the theme of sonnet 1 ,2 by sir PHILIP SIDNY?
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Sonnet 1\nSir Philip Sidney composed Astrophil and Stella in 1582. The sonnet sequence consists of one hundred and eight sonnets and eleven songs, and is believed to cryptically address Sidney's affections toward Lady Penelope Devereaux. According to William A. Ringler, Sidney purposely hinted at his identity as the poem's speaker, and Devereaux as his beloved, Stella, dedicating three sonnets to the sole purpose of revealing her married name. Sidney plays the role of the "star lover" to Penelope's, Stella the "star" in one of the first English sonnet sequences.
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Thomas Gray\nOde on a Distant Prospect of Eton College\n\n".Yet ah! why should they know their fate? \nSince sorrow never comes too late, \nAnd happiness too swiftly flies. \nThought would destroy their paradise. \nNo more; where ignorance is bliss, \n'Tis folly to be wise."\n\nhttp://www.web-books.com/Classics/Poetry/Anthology/Gray_T/OdeOnDistance.htm
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Poet                   "Poem"\nWilliam Blake          "A Divine Image"\nEdmund Spenser         "My Love Is Like To Ice"\nJohn Donne             "Death Be Not Proud"\nLady Mary Chudleigh    "To The Ladies"\nWilliam Wordsworth     "I Wanddered Lonely As A Cloud"\nJohn Mccrae            "In Flanders Field"\nF.R. Scott             "Calamity"\nX.J. Kennedy           "Nude Descending A Staircase"
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Just fyi I found the poem its\n"I carry your heart" by E E Cummings
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I dont know the poem.  But I think its beautiful.  Seems like an interesting topic, poem.
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I love Sonnet 130!\n\nI like this site, too:\n\nhttp://www.shakespeare-online.com/sonnets/130detail.html\n\nIt has the poem paraphrased and analyzed.\n\nMore information, including quotes from other writers is at:\nhttp://members.aol.com/danieledg1/sonnets.html\n\nI hope Shakespeare's mistress had a good sense of humor and that she waited around for the end of the sonnet.
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I don't know if this is what you're talking about,\n\nPoem of English Pronunciation\nby Gerald Nolst Trenite\n\nDearest creature in creation,\nStudy English pronunciation.\nI will teach you in my verse\nSounds like corpse, corps, horse, and worse.\nI will keep you, Suzy, busy,\nMake your head with heat grow dizzy.\nTear in eye, your dress will tear.\nSo shall I! Oh hear my prayer.\n\n\n\nJust compare heart, beard, and heard,\nDies and diet, lord and word,\nSword and sward, retain and Britain.\n(Mind the latter, how it's written.)\nNow I surely will not plague you\nWith such words as plaque and ague.\nBut be careful how you speak:\nSay break and steak, but bleak and streak;\nCloven, oven, how and low,\nScript, receipt, show, poem, and toe.\n\n\n\nHear me say, devoid of trickery,\nDaughter, laughter, and Terpsichore,\nTyphoid, measles, topsails, aisles,\nExiles, similes, and reviles;\nScholar, vicar, and cigar,\nSolar, mica, war and far;\nOne, anemone, Balmoral,\nKitchen, lichen, laundry, laurel;\nGertrude, German, wind and mind,\nScene, Melpomene, mankind.\n\n\n\nBillet does not rhyme with ballet,\nBouquet, wallet, mallet, chalet.\nBlood and flood are not like food,\nNor is mould like should and would.\nViscous, viscount, load and broad,\nToward, to forward, to reward.\nAnd your pronunciation's OK\nWhen you correctly say croquet,\nRounded, wounded, grieve and sieve,\nFriend and fiend, alive and live.\n\n\n\nIvy, privy, famous; clamour\nAnd enamour rhyme with hammer.\nRiver, rival, tomb, bomb, comb,\nDoll and roll and some and home.\nStranger does not rhyme with anger,\nNeither does devour with clangour.\nSouls but foul, haunt but aunt,\nFont, front, wont, want, grand, and grant,\nShoes, goes, does. Now first say finger,\nAnd then singer, ginger, linger,\nReal, zeal, mauve, gauze, gouge and gauge,\nMarriage, foliage, mirage, and age.