Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
Oscar Wilde
All of Wilde’s “‘Impression’-poems” are known for highly French-inspired elaborate descriptions.–“Impression Du Matin” not being an exception, along with his “Impressions: Les Silhouettes, La Fuite de la Lune”, “Impression: Le Revellion”, “Impressions: Le Jardin, La Mer” and “Impression de Voyage”.
...
The Thames nocturne of blue and gold
Changed to a Harmony in grey:
A barge with ochre-coloured hay
Dropt from the wharf: and chill and cold
The yellow fog came creeping down
The bridges, till the houses' walls
Seemed changed to shadows and St. Paul's
Loomed like a bubble o'er the town.
Then suddenly arose the clang
Of waking life; the streets were stirred
With country waggons: and a bird
Flew to the glistening roofs and sang.
But one pale woman all alone,
The daylight kissing her wan hair,
Loitered beneath the gas lamps' flare,
With lips of flame and heart of stone.