Sometimes, however, as in a lyric poem, the effect intended may be the rendering or creation of a mood, such as that of happy content, and in that case the poem may not have an easily expressible concrete theme.
Lyric poems are expressions of spontaneous emotion and are necessarily short.
We have the same national mind expressed for us again in their literature, in epic and
lyric poems, drama, and philosophy; a very complete form.
The commentary explains and translates difficult phrases and the background and literary features of the text, and the introduction describes the Odes, the life of Horace, the
lyric poem in Greece and Rome, the philosophical background of the text, and its meter.
Though not as synonymous with the lyric as musicality or apostrophe often seem to be, the concept of what Barbara Herrnstein Smith (1968) once called "poetic closure" is crucial to our sense of a
lyric poem's very identity.
In The
Lyric Poem and A estheticism: Forms of Modernity (Edinburgh Univ.
THE
LYRIC POEM HAS BEEN PRACTICED for more than four thousand years, and yet its history is still unfolding today.
Accordingly, Johnson begins by defining what a real poetics of the Eucharist might be, arguing that the post-Reformation
lyric poem 'becomes a primary cultural site for investigating the capacity of language to manifest presence' (p.
Metres doubts, ultimately, whether the lyric subject, or the
lyric poem, can be extracted from those systems of linguistic and material violence in which it is always enmeshed.
In a pool of ferns under a private moon in a
lyric poem,
The "lumad" group Kalumaran has written an "uranda," a traditional
lyric poem, that contains the stories they want to tell the head of the Catholic world.
(44) Burns's songs and lyrics also ask us to acknowledge the performative aspects of his work, which not only lead to many ironic situations but also--and more often it seems than in Clare's practice--to a greater distance between the speaker of the poems and the historical person who wrote them (though it is also, of course, a New Critical tenet to distinguish between the historical person/poet and 'the speaker' of a
lyric poem).