\n\n\n\nQuery does not rhyme with very,\nNor does fury sound like bury.\nDost, lost, post and doth, cloth, loth.\nJob, nob, bosom, transom, oath.\nThough the differences seem little,\nWe say actual but victual.\nRefer does not rhyme with deafer.\nFoeffer does, and zephyr, heifer.\nMint, pint, senate and sedate;\nDull, bull, and George ate late.\nScenic, Arabic, Pacific,\nScience, conscience, scientific.\n\n\n\nLiberty, library, heave and heaven,\nRachel, ache, moustache, eleven.\nWe say hallowed, but allowed,\nPeople, leopard, towed, but vowed.\nMark the differences, moreover,\nBetween mover, cover, clover;\nLeeches, breeches, wise, precise,\nChalice, but police and lice;\nCamel, constable, unstable,\nPrinciple, disciple, label.\n\n\n\nPetal, panel, and canal,\nWait, surprise, plait, promise, pal.\nWorm and storm, chaise, chaos, chair,\nSenator, spectator, mayor.\nTour, but our and succour, four.\nGas, alas, and Arkansas.\nSea, idea, Korea, area,\nPsalm, Maria, but malaria.\nYouth, south, southern, cleanse and clean.\nDoctrine, turpentine, marine.\n\n\n\nCompare alien with Italian,\nDandelion and battalion.\nSally with ally, yea, ye,\nEye, I, ay, aye, whey, and key.\nSay aver, but ever, fever,\nNeither, leisure, skein, deceiver.\nHeron, granary, canary.\nCrevice and device and aerie.\n\n\n\nFace, but preface, not efface.\nPhlegm, phlegmatic, ass, glass, bass.\nLarge, but target, gin, give, verging,\nOught, out, joust and scour, scourging.\nEar, but earn and wear and tear\nDo not rhyme with here but ere.\nSeven is right, but so is even,\nHyphen, roughen, nephew Stephen,\nMonkey, donkey, Turk and jerk,\nAsk, grasp, wasp, and cork and work.\n\n\n\nPronunciation -- think of Psyche!\nIs a paling stout and spikey?\nWon't it make you lose your wits,\nWriting groats and saying grits?\nIt's a dark abyss or tunnel:\nStrewn with stones, stowed, solace, gunwale,\nIslington and Isle of Wight,\nHousewife, verdict and indict.\n\n\n\nFinally, which rhymes with enough?\nThough, through, plough, or dough, or cough?\nHiccough has the sound of cup.\nMy advice is give it up!
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a poem about life --- from birth to death...\n\nbut when i read it it sounded much like a song...probably because of the repetitive lines that appear at the end of each verse... honestly I understand the verses except the lines about his ways/ his days... and I don't understand why those two lines need to be repeated so much and then it's not even the title.. sorry\n\noh I think "With desperate fire, his gray will sets to blaze" should be "With desperate fire, his gray will set to blaze"\n\ncontinue writing...much luck!
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three quatrains and a couplet
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First look at the tone of the poem. Then look for the nouns in the poem, and what they could represent metaphorically. Then see if they're connected. I don't know this poem, but say, for example, maybe falling snow (noun) is a metaphor for the author's declining health. Maybe the cold (another noun) is similar metaphorically. There's your theme.
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the poem or the phrase?  Please explain in more detail.
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I MUST go down to the seas again, to the lonely sea and the sky, \nAnd all I ask is a tall ship and a star to steer her by, \nAnd the wheel's kick and the wind's song and the white sail's shaking, \nAnd a gray mist on the sea's face, and a gray dawn breaking. \n\nI must go down to the seas again, for the call of the running tide \nIs a wild call and a clear call that may not be denied; \nAnd all I ask is a windy day with the white clouds flying, \nAnd the flung spray and the blown spume, and the sea-gulls crying. \n\nI must go down to the seas again, to the vagrant gypsy life, \nTo the gull's way and the whale's way, where the wind's like a whetted knife; \nAnd all I ask is a merry yarn from a laughing fellow-rover, \nAnd quiet sleep and a sweet dream when the long trick's over.
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Shakespear's Sonnet 18.
