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Page explaining the relationship of the sounds of the poem to its meaning and a link to a recording of the poem sung in Latin [5] Text with translation notes [6] Page with a link to WordPad document of "Sparrows and Apples: The Unity of Catullus 2", by S.J. Harrison, an article in Scripta Classica Israelica (scroll down to "Articles in Journals ...
Le Corsaire is a ballet typically presented in three acts, with a libretto originally created by Jules-Henri Vernoy de Saint-Georges loosely based on the poem The Corsair by Lord Byron. Originally choreographed by Joseph Mazilier to the music of Adolphe Adam and other composers, it was first presented by the ballet of the Théâtre Impérial de ...
A dancer is said to be en pointe (/ ɒ̃-, ɒ n-, ɑː n ˈ p w æ n t /) when the body is supported in this manner, and a fully extended vertical foot is said to be en pointe when touching the floor, even when not bearing weight. Pointe technique resulted from a desire for female dancers to appear weightless and sylph-like. Although both men ...
The Three Graces: embodiment of the Romantic ballet, ca. 1840.This lithograph by A. E. Chalon depicts three of the greatest ballerinas in three of the era's defining roles: (left to right) Marie Taglioni as the Sylph in Filippo Taglioni's 1832 ballet La Sylphide; Fanny Elssler as Florinda in the dance La Cachucha from Jean Coralli's 1836 ballet Le Diable boiteux; and Carlotta Grisi as Béatrix ...
The poem is structurally unusual for Dickinson, using lines with only two metric feet instead of her typical three and four feet iambs. [3] Judith Farr writes that the opening spondees makes the poem theatrical, turbulent, and stormy, appropriate for the subject matter, and shows her interest in the Brontë sisters and Wuthering Heights . [ 4 ]
An extended metaphor, also known as a conceit or sustained metaphor, is the use of a single metaphor or analogy at length in a work of literature. It differs from a mere metaphor in its length, and in having more than one single point of contact between the object described (the so-called tenor) and the comparison used to describe it (the vehicle).
A reader might use the tools and techniques of poetry analysis in order to discern all that the work has to offer, and thereby gain a fuller, more rewarding appreciation of the poem. [5] Finally, the full context of the poem might be analyzed in order to shed further light on the text, looking at such aspects as the author's biography and ...
In an extended accompanied cadenza filled with extremely detailed performance instructions by Strauss, after the fashion of an operatic recitative, the violin presents new motivic material, alternating with brief interjections in low strings, winds, and brass. During this section, the violin briefly foreshadows a theme that will appear fully later.