Academic literature on the topic 'Famous poems'
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Journal articles on the topic "Famous poems"
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Hussein, Ali Ahmad. "Two Sources for Abu Dhuʾayb al-Hudhali's Famous Elegy". International Journal of Middle East Studies 53, № 2 (2021): 213–33. http://dx.doi.org/10.1017/s0020743821000027.
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AbstractThis article considers the celebrated elegy by the classical 7th-century Arabic poet, Abu Dhuʾayb al-Hudhali — his ʿayniyya, which ends with ʿayn as a rhyming letter. Analyzing the poem's structure and comparing it with that of two poems composed by Abu Dhuʾayb's teacher, Saʿida b. Juʾayya al-Hudhali, leads to the conclusion that Saʿida's two poems were the main sources on which the pupil drew to create his poem. The sophisticated changes that Abu Dhuʾayb introduced in structure and content, however, made his poem more memorable than those of his teacher. The article raises another question, to which there is, as yet, no definitive answer: what was the true inspiration for Abu Dhuʾayb's poem? Was it the death of his sons, as is traditionally believed, or was it literary: to surpass his teacher in composing a more skillful poem?
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Gashi, Syzana Kurtaj. "Browning’s and Serembe’s Love Poems." SEEU Review 15, no. 2 (2020): 31–41. http://dx.doi.org/10.2478/seeur-2020-0015.
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Abstract Browning’s and Serembe’s love poems will be analyzed in this research paper in order to illustrate how they reflected their efforts to present the idea of love in their poetry. In the ‘By the Fire-Side’, one of the major poems of Robert Browning during the thesaurus of the British Victorian period and Zef Serembe’s ‘Song for Longing’, considered by many to rank among the best love poems of Rilindja (Renaissance) poets in the nineteenth century Albania. The two poets, do not consider the idea of love in the abstract term. They include love by referring to the specific details, Browning, to his love relationship with a famous poetess Elizabeth Barrett, their elopement and union in Italy, and Serembe to his love for a girl from his native village, who immigrated to Brazil and subsequently died. In these poems, both poets explore the intimate atmosphere they tried to establish for their beloved women, by describing the places that witnessed the birth and growth of their love. ‘By the Fire-Side’ and ‘Song for Longing’ comprise a common element; they are personal love poems that describe their ideal love, personal feelings, and passion of their love. While Robert Browning in his poem writes about a peaceful and satisfied married life, full of sweet memories and images of his wife, Zef Serembe’s poem is a picture of his sentiment, primarily of solitude and disillusionment. The comparative and descriptive research methods have been helpful while conducting this research paper.
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Doğru, İhsan. "Yahya Kemal and Nizar Qabbani: Two Poet-Diplomats in Spain and “Andalus” in their Poems." CLEaR 4, no. 2 (2017): 20–33. http://dx.doi.org/10.1515/clear-2017-0009.
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Abstract Yahya Kemal and Nizar Qabbani were two poets who served as diplomats in Spain in the past century on behalf of the governments of Turkey and Syria. Yahya Kemal wrote two poems about Spain, “Dance in Andalusia “ and “Coffee Shop in Madrid”. “Dance in Andalusia,” a poem written about the Flamenco dance, has become very famous. In this poem, he described the traditional dance of the Spanish people and emphasized the place of this dance in their lives and the fun-loving lives of the people of Spain. In almost all of the poems which Nizar Qabbani wrote about Spain, on the other hand, a feeling of sadness rather than joy prevails. He gives a deep sigh in his poems as he regards Andalusia as the one-time land of his ancestors. His most important poem with respect to Spain is the poem entitled “Granada”. This poem is considered to be one of the most significant odes in the Arab literature describing Granada, the pearl of Andalusia, Arab influences there, the Alhambra palace and the sadness felt due to the loss of the city by Arabs. This study analyzes the two most important poems written by Yahya Kemal and Nizar Qabbani concerning Spain, namely “Dance in Andalusia” and “Granada”. Whenever it is deemed appropriate, other poems of the two poets regarding Spain will be dwelt upon and what kind of an influence Andalusia left in their emotional world will be revealed.
