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The poem was put to song by country music stars Tex Ritter for his 1959 Blood on the Saddle album and Hank Snow on his Tales of the Yukon album (1968). The poem was the inspiration for The Face on the Barroom Floor painting by Herndon Davis in the Teller House Bar in Central City, Colorado, and that painting inspired a chamber opera by Henry ...
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".
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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Nor tears. Their blind eyes see not your tears flow. Nor honour. It is easy to be dead. Say only this, “They are dead.” Then add thereto, “Yet many a better one has died before.” Then, scanning all the o'ercrowded mass, should you Perceive one face that you loved heretofore, It is a spook. None wears the face you knew.
The original title was "Dutch Lullaby". The poem is a fantasy bed-time story about three children sailing and fishing among the stars from a boat which is a wooden shoe. The names suggest a sleepy child's blinking eyes and nodding head. The spelling of the names, and the "wooden shoe," suggest Dutch language and names, as hinted in the original ...
Circa 1880. Edwin James Milliken (1839 in Ireland – 26 August 1897), was a Punch editor, journalist, satirical humorist and poet. He is best known for his oft-quoted poem "Death and his brother sleep", notably quoted by Winston Churchill in the prelude to World War II when he felt that parliament was not taking the prospect of a war against Hitler seriously enough.
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: