not — in English — convey a metrical rhythm; rather it is a compositional device: primarily of importance to the author, perhaps noticed by the alert reader, and imperceptible to the hearer.
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"Maccabee: an Epic in Free Verse", (Book Review), Wisconsin Bookwatch, January 1, 2005 He has also written SHILOH: A Narrative Play, The Defiant Soul, and Romance of the Western Chamber—a Musical (Book and Lyrics) with Music by Max Lee, based on the classic Chinese comedy XI Xiang Ji; World Premiere in Rubenstein's English (with Mandarin supertitles), Dongpo Theatre, Hangzhou, China 2011; Western Premiere, TADA! Theater, off-off Broadway, 2017; west coast USA premiere, Don Powell Theater, San Diego, July 2020. Rubenstein's adaptation of Prometheus Bound by Aeschylus is scheduled for production off-off-Broadway, September 2020, by The Tank.
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Williams referred to the prosody of triadic-line poetry as a "variable foot", a metrical device to resolve the conflict between form and freedom in verse."Interview with Stanley Koehler", Paris Review Vol 6 April 1962 Each of the three staggered lines of the stanza should be thought of as one foot, the whole stanza becoming a trimeter line.Hartman, Charles, Free Verse an essay on Prosody, Northwestern University Press, Evanston 1996 Williams' collections Journey to Love (1955) and The Desert Music (1954) Collected Poems ed. Christopher MacGowan, Collected Poems Vol II, Carcanet Press, Manchester, 2000 contained examples of this form.
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As described in a film magazine, author Hilary Farrington (Mills) is pressed by his publishers and confines himself to his work so closely that his wife Eloise (Clark) feels herself neglected. Darrell McKnight (Glass), free verse devotee, breaks his engagement to Nora Gail (Greene) and implores Eloise to elope with him. She pretends to agree, meaning to thus bring her husband to the realization of his neglect. Hilary is incredulous but Nora guesses the plan and the two then conspire to bring their respective loved ones back into the fold by seeming to do everything in their power to aid them in eloping.
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Sullivan used many styles of writing including prose poetry and free verse in both contemporary and modern forms. The first poem consists of rhymes and half rhymes, but the poem in a whole is very versatile in style. While the collection has a number of rhymes and short lines, there is not a set style that used throughout. Sullivan told the Los Angeles Review of Books that, while she was brainstorming, she thought to herself, “Maybe I’ll try and write something in rhyming couplets.” She said, "Once you start writing in rhyming couplets, a different tone of voice comes in".
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Beschi composed the epic keeping Joseph (Valan) as the hero and Mary as the heroine and wove into it several characters and episodes appropriate to the unravelling on the story of Joseph, Mary and their God-son. The epic consists of 3,615 rhymed quatrains in Tamil with 90 variations, and it has been translated by M. Dominic Raj into English in unrhymed quatrains of free verse following the ‘Sprung Rhythm’ style of Hopkins. It consists of 3 Parts with 12 sections in each. There are 356 episodes that relate to births, deaths, journeys, wars, celebrations, happenings in the Netherworld, Hell, Heaven, etc.
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Gamila El Alaily was always aware of the difficult social climate in which Egyptian women were writing poetry. She joined the Apollo Group in the 1930s and published her first collection of poetry, Sada ahlami (The Echo of My Dreams) in 1936. She was known for rebelling against several constraints often imposed on poets, even poetry's traditional form and content; she wrote free verse and prose poetry, as well as lyric poetry that extolled nature's beauty and the eternal natural freedom of the universe and creation. Her passion for nature was not limited to those phenomena that are tangible.
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His 1931 collection Poèmes d'Outre-Mer contained the first free verse in Réunionnais literature, daringly mixed with classical alexandrines. Jean Albany's 1951 Zamal turns the tables on the colonial literary tradition by representing France as the "other", and introduces Creole. Slavery and the specifics of Réunionnais history, geography, fauna and flora are explored. Boris Gamaley's Vali pour une reine morte (1973) is written in a variety of languages: French, Creole, Malagasy and other African and Indian languages to represent the linguistic and cultural influences of the island, using the languages of indigenous people, colonisers, slaves and indentured labourers.
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The direct inspiration, however, came from the Misty Poets group of the late 1970s and early 1980s (gungga was a direct translation of menglong, "obscure", "misty", or "hazy" in Mandarin.) The movement absorbed "the vision and the aesthetic principles of that groundbreaking movement through the literary manifestations were necessarily different." The gungga movement's works were in free verse, not the Aruz or syllabic metrical forms then dominant in Uyghur poetry. They relied on metaphor, contrast, images and symbols, instead of more direct means of expression. Their titles didn't directly relate to the bodies of the poems.
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Though his verse production was no more voluminous than his prose, his success in the field of poetry was no less than spectacular in Albania at the time. The main theme of Free verse, as with Migjeni's prose, is misery and suffering. It is a poetry of acute social awareness and despair. Previous generations of poets had sung the beauties of the Albanian mountains and the sacred traditions of the nation, whereas Migjeni now opened his eyes to the harsh realities of life, to the appalling level of misery, disease, and poverty he discovered all around him.
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He also performed at the now legendary Les Cousins folk club in Soho, sharing the floor spot with legendary blues singer Jo Ann Kelly. He also performed with various 'underground' luminaries of the time such as Al Stewart, Tea and Symphony, and the Sutherland Brothers. During the early 1970s, he became a student of Welsh and French at the University of Lampeter and gained literacy skills in Welsh. He came to prominence in the early 1980s, with the publication of two volumes of poetry - mainly written in free verse - Noethni in 1983 and Jazz yn y nos three years later.
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Along with ghazals, he had written in various genres; geet, sonnet, free verse and Khandakavya (long narrative poem). He started writing poetry in 1955. Vyatan (1963) was his small and first poetry collection. His other poetry collections which consist of metrical and nonmetrical poems are Urnanabh (1974), Shapit Vanma (1976), Deshvato (1978), Kshano Na Mahelma, Darpan Ni Galima (1975), Irshadgadh (1979), Afawa (1991), Inayat (1996) and Nakashanagar (2001), Vi-nayak (1996), Ae (1999), Saiyar (2000), Shwetsamudro (2001), Gatibhas (2012), Agha Pachha Shwas (2007) and Khara Zaran. Bahuk (1982), based on Nalakhyan of Mahabharata, is a long narrative poem written by him.
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Pound's Canto LIII: from the foundation of the Xia dynasty to Confucius (above) Claude Minière (born October 25, 1938) is an essayist and poet.Ibid. Initially, he took part in various avant-garde activities before turning towards a more solitary, more classical approach to writing, never forgetting, however, the conquests of Rimbaud, Ezra Pound and free-verse. Minière was born in Paris. For fifteen years he taught at l’Ecole des Beaux-Arts and is the author of a “panorama” of artistic creativity in France between 1965 and 1996: L’art en France 1965-1995 (Nouvelles editions françaises, Paris, 1995).
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His early poems employing rhyme and rhythm were published in the periodicals Servetifünun and Varlık and his first article appeared in Halk Bilgisi Haberleri (1937). After 1940 he was seen to turn to free verse and was noted among Turkish poets of the 1940s generation. He gained recognition with the poems and articles published in numerous literary periodicals such as Varlık, Aydınlık, Yelken, Yeditepe, Kaynak, Dost, Güney, Türk Sanatı, Kıyı, Türk Dili. In his poems where he treated themes of humanism, love, struggle for peace and freedom, equality and socialism he arrived at a plain style of poetry.
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"When Lilacs Last in the Dooryard Bloom'd" is a long poem written by American poet Walt Whitman (1819–1892) as an elegy to President Abraham Lincoln. It was written in the summer of 1865 during a period of profound national mourning in the aftermath of the president's assassination on April 14 earlier that year. The poem, written in free verse in 206 lines, uses many of the literary techniques associated with the pastoral elegy. Despite being an expression to the fallen president, Whitman neither mentions Lincoln by name nor discusses the circumstances of his death in the poem.
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In 2010, Neri received the Lee Bennett Hopkins Promising Poet Award from the International Reading Association for his free- verse on Chess Rumble. Neri's first novel, Surf Mules, revolves around two California surfers who find themselves embroiled in a world of disorganized crime. Neri's graphic novel Yummy: the Last Days of a Southside Shorty is about Robert "Yummy" Sandifer, who was eleven years old in 1994 when he became a fugitive from justice after accidentally killing a neighbor girl, before being killed by the gang he was in. His novel Ghetto Cowboy is inspired by the real life black urban cowboys in Philadelphia.
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Strong stresses and spondees, emphasized by consistent alliteration and slant rhymes, evince the same action and vitality in language that the speaker of the poem perceives in the vegetation of the cellar. Roethke leverages the free verse form to achieve an extreme "manipulation of vowel and consonant" sounds. The "parallel clauses" of the first and tenth lines, both beginning "Nothing would," create a frame for the poem. This frame structure makes an "etymological pun" on the word cellar, deriving from the Latin cella, broadly meaning "room," thus mirroring the setting of the poem in its construction as a poem of containment.
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Incorporamento premiered "Ships of Light" on November 1, 2013 at BodyVox Dance Center in Portland, Oregon. The original performance focused on the passage of time as a sequence of daily rituals that become one's yearly experience and is highlighted by Larsen's riveting choreography and dance in "Uncharted Territory" and Biespiel and Pearl's free verse and musical reinterpretation of George Gershwin's "Summertime". In 2009 he was elected by the membership of the National Book Critics Circle to the Board of Directors and served as a judge for the annual NBCC book awards. He was reelected in 2012 for a second term.
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Modernist poetry is a mode of writing characterised by technical innovation in the mode of versification (sometimes referred to as free verse) and by the dislocation of the 'I' of the poet as a means of subverting the notion of an unproblematic poetic 'self' directly addressing an equally unproblematic ideal reader or audience. In English, it is generally considered to have emerged in the early years of the 20th century. These two facets of modernist poetry are intimately connected with each other. The dislocation of the authorial presence is achieved through the application of such techniques as collage, found poetry, visual poetry, the juxtaposition of apparently unconnected materials, etc.
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Kitamura married Ishizaka Mina at the age of 19 in 1888, and in the same year he self- published the long verse Soshū no shi ("The Poem of the Prisoner"), which was the longest Japanese poem written in free verse up until that time. He followed this with the poetic drama Hōrai kyoku ("The Drama of Mount Hōrai"). He claimed to be influenced by the works of Byron, Emerson and Carlyle; his wife's Christianity also greatly influenced his outlook. Kitamura turned from poetry to essays, and wrote works extolling the "life-espousing views" of the West, over the "life-denying view" of Buddhism and traditional Japanese Shinto thought.
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Shaw compiled and edited, with a critical survey, the anthology of modern British poetry, Flash Point, 1964, and was himself anthologised in Brian Patten and Pat Krett's The House that Jack Built. Two of his poems – we are going to need poems and A North Country Lass Tells Her Sorrows – were designed as poster-poems by Rigby Graham and Roy Sandford. In 1981 the BBC commissioned a long poem. His reading of this was used as background to a BBC 2 television film about his work in its Pennine setting. His last published collection, in 2000, was Catullus: The Love-Hate Poems Translated by Robert Shaw, in free verse.
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Marquis introduced Archy into his daily newspaper column at New York's Evening Sun. Archy — whose name was always written in lower case in the book titles, but was upper case when Marquis would write about him in narrative form — was a cockroach who had been a free verse poet in a previous life, and took to writing stories and poems on an old typewriter at the newspaper office when everyone in the building had left. Archy would climb up onto the typewriter and hurl himself at the keys, laboriously typing out stories of the daily challenges and travails of a cockroach. Archy's best friend was Mehitabel, an alley cat.
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In the American magazine Stereo Review, editor Peter Reilly panned it as a "free- verse mind bender of an album", plagued by nonsensical lyrics and incoherent singing from Morrison, especially on "Madame George". In 1969, Greil Marcus reviewed the album positively in Rolling Stone, saying that Morrison's lyrics were thoughtful and deeply intellectual, "in terms of the myths and metaphors that exist within the world of rock and roll". He believed both the music and lyrics captured the spirit of Bob Dylan's 1967 album John Wesley Harding, while calling Astral Weeks a "unique and timeless" record. Rolling Stone later named it the album of the year.
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Taking Kenney ten years to write, The Invention of the Zero features six long poems: A 'Colloquy of Ancient Men,' 'The Invention of the Zero,' 'The Encantadas,' 'Typhoon,' 'Lucifer,' and 'Epilog: Read Only Memory.' All tell one story, however. Though four are set in World War II, all examine the history of the universe and its evolution from the Big Bang to the invention of computers to the development of the atomic bomb. Free verse and with extravagant style, The Invention of the Zero provokes questions about invention and whether or not technology has actually helped humanity or just furthered the disparity between science and different aspects of faith.
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The Pat Parker/Vito Russo Center Library in New York City is named in honor of Parker and fellow writer, Vito Russo. The Pat Parker Poetry Award is awarded each year for a free verse narrative poem or dramatic monologue by a black lesbian poet. In June 2019, Parker was one of the inaugural fifty American “pioneers, trailblazers, and heroes” inducted on the National LGBTQ Wall of Honor within the Stonewall National Monument (SNM) in New York City’s Stonewall Inn. The SNM is the first U.S. national monument dedicated to LGBTQ rights and history, and the wall’s unveiling was timed to take place during the 50th anniversary of the Stonewall riots.
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Explicitly opposing themselves to everything that had gone in poetry before, they sought instead to create a popular art, "to explore the people's tastes, to determine them, and to make them reign supreme over art".Quoted in Halman 1997. To this end, and inspired in part by contemporary French poets like Jacques Prévert, they employed not only a variant of the free verse introduced by Nâzım Hikmet, but also highly colloquial language, and wrote primarily about mundane daily subjects and the ordinary man on the street. The reaction was immediate and polarized: most of the academic establishment and older poets vilified them, while much of the Turkish population embraced them wholeheartedly.
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Although known for his novels and short stories, Bolaño was a prolific poet of free verse and prose poems. Bolaño, who saw himself primarily as a poet, said, "Poetry is more than enough for me," a character says in The Savage Detectives, "although sooner or later I'm bound to commit the vulgarity of writing stories." In rapid succession, he published a series of critically acclaimed works, the most important of which are the novel Los detectives salvajes (The Savage Detectives), the novella Nocturno de Chile (By Night in Chile), and, posthumously, the novel 2666. His two collections of short stories Llamadas telefónicas and Putas asesinas were awarded literary prizes.
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Charles Guenther was prolific in writing original poetry. He wrote in traditional rhyming verse; while frequently employing free verse. His subjects were varied, from wintry rural scenes "Snow Country", regional "Missouri Woods", and nature "Spring Catalog". The poem "Three Faces of Autumn," (from the book Phrase/Paraphrase) is an example of Guenther's sometimes concise, clipped style: > 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 (from Part I, "Three Faces of Autumn") Other poems, like "Escalator" and "Arch" were more experimental and avant-garde.
