What is baroque poetry? How different is it from what we know as conventional poetry?
94303
I'm pretty sure baroque poetry is poetry that was writen in the barogue time period.
803719
For me that is such a difficult question to answer.  I have so many favorites.  \n\nThe whole poem Desiderata is beautiful and profound.  Every line is special so I will quote only the last ones:\n\n"Therefore be at peace with God, \nwhatever you conceive Him to be,\nand whatever your labors and aspirations,\nin the noisy confusion of life keep peace with your soul.\nWith all its sham, drudgery, and broken dreams,\nit is still a beautiful world.\nBe cheerful.\nStrive to be happy. "\n\nThen from High Flight by John Gillespie Magee we have:\n\n"Up, up the long delirious, burning blue \nI've topped the windswept heights with easy grace \nWhere never lark, or even eagle flew. \nAnd, while with silent, lifting mind I've trod \nThe high untresspassed sanctity of space, \nPut out my hand, and touched the face of God."\n\nFinally, I would refer you to a poem called Little Bateese by william Henry Drummond.  It is deceptively simple, but again profound.  It speaks of the relationship between grandparents and grandchildren, one of the things that really matter in life for sure.  There is nothing as special as the love of a grandparent and grandchild for each other.  The last lines of the poem are:\n\n"But leetle Bateese! please don't forget\nWe rader you 're stayin' de small boy yet, \nSo chase de chicken an' mak' dem scare\nAn' do w'at you lak wit' your ole gran'pere\nFor w'en you 're beeg feller he won't be dere--\nLeetle Bateese!"\n\nTranslation:  \nBut little Bateese!  Please don't forget\nWe'd rather you stayed a small boy yet\nSo chase the chickens and make them scared\nAnd do what you like with your old grandpere\nFor when you're a big fellow he won't be there -\nLittle Bateese!\n\nI get carried away with poetry!
635006
Sort of an explanation....\n\nIt's rather fatalistic, don't you think? For me, the poem is a very serious treatment on the mortality of being human.\n\n"...still like muffled drums are beating funeral marches to the grave".\n\nI memorized that poem 30 years ago and think of it once in a while. Fun to recite as Longfellow has such a simple cadence to his work.
209799
Lyric poetry is so called because in ancient Greece poems of this type were originally set to music and recited or sung to the accompaniment of a hand-held harp called a "lyre." The earliest lyrics were of two kinds: the religious lyric, a hymn or songlike prayer addressed to a god or goddess (cf. the Psalms of the Old Testament); and the so-called "drinking song" or "song of the table," a brash, robust, and merry sort of effort, often boastful, misogynistic, or pornographic, of the kind commonly performed by men at hearty gatherings or drinking parties. The religious lyric was typically marked by its earnestness, emotional intensity, and passion. The drinking song was more notable for its air of jollity and raucous amusement.\n\n    Out of these two separate (yet distantly related and parallel) traditions the modern love lyric was born. It was Sappho who first fused the two forms. By taking the emotional depth, confessional tone, and ornate style of the religious lyric and combining it with the ribaldry, mockery, and  high-spiritedness of the traditional drinking song, she effectively created a new hybrid: a poem at once intimate and satirical, serious yet light. This adroit blend of passion and humor (packaged in a sparkling and colorful style) has been a hallmark of the sophisticated love lyric ever since. As a result, poets as different as Swinburne, Whitman, Adrienne Rich, and Ezra Pound can all in one respect or another be considered sons and daughters of Sappho. Her legacy shines from Catullus and Ovid to Donne and Marvell, from Shakespeare to the lyrics of George Gershwin, Cole Porter, and Jerome Kern. Remarkable the blaze of cultural light that has been generated from just a few glimmering fragments of Sapphic verse.
91608
Islamic poetry can be found through this link:\nhttp://www.islamicedfoundation.com/material.htm
661861
Pablo Neruda' love poems can melt pages (if you can read Spanish. Sometimes the translators don't get it right).\n\n Personal fave Edgar Allan Poe's Eleonora.
704426
This poem has more than 4 lines, but it is the neatest poem I have seen about the English language.\n\nWhen the English tongue we speak\nWhy is break not rhymed with freak?\nWill you tell me why it’s true\nWe say sew, but likewise few?\nAnd the maker of a verse,\nCannot rhyme his horse with worse?\nBeard is not the same as heard,\nCord is different from word,\nCow is cow, but low is low,\nShoe is never rhymed with foe.\nThink of hose and dose and lose,\nAnd think of goose and yet of choose,\nThink of comb and tomb and bomb,\nDoll and roll and home and some.\nAnd since pay is rhymed with say,\nWhy not paid with said I pray?\nThink of blood and food and good;\nMould is not pronounced like could.\nWherefore done, but gone and lone -\nIs there any reason known?\nTo sum up all, it seems to me\nSounds and letters don’t agree.
749974
baby ofcourse u cant find poems and lyrics as nice and beautiful as the persian ones. whi can say poems like saadi or molavi? and someof the new pope poems are also beautiful thanks for translating this one good luck dear
188901
Poesia tem dificuldades entre das linguas. You should study or refer to shakespeare or milton. Also you want to relate your emotions/ perceptions. An electronic dictionary will not help. Not with this.\n\nOh, by the way, damn good poetry. maravilhosa.
618726
what type of poetry.. random ravings or serious scenarios
253182
Besides occurring about 200 years after Medieval music (pre-1400), Baroque music (1600-1750)is primarill different because it uses instrumentation whereas Medieval music was solely vocal arrangments. \nMedieval:\n        1. All male voices\n        2. Monophonic textures\n        3. Sung in Latin\n        4. Non-metrical \nBarogue:\n        1. Elaborate compositions\n        2. New focus on writing musci to showcase instruments\n\nAdditionally, terms like Concerto, Movement, Opus, etc. were invented to help document and notate the new style.
584856
A poem is a verbal composition designed to convey experiences, ideas, or emotions in a vivid and imaginative way, characterized by the use of language chosen for its sound and suggestive power and by the use of literary techniques such as meter, metaphor, and rhyme.\nA composition in verse rather than in prose.\nA literary composition written with an intensity or beauty of language more characteristic of poetry than of prose.\nA creation, object, or experience having beauty suggestive of poetry.\n\nThe word poem is a derived word.  There isn't one famous writer or composer affiliated with the creation of this word.
843260
The most famous literary work from that period is The Pilgrim's Progress.  It is considered a Puritan classic.  Read about it at Wikipedia.  \n\nhttp://en.wikipedia.org/wiki/The_Pilgrim's_Progress
678286
One of the main ways the poem speaks' (the Diction?) is through the rhythm. It is slow and unhurried like the footsteps of the people carrying Sir John and like the drum beat at a funeral.  Otherwise there isn't a lot of imagery.  There is the 'struggling moonlight' perhaps an image of their own struggle in Battle.  The words are all short and clear, like a soldiers, and like his own funeral with no pomp though he was a hero.
106610
Go to google, type in "Baroque Food Period" and you'll find all, if not more, than you need.
604849
Its all good.  Its whatever moves you emotionally.  I've been moved my poetry alone.  There are many instrumental songs that are equally moving and of course if you put them together that can work well too.\n\nIts like trying to say which colour is better for painting, red or blue?  Its in how you use them.
992489
If you wish to write in what is called an "archaic," or out-of-date, style, then you must understand the language as it was used at the time.  It helps a great deal, by the way, to develop a solid grasp of good usage and form in modern English, as well.  There is a linear relationship between the two.  Sometimes, this means checking on things that look a little odd after you write them, or when you read them.\n\nThus - your "PS" to the original post mentions "suspension periods" - as a former newspaper editor, professional writer and language geek, I have encounted most descriptions of punctuation marks but never this one.  But I went to the Oxford English dictionary and found it to be correct.  So thank you and congratulations.\n\nTo achieve your primary goal, begin by collecting writing from the same period.  Make a list of words, phrases, and structures.  There are typically two main variations in use in "contemporary" writing - formal usage which looks amazingly unlike the way we speak and write at this time, and "slang," or idiomatic usage that is the era's version of teen-speak.\n\nInasmuchas you mentioned "the 'Witch Craze'," I believe you are speaking of the early and mid-1600's in the British isles and her colonies.  Be aware that forms of English used in Scotland, Wales and Ireland in those years were very, very different indeed - and those are the places where you are more likely to encounter witch-burnings outside of France and New England.\n\nThere are several guides to language as used in that period.  The principal writing convention of the mid-17th century was a style known as "thorne," in which certain words were abbreviated.  I have labored many a miserable hour over pages of handwritten text in "thorne" and you should look it up.  If you become skilled at the glorious style of penmanship used in that time, and at the use of "thorne," it can become a secret language you and your friends can use amongst yourselves.\n\nMost of the principal writers of the time were the members of the brand-new Royal Society, inflamed and inflammatory partisans of Protestant and Catholic churches, and playwrights.  English opera was born at the end of this period under the pen of Henry Purcell.  You might look for a collection of the letters of young Isaac Newton, Richard Hooke, John Boyle, and others in the RS.  Alternatively read the letters, speeches and statements of Oliver Cromwell or his enemies, particularly Stafford.  Of course, the ULTIMATE writer in English of this time, to me anyhow, is John Donne.\n\nNow, are you ready?\n\nThere's a cheat for this process.  Haunt a used bookstore and obtain the three-volume "Baroque Cycle" series by Neal Stephenson - "Quicksilver," "The Confusion," and "The System of the World."  This stuff is EXACTLY what you want.  Stephenson writes in pseudo-archaic; that is, he is doing the kind of writing you wish to do.  And he tells wonderful tales about real people as well as fairy-tale critters.  Oh, by the way, at the end of it all you have acquired a most valuable and unique education in the basics of 17th and early 18th-century Western European history.