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Page "The Cantos" ¶ 36
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canto and then
# The fourth movement, Scena e canto gitano (" Scene and gypsy song ") opens with five cadenzas — first by the horns and trumpets, then solo violin, flute, clarinet, and harp — played over rolls on various percussion instruments.
The canto then gives accounts of raids in the Moorish territory in which Cid and his men get rich off of the spoils.
This theme recurs in the line " a man on whom the sun has gone down ", a reference to the nekuia from canto I, which is then explicitly referred to.
The canto then moves on to a longish passage of memories of the moribund literary scene Pound encountered in London when he first arrived, with the phrase " beauty is difficult ", quoted from Aubrey Beardsley, acting as a refrain.
The canto then moves through memories of Spain, a story told by Basil Bunting, and anecdotes of a number of familiar personages and of George Santayana.
The canto then closes with more on economics.
This canto then moves to the fountain of Castalia on Parnassus.
The canto then proceeds to look at examples of benevolent action by public figures that, for Pound, illustrate this maxim.
The canto, and sequence, then closes with an extended treatment of the passage from the fifth book of the Odyssey in which a drowning Odysseus / Pound is rescued by Leucothea.
At the beginning of canto 2, after the " feigning dreame " and " faire-forged Spright " tell Archimago they failed to seduce Redcross, the enchanter first throws a fit and then moderates his behavior in a swerve that duplicates Redcross's swing from " fierce despight " to " sufferance wise " ( 1. 1. 50 ).
She asserted that there were only two styles of singing: " the good ... and the bad " and argued that a properly trained vocalist could sing the old bel canto style just as easily as the then newer, more dramatic style.

canto and closes
The canto closes with an invocation of Dionysus ( Zagreus ).
After references to politics, economics, and the nobility of the world of the Noh and the ritual dance of the moon-nymph in Hagaromo that dispels mortal doubt, the canto closes with an extended fertility hymn to Dionysus in the guise of his sacred lynx.
The canto closes with a number of instances of sexual love between gods and humans set in a paradisiacal vision of the natural world.
The canto closes with a passage that sees the return of the goddess as moon and Fortuna together with Greek forms of solar worship and the Flamen Dialis that is intended to integrate gold and silver as attributes of coin and the divine.
Comparison is drawn between this Chinese text and the Book of the Prefect, and the canto closes with images of light as divine creation drawn from Dante's Paradiso.
There are a number of references to vegetation cults and sacrifices, and the canto closes by returning to the world of Byzantium and the decline of the Western Empire.
Each canto closes with a line to indicate its end.