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Anne Caldwell & Oz Hardwick, Valley Press, 2019) and Archive of the Now (ed. Andrea Brady). Her work has been translated into Polish (Elzbieta Wójcik-Leese), Bulgarian (by Nikolai Boikov), French (by Jean Portante & Michel Perquy) and Dutch (by Hans Kloos). Lehóczky’s various poems appeared in print and online in the UK, US and Europe: in, among others, English (Oxford Journals), Datableed, PN Review, The Wolf, Blackbox Manifold, Molly Bloom, Confluences Poetiques, Poetry Wales, Para-text, 3:AM Magazine, Kluger Hans, Long Poem Magazine, но поезия /No Poesia, Locomotive Journal, Make It New, Arterie, The Ofi Press, Magyar Napló, Kortárs, Free Verse and Chicago Review.
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Rusafi's literary critics, especially his inveterate adversary, Jalal al-Hanafi, in his book al- Rusafi fi awjih wa hadidih (Rusafi in his Apogee and Perigee), note that Rusafi gives colloquialism an unwarranted place both in his verse and prose. Khulusi believes that Rusafi is the only traditional, classical poet, in the Arabic language, who approved of both blank verse and free verse. His broad definition of poetry covers much that is regarded by classicists and purists as ornate prose, al-shi'r al-manthur (prose poetry). For Khulusi, Rusafi had a hypnotic manner in his recital with an overwhelming sense of the movement of the meter.
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Whylah Falls is a long narrative poem (or "verse novel") by George Elliott Clarke, published in book form in 1990. As with much of Clarke's work, the poem is inspired by the history and culture of the Black Canadian community in Nova Scotia, which he refers to as the "Africadian" community (a combination of the words "African" and "Acadian"). Clarke himself describes the work as a "blues spiritual about love and the pain of love". Whylah Falls tells the story of several pairs of black lovers in southwestern Nova Scotia in the 1930s, through dramatic monologues, songs, sermons, sonnets, newspaper snippets, recipes, haiku and free verse.
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In poetry cadence describes the rhythmic pacing of language to a resolutionGlossary-The Great Modern Poets, (Michael Schmidt editor) Querus Poetry 2006 and was a new idea in 1915Preface to Some Imagist Poets 1915 used to describe the subtle rise and fall in the natural flow and pause of ordinary speechAllen Charles- Cadenced Free Verse. College English Vol 9 Dept of English, University of Arizona 1948 where the strong and weak beats of speech fall into a natural orderF.S Flint .Presentation: Notes on the Art of Writing The Chapbook II London :Poetry Bookshop ,1920 restoring the audible quality to poetry as a spoken art.
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Thus, popular drama was regularly performed at the Bolshoy stage, alone or bundled with opera and ballet. For example, the January 31, 1828 night at Bolshoy stage for the benefit of Mikhail Shchepkin featured The Robbers by Friedrich Schiller, a single-act French opera, and a "vaudeville ballet by Alexander Shakhovskoy in rhyme and free verse with machines, flooding of the entire theatre, diverse dancing and music compiled from folk songs". \- see In the second quarter of the century native Russian plays gradually increased their share. Maly performances included works by Vasily Zhukovsky, Alexander Griboyedov (Woe from Wit 1831 featuring both Shchepkin and Pavel Mochalov).
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Griffiths wrote on a wide array of subjects, in both free verse and traditional forms. Although she often posted at poetry forums popular with formalists, she eschewed such categories, writing, "The division between free and formal verse, as if one is better than the other, bewilders me." Largely ignoring contemporary trends and schools, she was more likely to make imaginative use of voice and setting than to experiment radically with language, and often wrote narrative poems and dramatic monologues in the voices of historical figures and fictional characters. Key themes included pets and animals in the wild; poets and scholars; illness and aging; war; spirituality; and women and sexuality.
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Veitch has since begun working directly for DC again, notably on its relaunch of Aquaman and on a mini-series reimagining DC-owned Charlton Comics character The Question as a self-trained urban shaman. In 2006, Vertigo published his 352-page graphic novel, Can't Get No, a psychedelic 'road' narrative about a failed businessman finding himself after the World Trade Center attacks told without word balloons but embellished in captions with stream-of-consciousness free verse poetry loosely relating to plot developments. During the 1990s, Veitch became interested in the Internet as an alternative to traditional comics distribution. In 1998, with Steve Conley, he created the "online convention" site Comicon.
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His poetry appears in three textbook anthologies and approximately 150 literary journals, both in print and online. His ten-minute plays (or flash drama) and comedy skits have been performed onstage at the Shelterbelt Theatre in Omaha, NE, and in theatres in Dover, NJ, and New York City. Dickey has published fiction (including flash fiction), short plays, creative nonfiction, and poetry in multiple genres, including prose poetry, formal verse—both serious and comic, and free verse. Of their publications for the year 2011, Mayapple Press selected Dickey's first book They Say This is How Death Came Into the World to be nominated for the National Book Award in Poetry.
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Cummings also liked to incorporate imagery of nature and death into much of his poetry. While some of his poetry is free verse (with no concern for rhyme or meter), many have a recognizable sonnet structure of 14 lines, with an intricate rhyme scheme. A number of his poems feature a typographically exuberant style, with words, parts of words, or punctuation symbols scattered across the page, often making little sense until read aloud, at which point the meaning and emotion become clear. Cummings, who was also a painter, understood the importance of presentation, and used typography to "paint a picture" with some of his poems.
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As part of this effort he founded the Gelati Monastery, a UNESCO World Heritage Site, which became an important center of scholarship in the Eastern Orthodox Christian world of that time. David also played a personal role in reviving Georgian religious hymnography, composing the Hymns of Repentance (, ), a sequence of eight free-verse psalms. In this emotional repentance of his sins, David sees himself as reincarnating the Biblical David, with a similar relationship to God and to his people. His hymns also share the idealistic zeal of the contemporaneous European crusaders to whom David was a natural ally in his struggle against the Seljuks.
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The Objectivists worked mainly in free verse. Clearly linking Objectivism's principles with Imagism's, Louis Zukofsky insisted, in his introduction to the 1931 Objectivist issue of Poetry, on writing "which is the detail, not mirage, of seeing, of thinking with the things as they exist, and of directing them along a line of melody." Zukofsky was a major influence on the Language poets, who carried the Imagist focus on formal concerns to a high level of development. Basil Bunting, another Objectivist poet, was a key figure in the early development of the British Poetry Revival, a loose movement that also absorbed the influence of the San Francisco Renaissance poets.
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Davis, p. 119 There Crane ate one good meal a day, although friends were troubled by his "constant smoking, too much coffee, lack of food and poor teeth", as Nelson Greene put it.Davis, p. 120 Living in near-poverty and greatly anticipating the publication of his books, Crane began work on two more novels: The Third Violet and George's Mother. The Black Riders was published by Copeland & Day shortly before his return to New York in May, but it received mostly criticism, if not abuse, for the poems' unconventional style and use of free verse. A piece in the Bookman called Crane "the Aubrey Beardsley of poetry,"Davis, p.
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The Meiji period marked the re-opening of Japan to the West, ending over two centuries of national seclusion, and marking the beginning of a period of rapid industrialization. The introduction of European literature brought free verse into the poetic repertoire. It became widely used for longer works embodying new intellectual themes. Young Japanese prose writers and dramatists faced a suddenly-broadened horizon of new ideas and artistic schools, with novelists amongst some of the first to assimilate these concepts successfully into their writing. 's (1867–1916) humorous novel (I Am a Cat, 1905) employed a cat as the narrator, and he also wrote the famous novels (1906) and (1914).
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His poetry resembles that of Acmeists. He usually doesn't write in free verse and seldom experiments or tries to elaborate a new poetic form, preferring to write in a classic, 19th century-like style. The Nobel Prize winner Brodsky once called Kushner "one of the best lyrical poets of the 20th century", adding that his name "is to stand in the line of names dear to the heart of every native Russian speaker"Brodsky's preface in Selected Verse of Kushner, St. Petersburg: Khudozhetvennaya literatura Translations of Kushner's poetry into English, Italian and Dutch were published in book form; several poems were also translated to German, French, Japanese, Hebrew, Czech and Bulgarian.
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Bialosky has been called a "triple threat" as poet, editor, and novelist. Cara Benson in an interview in Bookslut called her "a versatile and accomplished woman of letters. She’s published acclaimed works of poetry, memoir, and fiction, and is an editor and senior executive .... In whichever genre she is writing, to me her work stands out for its compassionate attention to the psyche of the imperfect humans struggling through their lives" Bialosky said her intention is to "probe the human experience"...and "privacy and the distinction between our public selves and private selves." Her free verse poems explore themes of desire, domesticity, and myth.
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William Ashbless is a fictional poet, invented by fantasy writers James Blaylock and Tim Powers. Ashbless was invented by Powers and Blaylock when they were students at Cal State Fullerton in the early 1970s, originally as a reaction to the low quality of the poetry being published in the school magazine. They invented nonsensical free verse poetry and submitted it to the paper in Ashbless's name, where it was reportedly enthusiastically accepted. Ashbless is, however, best known in his incarnation as a 19th-century poet, in which guise he appears in Powers' The Anubis Gates (1983) and as a lesser character in Blaylock's The Digging Leviathan (1984).
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Andrew Rebori, notable architect and future Miller cohort, served as the consulting architect, but he said he was rarely asked for advice. A 1943 article in the New York Times by Paul A. Hochman says about the Carl Street Studios, “In this one structure, there’s a touch of Moderne, Deco, Prairie, Tudor, Mission, a little English Country House, and Arts and Crafts. The whole thing is a poem, but it’s free verse.” Talented and ambitious Mexican artisan Jesus Torres was Miller's main assistant on the Carl Street project. Kogen and Miller begin their second multi-unit, artists’ residence remodeling project in 1928, the Kogen-Miller complex on Wells Street.
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"When Lilacs Last in the Dooryard Bloom'd" is a first-person monologue written in free verse. It is a long poem, 206 lines in length (207 according to some sources), 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.
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Warr gained a slight reputation after having various poems published with different British literary magazines and anthologies. In 1941, he had 'Yet a Little Onwards', a collection of fourteen poems, published by Favil Press' 'Resurgam Younger Poets' series with .Gustafson, Ralph, The Penguin Book of Canadian Verse, revised edition, 1967, Baltimore, Maryland: Penguin Books Robert Graves and G.S. Fraser gave the work favourable reviews. Some of these poems would be anthologized into 'Poems of this War'Poems of this War by Younger Poets - Ledward, Patricia, ed - Google Books His poems, like his British contemplates, blended both politics and realism in a controlled free-verse style.
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In the nineteenth century the Caurapañcāśikā was 'discovered' by Europeans. The first French edition, published in the Journal Asiatique of 1848, was based on one of the South Indian versions with a happy ending. Sir Edwin Arnold did very loose translation with Tennyson-like cadences (London 1896); A. B. Keith provided a literal translation; Gertrude Cloris Schwebell, working from translations by S. N. Tadpatrikar, M. Ariel and Gerhard Gollwitzer, created a free verse rendering. However, the version best known to English readers is probably that by Barbara Stoler Miller; or the 'free interpretation' by Edward Powys Mathers (also known as E. Powys Mathers) entitled Black Marigolds.
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Even at the time of its release the song was noted, and even "ahead of its times", for its unusual non-rhyming lyrics in free verse, and for blurring the line between poem and lyric. When Gulzar first showed the non-rhyming lyrics to RD Burman, he jokingly complained that Gulzar would next ask him to set a newspaper headline to music.Rocking with R.D, from The Hindu Metro Plus (30 August 2004). The soft music composition chosen by RD Burman, kept the focus completely on the vocals and the words, it not only highlight the unusual lyrics, but also brought Asha versatility as a singer to the fore.
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She spent four years as an assistant professor of English literature at Stanford University before returning to England. In 2013, Sullivan published The Work of Revision, an academic study of how revision and rewriting influenced the style of literary modernism, for which she received the 2014 Rose Mary Crawshay Prize and the 2014 University English Book Prize. On the basis of her first book, she was awarded a Philip Leverhulme Prize to write a second book on free verse. In 2018, she published her first poetry collection, Three Poems (Faber), which won the prestigious T. S. Eliot Prize for the best new poetry collection published in Great Britain or Ireland.
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The attendant morals row drew in George Bernard Shaw and Frank Harris: Harris made an impassioned statement in court defending the publisher. Kreymborg was lifelong friends with Carl Sandburg, each independently choosing to write in free verse. Kreymborg's tone-poems, or 'mushrooms', had seldom made it into print, but in 1916, soon after his move to Ridgefield they were brought out in book form by John Marshall as 'Mushrooms: A Book of Free Forms' and Williams praised them as a "triumph for America". Kreymborg spent a year touring the United States, mostly visiting universities, reading his poetry — including at The Sunwise Turn in New York, an early supporter of his work — while accompanying himself on a mandolute.
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Since visuals are frequently used in Prakalpana, some critics think that the movement features concrete or visual poetry. Actually, Prakalpana is more narrative fiction than poetry, though poetry and visuals might be used in parts of Prakalpana if the concerned writer finds it suitable to mix genres in the same piece of writing. The resulting form is Prakalpana only—not any other of the discrete ingredients. Moreover, Swachhando or Flow verse, the rhythm of Sarbangin Poetry, is also not concrete poetry, visual poetry, free verse or other pre-conceived forms or meters, but was created from a mixing of prosaic and poetic rhythms and got its name from the pioneering, similarly named Bengali and English poems by Chandan.
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She received a B.A. from Goddard College and an M.A. from the University of Colorado, and is a Full Professor at George Mason University, where she has taught since 1988 in the MFA and undergraduate programs. For five years she was Executive Producer of Poetry Theater: An Evening of Visual Poetics, and also served as poetry editor for the short-lived but gorgeously produced journal, "'Practice: New Writing + Art," based in the Bay area. Her work has appeared in AGNI, Beloit Poetry Journal, Cerise Press, Colorado Review, Court Green, CutBank, Denver Quarterly, Fascicle, Free Verse, Hotel Amerika, Indiana Review, Ploughshares, 42opus, Runes, and other journals. She also lives in the southern Colorado Rockies.
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Shoufani's poetry tackles issues of Palestine, freedom, feminist issues in the Arab world and promotes a different perspective on Arab women. Love, Lust, death and identity are main themes in the free verse poetry. She is the founder of what is called Poeticians collective which is where all poets of all backgrounds read multilingual spoken word and poetry in Dubai and Beirut Inkstains on the Edge of Light (Shoufani's second compilation of poetry) is a 300-page volume divided into four chapters - death, life, home and lust. It is a frank and personal journey through the loss of her beloved mother to cancer, she died at the young age of 42 when Hind was only 19.
