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The song was performed by Sherwood in their album The Favourite Songs of Henry VIII. Laura Wright recorded a version, featured on her album The Last Rose (2011). George Eliot refers to this song in her novel The Mill on the Floss, Book 6, Chapter 13, as being sung by character Stephen Guest.
John Tenniel, St. Cecilia (1850) illustrating Dryden's ode, in the Parliament Poets' Hall "A Song for St. Cecilia's Day" (1687) is the first of two odes written by the English Poet Laureate John Dryden for the annual festival of Saint Cecilia's Day observed in London every 22 November from 1683 to 1703.
Hymn to St Cecilia, Op. 27 is a choral piece by Benjamin Britten (1913–1976), a setting of a poem by W. H. Auden written between 1940 and 1942. Auden's original title was "Three Songs for St. Cecilia's Day", and he later published the poem as "Anthem for St. Cecilia’s Day (for Benjamin Britten)".
Hail! Bright Cecilia (Z.328), also known as Ode to St. Cecilia, was composed by Henry Purcell to a text by the Irishman Nicholas Brady in 1692 in honour of the feast day of Saint Cecilia, patron saint of musicians.
"La Vida Es Un Carnaval" (Spanish pronunciation: [la ˈβiða es uŋ kaɾnaˈβal]; English: "Life Is a Carnival") is a song performed by Cuban recording artist Celia Cruz. The song was written by Victor Daniel, produced by Isidro Infante, arranged by Isidro Infante and released as the lead single from Cruz's studio album Mi Vida Es Cantar (1998).
The story of Amintor and Celia provides the narrative core for a number of restoration poems and songs, though the outcome of the story varies. A shorter version of the poem first appeared in Thomas Duffet's New Poems, Songs, Prologues and Epilogues, under the title Song to the Irish Tune. [2]
Ever after his discovery of Celia's nauseating dressing room he can never look at women the same way again. In every woman he sees through the powdered wigs and painted faces to the grime beneath. Swift ends the poem by suggesting that if young men only ignore the stench and accept the painted illusion, they can enjoy the "charms of womanhood".
Celia's love for Oliver is sudden, intense and uncontrollable, despite the knowledge of Oliver's past wicked deeds. In this connection, it should be remembered that love in Shakespeare is an irrational passion. Celia's marriage with Oliver has been criticised by many critics.