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Mitaitė, Donata. "Alfonsas Aldonis: Writing a Soviet Poem." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 162–70. http://dx.doi.org/10.37384/aplkp.2021.26-1.162.
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The article studies the genesis of poems by one of the most famous Lithuanian poets of the Soviet era Alfonsas Maldonis (1929–2007). It follows the methodology of genetic criticism and compares versions of manuscripts and texts of poems that have already been published. The main attention is given to poems “Awakening from Sleep”, “White Mountains”, “Morning Wind”. The poet’s first manuscripts are usually more ordinary, containing everyday realities and even open critique of Soviet life. While editing the manuscripts, the author sometimes only deletes or replaces some words with neutral ones (names of religious holidays, realities reminiscent of Soviet repression), but more often, the image is fundamentally redesigned, the particulars are replaced with abstract images, creating a multifaceted reading. The original ideas do not disappear but seem to be taken into the poem’s underground layer. The manuscripts’ analysis reveals how Maldonis created his distinctive poem and how an internal censor is involved in the process, suggesting which words would never be printed in a book published by an official publisher. Rarely, but there are also opposite cases where Soviet symbols are inserted into an ideologically neutral text. Maldonis’s poetry, however, contains signs similar to what Czesław Miłosz called the “captive mind”. It is difficult to say whether those few sovietisms stem from internal conviction or external ideological pressure to write bright, optimistic texts.
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Hart, Stephen M. "El cadáver exquisito de César Vallejo." Archivo Vallejo 1, no. 1 (2018): 17. http://dx.doi.org/10.34092/av.v1i1.33.
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En este ensayo me propongo arrojar nueva luz sobre la poética vallejiana mediante una interpretación del poema «¡Oh botella sin vino! ¡Oh vino que enviudó de esta botella!...». En la primera parte me enfoco en la relación conflictiva que Vallejo tuvo con el surrealismo, y sobre todo la célebre noción del «cadáver exquisito». Analizo una faceta de la técnica composicional de Vallejo, la cual se puede vislumbrar en cuatro de los primeros borradores «autógrafos» de los Poemas humanos (1938), publicados en la edición Fló-Hart de 2003. Propongo que, en «¡Oh botella sin vino! ¡Oh vino que enviudó de esta botella!...», Vallejo reconoce que la vanguardia —incluyendo el surrealismo— formó parte de su formación artística, pero finalmente el poeta peruano rechaza el «vino muerto» del surrealismo. En la segunda parte de la ponencia evalúo la proyección que, específicamente en Poemas humanos, Vallejo hace de su propio «cadáver exquisito».
 ABSTRACTThis paper intends to provide a fresh understanding of Vallejo’s poems through an interpretation of the poem «¡Oh botella sin vino! ¡Oh vino que enviudó de esta botella!...» (‘Oh bottle without wine! Oh wine the widower of this bottle!...’). The first part is focused on the troubled relationship between Vallejo and the surrealism, and particularly in his famous line «cadáver exquisito» (‘exquisite corpse’). The facet of the compositional technique of Vallejo found in four of his ‘autograph’ early drafts of Poemas humanos (‘Human Poems’, 1938) and published in the 2003 by Edition Flo-Hart is also analyzed. It is proposed that, in «¡Oh botella sin vino! ¡Oh vino que enviudó de esta botella!...» Vallejo recognizes that the avant-garde - including surrealism - was part of his artistic training, but finally he rejects the «vino muerto» (‘the dead wine’) of surrealism. The second part of the paper evaluates Vallejo’s projection, specifically in ‘Human Poems’, of his own ‘exquisite corpse’.
 Keywords: Cesar Vallejo, surrealism, exquisite corpse, poetic manifesto, Poemas humanos (‘Human Poems’).
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Zhumabekova, N. М. "LEXICO-STYLISTIC ANALYSIS OF THE JOE HARJO`S POEM “SUN RISE”." Vestnik Bishkek Humanities University, Issue 52-53 (October 21, 2020): 11–13. http://dx.doi.org/10.35254//bhu.2021.52.1.