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The tone of symbolism is highly variable, at times realistic, imaginative, ironic or detached, although on the whole the symbolists did not stress moral or ethical ideas. In poetry, the symbolist procedure—as typified by Paul Verlaine—was to use subtle suggestion instead of precise statement (rhetoric was banned) and to evoke moods and feelings by the magic of words and repeated sounds and the cadence of verse (musicality) and metrical innovation. Some symbolists explored the use of free verse. The use of leitmotifs, medieval settings and the notion of the complete work of art (blending music, visuals and language) in the works of the German composer Richard Wagner also had a profound impact on these writers.
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Anil Chavda at Yuva Gaurav Award ceremony Anil Chavda is a Gujarati language poet, writer and columnist from Gujarat, India. Some of his works include Savaar Laine (Bringing the Dawn to You) (2012), a collection of ghazals (a poetic form), which won him the 2014 Yuva Puraskar literary award, instituted by the Sahitya Akademi (National Academy of Letters) in Delhi. He is also a recipient of the Shayda Award (2010) (INT-Mumbai), the Yuva Gaurav Puraskar (2013) from the Gujarat Sahitya Akademi and the Ravji Patel Award from the Gujarat Samachar and Samanvay. Along with ghazal, he has worked in other forms of poetry such as Geet (sSong), Achhandas (free verse poetry) and the sonnet.
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Ravenel originally wrote poems in a late Victorian sentimental mode, but after exposure to modernist—and especially Imagist—poets in the early 1920s through her founding membership in the South Carolina Poetry Society, she began writing a dramatically different kind of free verse notable for its vivid imagery and precise language. She became a friend of such modernist poets as Amy Lowell, who advised her on the sole book of poems published in her lifetime, The Arrow of Lightning (1926). She published her poems in Poetry and Contemporary Verse magazines, the North American Review, the Sewanee Review, and elsewhere. By the late 1920s, she had published some 50 short stories and 80 poems in various outlets.
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The poet in exile had clearly distanced himself from literary traditionalism and taken a new direction, both in content and form. Although Pazhwak had already written some poems in which he disregarded the conventions that shaped classical Persian poetry, for example metric and rhyming rules, it was only in the early 1980s that he fully crossed the frontiers of classical format. Here he made use of the modern style and the progressive style Shi‘r-i Naw (‘New Poetry’), Shi‘r-i Azad (‘Free Verse’). Such very young poetry movements since the 1940s have been gradually developing in the whole of the Muslim world and had eventually reached because of modern developments in the West and under considerable Western influence.
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V. Since 1979 he's been dividing this time primarily between teaching Philosophy, German and other subjects at a gymnasium in Beromünster and researching and writing his books which focus on portraying historical figures, places and traditions in broad scope and great detail. Unusual for him, in 1984, Meier published Gsottniger Werwolf (which translates as "boiled werewolf"), a collection of poems, written in free-verse form and rife with literary allusions. 2004 saw the première of the miracle play Licht überm Tüchelweg (music by Stephan Meier) and in 2007, the Vitus- Oratorium aka Sankt Vitus in Merenschwand (music by Enrico Lavarini) was given its first performance; for both of these projects Meier provided the libretto. He currently resides in Rickenbach.
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Emil Isac (; May 27, 1886 – March 25, 1954) was an Austro-Hungarian-born Romanian poet, dramatist, short story writer and critic. Noted as one of the pioneers of Symbolism and modernist literature in his native region of Transylvania, he was in tandem one of the leading young voices of the Symbolist movement in the neighboring Kingdom of Romania. Moving from prose poems with cosmopolitan traits, fusing Neo-romantic subjects with modernist free verse, he later created a lyrical discourse in the line of Social Realism. Isac was likewise known for criticizing traditionalist and nationalist trends in local literature, but, by the end of World War I, opened his own poetry to various traditionalist influences.
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She, and those like Byers who followed in her wake, relies on crude television caricatures of the Eisenhower era in order to conclude that the New Formalism is Conservative, therefore boring, therefore something we need not read for ourselves. She goes further. Radicalism, by which she means simply non-metrical poems, gets strangely confused and celebrated along with the patriotic vision of Walt Whitman. It is astonishing to hear Leftists wield that supposed last refuge of villains, patriotism, as a weapon to attack rhymes and prop up an otherwise flaccid free verse - or rather, to undermine the reputation of a few poets who like the sound words make when their syllables resonate.
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In fact, the argument that existed between the proponents of Classical poetry who favored the single-rhyme and meter poem, and those advocated the free verse poem (shi'r hurr) remains till this day. A few years later, the prose poem appeared in the 1970s. Writers of this hybrid form were Ameen al-Rihani, Onsy Al-Hajj, and Shawqi Abi Shaqra (Lebanon), Jabra Ibrahim Jabra, Tawfiq Al-Sayegh, Ezz Eddin al-Munasira (Palestine), Muhammad al-Maghut (Syria), Sargon Boulus, Fadil Al-Azzawi, Mu'ayyid al-Rawi (Iraq). Al-Rawi created a new genre in Arabic poetry by liberating it from rhythm and metre, and replacing that with inner music, while maintaining the original imageries.
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Certainly that was a complaint of the Montreal Group or McGill Movement, "a group of young intellectuals under the influence of Ezra Pound and T.S. Eliot.... In Montreal the assault was spearheaded by The McGill Fortnightly Review (1925-1927), edited chiefly by two graduate students, A.J.M. Smith and F. R. Scott (son of Frederick George Scott)." "In various editorials, Smith argued that Canadian poets must go beyond the ‘maple-leaf school’ of Bliss Carman, Archibald Lampman, Duncan Campbell Scott, and Charles G.D. Roberts in favour of free verse, imagistic treatment, displacement, complexity, and a leaner diction free of Victorian mannerisms."Geoff Hancock, "McGill Fortnightly Review - (1925 – 7)," Encyclopedia of Literature, JRank.org. Web, Mar.
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Breaking the boundaries of syllabic meter, he changed his form and began writing in free verse, which harmonised with the rich vocal properties of the Turkish language. He has been compared by Turkish and non-Turkish men of letters to such figures as Federico García Lorca, Louis Aragon, Vladimir Mayakovsky, Faiz Ahmed Faiz and Pablo Neruda. Although Ran's work bears a resemblance to these poets and owes them occasional debts of form and stylistic device, his literary personality is unique in terms of the synthesis he made of iconoclasm and lyricism, of ideology and poetic diction. Many of his poems have been set to music by the Turkish composer Zülfü Livaneli and Cem Karaca.
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Some stories were lighthearted, such as a memorable episode featuring Richard Basehart as a folklorist trying to record the music of an isolated Appalachian community, and a Halloween episode called "Lizard's Leg and Owlet's Wing". One of the last episodes (113/116) was outright slapstick comedy (with even a pie fight), costarring Soupy Sales, and entitled "This Is Going to Hurt Me More Than It Hurts You" (Episode List, 4th Season, below). Even more unusual is the way it served up a kind of soaring dialog that has been referred to as "Shakespearean" and free-verse poetry. For instance, the boys encounter a Nazi hunter named Bartlett on the offshore oil drilling rig where they work.
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Luca Ion Caragiale (; also known as Luki, Luchi or Luky Caragiale; 3 July 1893 – 7 June 1921) was a Romanian poet, novelist and translator, whose contributions were a synthesis of Symbolism, Parnassianism and modernist literature. His career, cut short by pneumonia, mostly produced lyric poetry with cosmopolitan characteristics, distinct preferences for neologisms and archaisms, and willing treatment of kitsch as a poetic subject. These subjects were explored in various poetic forms, ranging from the conventionalism of formes fixes, some of which were by then obsolete, to the rebellious adoption of free verse. His poetry earned posthumous critical attention and was ultimately collected in a 1972 edition, but sparked debates among literary historians about the author's contextual importance.
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Starnino also implied that Kirsch's commitment to strict formalism would guarantee his work a very limited audience. In The New York Times Book Review, Langdon Hammer also reviewed Invasions and The Modern Element, but unlike Starnino's review, Hammer's was extremely negative. First, in The Modern Element, Hammer took issue with Kirsch's aesthetic literary arguments which he viewed as "narrow and formulaic." He also took issue with Kirsch's criticisms of free-verse poets like Frank O'Hara and Allen Ginsberg and opined that Kirsch was only skilled at criticizing those formalist poets, like Richard Wilbur and Donald Justice, who shared the same conservative approach as Kirsch uses in his own poetry, employing regular rhyme and meter.
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Rochally's poetic language is characterized by austerity, minimalism, directivity, and a distinct introspective relationship with the text. According to Jan Balaz, the poetry of Radoslav Rochally is characterized by the use of a free verse, which gives the author the necessary freedom and directness to retain the specific nature of the testimony without embellishments. Poetry based on the golden number – "Golden Ratio Poetry" – was brought to wider public attention by R. Rochallyi on 12 January 2015. In the year 2018 he won second and third place in the Slovak competition "Price reader 2018" by the Association of Slovak writers for the poetry collection Panoptikum and for the prosaic book Letter to a son.
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Amrita Pritam The Victorian novel, Elizabethan drama, free verse and Modernism entered Punjabi literature through the introduction of British education during the Raj. The first Punjabi printing press (using Gurmukhi font) was established through a Christian mission at Ludhiana in 1835, and the first Punjabi dictionary was published by Reverend J. Newton in 1854. The Punjabi novel developed through Nanak Singh (1897–1971) and Vir Singh. Starting off as a pamphleteer and as part of the Singh Sabha Movement, Vir Singh wrote historical romance through such novels as Sundari, Satwant Kaur and Baba Naudh Singh, whereas Nanak Singh helped link the novel to the storytelling traditions of Qissa and oral tradition as well as to questions of social reform.
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His functions as poet laureate included reading poems at the inaugural ceremonies of North Carolina's Governors and promoting interest in poetry at schools, colleges, and universities across the state. Pearson was scheduled to appear on the Johnny Carson Show, but upon learning that Pearson was hard of hearing, the show canceled, stating "we can't have Johnny yelling at an old man on the television." Among the memorials to Pearson is the James Larkin Pearson Award in free-verse poetry; the award is presented annually by the Poetry Council of North Carolina. The library at Wilkes Community College in Wilkesboro, North Carolina is also named in Pearson's honor, and contains many of his personal papers.
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Sengupta in 2007 She wrote under pseudonyms 'Ashakya' and 'Namumakin'. Poorva, her first travelogue, was published in 1986, followed by Dikdigant (1987), Sooraj Sange, Dakshin Panthe, Gharthi Doorna Ghar, Kinare Kinare, Uttarottar, Man To Champanu Phool, Dhaval Aalok, Dhaval Andhar, Antim Kshitijo, Doorno Aave Saad, Desh-deshavar, Namni Vahe Chhe Nadi, Ek Pankhi Na Pinchha Saat, Noorna Kafala, Devo Sada Samipe, Khilya Mara Pagla, Sootar Snehna. Her travelogues, written in English, includes My Journey to the Magnetic North Pole, White Days White Nights and Joy of Traveling Alone. Her first anthology of poems Juinu Jhumkhu (Collection of songs and Ghazals) was published in 1982, followed by Khandit Aakash (1985; Collection of free verse) and O Juliet.
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The poems from For the Union Dead built upon the more personal, looser style that Lowell had established in Life Studies. For instance, some of the poems are written in free verse or with a loose meter, and some contain irregular rhymes or no rhymes at all. However, although many of the poems in this volume are personal, their subject matter is different from Life Studies since there aren't any poems that focus on the subject of Lowell's mental illness. Instead, the more personal poems here focus on Lowell's close family relationships, centering on individuals like his daughter ("Child's Song"), his cousin Harriet Winslow ("Soft Wood"), his father ("Middle Age"), and his ex-wife ("The Old Flame").
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At the age of 18 Claudel discovered Arthur Rimbaud's book of poetry, Illuminations, and underwent a sudden conversion to Catholicism. Together these two events would have a profound effect on him, leading to work towards 'the revelation through poetry, both lyrical and dramatic, of the grand design of creation' All his writings are passionate rejections of the idea of a mechanical or random universe, instead proclaiming the deep spiritual meaning of human life founded on God's all-governing grace and love. Claudel wrote in a unique verse style. He rejected traditional metrics in favour of long, luxuriant, unrhymed lines of free verse, the so-called verset claudelien, influenced by the Latin psalms of the Vulgate.
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John Simon reviewed the play in New York in 1979, when it was first performed in the United States: "The stultifying banality of the play is matched only by its arrogance—it is, for example, written in a pointless free verse that becomes even flatter in Anne Cattaneo's translation. The only thing big about Big and Little is its pretentiousness; everything else, except its length, is little." Mel Gussow of The New York Times described the play in 1983 as "a nonlinear but consequential tour of present- day alienation". He called it "theoretically tantalizing, more interesting to contemplate than to experience and less adventurous than works by Mr. Strauss's peers such as Peter Handke and Franz Xaver Kroetz".
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In contrast to the contemporary Georgian poets, who were generally content to work within that tradition, Imagists called for a return to more Classical values, such as directness of presentation, economy of language, and a willingness to experiment with non-traditional verse forms; Imagists used free verse. A characteristic feature of the form is its attempt to isolate a single image to reveal its essence. This feature mirrors contemporary developments in avant-garde art, especially Cubism. Although these poets isolates objects through the use of what Ezra Pound called "luminous details", Pound's ideogrammic method of juxtaposing concrete instances to express an abstraction is similar to Cubism's manner of synthesizing multiple perspectives into a single image.
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Aykroyd had never written a screenplay before, as he admitted in the 1998 documentary, Stories Behind the Making of The Blues Brothers, or even read one, and he was unable to find a writing partner. Consequently, he put together a very descriptive volume that explained the characters' origins and how the band members were recruited. His final draft was 324 pages, which was three times longer than a standard screenplay, written not in a standard screenplay format, but more like free verse. To soften the impact, Aykroyd made a joke of the thick script and had it bound with the cover of the Los Angeles Yellow Pages directory for when he turned it in to producer Robert K. Weiss.
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After his travels to Western Europe and after teaching at the Jagiellonian University in Kraków in the late nineties, he moved to New York City in 2000. His collection of poetry, Plavnyk ryby (2002; t: The fish fin) – half written in Europe, half in the United States is a visible testimony to this transition. In Makhno’s "complex metaphorical imagery and dense verbal texture of his poetry, as well as the nearly anarchic utilization of grammar in his works, with virtually no punctuation", new images emerged (translator Michael M. Naydan). Verve and variety, as well as the profane, now dominate the observant cadence of his free verse and create a stimulating contrast to his weighty diction and nature metaphors.
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Cernat, p.98 The complete text of Furtuna și cântecul dezertorului was published at a later stage, after the missing text was discovered by Pană.Cernat, p.106 At the time, he became interested in the free verse work of the American Walt Whitman, and his translation of Whitman's epic poem Song of Myself, probably completed before World War I, was published by Alfred Hefter-Hidalgo in his magazine Versuri și Proză (1915).Cernat, p.55 Beitchman notes that, throughout his life, Tzara used Symbolist elements against the doctrines of Symbolism. Thus, he argues, the poet did not cultivate a memory of historical events, "since it deludes man into thinking that there was something when there was nothing."Beitchman, p.
