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The poem on a gravestone at St Peter’s church, Wapley, England. " Do not stand by my grave and weep " is the first line and popular title of the bereavement poem " Immortality ", presumably written by Clare Harner in 1934. Often now used is a slight variant: "Do not stand at my grave and weep".
The line is one of the most highly regarded and widely debated lines in contemporary poetry, [2] [1] and has often been seen as having had cemented Wright's poetic legacy. [3] The line has been widely interpreted. In 2010, Dan Piepenbring [ de], writer for The Paris Review, summarized a large amount of the attention directed towards the poem:
Chao's poem, entitled Making Sense Out of Nonsense: The Story of My Friend Whose "Colorless Green Ideas Sleep Furiously" (after Noam Chomsky) was published in 1971. This poem attempts to explain what "colorless green ideas" are and how they are able to "sleep furiously". Chao interprets "colorless" as plain, "green" as unripened, and "sleep ...
A page from Night-Thoughts, illustrated by William Blake. The Complaint: or, Night-Thoughts on Life, Death, & Immortality, better known simply as Night-Thoughts, is a long poem by Edward Young published in nine parts (or "nights") between 1742 and 1745. It was illustrated with notable engravings by William Blake .
Twitter user Ronnie Joyce came across the poem above on the wall of a bar in London, England. While at first the text seems dreary and depressing, the poem actually has a really beautiful message.
Poet Dylan Thomas c. 1937–1938. " Do not go gentle into that good night " is a poem in the form of a villanelle by Welsh poet Dylan Thomas (1914–1953), and is one of his best-known works. [ 1] Though first published in the journal Botteghe Oscure in 1951, [ 2] the poem was written in 1947 while Thomas visited Florence with his family.
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The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep. [ 1] " Stopping by Woods on a Snowy Evening " is a poem by Robert Frost, written in 1922, and published in 1923 in his New Hampshire volume. Imagery, personification, and repetition are prominent in the work.