As mentioned previously, Chopin composed several Nocturnes in his time, his romantic style of writing earning him the title: “poet of the piano”. An example of one of these is his ‘Nocturne No. 5 in F# minor’. The other genres he explored include the polonaise, for example ‘Polonaise in A♭Major’ (Opus 53) which has a powerful melody and is one of his most admired compositions; the waltz, such as his famous ‘Minute Waltz’; and the etude, for example ‘The Revolutionary
Gabriel Fauré was a famous French Composer during the time of the Second French Empire. He was born 1845 in southern France, the youngest of six children. At age 9 he was sent to a music school in Paris where he was taught by Camille Saint-Saens (another famous French composer). In 1870 when the Franco-Prussian War broke out, Fauré volunteered for military service. The Franco-Prussian War led to increased intellectual competition between French and German countries as well as an increased sense of nationalism.
For instance, the poet David Humphreys (1752-1818) developed The Widow of Malabar (1790) from a French source. While Dwight and Barlow devoted their time to create a national epic, Royall Tyler (1756–1826) was busy trying to establish a national tradition of American drama (Ibid 40). He is most known for The Contrast, written in 1787. It was the “first comedy by someone born in America to receive a professional production” was praised as “proof that these new climes are particularly favorable to the cultivation of arts and sciences” (qtd. in Gray 40).
The changing seasons are commonly used in literature to provide a description of the weather and how it contributes to the setting in a piece of text. However, the meaning of the seasons can be used more effectively in a story when they help illustrate a certain point. This notion of using seasons as a symbol is greatly displayed in F. Scott Fitzgerald’s The Great Gatsby. The changing weather symbolizes the emotions and justifies the actions of Nick, Tom, Daisy, and Gatsby throughout the novel. The seasonal settings also provide a foreshadowing based on the notions that they are associated with.
"Left me lamenting. Now I cannot guess/ What I can use an empty heart up for. "( 3-4). Sonnet 18 was created in a similar fashion. Same as Brooks, Shakespeare had no slant rhymes nor masculine rhymes but, his poem was strictly iambic pentameter since it was a sonnet.
However, the noticeable structural differences between “Hymn” and Shelley’s most famous ode, “Ode to the West Wind,” lend credence to the likelihood that Shelley chose one over the other deliberately for “Hymn.” Also, given the premise of “Hymn” is Shelley speaking to the Spirit, having, “vowed that [he] would dedicate [his] powers / To thee and thine”, the weight of such a promise is better reinforced with the divine gravitas of a hymn when compared to an ode (Shelley). In addition, the poem features religious language and imagery, such as the use of the word “consecrate” at the beginning of stanza II, reference to the concepts of, “Demon, Ghost, and Heaven” all being named manifestations of lesser poets trying to capture the Spirit in stanza III, and the ending lines of the anecdote in stanza V, “Sudden, thy shadow fell on me; / I shrieked, and clasped my hands in ecstasy!” which portray the speaker as falling into what could be considered a position of prayer upon seeing the Spirit (Shelley). Nevertheless, if Shelley had entitled the poem “Ode to Intellectually Beauty” I doubt it would have compromised the work’s artistic
The Poem for Flute and Orchestra (1918) originally written for Georges Barrère demands high lyrical virtuosity from the performer. Technical aspects of performance all should serve to interpret the lyrical characteristic of the piece. Poem was first performed on November 16, 1919 by the New York Symphony Orchestra conducted by Walter Damrosch with Georges Barrère as the flute soloist. The atmospheric opening is heard as a refrain throughout the work, there are sections of dense chromatic language, polymetric dance, and enlivening technique. Henri Dutilleux, Sonatine for Flute and Piano Henri Dutilleux (1916–2013) French composer was appointed professor of composition at the École Normale de Musique in 1961, and at Paris conservatoire in 1970.
Along with that, the thorough emotionality and detailed descriptions present in the ballad give it a lyrical make-up. At the core of it, though, The Rime Of The Ancient Mariner gives us an account of the trials and tribulations faced by the old Mariner and his journey toward spiritual awakening in the form of a lengthy story. Along with that, it also sheds light on the character of the Wedding Guest and his perception of the whole scenario. Ballads are essentially composed of stanzas with four lines, called a “quatrain”, and an ACBC rhyme scheme which means the second and the fourth lines rhyme. Although, Coleridge has tended to these rules for the most part, this particular ballad does not completely follow the traditional pattern.
"Sonnet 30”, a classic poem written by the author William Shakespeare, showing the struggling past of the author. In his poem, he uses the Shakespearian sonnet form (also throughout the other 154 poems) to write his sonnet. In this analysis essay, I will be comparing my poem “Wandering Spring”, to the Shakespearean sonnet 30. I will be interpreting the reasons of me using the elements, figurative and sensory language that I chose for my own written poem. Showing the effect of the elements that I chose, also the effect of using the structure, “Shakespearian form”, how did it effect the poem and the audiences?
Vidyakara Poetry The book Sanskrit Poetry: from Vidyakara’s “Treasury” consist of short poems (one stanza each). This essay will focus on two works: number 327 and 1129 from sections 14 Kama and 34 Breezes respectively. Both poems have romantic mood and focus one love, but describe this topic in slightly different ways KAMA The first work honors the god of physical love Kama. It also glorifies the behavior and actions of the supernatural being. Specifically, it mentions Kama’s meeting with Siva, when the god of love was incinerate and achieved the name Bodiless.