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The article discusses the meaning of one of the poems of the most famous and outstanding contemporary American Indian poets Joe Harjo. The main purpose of the article is to interpret the topic of freedom, love to the traditions, and discontent with the present state of being of Native Americans through lexica -stylistic devices. It is indicated that many Indian American works are devoted to description of loss, and Joe Harjo`s poems search for some resolution of the situation. Though the Native Americans suffered the loss of their rights and freedom, the author calls for revival, for continuation of the fight, for gaining what was lost. Alongside with the ideas in the poem some stylistic devices as repetition, enumeration, epithet, irony have been identified revealing the emotional influence on the readers.
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Panova, E. A. "N. Gumilyov’s poem "I did not live, I spent…" ("Ya ne prozhil, ya protomilsya…"): the metaphysical and poetic meanings (to the 135th anniversary of the poet’s birth)." Russian language at school 82, no. 3 (2021): 53–59. http://dx.doi.org/10.30515/0131-6141-2021-82-3-53-59.
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This article analyzes one of Gumilyov’s most famous poems, a deeper understanding of which requires a linguopoetic analysis. Using the method of slow reading and paying attention to the following elements: composition, intertextual references, semantic and grammatical structure of text, system of alliterations — the author of this study shows how the development of lyrical subject progresses and what the lingual form highlights in disclosing the poem’s ideological and descriptive content. The results of the analysis allow the understanding of the poem presented in contemporary studies to be clarified.
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Zareifard, Raha, and Mehdi Rezaei. "Jale Ghaemmaghmi: An Outstanding Social- Political Poet in Contemporary Persian." JOURNAL OF ADVANCES IN LINGUISTICS 9 (April 30, 2018): 1344–57. http://dx.doi.org/10.24297/jal.v9i1.7203.
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Jale Ghaemmaghmi is the late Ghajar and first Pahlavi poet who has social-political thought and is the outstanding poet among female poets. However, she is anonymous as the consequence of her limitation in her life. By studying her poems, it is found that her social-political thought is in line with some famous thinkers such as Dehkhoda, Bahar and Kasravi. She has more social poems in comparison to Forugh Farokhzad. This paper aims at investigating her thought by categorizing her poems to introduce the hidden layers of her thought to contemporary researchers in literature and sociology.
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Rizano, Gindho. "Analisis terhadap Dua Puisi Penyair Amerika Claude McKay: Penelusuran SelukBeluk Kekuasaan Ras." Journal Polingua : Scientific Journal of Linguistics, Literature and Education 3, no. 1 (2018): 25–29. http://dx.doi.org/10.30630/polingua.v3i1.11.
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This article discusses two representative poems by a famous African-American writer, Claude Mckay. It seeks to interpretthe poems, “If We Must Die” and “Enslaved”, which both explore the issues racism and mental slavery, in the light of politicalapproaches such as Marxist criticism and postcolonialism. The main findings of this article are: 1) that racism and violence that itentails are rooted in class conflict and 2) that McKay’s poems can be seen as a counter-hegemony of the ethnocentricity of whiteculture. Generally, it is hoped that this writing can promote historical and political readings of minority poets like Claude McKay.
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Cooney, William. "The Death Poetry of Emily Dickinson." OMEGA - Journal of Death and Dying 37, no. 3 (1998): 241–49. http://dx.doi.org/10.2190/8tkd-4v2f-j9fq-axd0.
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The topic of death is an important theme in the work of Emily Dickinson, one of America's greatest poets. Dickinson scholars debate whether her focus on death (one quarter of all her poems) is an unhealthy and morbid obsession, or, rather, a courageous recognition that life itself cannot be understood fully except from the vantage point of the grave (just as light cannot be fully appreciated without the recognition of its opposite, i.e., darkness). Following the latter view, Dickinson's penetrating insights into death are examined. Some of her best known death poems are presented and briefly discussed (reference is also made to many other Dickinson poems, and insights are also drawn from her many letters). Brief comparisons of Dickinson's views to certain philosophers (for example, Nietzsche) are made, in order to provide a wider context of exploration into these important themes. In the end, Dickinson contends that affirmation of life is impossible without an examination of death—the article therefore ends with her famous poem about that affirmation.