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New York: W.W. Norton and Company, 2005. 1251-1275. In the early 20th Century, accentual-syllabic verse was largely supplanted by free verse through the efforts of Modernists such as Ezra Pound and Amy Lowell. Nonetheless, some poets, such as Robert Frost, W. H. Auden, Keith Douglas, Robert Lowell, Philip Larkin, Howard Nemerov, James Merrill, Derek Walcott, Geoffrey Hill, Seamus Heaney and Derek Mahon continued to work (though not exclusively) in accentual-syllabic meters throughout the century. Though it has not regained its position of dominance within English poetry, accentual-syllabic verse remains viable and popular in the 21st century, as evidenced by the success of such poets as Richard Wilbur and the various New Formalists.
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Palm leaf with 11th–12th century Vachana poems in old Kannada Akka Mahadevi, 12th century female poet The bust of Basaveswara, unveiled in London in 2015, facing the UK Parliament In the late 12th century, the Kalachuris successfully rebelled against their overlords, the Western Chalukyas, and annexed the capital Kalyani. During this turbulent period, a new religious faith called Veerashaivism (or Lingayatism) developed as a revolt against the existing social order of Hindu society. Some of the followers of this faith wrote literature called Vachana Sahitya ("Vachana literature") or Sharana Sahitya ("literature of the devotees") consisting of a unique and native form of poetry in free verse called Vachana.Shiva Prakash (1997), pp.
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He has since written 13 books of poetry and in 1978 edited a volume of verse by Italian- Canadian poets, Roman Candles which became a seminal volume for the birth of Italian-Canadian literature. His poems, consisting of deep images in stanzas of free verse - with lines consisting of irregular numbers of syllables and (hypothetical) feet - often referred to di Cicco's immigrant and Italian- family experiences. In books like Flying Deeper Into the Century (1982) and The Tough Romance (1979) he communicated a modern, sensitive awareness of the confusing welter of 20th-century life. Di Cicco's unmetrical but imagistic lines flowed on, often with cumulative power, to release their tension at the end of their stanzas.
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The class of poets born between 1946 and 1958 were marked by two tendencies: those who followed the meter (mainly décimas and sonnets) and those who employed free verse with lines of individual ranges. Both tendencies moved toward a formal, linguistic experimentalism, but the conversational tone was maintained as is evident, for example, in the works of Osvaldo Navarro, Waldo González, Alberto Serret, Raúl Hernández Novás, Carlos Martí, Reina María Rodríguez, Alberto Acosta-Pérez, Virgilio López Lemus, Esbértido Rosendi Cancio, Ricardo Riverón Rojas, León de la Hoz, Ramón Fernández-Larrea and Roberto Manzano. A new generation of poets made themselves known during the latter half of the 1980s, when those born after 1959 began to publish.
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Stacy, 25 Whitman moved to New York City in May, initially working a low-level job at the New World, working under Park Benjamin Sr. and Rufus Wilmot Griswold.Callow, 56 He continued working for short periods of time for various newspapers; in 1842 he was editor of the Aurora and from 1846 to 1848 he was editor of the Brooklyn Eagle.Stacy, 6 While working for the latter institution, many of his publications were in the area of music criticism, and it is during this time that he became a devoted lover of Italian opera through reviewing performances of works by Bellini, Donizetti, and Verdi. This new interest had an impact on his writing in free verse.
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"Tommy" is a narrative poem by Stephen King, first published in the March, 2010 edition of Playboy, and later collected and re-introduced in the November 3, 2015 anthology The Bazaar of Bad Dreams. In the new introduction King disputes the famous adage (attributed to many celebrities, including Grace Slick, Robin Williams, Paul Kantner, Joan Collins, and Dennis Hopper): "If you remember the Sixties, you weren't there." The poem is free verse and steeped in the slang and cultural references of the 1960s, a decade which encompassed all of King's teenage years. It describes the unique burial of the titular young man, a hippie who died of leukaemia, and the subsequent lives of his closest friends.
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Atsuro Riley is an American writer. Riley is the author of the poetry collections Heard-Hoard (University of Chicago Press, 2021) and Romey's Order (University of Chicago Press, 2010). He is a recipient of the Whiting Award, the Kate Tufts Discovery Award, The Believer Poetry Award, the Witter Bynner Award from the Library of Congress, the Alice Fay di Castagnola Award from the Poetry Society of America, the Lannan Foundation Literary Fellowship, the Pushcart Prize, the Wood Prize from Poetry magazine, and a National Endowment for the Arts Literature Fellowship. His work has appeared in Poetry (magazine), The Kenyon Review, McSweeney's, The Believer, The Threepenny Review, The New Republic, Free Verse Journal, Riddle Fence (Canada), Southern Cultures, The Poetry Review (UK), Poetry International.
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Evangelist and vox Christi combination in Bach's St Matthew Passion Vox Christi, Latin for Voice of Christ, is a setting of Jesus' words in a vocal work such as a Passion, an Oratorium or a Cantata. Conventionally, for instance in Protestant music of the Baroque era, the vox Christi is set for a bass voice. In Protestant Germany the words of the vox Christi are in German: when the vocal work contains a sung Gospel reading, such as in Bach's Passions, the words are taken from Luther's Bible translation, but the words may also be free verse, as for instance in the Brockes Passion. In either case the composition may also contain a setting of an Evangelist's words, which are traditionally set for a tenor voice.
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Christina Rossetti, Coventry Patmore, and T. E. Brown all wrote examples of rhymed but unmetered verse, poems such as W. E. Henley's "Discharged" (from his In Hospital sequence). Free verse in English was persuasively advocated by critic T. E. Hulme in his A Lecture on Modern Poetry (1908). Later in the preface to Some Imagist Poets 1916, he comments, "Only the name is new, you will find something much like vers libre in Dryden's Threnodia Augustalis; a great deal of Milton's Samson Agonistes, and the oldest in Chaucer's House of Fame."Preface to Some Imagist Poets, Constable, 1916 In France, a few pieces in Arthur Rimbaud's prose poem collection Illuminations were arranged in manuscript in lines, rather than prose, and in the Netherlands, tachtiger (i.e.
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Hedge Coke's work Blood Run, a free verse poetry collection of 66 poems, was inspired by the traditions of the Native American Mound Builders and their earthworks. Blood Run revives the history of the sites giving profound voice to humans, animals, plants and structures, also with political-ecological hope for the future to preserve ancient spiritual places. The poems show a mathematical patterning based on the numbers four, three and seven and on the sequence of the first 24.primes. In Hedge Coke's Streaming, the poem, America I sing you back was born not out of anger but concern for what she saw happening in the United States 12 years ago, alarmed by the greediness of politicians to take natural resources from the land.
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Instead of being seated in three-quarter view, the monk or patriarch could be shown frontally, or as a full figure, and could be in a circular frame instead of simply as a figure against a blank background. Less common are chinsō showing a monk in meditation in a landscape setting, where he could be either walking or sitting. Chinsō are usually inscribed at the top with a eulogy written in free verse, describing who the patriarch was, why it was made and possibly who wrote the eulogy and why. Some scholars distinguish chinsō from the soshizō 祖師像 category, which includes portraits of legendary patriarchs from the distant past, by checking whether or not the portrait is inscribed.
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"Without Title" may be considered Hill's first "free" verse. This "ease" - which in Hill never sacrifices lexical and analogical precision (although here may be more forgiving of the structural character in meter and in overall composition) - may give way to a mature voice that confronts the freedom of working outside and beyond purposed, foreseen writing (of the epic) as well as the freedom from such pressures of having to confront, to speak with and to speak "God" (multiple references to this impossibility pervade the epic). In the "Orchards of Syon" Hill prematurely references this book of poetry when he notes that he will 'probably not' write any further afterwards. (quote?) This book, then, should be read as a refutation of this earlier preconception.
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For her collection of poems, Letter to a Comrade, she won the Yale Series of Younger Poets Competition in 1938. She was chosen by Stephen Vincent Benét, who commended Davidman for her "varied command of forms and a bold power." In 1939, she won the Russell Loines Award for Poetry for this same book of poems. Although much of her work during this period reflected her politics as a member of the American Communist Party, this volume of poetry was much more than implied by the title, and contained forty-five poems written in traditional and free verse that were related to serious topics of the time such as the Spanish Civil War, the inequalities of class structure and male-female relationship issues.
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This remarkable but almost totally neglected epic in free verse immediately preceded Döblin's best-known work Berlin Alexanderplatz. That both works were closely associated in Döblin's mind is shown by a remark in his Afterword to the 1955 East German edition of his big- city masterpiece: it was Manas with a Berlin accent, Praised on its publication by Robert Musil among others (I assert with confidence that this work should have the greatest influence!) it has attracted strangely little attention from Döblin scholars. Manas Part 1 tells the story of a war-hero suddenly struck with an existential realisation of Death. He demands to be taken to Shiva's Field of the Dead in the high Himalaya to commune with Souls on their way to dissolution.
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The Glory Wind won the 2011 Geoffrey Bilson Award, the Ann Connor Brimer Award and was shortlisted for other awards, including the TD Canadian Children's Literature Award, and the Canadian Library Association Book of the Year for Children Award. Sherrard's novel in free verse, Counting Back from Nine, was nominated for a 2013 Governor General's Award in the Children's Text category. Sherrard's picture books include There's a Cow Under my Bed that was illustrated by her son-in-law, Canadian Illustrator David Jardine and Miss Wondergem's Dreadfully Dreadful Pie that was illustrated by Canadian Illustrator Wendy J. Whittingham. Sherrard's 2007 historical novel, Three Million Acres of Flame, is about the 1825 Miramichi Fire, the largest recorded land fire in North American history.
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Meanwhile, the new literary movement in American poetry began to at last attract the attention of mainstream critics. By 1983, Neoformalism was noted in the annual poetry roundups in the yearbooks of The Dictionary of Literary Biography,The Year in Poetry was contributed by Lewis Turco from 1983 to 1986. and throughout the mid-1980s heated debates on the topic of free verse vs. formalism appeared in several literary journals.for example, see Salmagundi 65 (1984) with Mary Kinzie's piece "The Rhapsodic Fallacy," (pages 63 - 79) and various responses; Alan Shapiro's piece "The New Formalism," in Critical Inquiry 14.1 (1987) pages 200 - 13; and David Wojahn's "'Yes, But ...': Some Thoughts on the New Formalism," in Crazyhorse 32 (1987) pages 64 - 81.
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In what Gerry Cambridge has called, "a rambling and confused attack," Wakoski said of Hollander's remarks, "I thought that I heard the Devil speaking to me." Hollander was, Wakoski alleged, "a man full of spite, from lack of recognition and thinly disguised anger... who was frustrated and petty from that frustration," as he was, "denouncing the free verse revolution, denouncing the poetry which is the fulfillment of the Whitman heritage, making defensive jokes about the ill- educated, slovenly writers of poetry who have been teaching college poetry classes for the past decade, allowing their students to write drivel and go out into the world, illiterate of poetry."Diane Wakoski, The New Conservatism in American Poetry, The American Book Review, May–June 1986.
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Thoroughly educated and with a keen understanding of literary tradition, Mahon came out of the tumult of Northern Ireland with a formal, moderate, even restrained poetic voice. In an era of free verse, Mahon has often written in received forms, using a broadly applied version of iambic pentameter that, metrically, resembles the "sprung foot" verse of Gerard Manley Hopkins. Some poems rhyme. Even the Irish landscape itself is never all that far from the classical tradition, as in his poem "Achill": :Croagh Patrick towers like Naxos over the water ::And I think of my daughter at work on her difficult art :And wish she were with me now between thrush and plover, ::Wild thyme and sea-thrift, to lift the weight from my heart.
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In the manifesto, Pratella appeals to the youth for only they can understand what he says and they are thirsty for 'the new, the actual, the lively.' He goes on to talk about the degeneration of Italian music to that of a vulgar melodrama which he realized through winning a prize for one of his musical Futurist works, La Sina d'Vargoun based on one of Pratella's free verse poems. As part of his monetary prize, he was able to put on a performance of that work, which received mixed reviews. Through his entry into Italian musical society, he was able to experience firsthand the 'intellectual mediocrity' and 'commercial baseness' that makes Italian music inferior to the Futurist evolution of music in other countries.
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Peck was born in Pittsburgh, Pennsylvania in 1941. He earned a Ph.D. in English from Stanford University in 1973, where he studied with the poet and literary critics Yvor Winters and Donald Davie. Peck's dissertation, Pound's Idylls with Chapters on Catullus, Landor, and Browning, was supervised by Davie, and focused on the writing of the American modernist poet Ezra Pound. Peck’s allusive, musically nuanced poetry shows clear traces of Pound, though Peck’s ideas and metaphors tend to engage rather than insist. Peck writes primarily in free verse, though he does, in his words, “plait phonic elements across both accentual and syllabic grids,” a patterning of sound that he characterizes as having been more influenced by verse written by Pound's friend and contemporary Basil Bunting than by Pound.
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Adonis and al-Khal asserted that modern verse needed to go beyond the experimentation of "al-shiʿr al-hadith" (modern, or free, verse), which had appeared nearly two decades earlier. Also responding to a growing mandate that poetry and literature be committed to the immediate political needs of the Arab nation and the masses, Adonis and Shiʿr energetically opposed the recruitment of poets and writers into propagandist efforts. In rejecting "al-ʾadab al- iltizām" ('politically committed literature'), Adonis was opposing the suppression of the individual's imagination and voice for the needs of the group. Poetry, he argued, must remain a realm in which language and ideas are examined, reshaped, and refined, in which the poet refuses to descend to the level of daily expediencies.
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During the 1960s and 1970s, Gunn's verse became increasingly bold in its exploration of drug taking, homosexuality, and poetic form. He enjoyed the bohemian lifestyle in San Francisco so much that Edmund White described him as "the last of the commune dwellers [...] serious and intellectual by day and druggy and sexual by night". While he continued to sharpen his use of the metrical forms that characterised his early career, he became more and more interested in syllabics and free verse. "He's possibly the only poet to have written a halfway decent quintain while on LSD, and he's certainly one of the few to profess genuine admiration for both [Yvor] Winters (the archformalist) and Allen Ginsberg (the arch ... well, Allen Ginsberg)", critic Daniel Orr has written.
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Yellow Star received starred reviews in Publishers Weekly and Booklist. (Registration required) The Publishers Weekly review commended the book for "the lyricism of the narrative, and Syvia's credible childlike voice, maturing with each chapter, as she gains further understanding of the events around her". (Registration required) Another reviewer praised the format, saying the "free-verse format suits the young narrator and subject matter well" and concluding that "Readers searching for an accessible Holocaust novel will be absorbed by this haunting story based on true events". (Registration required) Library Media Connection's review praises Roy for her age-appropriate language: "When Syvia witnesses the shooting of people in the street, author Jennifer Roy captures the fear of the moment without graphic descriptions".