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It's a sonnet by William Wordsworth...The title is generally accepted as being\n\nSonnet: The world is too much with us
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Good question...\n\nThe work is actually a theme song to a British TV show called "The One Game".  The composer is Nigel Hess.  The language is not Welsh, it's made up.  Hence the difficulty in finding an English translation.  In fact, there may not be a translation.  It may simply be neat sounding words with no meaning.  That I don't know.  I'm sure you could email Nigel Hess and ask him.  http://www.myramusic.co.uk/
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I remember a similar poem from Peter Opie’s The Lore and Language of Schoolchildren, published in 1959:\n\n"One bright day, in the middle of the night.  Two dead men got up to fight.  Back to back they faced each other, drew their swords and shot each other.  A deaf policeman heard the noise and came and shot the two dead boys.  And if you don't believe this lie is true, ask the blindman, he saw it too."\n\nalong with:\n\nOnce upon a time there were two skunks; one named In, the other named Out.  Now when In was in, Out was out.  And when Out was in, In was out.  Well, one day, Out was in and In was out.  The Mother Skunk said, "Out, go out and bring In in."  So, Out went out and brought In in.  The Mother Skunk asked, "How did you find In so quick, Out?"  Out replied, "In stinked.".
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Robin_Thor has a good understanding about this literary giant and this is to let him know that we appreciate a good effort. \nWell itsamystery, hopefully you are rested up from your Spring Break because if this is an assignment that needs to be turned in I am afraid that you have some work to do.\nIn gratitude to you for your question I will answer you with 'my start' into this work which if not for your question I would still be outside on the patio.  \n\nHere goes a swell beginning:\n\n.\n\nWhy, Death Be Not Proud\nIn “Death Be Not Proud” the protagonist literary presenters are chosen teenagers for the reasons that the importance of this poem is to have a definite and positive impact on younger students and young adults alike across the world.  For it serves as guide for the confrontatious attitudes necessary in the face of, emotional, physical and spiritual adversity.  To forge a better social function among us that will inevitably present to our younger generations. These are all here and within this poem and which all support the theme of this magnificent writing.  In  “Death Be Not Proud” is found a generational social cohesiveness that is necessary for a functional society’s survival, and which is so well prayed by John Gunther’s 1947 memoirs.  \nIt is a penned offering intellectually and emotionally secured as a memoir to his son whose ultimate youthful death by a brain tumor at the age of seventeen is eminent. Gunther draws from his heart and from John Dunne’s 17th century “The Holy Sonnets: X” in producing this writing.  It is a poem, in which Gunther argues that ‘death should take no pride in what it does, as it is ultimately powerless to prevent the resurrection of all humanity.’ It can be presented at a literary discourse for educational purpose or as a play on a stage.  \n“Death be not proud, though some have called thee / mighty and dreadful, for thou art not so,\nFor those whom thou think’st thou dost overthrow,\nDie not, poor Death, nor yet canst thou kill me.\nFrom rest and sleep, which but thy pictures be,\nMuch pleasure:  then from thee much more must flow,\nAnd soonest our best men with thee do go,\nRest of their bones, and soul’s delivery.\nThou art slave to fate, chance, kings, and desperate men,\nAnd dost with poison, war and sickness dwell;\nAnd Poppy or charms can make us sleep as well\nAnd better than thy stroke; why swell’st thou then? \nOne short sleep past, we wake eternally,\nAnd death shall be no more; Death, thou shalt die.     John Donne\nIt is a versified oratory free-verse poem with melodic tone, chant, and supple plea/defiant texture composed about young Johnny Gunther.  About his attitudes and strife for living in the face of a natural and inevitable defeat.  It is the presentation of the life of Johnny’s family and their recourse to every medical possibility known at the time, taken from an elegy of a long time past, converted from a poem of love and not a poem of mourning. And even unto an eternal spiritual search for the healing of the body, of the mind, and of the spirit of their son by John Gunther and his wife.  About their tessellated forms draught from their experiential abilities within such frames of human suffrage.  In explicit honesty are laid bare the pains and struggles of a family trying to delay the ultimate inevitable end for a son that is as brilliant as Johnny.  From the radical surgeries to strictly controlled diets in endless effort to save his life by a determined harmonious familial union in the face of adversarial reality as they live on for life’s sake. All while in defiance of any honor attributable by mere mortals to death’s demands. \n\nhttp://www.cs.rice.edu/ ssiyer/minstrels/poems/796.html  \n\n\nJose