canto and with
Although dissatisfied with his return to Florence, Boccaccio continued to work, producing Comedia delle ninfe fiorentine ( also known as Ameto ) a mix of prose and poems, in 1341, completing the fifty canto allegorical poem Amorosa visione in 1342, and Fiammetta in 1343.
The first third of the 19th century saw the highpoint of the bel canto style, with Rossini, Donizetti and Bellini all creating works that are still performed today.
Following the bel canto era, a more direct, forceful style was rapidly popularized by Giuseppe Verdi, beginning with his biblical opera Nabucco.
Along with Vincenzo Bellini and Gioachino Rossini, he was a leading composer of bel canto opera.
Over 10 million more spectators watched the TV show, Il V ° canto dell ’ Inferno (" The 5th Song of Hell "), broadcast by Rai Uno on 29 November 2007, with re-runs on Rai International.
Elsewhere, Charon appears as a cranky, skinny old man or as a winged demon wielding a double hammer, although Michelangelo's interpretation, influenced by Dante's depiction in Inferno, canto 3, shows him with an oar over his shoulder, ready to beat those who delay (“ batte col remo qualunque s ' adagia ”, Inferno 3, verse 111 ).
Along with her near contemporaries Jenny Lind and Thérèse Tietjens, Patti remains one of the most famous sopranos in history, owing to the purity and beauty of her lyrical voice and the unmatched quality of her bel canto technique.
The themes in the operas produced by Gluck's collaborations with Calzabigi continue throughout the operas of Carl Maria von Weber, until Wagner, rejecting both the Italian bel canto tradition and the French " spectacle opera ", developed his union of music, drama, theatrical effects, and occasionally dance.
Surendra Verma's Hindi play Athavan Sarga, published in 1976, is based on the legend that Kālidāsa could not complete his epic Kumārasambhava because he was cursed by the goddess Pārvati, for obscene descriptions of her conjugal life with Lord Shiva in the eighth canto.
Such great early-20th century international operatic stars as Enrico Caruso, Rosa Ponselle and Titta Ruffo developed vocal techniques which harmoniously managed to combine fundamental bel canto precepts with a more ' modern ', straightforward mode of ripe-toned singing when delivering Verismo music, and their example has influenced operatic performers down to this day ( see Scott ).
It is located in the 17th canto ( 19th in the revised edition of 1532 ) after a storm has punished the ship of Marfisa, Astolfo, Aquilant, Grifon, and others, for three straight days, and is positively associated with hope:
La sonnambula ( The Sleepwalker ) is an opera semiseria in two acts, with music in the bel canto tradition by Vincenzo Bellini to an Italian libretto by Felice Romani, based on a scenario for a ballet-pantomime by Eugène Scribe and Jean-Pierre Aumer called La somnambule, ou L ' arrivée d ' un nouveau seigneur.
The Siren ( canto X ), that foretells with the sound of music ; when the poet asks the Tágides ( nymphs of the river Tagus ) " a tall and sublimated sound ,/ a grandiloquent and current style " (" um som alto e sublimado, / Um estilo grandíloquo e corrente ").
" Reviewers noted with amazement that Nono's canto sospeso achieved a synthesis — to a degree hardly thought possible — between an uncompromisingly avant-garde style of composition and emotional, moral expression ( in which there was an appropriate and complementary treatment of the theme and text )" ( Flamm 1995 ).
Recognized for her sense of style, musicality and as a remarkable singer-actress, Scotto is considered one of the preeminent singers of her generation, specializing in the bel canto repertoire with excursions into the verismo and Verdi repertoires.
For many years, Horne was associated with the Australian soprano Dame Joan Sutherland in their performances of the bel canto repertoire.
Interestingly enough, with one notable exception, Tamagno largely eschewed verismo opera, considering it to be an uncomfortable fit with his stylistic training in the bel canto tradition.
Spicer's interest in the canto jondo also led to links with the deep image poets.
Although he performed and recorded some bel canto and verismo roles, he is above all associated with the operas of Giuseppe Verdi, including a large number of the composer's lesser-known works that he helped revive.
During her career, she won three Latin Grammy Awards for Best Female Pop Vocal Album, with her records Escucha ( 2005 ), Yo canto ( 2007 ) and Primavera anticipada ( 2009 ).
In 1822, Sara Coleridge published Account of the Abipones, a translation in three large volumes of Martin Dobrizhoffer, undertaken in connexion with Southey's Tale of Paraguay, which had been suggested to him by Dobrizhoffer's volumes ; and Southey alludes to his niece, the translator ( canto, iii, stanza 16 ), where he speaks of the pleasure the old missionary would have felt if "… he could in Merlin's glass have seen / By whom his tomes to speak our tongue were taught.
Line 21 begins with ‘ Of some fierce Maenad ...’ ( l. 21 ) and again the west wind is part of the second canto of the poem ; here he is two things at once: first he is ‘ dirge / Of the dying year ’ ( l. 23f ) and second he is “ a prophet of tumult whose prediction is decisive ”; a prophet who does not only bring ‘ black rain, and fire, and hail ’ ( l. 28 ), but who ‘ will burst ’ ( l. 28 ) it.
Shelley in this canto “ expands his vision from the earthly scene with the leaves before him to take in the vaster commotion of the skies ”.

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