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Title page of Poetical Sketches. Poetical Sketches is the first collection of poetry and prose by William Blake, written between 1769 and 1777.Forty copies were printed in 1783 with the help of Blake's friends, the artist John Flaxman and the Reverend Anthony Stephen Mathew, at the request of his wife Harriet Mathew.
While in this brief summary and indeed upon first reading [5] the poem's structure may seem chaotic, Thomas Dilworth has celebrated The Anathemata's wide-open form as unique in being formally whole. Dilworth notes that the structure produced by Jones' poetry is a "symmetrical multiple chiasmus ," evident in Jones' manuscripts of the poem from ...
Italian, or French adage, meaning 'slowly, at ease.' Slow movements performed with fluidity and grace. One of the typical exercises of a traditional ballet class, done both at barre and in center, featuring slow, controlled movements. The section of a grand pas (e.g., grand pas de deux), often referred to as grand adage, that features dance ...
Epic (or epos): an extended narrative poem, typically expressing heroic themes. Mock-epic: a poem that plays with the conventions of the epic to comment on a topic satirically. Epyllion: a brief narrative work written in dactylic hexameter, commonly dealing with mythological themes and characterized by vivid description and allusion. Romance
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 poem does not have a deep, hidden, symbolic meaning. Rather, it is simply pleasurable to read, say, and hear. Critical terminology becomes useful when one attempts to account for why the language is pleasurable, and how Byron achieved this effect. The lines are not simply rhythmic: the rhythm is regular within a line, and is the same for ...
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.
These flat-bottomed predecessors of the modern pointe shoe were secured to the feet by ribbons and incorporated pleats under the toes to enable dancers to leap, execute turns, and fully extend their feet. The first dancers to rise up on their toes did so with the help of an invention by Charles Didelot in 1796. [9]