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Nowadays, all of us are reading for our lives, I think. These poems are what we need." Similar praise came from Robert McDowell in a review published in The Hudson Review: "Allen Hoey’s first full-length collection...contains more compassion, diversity, and skill than the fifth book or the tenth book by most older poets. Ranging from free verse to formal structures but never straying far from an anchoring pentameter or tetrameter line, Hoey’s subtle lyricism sounds most like the speech of the straightforward, wry upstate New York and New England folks he prefers to write about…. Hoey seems to know that at the core of the storyteller’s gift is the ability to subordinate one’s ego for the sake of hearing the stories of others.
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He lives and works as internal medicine specialist physician in Larissa (Greece). He is the authorLibrary of Congress, Washington DC, USAVIAFWorldCat Identities of 9 poetry books in 6 languages (Greek, English, French, Romanian, Albanian, Italian) and the Editor-in-chief of an international anthology in English (205 poets from 65 countries). He has participated in several International Poetry FestivalsInternational Poetry Festival Orpheus, Plovdiv, BulgariaStruga Poetry Evenings, North Macedonia. His poetry has been translated into 25 languages (EnglishThe world's changing faces, Poetry Now, UK, 2005, , National Library of AustraliaWhispers in the wind, Poetry Now, UK, 2005, , National Library of AustraliaFree-falling - a collection of free verse from Poetry Now, Poetry Now, UK, 2006, , National Library of AustraliaHarvests of New Millennium, Cyberwit.
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Zukofsky's major work was the epic poem "A"—he never referred to it without the quotation marks—which he began in 1927 and was to work on for the rest of his life, albeit with an eight-year hiatus between 1940 and 1948. The poem was divided into 24 sections, reflecting the hours of the day. The first 11 sections contain a lot of overtly political passages but interweave them with formal concerns and models that range from medieval Italian canzone through sonnets to free verse and the music of Bach. Especially the sections of "A" written shortly before World War II are political: Section 10 for example, published in 1940, is an intense and horrifying response to the fall of France.
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Prose is a form or technique of language that exhibits a natural flow of speech and grammatical structure. Novels, textbooks and newspaper articles are all examples of prose. The word prose is frequently used in opposition to traditional poetry, which is language with a regular structure and a common unit of verse based on metre or rhyme. However, as T. S. Eliot noted, whereas "the distinction between verse and prose is clear, the distinction between poetry and prose is obscure";Eliot T S 'Poetry & Prose: The Chapbook' Poetry Bookshop London 1921 developments in modern literature, including free verse and prose poetry, have led to the two techniques indicating two ends on a spectrum of ways to compose language, as opposed to two discrete options.
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Brand early poetry was strongly influenced by English poets and are somewhat imitative of Wordsworth, Keats, Shelley, Wilfred Owen, Siegfried Sassoon, Walter de la Mare and Edna St Vincent Millay. In her early work, she preferred a regular rhyme scheme to free verse although she adopted whichever suited the idea. In the late 1930s, Brand cancelled a planned overseas trip because of the outbreak of World War II. Her poetic focus during this period therefore was on the social and political environment in Australia as well as the unique Australian landscape and seascape. This also became a time for her development as a writer because she met Melbourne Workers' Educational Association tutor, William Fearn Wannan, who influenced and taught her.
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There is very little action, the play serving as a platform for the recitation of free verse fables at frequent intervals. These include The Fox and the Weasel, The Fox and the Mask, The Belly and the Other Members, the Town Mouse and the Country Mouse, the Fox and the Crow, the Crab and her Daughter, The Frog and the Ox, the Cook and the Swan, The Wolf and the Lamb, The Mountain in Labour, and The Man with two Mistresses. Two others – The Nightingale, The Lark and the Butterfly – appear original to the author, while a third, The Doves and the Vulture, is in fact an adapted version of The Frogs and the Sun.The text is available on books.google.co.
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Euros Bowen began writing poetry in earnest in 1947, during the heavy winter which left him snowbound in his rectory. In many ways a "late starter", for he did not publish his first volume of poetry until he was in his early 50s, he at once became notable for the way in which he developed the traditional metres of Welsh poetry. Compared by some with the writing of T. Gwynn Jones, who was also seen as a moderniser of Welsh prosody,Oxford Companion to the Literature of Wales, 1986, OUP. Bowen's early work (collected in Cerddi - Poems - 1957) is dense with layered imagery, and whilst later on he moved into free verse, it is actually difficult to chart his development in a linear way.
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1920), Jalīla Riḍa (Egypt, 1920-2001), Salma Khadra Jayyusi (Palestine, 1926-), Lami'a 'Abbas 'Amara (Iraq, b. 1927). Saniya Salih's (Syria 1935-85) poetry appeared in many well-known magazines of her time, particularly Shi’r and Mawaqif, but remained in the shadow of work by her husband, the poet Muhammad al-Maghout. Her later poems often address her relationship with her two daughters, and many were written during her illness as she died of cancer. Moreover, other Arab post-war poetesses include: Zubayda Bashīr (Tunis, 1938-); Ghada al-Samman (Syria, 1942-), known not only for poetry but also for short stories and novels, Su'ad al-Sabah (Kuwait, 1942-) and Hamda Khamis (Bahrain, 1946-) who is regarded as Bahrain's first female free-verse poet.
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Guillaume Apollinaire radicalized the Baudelairian poetic exploration of modern life in evoking planes, the Eiffel Tower and urban wastelands, and he brought poetry into contact with cubism through his "Calligrammes", a form of visual poetry. Inspired by Rimbaud, Paul Claudel used a form of free verse to explore his mystical conversion to Catholicism. Other poets from this period include: Paul Valéry, Max Jacob (a key member of the group around Apollinaire), Pierre Jean Jouve (a follower of Romain Rolland's "Unanism"), Valery Larbaud (a translator of Whitman and friend to Joyce), Victor Segalen (friend to Huysmans and Claudel), Léon-Paul Fargue (who studied with Stéphane Mallarmé and was close to Valéry and Larbaud). The First World War generated even more radical tendencies.
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98 Although Garland and William Dean Howells encouraged him to submit his poetry for publication, Crane's free verse was too unconventional for most. After brief wrangling between poet and publisher, Copeland & Day accepted Crane's first book of poems, The Black Riders and Other Lines, although it would not be published until after The Red Badge of Courage. He received a 10 percent royalty and the publisher assured him that the book would be in a form "more severely classic than any book ever yet issued in America."Davis, pp. 92–93 In the spring of 1894, Crane offered the finished manuscript of The Red Badge of Courage to McClure's Magazine, which had become the foremost magazine for Civil War literature.
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Modern Chinese poetry, including New poetry (), refers to post Qing Dynasty (1644 to 1912) Chinese poetry, including the modern vernacular (baihua) style of poetry increasingly common with the New Culture and 4 May 1919 movements, with the development of experimental styles such as "free verse" (as opposed to the traditional Chinese poetry written in Classical Chinese language); but, also including twentieth and twenty-first century continuations or revivals of Classical Chinese poetry forms. Some modern Chinese poetry represents major new and modern developments in the poetry of one of the world's larger areas, as well as other important areas sharing this linguistic affinity. One of the first writers of poetry in the modern Chinese poetry mode was Hu ShihDavis, xxxvi (1891–1962).
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" The review, noting the immigration themes throughout, compared the song "People From Other Cultures" to the "Parents" episode of Master of None. AllMusic similarly praised the album as an example of "true 21st century songwriting" observing that St. Lenox’s "gutsy indie pop chronicles the modern American experience in a dazzling litany of soulful free verse." The Harvard Crimson, comparing Choi’s voice to Chris Stapleton and Van Morrison proclaimed it a "stellar album, covering the experience of the children of immigrants from the emotional highs of boundless optimism to cultural disconnect … one of the most interesting releases of the year." Premiering the video for the song "Thurgood Marshall", Stereogum described Choi’s voice as "one of the most striking instruments in music today.
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In the 1990s, a new current of Cuban lyric rose that broke with the colloquialism of the generation before and explored traditional verse forms and free verse with its rhythmic and expressive possibilities, in accordance with the work of preceding authors such as José Kozer. The canon of new poetry appeared in the independent magazine Jácara, particularly the issue in 1995 that compiled an anthology of the generation. There were many young authors who participated in what amounted to a revolution of Cuban literature that distanced itself from political themes and created a clearer and more universal lyric. These poets included Luis Rafael, Jorge Enrique González Pacheco, Celio Luis Acosta, José Luis Fariñas, Ásley L. Mármol, Aymara Aymerich, David León, Arlén Regueiro, Liudmila Quincoses and Diusmel Machado.
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In his poems, one can easily detect the historic events that reflect a realistic image of livelihood. Readers can also feel the rich heritage of different sources expressed in sincere and deep emotional way. Concerning modern Arabic poetry, Taqa said in his introduction to his first collection of poems "The Last Evening" in 1950 that: “this sort of poetry modern poetry is not a free verse neither it is free of all restraints, but it commits itself by certain limits. It should be noted, however, for the sake of art, that this type of poetry is not innovative for its origins that are deeply rooted in the Andalusian poetry..”. On the poet’s role in life, he also said: “poetry at this age, maintains its serious role.
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Autograph of the poem Invocatio Marsman studied law and practised in Utrecht, but after 1933 he travelled in Europe and devoted himself to literature. Under the influence of the German Expressionists, Marsman made his literary debut about 1920 with rhythmic free verse, which attracted notice for its aggressive independence. In the biography of Hendrik Marsman on the website of the Charley Toorop is mentioned as one of the women who had a relationship with Marsman before he married in 1929 his wife Rien Barendregt. The collection Verzen (1923; “Verses”) expresses an antihumanist, anti-intellectual rebelliousness, which the poet called “vitalism.” As editor of the periodical De Vrije bladen (“The Free Press”), he became in 1925 the foremost critic of the younger generation.
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According to The New Princeton Encyclopedia of Poetry and Poetics, the defining traits of the prose poem are "unity even in brevity and poetic quality even without the line breaks of free verse: high patterning, rhythmic and figural repetition, sustained intensity, and compactness."Alex Preminger and T. V. F. Brogan, co-editors, The New Princeton Encyclopedia of Poetry and Poetics (Princeton, NJ: Princeton University Press, 1993), p. xlvi Invented in the nineteenth century, the modern prose poem form is largely indebted to Charles Baudelaire's experiments in the genre, notably in his Petits poèmes en prose (1869), which created the subsequent interest in France exemplified by later writers such as Stéphane Mallarmé and Arthur Rimbaud. In English literature, Edgar Allan Poe and Charles Kingsley were progenitors of the form.
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Much of Nâzım Hikmet's poetry subsequent to this breakthrough would continue to be written in free verse, though his work exerted little influence for some time due largely to censorship of his work owing to his Communist political stance, which also led to his spending several years in prison. Over time, in such books as Simavne Kadısı Oğlu Şeyh Bedreddin Destanı ("The Epic of Shaykh Bedreddin, Son of Judge Simavne", 1936) and Memleketimden İnsan Manzaraları ("Human Landscapes from My Country", 1939), he developed a voice simultaneously proclamatory and subtle. Another revolution in Turkish poetry came about in 1941 with the publication of a small volume of verse preceded by an essay and entitled Garip ("Strange"). The authors were Orhan Veli Kanık (1914–1950), Melih Cevdet Anday (1915–2002), and Oktay Rifat (1914–1988).
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Mark Mahemoff mainly writes free verse, but also experiments with formal constraints such as englyn, pantoum, sestina, haiku, and found poetry, as well as developing his own new forms. Influenced by the OULIPO movement’s strategies and Georges Perec, he created sestoum, a form incorporating techniques used in the pantoum and sestina. An example is his poem 'Vowel Sounds', in which he avoided using a particular-but-different vowel in each stanza. Mahemoff’s poetry is chiefly concerned with framing, reimagining and memorialising commonplace moments, primarily in an urban setting. Describing the poems in the second collection (Near-Life Experience), in the Australian Book Review, Oliver Dennis states, "Constructed, in a majority of cases, from the ‘salvaged details’ of life, they operate as personal histories, recording everyday experience and observation in the face of death".
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As McDougall notes, he has "sought to find new formal devices within the general category of 'free verse'…Conventional but dispensable grammatical forms and punctuation disappear between intensely compressed images; subject, tense, and number are elusive; transitions are unclear; order and logic are supplied by the reader". By using such an experimental approach, Bei Dao has achieved what the poet and critic Michael Palmer has called "a poetry of complex enfoldings and crossings, of sudden juxtapositions and fractures, of pattern in a dance with randomness". This approach to poetic form earned Bei Dao his moniker as a "misty" poet, which was originally leveled pejoratively by Chinese critics who disliked his work for its lack of clarity. Some critics in the West have similarly found his work to be incomprehensible.
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The themes of focus in Spiritual Front's music vary and are extensive, though most often seem to be either quite personal or introverted, perhaps to lead singer Salvatori's own life. However lyrics in the group's music tend to be characterized by a type of English and rarely Italian, as well as free-verse type poetic styles influenced by decadent references to various, often obscure subjects. Therefore, there is a tangible difficulty in deciphering the analogies behind the individual songs, and whether or not many of Spiritual Front's albums should be placed as concept works. Themes treated by Simone H. deal with searching for self-identity through turbid and untamed exploration of sexuality, stories of breaking up with anger at bitter sarcasm and irony, always touched with nihilism and biting humor.
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Taban Lo Liyong, who was born in southern Sudan in 1939 and studied in the 1960s in the United States, is one of Africa's well-known poets, writers of fiction and literary criticism. According to the Encyclopædia Britannica, "Liyong wrote highly imaginative short narratives, such as Fixions (1969), and unorthodox free verse,( ...) His nonfiction output consists of argumentative and amusing personal essays and bold literary criticism (...), presenting challenging new ideas in an original manner." After teaching positions in several countries, including Sudan, he became professor of English at the University of Juba. Leila Aboulela, who was born in 1964 in Cairo, Egypt, to an Egyptian mother and a Sudanese father, and grew up in Khartoum, is a Sudanese writer who lives in Great Britain and writes in English.
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Les Murray has said about Gray, "[he] has an eye, and the verbal felicity which must accompany such an eye. He can use an epithet and image to perfection and catch a whole world of sensory understanding in a word or a phrase." His wide reading in and experience of East Asian cultures and their varieties of Zen Buddhism is clear in many of the themes and forms he chooses to work in, including, for example haiku-style free verse works, nature style poetry, as well as discursive and narrative style poems, such as "Diptych," (1984). Gray's essentially Australian response to nature is reinforced by what he sees as a commonsensical Eastern view of man as within nature rather than an agent removable from, and capable of controlling nature.
