Fifty Poems

Fifty Poems is a collection of poetry by fantasy author Lord Dunsany. His first poetry collection, it was first published in hardcover simultaneously in London and New York City by G. P. Putnam's Sons in October, 1929.

The book collects fifty poems by the author.

Fifty Poems
First US edition
AuthorLord Dunsany
CountryUnited Kingdom
PublisherG. P. Putnam's Sons (US)
Publication date
Media typePrint (Hardback)


  • "Art and Life"
  • "The Hunter Dreams in His Club"
  • "A Song of Wandering"
  • "Evening in Africa"
  • "Night"
  • "Ode to a Dublin Critic"
  • "In the Sahara"
  • "Under Mount Monadnock"
  • "The Traveller"
  • "Songs from an Evil Wood (I)"
  • "Songs from an Evil Wood (II)"
  • "The Memorial"
  • "A Dirge of Victory"
  • "To the Fallen Irish Soldiers"
  • "The Riders"
  • "The Watchers"
  • "The Enchanted People"
  • "Lady Blayn"
  • "Inscribed in a Copy of Five Plays"
  • "Inscribed in a Copy of The King of Elfland's Daughter"
  • "At the Time of the Full Moon"
  • "The Happy Isles"
  • "Nemesis"
  • "A Heterodoxy"
  • "A Moment"
  • "On a Portrait"
  • "To a Coffin from Ur"
  • "In an Old Land"
  • "Affairs"
  • "To Keats"
  • "The Forsaken Windmill"
  • "To Those That Come After"
  • "In Wild-Rose Garden"
  • "Waiting"
  • "A Call to the Wild"
  • "In a Yorkshire Valley"
  • "Snow on the East Wind"
  • "A Word in Season"
  • "The Worm and the Star"
  • "Al Shaldomir (A Song in a Play)"
  • "Song of the Iris Marshes"
  • "A Ballade of the Last Night"
  • "The Statue"
  • "In the Silence"
  • "The Inspiration"
  • "The Lost Trick"
  • "Raw Material"
  • "The Quest"
  • "The Call"
  • "The Deserted Kingdom"


  • Joshi, S. T. (1993). Lord Dunsany: a Bibliography / by S. T. Joshi and Darrell Schweitzer. Metuchen, N.J.: The Scarecrow Press, Inc. p. 17.
Accentual-syllabic verse

Accentual-syllabic verse is an extension of accentual verse which fixes both the number of stresses and syllables within a line or stanza. Accentual-syllabic verse is highly regular and therefore easily scannable. Usually, either one metrical foot, or a specific pattern of metrical feet, is used throughout the entire poem; thus we can talk about a poem being in, for example, iambic pentameter. Poets naturally vary the rhythm of their lines, using devices such as inversion, elision, masculine and feminine endings, the caesura, using secondary stress, the addition of extra-metrical syllables, or the omission of syllables, the substitution of one foot for another.

Accentual-syllabic verse dominated literary poetry in English from Chaucer's day until the 19th century, when the freer approach to meter championed by poets such as Samuel Taylor Coleridge and Ralph Waldo Emerson and the radically experimental verse of Gerard Manley Hopkins and Walt Whitman began to challenge its dominance. In the early 20th Century, accentual-syllabic verse was largely supplanted by free verse through the efforts of Modernists such as Ezra Pound and Amy Lowell. Nonetheless, some poets, such as Robert Frost, W. H. Auden, Keith Douglas, Robert Lowell, Philip Larkin, Howard Nemerov, James Merrill, Derek Walcott, Geoffrey Hill, Seamus Heaney and Derek Mahon continued to work (though not exclusively) in accentual-syllabic meters throughout the century.

Though it has not regained its position of dominance within English poetry, accentual-syllabic verse remains viable and popular in the 21st century, as evidenced by the success of such poets as Richard Wilbur and the various New Formalists.

Aintiṇai Aimpatu

Ainthinai Aimpathu(Tamil: ஐந்திணை ஐம்பது) is a Tamil poetic work belonging to the Pathinenkilkanakku anthology of Tamil literature. This belongs to the 'post Sangam period' corresponding to between 100 – 500 CE. Ainthinai Aimpathu contains fifty poems written by the poet Kannankoothanaar who lived in Madurai.

The poems of, Ainthinai Aimpathu, deal with the agam (internal) subjects. Agam in the Sangam literature denotes the subject matters that deal with the intangibles of life such as human emotions, love, separation, lovers' quarrels, etc. The poems of Ainthinai Aimpathu are categories into ten poems for each of the five thinai, or landscape of Sangam poetry and describe in detail the situation and emotions specific to each landscape. The five landscapes of Sangam poetry are mullai – forest, kurinji – mountains, marutham – farmland, paalai – arid land and neithal – seashore.

