# 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 closes with two passages, one a pastiche of Browning, the other of Edward Fitzgerald's Rubaiyat of Omar Khayyam, lamenting the lost London of Pound's youth and an image of nature as designer.

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.

When asked about her repertory change in interviews the singer consistently states her intention to keep singing bel canto roles for as long as possible in order to maintain vocal health as she moves toward the heavier roles.

The canto moves on through a long passage remembering Pound's time as Yeats ' secretary in 1914 and a shorter meditation on the decline in standards in public life deriving from a remembered visit to the senate in the company of Pound's mother while that house was in session.

Towards the end of the canto, the Make it new ideograms from Canto LIII reappear as the poem moves back towards the world of myth, closing with another phrase from the Divine Comedy, this time from Purgatorio, Canto XXVIII.

* A canto was quoted and used as an underlying theme of the 1945 screen adaptation of The Picture of Dorian Gray: " I sent my soul through the invisible, some letters of that after-life to spell, and by and by my soul did return, and answered, ' I myself am Heaven and Hell.

Another major theme running through this canto is that of the vision of a goddess in the poet's tent.

These images are often intimately associated with the poet's close observation of the natural world as it imposes itself on the camp ; birds, a lizard, clouds, the weather and other images of nature run through the canto.

The canto also contains a reproduction, in Italian, of a conversation between the poet and a " swineherd's sister " through the DTC fence.

Canto CXIII opens with an image of the sun moving through the zodiac, the first of a number of cycle images that occur through the canto, recalling a line from Pound's version of AOI NO UE: " Man's life is a wheel on the axle, there is no turn whereby to escape ".

Known as " La Diva Turca " ( The Turkish Diva ) and " La Regina " ( The Queen ) in the opera world, Gencer was a notable bel canto soprano who spent most of her career in Italy, from the early 1950s through the mid-1980s, and had a repertoire encompassing more than seventy roles.

Convinced that she could forge a successful career as a professional performer, she travelled to Italy and put a final bel canto polish on her vocalism through study in Milan.

After more memories of America and Venice, the canto ends in a passage that brings together Dante's celestial rose, the rose formed by the effect of a magnet on iron filings, an image from Paul Verlaine of a fountain playing in the moonlight, and a reference to a poem by Ben Jonson in a composite image of hope for " those who have passed over Lethe ".

Rameau's comic opera Les Paladins ( 1760 ) is based on a story in canto 18 of Orlando ( though Rameau's librettist derived the plot indirectly via La Fontaine's Contes ).

It is a verse tragedy based on the story of Paolo and Francesca from the fifth canto of Dante's Inferno.

It is based on the story of Francesca da Rimini in the fifth canto of Dante's epic poem The Inferno ( the first part of The Divine Comedy ).

34 Alessandro Vellutello, Lucifero ( 1534 ). jpg | Lucifer, by Alessandro Vellutello ( 1534 ), for Dante's Inferno, canto 34

File: Blake Hell 34 Lucifer. jpg | Lucifer, by William Blake, for Dante's Inferno, canto 34

The bel canto opera movement flourished in the early 19th century and is exemplified by the operas of Rossini, Bellini, Donizetti, Pacini, Mercadante and many others.

Following the bel canto era, a more direct, forceful style was rapidly popularized by Giuseppe Verdi, beginning with his biblical opera Nabucco.

Complex palindromes appear in the 19th canto of the 8th-century epic poem Śiśupāla-vadha by Magha.

The book of Nagarakertagama, canto 14, written by Prapanca in 1365 mentioned Berune as a vassal state of Majahpahit.

The church is mentioned by Dante Alighieri in the X canto of his Divine Comedy.

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.

* In the Les Luthiers ' Unen canto con humor comedy show is referred in a sketch by Daniel Rabinovich and Marcos Mundstock, but Daniel improperly pronounces her name, calling her " Esther Píscore ".

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 ).

The fifth and sixth cantos, afterwards added by Boileau, rather detract from the beauty of the poem ; the last canto in particular is quite unworthy of his genius.

This style was emulated by other bel canto composers, especially Bellini ; and later by Wagner ( in pure instrumental terms, discarding the closing vocal cadenza ).

It was later modified in the mid-12th ( when the St. James Chapel, narrated by Dante Alighieri in the XXIV canto of his Inferno ) and in the 13th century ; to the latter restoration belongs the white marble-decorated staircase, one of the most ancient examples in Italy in civil architecture.

The main seat of the family, at canto Pazzi, where Borgo degli Albizi crosses the via del Proconsolo was rebuilt 1462 – 72 for Jacopo de ' Pazzi to designs by Giuliano da Maiano, the sculptor-architect favored by the family.

* " El canto nocturnal de los caracoles " for piano, by Luis Mihovilcevic, 2005.

Daniel Viglietti was by far the most important Uruguayan exponent of canto popular ; his song " A Desalambrar " became an international popular classic.

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.

Arnaut's 4th canto ( see " Arnaut Daniel: Complete Works " external link below ) contains the lines that Pound claimed were " the three lines by which Daniel is most commonly known " ( The Spirit of Romance, p. 36 ):

In the 1980s, Chilean nueva canción was imported to Bolivia and changed into canto nuevo, which was popularized by performers like Emma Junaro.

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.