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Portrait of Charles Baudelaire (c. 1862), whose writing was a precursor of the symbolist style The symbolist poets wished to liberate techniques of versification in order to allow greater room for "fluidity", and as such were sympathetic with the trend toward free verse, as evident in the poems of Gustave Kahn and Ezra Pound. Symbolist poems were attempts to evoke, rather than primarily to describe; symbolic imagery was used to signify the state of the poet's soul. T. S. Eliot was influenced by the poets Jules Laforgue, Paul Valéry and Arthur Rimbaud who used the techniques of the Symbolist school,Untermeyer, Louis, Preface to Modern American Poetry Harcourt Brace & Co New York 1950 though it has also been said that 'Imagism' was the style to which both Pound and Eliot subscribed (see Pound's Des Imagistes).
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Among his poetry collections, Creşterea iguanelor de casă drew attention for transferring the intertextual and parodic conventions into a lyrical format, mostly free verse. According to Ştefănescu, it and his other poetry collections are "better than those by most contemporary authors who emphatically recommend themselves as poets." Nicolae Oprea noted in particular the reworking of a motif borrowed from Sibiu Circle poet Ştefan Augustin Doinaş and his Mistreţul cu colţi de argint: the "prince from the Levant", whom Gârbea transfers into the destitute world of garbage collectors. Part of it reads: Oprea also highlighted ironic and dismissive borrowings from Romania's national poet Mihai Eminescu, and from poets laureate such as Octavian Goga and Vasile Alecsandri, as well as an actual lineage from the black humor of 1930s Surrealists.
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His translations have been praised by the leading classical scholars P. E. Easterling, Regius Professor, Cambridge, and Oliver Taplin, Regius Professor, Oxford. The production of his adaptation of The Trojan Women won more Billie Awards (San Diego Playbill) than any other play of the 2000-1 San Diego theater season. He has also published stage adaptations of Jean Racine's BritannicusMark Gabrish Conlon, "Britannicus: Neo-Classical Masterpiece," Zengers Newsmagazine, 2008 and the 20th century Yiddish dramatic poem, The Golem,ArtsDig National Arts Digest, "The World Premiere of The Golem: Man of Earth" by H. Leivick. He has also written an historical comic tragedy Tony and CleoFrankie Moran, "Tony and Cleo at 6th @ Penn Theatre", San Diego Arts and "Maccabee" an epic poem in free verse based upon the books of Maccabees.
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To this end, and inspired in part by contemporary French poets like Jacques Prévert, they employed not only a variant of the free verse introduced by Nâzım Hikmet, but also highly colloquial language, and wrote primarily about mundane daily subjects and the ordinary man on the street. The reaction was immediate and polarized: most of the academic establishment and older poets vilified them, while much of the Turkish population embraced them wholeheartedly. Though the movement itself lasted only ten years—until Orhan Veli's death in 1950, after which Melih Cevdet Anday and Oktay Rifat moved on to other styles—its effect on Turkish poetry continues to be felt today. Just as the Garip movement was a reaction against earlier poetry, so—in the 1950s and afterwards—was there a reaction against the Garip movement.
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In a letter to Professor John A. Akec, Vice Chancellor of the University of Juba, 28 US-based academics, including a number of South Sudanese alumni of the University of Juba, expressed their opposition to the suspension. According to the Encyclopaedia Britannica, "Liyong wrote highly imaginative short narratives, such as Fixions (1969), and unorthodox free verse,( ...) His nonfiction output consists of argumentative and amusing personal essays and bold literary criticism (...), presenting challenging new ideas in an original manner." Liyong has published over twenty books, including Carrying Knowledge Up a Palm Tree (1998), an anthology of poetry that addresses various contemporary issues and follows African progress in recent history. The East African Literature Bureau (EALB) published many of Liyong's earlier works in English, as well as in translation into East African languages.
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Her debut book Dikter ("Poems"), which came out in the autumn of 1916, gained no great notice, even if a few critics were slightly perplexed – Södergran was already using associative free verse and describing selected details instead of entire landscapes. Expression of a young, modern, female consciousness in poems like Dagen svalnar... ("The Day Cools...") and Vierge moderne ("Modern Lady") was entirely new within Swedish language poetry. After the October Revolution in 1917, Edith and her mother's economic assets were suddenly rendered worthless since they had been placed in Ukrainian securities; and soon after, from the spring of 1918, the Karelian Isthmus became a war zone. In Petrograd (as St. Petersburg was called from 1914), people were being shot without trial, and Södergran knew that several of her classmates had fled from the city.
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David the Builder died on 24 January 1125, and upon his death, as he had specified, was buried under the stone inside the main gatehouse of the Gelati Monastery so that anyone coming to his beloved Gelati Academy stepped on his tomb first. He was survived by three children, his eldest son Demetrius, who succeeded him and continued his father's victorious reign; and two daughters, Tamar, who was married to the Shirvan Shah Manuchihr III, and Kata (Katai), married to Isaac Comnenus, the son of the Byzantine Emperor Alexius I Comnenus. Beside his political and military skills, King David earned fame as a writer, composing Galobani sinanulisani (Hymns of Repentance, c. 1120), a powerful work of emotional free-verse psalms, which reveal the king’s humility and religious zeal.
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The first French translation, of 464 quatrains in prose, was made by J. B. Nicolas, chief interpreter at the French embassy in Persia in 1867. Prose stanza (equivalent of Fitzgerald's quatrain XI in his 1st edition, as above): > Au printemps j’aime à m’asseoir au bord d’une prairie, avec une idole > semblable à une houri et une cruche de vin, s’il y en a, et bien que tout > cela soit généralement blâmé, je veux être pire qu’un chien si jamais je > songe au paradis. The best-known version in French is the free verse edition by Franz Toussaint (1879–1955) published in 1924. This translation consisting of 170 quatrains was done from the original Persian text, while most of the other French translations were themselves translations of FitzGerald's work.
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For many years, he wrote the "Fatamorgana" column, which first appeared in the Listín Diario, later in La opinión and finally in La Nación. As the story goes, after the death of Jules Vedrines, the French aviator who had acquired fame on his Paris-Madrid flight for having created the dangerous aerial pirouettes of 'looping the loop', Vigil Díaz, pursuing more experimental forms, named his new sensibility vedrinismo; however, there are doubts as to, if ever, Diaz used the word vedrinismo to designate any trend or literary avant-garde headed by him. His most famous work, Arabesco, published in November of 1917 in the literary journal La Primada de América, is remembered as the first introduction of free verse poetry in Dominican literary history. Diaz died in Santo Domingo on January 20, 1961.
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Marquis began work for the New York newspaper The Evening Sun in 1912 and edited for the next eleven years a daily column, "The Sun Dial". During 1922 he left The Evening Sun (shortened to The Sun in 1920) for the New York Tribune (renamed the New York Herald Tribune in 1924), where his daily column, "The Tower" (later "The Lantern") was a great success. He regularly contributed columns and short stories to the Saturday Evening Post, Collier's and American magazines and also appeared in Harper's, Scribner's, Golden Book, and Cosmopolitan. Marquis's best-known creation was Archy, a fictional cockroach (developed as a character during 1916) who had been a free-verse poet in a previous life, and who supposedly left poems on Marquis's typewriter by jumping on the keys.
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The poem is related much like a regular narrative, as distinguished (by King himself in his prologue to it, for The Bazaar of Bad Dreams) from lyric poetry. It contains fewer than twenty stanzas and, although an occasional rhyme can be discerned, follows no standardised form, placing it in the category of free verse. The original late '60s version, since lost, was inspired, King says, by such Robert Browning narrative poems as "My Last Duchess". (Another Browning piece, "Childe Roland to the Dark Tower Came", famously inspired King's self-described magnum opus, his Dark Tower series.) The poem's narrative style, of a man relating to a stranger the details of a macabre journey, has invited comparisons with Samuel Taylor Coleridge, the plot of whose poem "The Rime of the Ancient Mariner" follows a similar thread.
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Produced by Pittsburgh- based Clem Williams films,"Two kids at the Eastland Shopping Plaza are hoping Santa..."(Pittsburgh Post-Gazette, December 5, 1963, p.45) the short was shot in McKeesport, with the toy section of the city's department store, The Famous, serving as Santa's Workshop, and in Pittsburgh, where Christmas toy displays of various stores are used to augment the oversized imagery of Santa's North Pole workshop. There is very little ambient dialogue — the soundtrack primarily consists of holiday music and the narrator's voice, with much of the narration presented in the form of rhymed or free verse. This short, along with many others considered to be time-capsule chronicles of their period, has been frequently classified as camp and shown as November or December filler within Turner Classic Movies' Saturday night–Sunday morning film showcase series, TCM Underground.
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The album was recorded in Studio A at The Record Plant on West 44th street in New York City. The producer, Ed Freeman, decided to use accomplished musicians who were not "studio musicians who could act like a metronome" because he wanted to capture the feel of a "band that was really cooking," so he rented a rehearsal studio and they rehearsed the title song for two weeks before they recorded it. Because McLean rarely phrased his singing the same way twice there were as many as 24 takes for some of the voice parts, but the rhythm tracks are mostly one take. The original United Artists Records inner sleeve featured a free verse poem written by McLean about William Boyd, also known as Hopalong Cassidy, along with a picture of Boyd in full Hopalong regalia.
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Modern Arabic Literature By Paul Starkey Published by Edinburgh University Press, 2006 p 80 The publication of his third volume, Rain Song, in 1960 was one of the most significant events in contemporary Arabic poetry, instrumental in drawing attention to the use of myth in poetry. He revolutionized every element of the poem and wrote on highly involved political and social topics, as well as many personal themes. The Palestinian poet Mahmoud Darwish was greatly impressed and influenced by the poetry of Badr Shakir al-Sayyab.Guardian 11 August 2008 Mahmoud Darwish by Peter Clark In the realm of literary controversy, Sayyab stated that Nazik al-Malaikah's claim to have discovered free verse herself was false, and drew attention to the earlier work of Ali Ahmad Bakathir (1910–69) who had developed the two-hemistich format in the mid 1930s.
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Each of Giraud's poems is a rondel, a form he admired in the work of the Parnassians, especially of Théodore de Banville.Kreuiter, p. 59. (It is a "bergamask" rondel, not only because the jagged progress of the poems recalls the eponymous rustic dance, but also because 19th-century admirers of the Commedia dell'Arte characters [or "masks"] often associated them with the Italian town of Bergamo,As Giraud himself does, throughout the poems: see "To my Bergamask Cousin" (#13), "Spleen" (#15), "Perfumes of Bergamo" (#35), and "Pierrot's Departure" (#36). from which Harlequin is said to have hailed.) Unlike many of the Symbolist poets (though certainly not all: Verlaine, Mallarmé, even the early Rimbaud and Laforgue, worked comfortably within strict forms), Giraud was committed to traditional techniques and structures as opposed to the comparatively amorphous constraints of free verse.
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By the time Dylan wrote the first draft of "Chimes of Freedom" the following February, it contained many of the elements of his poem from the end of Autumn after the death of the president, except that the crippled ones and the blind were changed to "guardians and protectors of the mind." In addition, the cathedral bells had become the "chimes of freedom flashing", as seen by two lovers who are sheltering in a cathedral doorway. In his biography of Dylan, Bob Dylan in America, Sean Wilentz comments that shortly before Dylan met poet Allen Ginsberg, "Chimes of Freedom" started to come to form; later in 1964 and 1965, they would continue to influence each other. Wilentz states: > Dylan had already been experimenting with writing free verse, without > intending that it would serve him as lyrics.
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He is noted to have been a part of writers who would become the makers of a "new" poetry, which sought to "throw over the traditions of American Poetry", as James Weldon Johnson would describe it. These "new" poems appeared in such magazines as Poetry, Others, and later, The Liberator, and they marked a progression from "commonplace traditionalism to the most revolutionary naturalism, from the rhymed, carefully scanned line to free verse, from conventionalized Negro dialect to the brawny language of [Carl] Sandberg’s Chicago Poems." While "Tired" has been frequently anthologized, Johnson's earlier poems were made in more "conventional modes", including dialect poetry, as found in his first book, A Little Dreaming. The collection considered a wide range of topics, from a poem on Paul Laurence Dunbar, entitled "Dunbar", to medieval themes such as in "Lancelot’s Defiance".
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In an appendix to the book entitled The Formalist Revival: A Brief Historical Note, William Baer defends poetic forms against William Carlos Williams' charge that they are reactionary and fascist by pointing out that Marxist and LBGT poets like Federico Garcia Lorca and even Communist poets like Pablo Neruda have regularly written in traditional verse forms.William Baer (2006), Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms, page 237. In another appendix titled Pound, Flint, Imagism, and Verse Libre, Baer argues further against Williams's claim by laying out the instrumental role played in the free verse revolution by American poet Ezra Pound, the mentor to T.S. Elliot and founder of Imagism. In addition to showing Pound's overwhelming influence over both American and world poetry, Baer also describes Pound's pathological narcissism and embrace of far-right politics, anti-Semitism, and Fascism.
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Smith's poems give voice to the thousands of black males in New York City, Chicago, and Boston who have run out of options and expect to lose their lives without first given a chance to live. Publishers Weekly says, "Her acute ear for the intricacies of speech adds to the vitality of poems written in the voice of black men she encounters amid the inner-city squalor of Chicago and Boston." Her Teahouse of the Almighty is a collection of her free-verse poems on various topics such as love, family, religion, feminism, and the role of poetry. The poem "Boy Dies, Girlfriend Gets His Heart" is about an actual event where a fifteen-year-old boy gave his heart to his girlfriend, and in another poem, Smith discusses her views on religion and her Baptist upbringing.
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The narrator wants his listener and reader to get a feel for the story he is about to tell. He wants people to know that he enjoyed the experience. Yet, his tone is unhurried and nonchalant, like he just happened to stumble across “the tune o’ those Weary Blues.” He was in a bar that provided entertainment. Once the speaker finishes his rendition of the musician’s song, the setting changes. At the end of the poem, the reader ends up in the musician’s home. “The Weary Blues” is written in free verse; however, all the lines that are not lyrics to the Weary Blues are rhyming couplets: “Down on Lenox Avenue the other night / By the pale dull pallor of an old gas light.” Night and light rhyme just like tune-croon, key-melody, stool-fool and all the other couplets.
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André du Bouchet's poetry—greatly and conflictually influenced by the poetic and interpretive preoccupations of Stéphane Mallarmé, the "banality" of Pierre Reverdy's images, Arthur Rimbaud's "abrasive/coarse reality", the work of Henri Michaux, as well as the philosophical work of Heidegger—is characterized by a valuation of the page layout (with words erupting from the white of the page), by the use of free verse and, often, by difficult grammar and elusive meaning (he writes in "Notes on Translation" that sense "is not fixed"). As a result of these influences, his work evokes a sense of an existential, if not elemental, Heraclitian present. The natural elements of earth and air reappear constantly in his poems. The world, as he has written, will not end up in a book, as Mallarmé had claimed, since for du Bouchet the world has no end.