Best New Poets

The Best New Poets series consists of annual poetry anthologies, each containing fifty poems from poets without a previously published collection. The first edition of the series appeared in 2005, and was published, as all later editions have been, by Samovar Press. In 2006, the University of Virginia Press began distributing the anthology.

Beyond the Fields We Know

Beyond the Fields We Know is a collection of fantasy short stories by Irish writer Lord Dunsany, and edited by Lin Carter. The title is derived from a description of the location of the border of Elfland used several times in Lord Dunsany's best-known novel, The King of Elfland's Daughter. It was first published in paperback by Ballantine Books as the forty-seventh volume of its Ballantine Adult Fantasy series in May, 1972. It was the series' fourth Dunsany volume, and the second collection of his shorter fantasies assembled by Carter.

Dunsany is considered a major influence on the works of J. R. R. Tolkien, H. P. Lovecraft, Ursula K. Le Guin, and others. Beyond the Fields We Know collects fifty-nine short pieces by the author, including stories, poems and a play, selected from some of his early collections. It incorporates the whole of his first book and collection The Gods of Pegāna (1905) and extended selections from his second, Time and the Gods (1906), and his poetry collection Fifty Poems (1929). An introduction and afterword by Carter frame the collection.

Book of Mercy

Book of Mercy is a poetry book by Canadian author, poet and singer-songwriter Leonard Cohen, published by McLelland and Stewart, and repackaged in March 2010. Its original publication was in 1984. Book of Mercy is considered a companion volume to Cohen's poetry collection, Book of Longing (published in 2006). The book is often referred to as a book of contemporary psalms. The poems are numbered rather than titled. Book of Mercy contains fifty poems. The topics are often spiritual or religious in nature.

According to Penguin Random House, "the poems in Book of Mercy brim with praise, despair, anger, doubt and trust. Speaking from the heart of the modern world, yet in tones that resonate with an older devotional tradition, these verses give voice to our deepest, most powerful intuitions." Cohen uses both traditional and modern forms of writing.

Book of Mercy was labelled Cohen's "most deeply personal book." He told Robert Sward in a 1984 interview, "'Book of Mercy is a secret book for me. It was written during an intense moment of reassessment of his life and art and remains his sole effort to publish a book of psalms.' Book of Mercy allows us to witness the struggle of a soul engaged in what Cohen described as 'a sacred kind of conversation.' The reputation of this meditative collection has grown steadily, and the book is now widely considered one of the finest compilations of confession and spiritual longing ever written."Book of Mercy is said to have inspired the production of Cohen's studio album Various Positions.

Burns stanza

The Burns stanza is a verse form named after the Scottish poet Robert Burns, who used it in some fifty poems. It was not, however, invented by Burns, and prior to his use of it was known as the standard Habbie, after the piper Habbie Simpson (1550–1620). It is also sometimes known as the Scottish stanza or six-line stave. It is found in Middle English in the Romance of Octovian (Octavian). It was also found in mediaeval Provençal poems and miracle plays from the Middle Ages.The first notable poem written in this stanza was the "Lament for Habbie Simpson; or, the Life and Death of the Piper of Kilbarchan" by Robert Sempill the younger. The stanza was used frequently by major 18th-century Lowland Scots poets such as Robert Fergusson and Robert Burns, and has been used by subsequent poets. Major poems in the stanza include Burns's "To a Mouse", "To a Louse", "Address to the Deil" and "Death and Doctor Hornbook". The stanza is six lines in length and rhymes AAABAB, with tetrameter A lines and dimeter B lines. The second B line may or may not be repeated.Although the "Lament for Habbie" itself is strictly lyrical, subsequent uses have tended to be comic and satirical, as this passage from Burns shows:

O THOU! whatever title suit thee—

Auld Hornie, Satan, Nick, or Clootie,

Wha in yon cavern grim an’ sootie,

Clos’d under hatches,

Spairges about the brunstane cootie,

To scaud poor wretches!Hear me, auld Hangie, for a wee,

An’ let poor damned bodies be;

I’m sure sma’ pleasure it can gie,

Ev’n to a deil,

To skelp an’ scaud poor dogs like me,

An’ hear us squeel!

--"Address to the Deil"A variation on the Burns stanza employs the rhyme scheme AABCCCB, with foreshortened third and seventh lines. This form is deployed, for example, in W. H. Auden's poem "Brother, who when the sirens roar" (also known as "A Communist to Others"):

Brothers, who when the sirens roarFrom office, shop and factory pour

'Neath evening sky;By cops directed to the fug

Of talkie-houses for a drug,

Or down canals to find a hug

Until you die: (lines 1–7)

Auden uses similar verse forms in other poems in the collection Look, Stranger! (also known as On This Island), such as "The Witnesses" and "Out on the Lawn I Lie in Bed" (also known as "Summer Night"). A more recent example can be seen in W. N. Herbert's "To a Mousse".