Dissertations / Theses on the topic "Famous poems"
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Belcher, Kacee Lynn. "Fault Line." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/833.
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FAULT LINE examines the fragile humanity connected to the themes of sexuality, violence, addiction, family dynamics, and death. The book is not broken into sections; rather, as poems build upon one another to explore a narrative arc, FAULT LINE tracks a single speaker’s experience from girlhood to the verge of independent womanhood. The speaker employs formal structures such as the prose poem, sestina, and particularly the list poem to examine the fluidity of inner experience and also the culture at large while challenging the narrow definitions of femininity and masculinity. FAULT LINE works to not only address the question of blame but also the literal breaks in lines of poetry. By looking at a single speaker’s struggle, the book, like life, is both humorous and horrifying.
Books on the topic "Famous poems"
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Reiss, Stephen W. Reiss Dairy: Famous for milk bottles with poems. AuthorHouse, 2009.
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Thurber, James. Fables for our time: And famous poems illustrated. Perennial Library, 1990.
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Hodges, Josie May. Name fame: A selection of poems about the famous. Clear-off Publishing, 2002.
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Miller, Gary E. Poems from the privy, or, Outhouses of the rich and famous. Passion Among the Cacti Press, 2004.
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Nutki, Hamid. Melodious reveries: Selected poems by Hamid Nutki Aytan : a famous poet of Azerbaijan. Publishing Poligraphy Ltd. for Azerbaijan Culture, 2004.
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O'Keefe, Claudia. Mother: Famous writers celebrate motherhood with a treasury of short stories, essays, and poems. Pocket Books, 1996.
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Welcome to the crazyverse: A collection of comic poems about famous people in history. Evertype, 2012.
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Aberjhani. I Made My Boy Out of Poetry: Poems, Stories, Dreams & Sho 'Nuff Truths. Washington Publications, 1998.
Find full textBook chapters on the topic "Famous poems"
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Behn, Aphra, and Malcolm Hicks. "On the Death of Mr Grinhil, the Famous Painter." In Selected Poems. Routledge, 2020. http://dx.doi.org/10.4324/9781003061823-3.
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Hetherington, Paul, and Cassandra Atherton. "Women and Prose Poetry." In Prose Poetry. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691180656.003.0009.
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This chapter highlights the tradition of English-language prose poetry by women. It explores what women's prose poetries may be — not only in terms of content and approach but in terms of technique and emphasis. The chapter begins by looking at Holly Iglesias's seminal text, Boxing Inside the Box: Women's Prose Poetry (2004), which is the most comprehensive study of women's prose poetry to date. Iglesias advocates for the liberation of women prose poets, using the prose poem box as a metaphor for their containment. Beginning with Carolyn Forché's famous and disturbing prose poem about male power and brutality, “The Colonel,” and ending with C. D. Wright's hybrid prose poem essay, Iglesias's book celebrates women prose poets by giving them space and prominence. Ultimately, the neglect of many women prose poets did not occur because women were not writing prose poems; it is just that many women were not writing the kinds of prose poems that fit the prevalent critical view of what successful prose poems might look like.
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Hadjimichael, Theodora A. "Plato, Poetry, and the Lyric Nine." In The Emergence of the Lyric Canon. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198810865.003.0004.
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Chapter 3 focuses on Plato’s attitude towards the lyric poets and on the diversity with which certain lyric extracts are incorporated in his dialogues. Lyric poets are portrayed in Plato as authorities on ethical matters, lyric passages are integrated in philosophical arguments as pieces of eternal wisdom, and gnomic utterances from several lyric poems are re-contextualized in a number of passages in the Platonic dialogues. This method attests to the atemporal poetics and the broad applicability of lyric. The evidence provided in the Platonic dialogues allows us to conclude not only that the lyric poets were well recognized by mid-fourth century BC but also that a number of their poems were still performed during Plato’s time or were famous enough to be recalled in his work.