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Over more than forty years, his poetry has appeared in almost every notable literary publication in the nation: The New Yorker, The Paris Review, The Hudson Review, Poetry Northwest, Antioch Review, Tri-Quarterly, Witness and Poetry. Kuzma won the 1974 Theodore Roethke award for the best poem appearing that year in Poetry Northwest. He received a National Endowment for the Arts Literature Fellowship in 1981. According to the Poetry Foundation's biography, Kuzma is "known among writers and former students as a brilliant, mercurial spirit, likely to forget more poetry than most of us will ever know," Kuzma's long free-verse poems often investigate the frame of personal memory. Kuzma has spoken about reading in the context of his experience as editor of a small press: “I am not even sure I believe in such a thing as good poetry.
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Jatra History of Indian Theatre: Loka Ranya Panorama of Indian Folk Theatre, by Manohar Laxman Varadpande. Published by Abhinav Publications, 1987. . Page 197. The jatra movement gradually moved to the urban areas, and even brought literary works to the rural masses which were predominantly illiterate at the time, this meant that the plot, storyline and narrative remained simple, and often didactic.Folk Theatre: Jatra Another development that occurred in the 19th century was its departure from the Krishna Jatra format of musical, as dances were introduce which were to become staple in the coming years, and prose dialogues and free verse speech soon made inroads into this traditional theatre format, giving rise to Natun Jatra, or the New Jatra.Jatra History of Indian Theatre: Loka Ranya Panorama of Indian Folk Theatre, by Manohar Laxman Varadpande. Published by Abhinav Publications, 1987. . Page 198.
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He urged his only remaining students, those at Bread Loaf for two weeks each August, to learn how to write within the tradition before abandoning it in favor of undisciplined, improvisational free verse. Ciardi was unceremoniously fired from Bread Loaf in 1972, after serving seventeen years as director, and not having missed a single year on the poetry staff since 1947. Over the past quarter century, John Ciardi has come to be regarded as a mid-level, mid-century formalist, one who was replaced in literary history by the more daring and colorful Beat, Confessional, and Black Mountain poets. However, with revisionism chipping away at the reputations of the latter groups, and the emergence of Dana Gioia and the New Formalists in the late 20th century, Ciardi's type of mostly understated verse, his work is much more culturally relevant than it once was.
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The general tendencies can be noticed there and further on. The poetry becomes more intimate and confessional, and requires more invention in order to influence or provoke; nevertheless sometimes originality turns into an end in itself; the free verse allowed higher intensity of language and diversity of forms; abstractness increased and started affecting the balance between philosophical depth and clearness; the search of lyricism is sometimes more evident than the meaning of the poems. The collapse of the Eastern Bloc in 1989 was followed by a considerable increase in the private publications and literary awards, as well as a complicated distribution and a consequent devaluation of the writer’s social status altogether. The strident lack of national consensus and the insufficient historical distance are yet other factors that make it impossible to distinguish more famous or influential younger voices.
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In Leipzig it was not allowed to paraphrase the words of the Gospel in a Passion presentation on Good Friday. A setting of the then-popular Brockes Passion libretto, largely consisting of such paraphrasing, could not be done without replacing the paraphrases by actual Gospel text. That was the option chosen by Bach for his 1724 St John Passion. In 1725 Christian Friedrich Henrici, a Leipzig poet who used Picander as his pen name, had published ("Edifying Thoughts on Maundy Thursday and Good Friday"), containing free verse suitable for a Passion presentation in addition to the Gospel text. Bach seems to have stimulated the poet to write more of such verse in order to come to a full- fledged libretto for a Passion presentation combined with the Passion text chapters 26 and 27 in the Gospel of St Matthew.
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Miyoshi went to Tokyo to study French literature at Tokyo Imperial University from 1925-1928. While a student, he made a translation of the full works of the French poet Charles Baudelaire's collection Le Spleen de Paris into Japanese, as well as translations of several French prose writers, which were published in 1929. While in school, he became friends with short story writer Motojirō Kajii and Nakatani Takao, with whom he published the literary magazine, Aozora (“Blue Skies”), which gave him a venue to publish his poems such as Ubaguruma (“Pram”) and Ishi no ue (“On Stone”), which were favorably received by literary critics, including Hagiwara Sakutaro. Hagiwara joined him in founding the critical journal, Shi to Shiron (“Poetry and Poetic Theory”) in 1928. In 1930, Miyoshi brought out his first major anthology of free verse, Sokuryo sen (“The Surveying Ship”).
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Heavily influenced by his creative predecessor Gwendolyn Brooks, Madhubuti's poetry is similar marked by a rhythmic, experimental style, frequently in the free verse form. Also like Brooks, Madhubuti's poetic bibliography is characterized by a shift from the personal to the political over the span of his career. He has dedicated a number of poems to her and is the founder and previously the director emeritus of the Gwendolyn Brooks Center for Black Literature and Creative Writing.Haki R. Madhubuti, "Gwendolyn Brooks", Poetry Foundation. Over the years, he has published 28 books (some under his former name, "Don L. Lee") and remains one of the world's best-selling authors of poetry and non- fiction, with books in print in excess of 3 million. His subsequent books include Claiming Earth: Race, Rage, Rape, Redemption (1994), GroundWork: New and Selected Poems 1966–1996 (1996), and HeartLove: Wedding and Love Poems (1998).
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Guillaume Apollinaire radicalized the Baudelairian poetic exploration of modern life in evoking planes, the Eiffel Tower and urban wastelands, and he brought poetry into contact with cubism through his Calligrammes, a form of visual poetry. Inspired by Rimbaud, Paul Claudel used a form of free verse to explore his mystical conversion to Catholicism. Other poets from this period include: Paul Valéry, Max Jacob (a key member of the group around Apollinaire), Pierre Jean Jouve (a follower of Romain Rolland's "Unanism"), Valery Larbaud (a translator of Whitman and friend to Joyce), Victor Segalen (friend to Huysmans and Claudel), Léon-Paul Fargue (who studied with Stéphane Mallarmé and was close to Valéry and Larbaud). In the novel, André Gide's early works, especially L'Immoraliste (1902), pursue the problems of freedom and sensuality that symbolism had posed; Alain-Fournier's novel Le Grand Meaulnes is a deeply felt portrait of a nostalgic past.
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Ghadar di Gunj 1913, newspaper in Punjabi of Ghadar Party, US-based Indian revolutionary party. The Victorian novel, Elizabethan drama, free verse and Modernism entered Punjabi literature through the introduction of British education during the Raj. Nanak Singh (1897–1971), Vir Singh, Ishwar Nanda, Amrita Pritam (1919–2005), Puran Singh (1881–1931), Dhani Ram Chatrik (1876–1957), Diwan Singh (1897–1944) and Ustad Daman (1911–1984), Mohan Singh (1905–78) and Shareef Kunjahi are some legendary Punjabi writers of this period. After independence of Pakistan and India Najm Hossein Syed, Fakhar Zaman and Afzal Ahsan Randhawa, Shafqat Tanvir Mirza, Ahmad Salim, and Najm Hosain Syed, Munir Niazi, Pir Hadi Abdul Mannan enriched Punjabi literature in Pakistan, whereas Amrita Pritam (1919–2005), Jaswant Singh Rahi (1930–1996), Shiv Kumar Batalvi (1936–1973), Surjit Patar (1944–) and Pash (1950–1988) are some of the more prominent poets and writers from India.
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The initial impetus was the result of exposure to French poetry,New American writing: Issues 22-23 2004 "The New Poetry Movement of the 1930s Influenced by the romantic and symbolist trends in 19th century French poetry, Vietnamese poets during the 1930s, who had been immersed in the French language by way of French colonial schools, ..." and failures in attempts to translate Verlaine or Baudelaire into the old Chinese-derived poetry forms.Vietnamese Tradition on Trial, 1920-1945 - Page 166 David G. Marr - 1984 "The writers of "New Poetry Movement were in an analogous situation, discarding Chinese and nom meters only when it became obvious that Verlaine or Baudelaire could not be adequately translated in that manner.82" Since the 1950s most poetry in Vietnam is written in free verse.Ears on fire: snapshot essays in a world of poets Gary Mex Glazner - 2002 "Tho Moi is new poetry or free verse.
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" The book was reviewed in Publishers Weekly: "Ashbery invents and reinvents his self in this book-length stream-of-consciousness poem. In manically articulate free verse of long, supple lines, he conjures a secular landscape dotted with shadows of ancient gods... Ashbery (Some Trees) weaves a haunted, haunting music around ... big questions, squeezing joy, ennui, despair, hope and a thirst for belonging out of ordinary experience. Writing in Contemporary Literature, critic Nick Lolordo contends that Flow Chart is an "exemplary text" that points to Ashbery's central position in twentieth century poetry as an heir to T. S. Eliot and Wallace Stevens. Lolordo writes that Flow Chart > is both the most daily, most environmental of Ashbery's works and the most > historical: it constantly contextualizes the momentary, by positioning the > act of writing within different schemes of time (phenomenological, personal- > autobiographical, historical) and space (central, marginal, peripheral).
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His wit has a forensic edge: he is always intelligent but shatters common expectation. […] There is no substitute for reading Rehder over and over again – the poems are too clear to be understood at once. And they shine too brightly.” Artin stresses that “Rehder is fond of spinning out into a poem the details of some incident that must strike the reader as trivial […] tracing the ramifications meticulously, methodically, bearing down on each fact until the trivial resonates with the stellar – daily life telescoping into the big bang.” Rehder's early scholarly and literary work included free verse translations of the 14th-century Persian poet Hafiz. This work was published in 1974 as “The Unity of the Ghazals of Hafiz.” He published books on Wordsworth, Wallace Stevens, William Carlos Williams, and Stephen Crane. At the time of his death he was working on his third volume of poetry.
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Her other books include poetry collections 19 Varieties of Gazelle: Poems of the Middle East, Red Suitcase, and Fuel; a collection of essays entitled Never in a Hurry; a young-adult novel called Habibi (the autobiographical story of an Arab-American teenager who moves to Jerusalem in the 1970s) and picture book Lullaby Raft, which is also the title of one of her two albums of music. (The other is called Rutabaga-Roo; both were limited-edition.) Nye's first two chapter books, Tattooed Feet (1977) and Eye-to-Eye (1978), are written in free verse and possess themes of questing. Nye's first full-length collection, Different Ways to Pray (1980), explores the differences between and shared experiences of cultures from California to Texas and from South America to Mexico. Hugging the Jukebox (1982), a full-length collection that won the Voertman Poetry Prize, focuses on the connections between diverse peoples and on the perspectives of those in other lands.
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Ezra Pound – who had heard about The Glebe from Kreymborg's friend John Cournos – sent Kreymborg the manuscript of Des Imagistes in the summer of 1913 and this famous first anthology of Imagism was published as the fifth issue of The Glebe The cover of the first edition of Kreyborg's Mushrooms (1916): a book of free verse tone-poems In 1913 Man Ray and Samuel Halpert, another of Henri's students, started an artist's colony in Ridgefield, New Jersey. This colony was often also referred to as 'Grantwood' and comprised a number of clapboard shacks on a bluff on the Hudson Palisades opposite Grants Tomb, across the Hudson River in Manhattan. Kreymborg moved to Ridgefield and launched Others: A Magazine of the New Verse with Skipwith Cannell, Wallace Stevens, and William Carlos Williams in 1915. Pound had, along with the Des Imagistes poems, written to Kreymborg suggesting that he contact 'old Bull' Williams, that is William Carlos Williams.
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Cernat, p.194 His experimental prose fragment Rocambole was a parody of Pierre Alexis Ponson du Terrail's 19th century series (and of literary conventions in general): although only covering half a page, it carried the subtitle "grand adventure novel", and showed its eponymous anti-hero as an incestuous kleptomaniac.Cernat, p.195 The inspiration behind this format, similar to those employed by Dianu and the others, was the avant-garde hero Urmuz. According to Cernat, the Contimporanul writers borrowed Urmuz's manner of toying with the expectations of traditional readers, but were less interested than him in preserving an implicit social message.Cernat, p.195-197 Cernat illustrates this conclusion with Dan's free verse "diary-poem", published in Issue 71 of Contimporanul, a sample of "cynical libertinism" and "absolute aesthetic freedom": A triple issue of Contimporanul (96-97-98 for 1931) featured Dan and Dianu's text for the stage, Comedie în patru acte ("A Comedy in Four Acts").
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His third book, Větry od pólů (1897), show him shifting focus from his personal pain to the issue of human solidarity, as well as his endeavor to merge with the life energy of the Cosmos; the feeling of belonging to "Everything" is more perceptible in his next book Stavitelé chrámu (where he glorified the ingenious personalities as the bearers of development.), and culminates in his last book of poems, Ruce (1901), in a vision of a magical chain formed by all hands, building up the external world. Březina's sixth book of poems, Země, remained unfinished. Březina's poetical expression, very rich in metaphors and parables, religious elements and philosophical and even scientific terms, merged gradually from rhythmical alexandrines into broad free verse, filled with sensual images, rich in thought and musical taste. His books of essays constitute the integral part of his work, and his extensive correspondence serves as a commentary on his creative activities and philosophy.
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Scalzi has commented that he originally wrote the book as free verse poetry, then converted it into prose format. An audio reading of "The Sagan Diary" was offered through Scalzi's website in February 2007, featuring the voices of fellow science fiction authors Elizabeth Bear, Mary Robinette Kowal, Ellen Kushner, Cherie Priest, Karen Meisner and Helen Smith. In November of the same year, Subterranean Press also made "The Sagan Diary" text freely available online. In April 2008 Audible Frontiers produced an audiobook of the novelette, read by Stephanie Wolfe. The third novel set in the same universe, The Last Colony, was released in April 2007. It was nominated for the 2008 Hugo Award for Best Novel. Zoe's Tale, the fourth Old Man's War novel, presenting a different view of the events covered in The Last Colony, was published in August 2008. Zoe's Tale was nominated for the Hugo Award for Best Novel in 2009. Also in 2008, Audible.
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Later Siri Gunasinghe became a university lecturer and taught at the University of Peradeniya, Sri Lanka and at the University of Victoria, British Columbia, Canada where he was a Professor in the Department of History in Art. Siri Gunasinghe had lived in Canada since 1970. His most outstanding achievements are: 1) the introduction of free verse into Sinhalese poetry with the publication of the collection of poems Mas Lea Nati Ata (Bleached Bones) in 1956; this publication was a major revolutionary force in the literary community at the time 2) the introduction of stream of consciousness narrative style in his award-winning novel Hevanelle (The Shadow) in 1960 and 3) The writing and directing of the film Sath Samudura (The Seven Seas) which won eight Sarasavi awards including best picture and best director. Gunasinghe is one of the most important advocates of the use of spoken language instead of the literary language in Sinhalese literature (see diglossia).