Christopher Shackle

Doctor Christopher Shackle, FBA (born 4 March 1942) is a retired Professor of Modern Languages of South Asia in the University of London, Department of the Languages and Cultures of South Asia, and also Professor, Department of Study of Religions at that university. He is furthermore the head of the Urdu department at the School of Oriental and African Studies of London, Project Leader at the Arts and Humanities Research Council's Centre for Asian and African Literatures, and a member of the Centre of South Asian Studies.He is an expert of the Saraiki language, which he learned from Mehr Abdul Haq. He has written several books on Saraiki literature and Khwaja Ghulam Farid. He was active in saraiki writers' circle and friend of Umer Kamal Khan and Aslam Rasoolpuri etc.

He has written many books, and published over 19 book chapters and journal articles in the field or Urdu literature. He served as Head of Department from 1983 to 1987 and as Pro-Director of SOAS from 1997 until 2003.

Erika Mitterer

Erika Mitterer (1906–2001) was an Austrian writer. When she was 18, in 1924, she began writing poems to Rainer Maria Rilke, who wrote back with approximately fifty poems of his own, and called her verse a "Herzlandschaft" (landscape of the heart). She wrote about 117 poems to him in all. This was the only time Rilke had a productive poetic collaboration throughout all his work. She also visited Rilke. When she was 24 her first volume of poems was published; it was well-received, and Stefan Zweig called her "a great poet". During the time of Nazi Germany she wrote for the periodical Das innere Reich, and also published the novel The Prince of Darkness. In 1950 her "Correspondence in Verse" with Rilke was published, and received much praise. In 1992 a documentary about her, titled Ericka Mitterer, Das Videoportrait: Dank des Lebens was made.

Femi Branch

Femi Babafemi Branch (born May 14, 1970) is a Nigerian poet, playwright, film actor, director and producer.

Ian Hamilton (critic)

Robert Ian Hamilton (24 March 1938 – 27 December 2001) was a British literary critic, reviewer, biographer, poet, magazine editor and publisher.


Kalithogai (Tamil: கலித்தொகை meaning the kali-metre anthology), a classical Tamil poetic work, is the sixth book of Eight Anthologies (Ettuthokai), a Sangam literature anthology. Kalithogai contains one hundred and fifty poems and were written by various authors. Nachinarkiniyar, a Tamil scholar who lived during the sixth or the seventh century CE, has annotated this work.

Kalithogai is an anthology of 150 poems in kali metre of varied length dealing with all phases and types of love experience. The poems are categorised into the five thinais according to the mood and subject matter conforming to the Sangam landscape. The first part (2-36) deals with paalai setting, the second (37-65) with kurinchi, the third (66-100) with marutam, the fourth (101-117) with mullai and the fifth (118-150) with neital. These five section were each written by a separate author. Perunkadunkon wrote the paalai songs, the poet Kapilar is attributed to the kurinchi, Ilanaagan the marutham songs, Nalluruthiran the mullai songs and the poet nallanthuvan the neithal songs. However, modern scholarship attributes the entire work to a single author.

Considering the style and usage of words, the work is also considered to be of a later period when compared to most of other Sangam works. The name of the compiler of Kalithogai and his patron are not known. The book of annotations for this book written by Nachinarkiniyaar in the mid fifteenth century says that Nallanthuvanaar compiled the Kalithogai anthology.

The poems of Kalithogai show evidence of the ancient music of the Tamil people with its rhythmic phrases.

One of the best examples from this compilation is the one attributed to Nallanthuvanar.

Lydia Pasternak Slater

Lydia Leonidovna Pasternak (Russian: Лидия Леонидовна Пастернак; March 8, 1902 – May 4, 1989), married name Lydia Pasternak Slater, was a Russian research chemist, poet and translator.

Pierrot lunaire (book)

Pierrot lunaire: rondels bergamasques (Moonstruck Pierrot: bergamask rondels) is a cycle of fifty poems published in 1884 by the Belgian poet Albert Giraud (born Emile Albert Kayenburgh), who is usually associated with the Symbolist Movement. The protagonist of the cycle is Pierrot, the comic servant of the French Commedia dell'Arte and, later, of Parisian boulevard pantomime. The early 19th-century Romantics, Théophile Gautier most notably, had been drawn to the figure by his Chaplinesque pluckiness and pathos, and by the end of the century, especially in the hands of the Symbolists and Decadents, Pierrot had evolved into an alter-ego of the artist, particularly of the so-called poète maudit. He became the subject of numerous compositions, theatrical, literary, musical, and graphic.