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Hone, Joseph. "Manuscript Circulation." In Alexander Pope in the Making. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198842316.003.0003.
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This chapter challenges enduring assumptions about Pope’s early uses of scribal publication. Drawing on a wealth of famous and hitherto overlooked or unknown manuscript sources, it reconstructs the early circulation of Pope’s poems. The chapter explores the methods by which Pope’s fair copy holographs circulated among select readers and, in the second section, examine important differences between the manuscript and printed texts of his poems. The third section traces the distribution of his early poems in contemporary manuscript miscellanies. Pope’s earliest manuscript readers, it argues, viewed him as the latest addition to a grand tradition of seventeenth-century royalist poetry. The last section of the chapter investigates what remains of Pope’s juvenile epic, Alcander, Prince of Rhodes. Tracing the textual history of the Alcander manuscript from its origins in 1701 to its destruction in 1717, it argues that the poem’s non-appearance in print was probably due to political factors rather than literary ones.
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Costello, Bonnie. "The Demagogue and the Sotto Voce." In The Plural of Us. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691172811.003.0002.
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Pronouns are crucial tools for any poet. They create dramatic relation and perspective, but because they are insubstantial they allow for abstraction and inclusion. No poet was quite so preoccupied with pronouns as W. H. Auden, who reflects on them often in his poetry and essays. This chapter considers Auden's relatively neglected poem “Law Like Love,” which incorporates many of the pronominal registers explored throughout this book. In this poem Auden reveals his skepticism about public orators and their absolutes, and turns against the rhetoric of his own most famous public poems, “Spain” and “September 1, 1939.” In “Law Like Love,” Auden finds alternatives for realizing the civic function of poetry.
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Vargö, Lars. "The Travels and Poems of Matsuo Bashô." In Songs on the Road: Wandering Religious Poets in India, Tibet, and Japan. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbi.g.
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This chapter looks at the iconic 17th century Japanese poet Matsuo Bashô, who is known as the originator of haiku and is most famous for his travel-account Oku no hosomichi, ‘The Narrow Road to the Interior’. This account contains many references to Buddhist temples and legends, since the purpose of the trip was not only to “be one with nature” and write poetry, but also to visit religious sites. Bashô was a Buddhist, as well as a Shintôist, a Confucian, and a Daoist. He had studied Zen Buddhism, but had enough worldly attachment to not want to enter a monastery permanently. Through his travel journals, Bashô created an ideal world of itinerant monks and he is often hailed as a role-model for wandering religious poets.
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Bleakley, Chris. "Needles in Haystacks." In Poems That Solve Puzzles. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198853732.003.0006.
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Chapter 6 examines one of the greatest unsolved challenges in mathematics - the problem of finding the best solution from a large number of possibilities. The Traveling Salesman Problem requires that the shortest tour of a group of cities is determined. Surprisingly, the only way to guarantee finding the shortest tour is to measure the length of all possible tours. Exhaustive search such as this is very slow. For centuries, mathematicians have sought to find fast algorithms for solving combinatorial search problems. The most famous was invented by Edsger Dijkstra in 1956. Dijkstra’s algorithm finds the shortest route between cities on a roadmap and is now used in all satellite navigation apps. The Gale-Shapley algorithm solves the problem of matching pairs of items according to user preferences. John Holland took the radical step of accelerating combinatorial search by mimicking natural evolution in a computer.
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McAlpine, Erica. "Wordsworth’s Imperfect Perfect." In The Poet's Mistake. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691203492.003.0002.