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Trees in the Harz mountains after heavy snowportrait of Goethe by Angelica Kaufmann in 1787view of the Goetheweg on the Brocken "Harzreise im Winter" (‘Winter Journey in the Harz’) is a poem by Johann Wolfgang von Goethe, inspired by his ascent of the Brocken in the Harz mountains during the winter of 1777. He reached the summit in the heat of midday, in deep snow, with the landscape below him shrouded in cloud. The Brocken had always been a place of mystery, connected with witches and devils; where illusions such as the Brocken spectre might confuse an unwary traveller, and where few ventured by choice. This was the inspiration and the setting for his poem. "Harzreise im Winter" was the last of Goethe's works in his Sturm und Drang period, marking the end of a series of long, free-verse poems hymns by the young poet that had begun with ‘Wandrers Sturmlied’, and it is less self-absorbed than his earlier writing.
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The Fable of the Goats and Other Poems, which included his classic free-verse poem "Silences," won him his first Governor General's Award. Pratt returned to Canadian history in 1940 to write Brébeuf and his Brethren, a blank-verse epic on the mission of Jean de Brébeuf and his seven fellow Jesuits, the North American Martyrs, to the Hurons in the 17th century; their founding of Sainte-Marie-among-the-Hurons; and their eventual martyrdom by the Iroquois. "Pratt's research-oriented methodology is made clear in the precise diction and detailed, documentary-style recounting of events and observation in this, his first attempt to write a national epic; but in his ethnocentrism Pratt presents the Jesuit priests as an enclave of civilization beleaguered by savages." Canadian literary critic Northrop Frye has said that Brébeuf expresses "the central tragic theme of the Canadian imagination." Northrop Frye, "Preface to An Uncollected Anthology," The Bush Garden (Toronto:Anansi, 1971), 173.
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Alexandru Macedonski (; also rendered as Al. A. Macedonski, Macedonschi or Macedonsky; March 14, 1854 – November 24, 1920) was a Romanian poet, novelist, dramatist and literary critic, known especially for having promoted French Symbolism in his native country, and for leading the Romanian Symbolist movement during its early decades. A forerunner of local modernist literature, he is the first local author to have used free verse, and claimed by some to have been the first in modern European literature. Within the framework of Romanian literature, Macedonski is seen by critics as second only to national poet Mihai Eminescu; as leader of a cosmopolitan and aestheticist trend formed around his Literatorul journal, he was diametrically opposed to the inward- looking traditionalism of Eminescu and his school. Debuting as a Neoromantic in the Wallachian tradition, Macedonski went through the Realist-Naturalist stage deemed "social poetry", while progressively adapting his style to Symbolism and Parnassianism, and repeatedly but unsuccessfully attempting to impose himself in the Francophone world.
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The Western poets who appeal to the taste of poetry lovers in Japan are principally French(Verlaine), Paul Valéry, Arthur Rimbaud, Charles Baudelaire; and Rainer Maria Rilke is also a favorite (Sugiyama, 255). English poetry is not very popular except among students of English literature in the universities, although Wordsworth, Shelley, and Browning inspired many of the Japanese poets in the quickening period of modern Japanese poetry freeing themselves from the traditional tanka form into a free verse style only half a century ago (Sugiyama, 256). In more recent women’s poetry, one finds an exploration of the natural rhythms of speech, often in a specifically feminine language rather than a high, literary form, as well as the language of local dialects (The New Modernism, 2010). All of these strategies are expressions of difference, whether sexual or regional, and map out shifting fields of identity in modern Japan against a backdrop of mass culture where these identities might otherwise be lost or overlooked.
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Questioning the value of modern Chinese free verse, Han posted a blog article on 26 September 2006 entitled Why do modern poetry and poets still exist? (现代诗和诗人为什么还存在). In this and other related articles, he parodied modern Chinese poets including the late Xu Zhimo (徐志摩) and the late Hai Zi (海子), igniting a controversy involving poets such as the Lower Body Poet Shen Haobo, Yang Li (杨黎), Yi Sha (伊沙), and Dong Li (东篱), and claimed that 'both modern poets and poems are no longer in need of existence, and the genre of modern poetry is meaningless'(现代诗歌和诗人都没有存在的必要,现代诗这种体裁也是没有意义的). This raised anger from Lower body poets. Shen Haobo wrote in his blog: 'The genuine novelists can never sell more than Han Han's rubbish work.
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"Exhilarated by the knowledge that he had succeeded" in Laconics — "a knowledge that came to him from inner self-realization rather than popular success" — Ross next "turned his new-found strength, in Sonnets, to the conditions under which poetry had been written in the past. His purpose was ... to reduce tradition to the structures of the method that had tested out in Laconics." The book "reveals a lesser-known side of Ross — the classicist and traditional metricist concerned not only with factual reality but also with spiritual truth." Sonnets was meant to be more overtly philosophical than Laconics — which Ross thought would be better suited by the traditional form's longer lines — but ultimately he considered the book an experiment that failed: :The general idea was to employ the 'clean' language of free verse without the lack of rhythm or pattern which offended me in all the latter except some of Pound etc.
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For Massenet he first provided a libretto for the oratorio Marie-Magdeleine (1872) which proved to be Massenet's first major success and the first of his four dramatic oratorios. Georges Bizet's one-act opera Djamileh to Gallet's libretto premiered successfully, 22 May 1872 at the Opéra-Comique, Paris), but two other Bizet operas by Gallet and Edouard Blau remained incomplete at Bizet's untimely death in 1875: La coupe du roi de Thulé (1869) and a five-act Don Rodrigue (1873). In his libretto for Massenet's Thaïs he employed an unrhymed free verse that he termed, in Parnassien fashion, poésie melique which, like its classical Greek predecessors, was designed for a declamation with accompaniment (melodrama). In Gallet's hands declamation rose by degrees into a freely-structured aria that was raised above the level of prose by its sonorities and syntactical patterns, formulas that were finely suited to the musical techniques of both Saint-Saëns and Massenet.
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Many poets confronting the limitations of lineation in poetry, while desiring a wider subject matter and freedom in the approach to style, have turned to the prose poem. In his craft statement on writing prose poetry Robbins noted, "I do not work in formal structures, but I have worked diligently to create 'free verse' and prose poem styles that retain the dynamics of what Whitman called 'the poetic quality'[…]" It is well known that Ford Maddox Ford and Ezra Pound believed poetry should be at least as well written as prose; the opposite is also true, especially in terms of sensitivity to sound, not to mention an active rhythmic phrasing flowing directly or erratically as emotional tone forces arrangements of meaning.Doren Robbins, [untitled statement of prose poetry], Bear Flag Republic: Prose Poems and Poetics from California, ed. Christopher Buckley and Gary Young (Santa Cruz: Greenhouse Review Press/ Alcatraz Editions, 2008) 327-28.
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From 1944-1949, Miyoshi relocated to Mikuni, Fukui. In June 1946, he published in the magazine Shinchō the first part of an essay in which he called for Emperor Showa's abdication and, in very harsh terms, accused him of being not only "primary responsible for the defeat" but "bearing responsibility for having been extremely negligent in the performance of his duties".Herbert Bix, Hirohito and the Making of Modern Japan, 2000, p. 606John W. Dower, Embracing Defeat, 1999, p. 222 Miyoshi’s output was steady and varied for the rest of his long career. Aside from free verse anthologies, such as Nansoshu (“From a Southern Window”) and Rakuda no kobu ni matagatte (“On a Camel's Hump”), which won the Yomiuri Literary Prize, he also wrote literary criticism of verse, Fuei junikagetsu and Takujo no hana (“Flowers on a Table”), a collection of essays, Yoru tantan, and a major critique of fellow poet, Hagiwara Sakutarō.
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Stéphane Mallarmé's profound interest in the limits of language as an attempt at describing the world, and his use of convoluted syntax, and in his last major poem Un coup de dés, the spacing, size and position of words on the page were important modern breakthroughs that continue to preoccupy contemporary poetry in France. Arthur Rimbaud's prose poem collection Illuminations are among the first free verse poems in French; his biographically inspired poem Une saison en enfer (A Season in Hell) was championed by the Surrealists as a revolutionary modern literary act (the same work would play an important role in the New York City punk scene in the 1970s). The infernal images of the prose poem "Les Chants de Maldoror" by Isidore Ducasse, Comte de Lautréamont would have a similar impact. The crisis of language and meaning in Mallarmé and the radical vision of literature, life and the political world in Rimbaud are to some degree the cornerstones of the "modern" and the radical experiments of Dada, Surrealism and Theatre of the Absurd (to name a few) in the 20th century.
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By far the majority of the poetry of the time, however, was in the tradition of the folk-inspired "syllabist" movement (Beş Hececiler), which had emerged from the National Literature movement and which tended to express patriotic themes couched in the syllabic meter associated with Turkish folk poetry. The first radical step away from this trend was taken by Nâzım Hikmet Ran, who—during his time as a student in the Soviet Union from 1921 to 1924—was exposed to the modernist poetry of Vladimir Mayakovsky and others, which inspired him to start writing verse in a less formal style. At this time, he wrote the poem "Açların Gözbebekleri" ("Pupils of the Hungry"), which introduced free verse into the Turkish language for, essentially, the first time.Earlier poets, such as Ahmed Hâşim, had experimented with a style of poetry called serbest müstezâd ("free müstezâd"), a type of poetry which alternated long and short lines of verse, but this was not a truly "free" style of verse insofar as it still largely adhered to prosodic conventions (Fuat 2002).
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Though Wiman does at times write in free verse, a significant enough portion of his work is written with some measure of form for him to have been associated at times with movements of New Formalism. On the topic of form, Wiman wrote in an essay called “An Idea of Order”: “Many poets and critics now almost automatically distrust any work that exhibits formal coherence, stylistic finish, and closure. Occasionally they simply dismiss such work as naive or reactionary. At other times, and probably more damagingly, they either subtly devalue or patronize the work in question, praising the craftsmanship of the poems in such terms as make it clear that this is not ‘important’ poetry. The hardcore version of this argument goes something like this: because our experience of the world is chaotic and fragmented, and because we’ve lost our faith not only in those abstractions by means of which men and women of the past ordered their lives but also in language itself, it would be naïve to think that we could have such order in our art.
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Juan Antonio Villacañas wrote thirty three books of poetry, spanning a wealth of themes and forms, from free verse (as early as the 1950s) to the sonnet, from stanzas and rhymes of his own invention to the lira: Juan Antonio Villacañas infused this classical form with new and surprising content, so much so that his liras are now known as "Liras juanantonianas". To honour the mastery of Juan Antonio Villacañas regarding the lira, Juan Ruiz de Torres invented a new form deriving from this one, called decilira. In addition to poetry, he also produced an ample work of criticism and essays (these were to appear in a wide variety of publications as for instance La Estafeta Literaria y Nueva Estafeta, directed by Luis Rosales) and two prose books: Bécquer o la Poesía de Todos (awarded the Círculo de Escritores y Poetas Iberoamericanos de Nueva York prize in 1971) y Versómanos (1989). In the latter, Villacañas exposes the fallacies underlying a great part of the predominant poetry criticism of that time.
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Translation of a text that is sung in vocal music for the purpose of singing in another language—sometimes called "singing translation"—is closely linked to translation of poetry because most vocal music, at least in the Western tradition, is set to verse, especially verse in regular patterns with rhyme. (Since the late 19th century, musical setting of prose and free verse has also been practiced in some art music, though popular music tends to remain conservative in its retention of stanzaic forms with or without refrains.) A rudimentary example of translating poetry for singing is church hymns, such as the German chorales translated into English by Catherine Winkworth. Translation of sung texts is generally much more restrictive than translation of poetry, because in the former there is little or no freedom to choose between a versified translation and a translation that dispenses with verse structure. One might modify or omit rhyme in a singing translation, but the assignment of syllables to specific notes in the original musical setting places great challenges on the translator.
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" It contained the song "Institutionalized", which featured a music video that became one of the first hardcore punk videos to receive substantial MTV airplay, and greatly expanded the band's fan base. The song was featured in the 1984 film Repo Man, as well as in a 1986 episode of the TV show Miami Vice ("Free Verse", which also featured a cameo appearance of the group performing in a new wave/punk club) and in the 2008 film Iron Man, where the song plays in the background as Tony Stark works on his car. Soon after the release of their debut album in 1983, Estes left the band and was replaced by Jon Nelson, former manager of the Venice-based band Neighborhood Watch. Nelson played with Suicidal Tendencies on all the early punk shows from 1983 to 1984 contributing the music for future songs like: "War Inside My Head", “You Got, I Want", "Human Guinea Pig", "You Are Forgiven" and "Look Up... (The Boys Are Back)", the latter ending up on the bands compilation record Welcome to Venice.
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About the same time, Takahashi sent the collection to the novelist Yukio Mishima who contacted him and offered to use his name to help promote Takahashi's work. The two shared a close relationship and friendship that lasted until Mishima's suicide in 1970. Other close friends Takahashi made about this time include Tatsuhiko Shibusawa who translated the Marquis de Sade into Japanese, the surreal poet Chimako Tada who shared Takahashi's interest in classical Greece, the poet Shigeo Washisu who was also interested in the classics and the existential ramifications of homoeroticism. With the latter two writers, Takahashi cooperated to create the literary journal named after Plato's famous dialogue. This interest in eroticism and existentialism, in turn, is a reflection of a larger existential trend in the literature and culture of Japan during the 1960s and 1970s. Homoeroticism remained an important theme in his poetry written in free verse through the 1970s, including the long poem , which the publisher Winston Leyland has called “the great gay poem of the 20th century.” Winston Leyland, Blurb on the back cover of Partings at Dawn: An Anthology of Japanese Gay Literature, ed. Stephen D. Miller, San Francisco: Gay Sunshine Press, 1996.
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He is regarded as a master both of received forms and free verse, and a champion of the art of revision, for whom writing is a craft, not merely a mode of self-expression. Hall won many awards, including two Guggenheim Fellowships and a Robert Frost Medal, and served as poet laureate of his state. He lived and worked at Eagle Pond Farm. When not working on poems, he turned his hand to reviews, criticism, textbooks, sports journalism, memoirs, biographies, children's stories, and plays. He also devoted a lot of time to editing: between 1983 and 1996 he oversaw publication of more than sixty titles for the University of Michigan Press alone. He was for five years Poet Laureate of his home state, New Hampshire (1984–89), and among the many other honours and awards to have come his way were: the Lamont Poetry Prize for Exiles and Marriages (1955), the Edna St Vincent Millay Award (1956), two Guggenheim Fellowships (1963–64, 1972–73), inclusion on the Horn Book Honour List (1986), the Sarah Josepha Hale Award (1983), the Lenore Marshall Poetry Prize (1987), the National Book Critics Circle Award for Poetry (1988), the NBCC Award (1989), the Los Angeles Times Book Prize in poetry (1989), and the Frost Medal (1990).
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