Giraud's collection is remarkable in several respects. It is among the most dense and imaginatively sustained works in the Pierrot canon, eclipsing by the sheer number of its poems Jules Laforgue's celebrated Imitation of Our Lady the Moon (1886). Its poems have been set to music by an unusually high number of composers (see Settings in various media below), including one, Arnold Schoenberg, who derived from it one of the landmark masterpieces of the 20th century. Finally, it is noteworthy for the number of themes of the fin-de-siècle—which is to say, of Symbolism, the Decadence, and early Modernism—that it elaborates within the tight confines of Giraud's verse form:

the growing materialism and vulgarity of late-19th-century life, and the artist's flight into an interior world;

the quest of that artist for a purity and untrammeled freedom of the soul, often through a derangement of the senses (advocated most famously by Arthur Rimbaud) via the ecstasy of music or drugs like alcohol;

the deconstruction of romantic love, inspired in part by a skepticism à la Arthur Schopenhauer and a growing scientific candor (which will result in Krafft-Ebing's Psychopathia Sexualis of 1886) about sex;

the dogging of young genius by disease, especially consumption, leading to the facile equation (elaborated notoriously in the Degeneration of Max Nordau) of modern art with degeneracy;

the assumption of a religious burden by the modern artist, and his or her consequent ascension as prophet;

the transmutation of art into a hermeticism (vide Stéphane Mallarmé, T.S. Eliot, James Joyce) through which it can be enriched with sacred value, spared the gaze of the philistine, and engaged with the dissonant incongruities of modern life: Giraud's poems are non-linear fragments shored against Pierrot's ruins;

and yet finally: an undermining of the whole enterprise by self-mockery and irony, calling the high creative project (and the motives of the artist indulging in it) in doubt.

Reed Whittemore

Edward Reed Whittemore, Jr. (September 11, 1919 – April 6, 2012) was an American poet, biographer, critic, literary journalist and college professor. He was appointed the sixteenth and later the twenty-eighth Poet Laureate Consultant in Poetry to the Library of Congress in 1964, and in 1984.

The Seagull (poem)

"The Seagull" (Welsh: Yr Wylan) is a love poem in 30 lines by the 14th-century Welsh poet Dafydd ap Gwilym, probably written in or around the 1340s. Dafydd is widely seen as the greatest of the Welsh poets, and this is one of his best-known and best-loved works.

The Wind (poem)

"The Wind" (Welsh: Y Gwynt) is a 64-line love poem in the form of a cywydd by the 14th-century Welsh poet Dafydd ap Gwilym. Dafydd is widely seen as the greatest of the Welsh poets, and this is one of his most highly praised works. Rachel Bromwich called it "one of the greatest of all his poems", while the academic critic Andrew Breeze has hailed it as "a masterpiece" and "a work of genius", noting especially its "rhetorical splendour".

Tiṉaimoḻi Aimpatu

Tiṉaimozhi Aimpatu (Tamil: திணைமொழி ஐம்பது) is a Tamil poetic work belonging to the Pathinenkilkanakku anthology of Tamil literature. This belongs to the 'post Sangam period' corresponding to between 100 – 500 CE. Tiṉaimozhi Aimpatu contains fifty poems written by the poet Kannan Chenthanaar.

The poems of Tiṉaimoḻi Aimpatu deal with agam (internal) subjects. Agam in the Sangam literature denotes the subject matters that deal with the intangibles of life such as human emotions, love, separation, lovers' quarrels, etc. The poems of Tiṉaimozhi Aimpatu are categoriesed into ten poems for each of the five thinai, or landscape of Sangam poetry and describe in detail the situation and emotions specific to each landscape. The five landscapes of Sangam poetry are mullai – forest, kurinji – mountains, marutham – farmland, paalai – arid land and neithal – seashore.

Wine in religious communities of the Middle East

The production and consumption of wine has been widespread in the Middle East and has been tolerated to varying extents by different religious groups. Prophet Muhammad forbade all intoxicants (khamr) and even pressed grape juice for Muslims. Wine was traded and used among the Jews, at least in Egypt, including for sacramental purposes, and had to be prepared by Jews according to stated practices. Many Christian monasteries in the region made and sold wine to raise revenue. Finally, the Zoroastrian communities of Persia continued to make and drink wine after the Islamic conquest.

Yong Shu Hoong

Yong Shu Hoong (born 1966) is an award-winning poet and educator.

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