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This chapter discusses William Wordsworth's misuse of the present-perfect tense in his famous lines about a boy of Winander—a mistake that implies that the boy is still living when one knows from the poem that he is gone, that the episode was in the past. It investigates several possibilities—the poet's ambiguous treatment of death in other poems about children, the prevalence of the present perfect elsewhere in Wordsworth's verse, and his own sense of grammatical propriety—before calling a mistake a mistake. The present perfect is a common Wordsworthian grammatical construction, especially in poems about memory, and one that he uses correctly and with assurance throughout his poetry. More likely than not, the poet would have corrected his present perfect had it been brought to his attention—just as he corrected his personal pronouns in revising that original draft. This particular error suggests a difference between accident and mistake that will be central to the chapters that follow.
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Kahn, Andrew. "From Mortal to Immortal Love." In Mandelstam's Worlds. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857938.003.0011.
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Mandelstam wrote another set of poems marked by the contrast between love as a form of deep social feeling and love as a renunciation of the earthly. Poems that represent love as a social bond celebrate intimacy as friendship, showing a sense of ethical responsibility and protective consolation in a hostile world. Love as depicted here is, in the famous phrase of the Russian philosopher Vladimir Soloviev in On the Meaning of Love, ‘the justification and salvation of individuality through the sacrifice of egoism’. Other poems elevate love to a metaphysical category, reviving the use of archetype that Mandelstam favoured before 1918. But instead of troubled figures like Phaedra and Helen of Troy, the feminine ideal projected here takes the form of otherworldly angels who transcend death. Those visions of the eternal beloved complement the poet’s flight to safety described in the final poems of exile.
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Davis, Paul. "Was Addison a Poet?" In Joseph Addison. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198814030.003.0004.
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This chapter provides an account of Addison’s poetic career—the first such account since the nineteenth century—and confronts the question of why, although Addison wrote several of the most influential and highly regarded poems of the entire eighteenth century, he is so rarely thought of as a poet. The first half of the chapter traces our received image of Addison as an inherently unpoetic figure back to Joseph Warton and the advent of ‘pre-Romantic’ aesthetics in the 1740s, before examining a number of Addison’s poems, particularly from marginalized areas of his verse canon including his neo-Latin pieces and others circulated only in manuscript, which challenge that image. The second half of the chapter explores Addison’s own reluctance to inhabit the role of poet, evident in particular in his serial uses in his verse of the classical trope of ‘recusatio’ (refusal to write a poem). Through detailed analyses of his major poems—especially A Letter from Italy and ‘Milton’s Stile Imitated’, a diptych reflecting the process of self-reassessment he went through while travelling in Italy, the land of poetry, in 1701—it argues that Addison’s serious misgivings about poetry were the making of him as a poet. The chapter concludes with a brief discussion of The Campaign (1705), suggesting that Addison’s most famous poem in fact represents not the climax of his career as a poet but its epilogue; by the time he wrote it, Addison had ceased to consider it even a possibility that his future might lie in poetry, and so could versify with detached fluency.
Conference papers on the topic "Famous poems"
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Андреев, Дмитрий Андреевич, and Андрей Евгеньевич Крашенинников. "THE CREATIVE PATH OF TILL LINDEMANN." In Сборник избранных статей по материалам научных конференций ГНИИ «Нацразвитие» (Санкт-Петербург, Май 2021). Crossref, 2021. http://dx.doi.org/10.37539/may316.2021.87.93.005.
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В статье рассматривается становление немецкого рокмена Тилля Линдеманна как творческой личности. Он входит в число известных немецких музыкантов, но не всем известно, что Т. Линдеманн еще и поэт. Его произведения написаны в традиционном для Германии стиле экспрессионизма. В своих стихотворениях Т. Линдеманн поднимает темы любви, творчества, жизни и смерти. Чувства у Т. Линдманна обычно преподносятся от лица лирического героя, носят характер исповеди и наполнены трагизмом. The article examines the formation of the German rockman Till Lindemann as a creative person. He is one of the famous German musicians, but not everyone knows that T. Lindemann is also a poet. His works are written in the traditional style of expressionism in Germany. In his poems, T. Lindemann raises the themes of love, creativity, life and death. Feelings in T. Lindmann are usually presented from the perspective of a lyrical hero, have the character of confession and are filled with tragedy.
Reports on the topic "Famous poems"
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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481274.
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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.