Meanwhile, Hippolyte's stepsister, called Strophe (Agata Buzek), wanders around in crystal-studded jeans and glittery heels, looking bored and mystified by her mother's attraction to her stepbrother, as least until all hell breaks loose.
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Archaic lyric was characterized by strophic composition and live musical performance. Some poets, like Pindar extended the metrical forms in odes to a triad, including strophe, antistrophe (metrically identical to the strophe) and epode (whose form does not match that of the strophe).Halporn, James & al. The Meters of Greek and Latin Poetry, p. 16\.
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The 79-bar long work in C major is scored for choir. The first strophe begins as a fanfare and evolves via a series of sixth chords to the ending tonic chord. The second strophe begins similarly and evolves from A major via a sixth chord of F minor to the same end as the first strophe.
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The song is using the text by Robert Prutz, which Bruckner had already used for Um Mitternacht, WAB 89. The 93-bar long work in F minor is scored for choir and tenor soloist. Strophe 1 is sung by the choir. Strophe 2 (, bar 31) and strophe 3 are sung by the tenor soloist with accompaniment of humming voices.
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The 69-bar long work in F-sharp minor is scored for choir, two soprano soloists and piano. Strophe 1 is sung by the men's choir. Strophe 2 (from bar 17) is sung by the two soprano soloists, who are figuring the song of the nightingales, with accompaniment of the men's choir. Strophe 3 is sung again by the men's choir.
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The song is a dialogue between a child and a teacher (a druid for de La Villemarqué). The teacher asks the child what he wants to know, at which the child asks him for the first strophe (a "series" for de La Villemarqué). The teacher sings the first strophe, then again asks the question. The child then asks for the second strophe.
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The in total 55-bar long work in F major is scored for choir, voice quartet, and organ. The setting of the first strophe (bars 1 to 17) is sung by the choir. The setting of the second strophe (bars 18 to 38) is sung by the vocal quartet. Thereafter the setting of the first strophe is repeated da capo.
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The teacher sings the second strophe and repeats the first one. Then the child asks for the third strophe, and so on. The song carries on with these repetitions of the previous stanzas already sung, until the twelfth stanza is sung.
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The strophe consisted of a turn, the antistrophe a counterturn, with matching rhythms and metres.
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She then proceeds to perform fellatio on him. He is initially unresponsive, but when he reaches his climax he asserts himself in the act. During the interaction Hippolytus informs Phaedra that he has had sex with his step-sister, Strophe, and that Strophe, Phaedra's biological daughter, has also had sex with Theseus, Phaedra's husband and Hippolytus's father. It is later revealed that Strophe had sex with Theseus on the night Theseus and Phaedra were married.
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Honan, 1981, p. 235. Also see "Dover Beach" discussed in the Influence section of this article. One commentator sees the strophe-antistrophe of the ode at work in the poem, with an ending that contains something of the "cata-strophe" of tragedy.Pratt, 2000, p. 81.
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It is said that Archilochus first created the strophe by binding together systems of two or three lines. But it was the Greek ode-writers who introduced the practice of strophe- writing on a large scale, and the art was attributed to Stesichorus, although it is likely that earlier poets were acquainted with it. The arrangement of an ode in a splendid and consistent artifice of strophe, antistrophe and epode was carried to its height by Pindar.
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The 56-bar long work in F minor is scored for choir, alto soloist and piano. In strophe 1 the F-minor key forms the mystic background, from which the men's choir, accompanied by pedal points and unison lines of the piano, emerges in open fifths. Strophes 2 and 3 are sung by the alto soloist with accompaniment of the choir. In strophe 4 the melody of strophe 1 is sung again by the choir and the soloist.
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With the development of Greek prosody, various peculiar strophe-forms came into general acceptance, and were made celebrated by the frequency with which leading poets employed them. Among these were the Sapphic, the Elegiac, the Alcaic, and the Asclepiadean strophe, all of them prominent in Greek and Latin verse. The briefest and the most ancient strophe is the dactylic distych, which consists of two verses of the same class of rhythm, the second producing a melodic counterpart to the first.
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The Theodoric strophe is written in three rows in the stone with a version of the younger futhark.
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C.H. Beck, München 2001, , p. 663. "Natürliches Verhältnis. Deutschlandlied – dritte oder/und erste Strophe?", Die Zeit, 31 March 1978.
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The term strophe is used in modern and post-modern criticism, to indicate "long non-isomorphic units".Page 1360, Entry 'STROPHE', The Princeton Encyclopedia of Poetry and Poetics: Fourth Edition, edited by Stephen Cushman, Clare Cavanagh, Jahan Ramazani, Paul Rouzer The term "stanza [is used] for more regular ones" (ibid). This appropriation of the ancient term is useful, as contemporary poetry is a frequent turns (the original meaning of Strophe), and it avoids relying upon the invention of new terminology such as 'word clumps'.
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There are also more unusual forms. Jerzy Szlichting, a poet from 17th century, in his Pieśń (Song) made Sapphic-like strophe 13(8+5)a/13(8+5)a/16(8b+8b)/5x. It is an example of stanza with internal rhymes. The strophe is built of segments of five or eight syllables.
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The 84-bar long work in A-flat major is scored for choir, tenor soloist and piano. Strophe 1 is sung by the choir with an ostinato of the piano. In strophe 2, bars 49-58 ('), the soloist is singing with accompaniment of the choir and unison lines of sixteenth notes of the piano. The piece is ending pianissimo.
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Strophe, unbeknownst to Theseus, has done the same. She publicly defends Hippolytus and Theseus responds by raping and killing her. The enraged mob rips Hippolytus limb from limb, and his father disembowels him. Afterwards, when Theseus sees the corpses, he realizes that it was Strophe who he had just raped and killed and expresses regret before cutting his own throat.
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Poets were thus free to create novel and complex rhythms, with, if so desired, inversions that destroyed the beat of the strophe. As Kahn noted, this was shocking because traditionally it was the regularity of the strophe that gave the reader meaning. Symbolist concepts vacated the metronome-like symmetry and introduced liberty, flexibility and elasticity. Each was to find her own rhythmic force.
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Bars 14-16 (end of strophe 1) and 27-34 (strophe 3) are sung a cappella. The song is ending pianissimo with the piano alone. In the first issue of 1911, Keldorfer wrote "" (The enchantment of the poetry of the moonlight has apparently captivated fully Bruckners sensible nature. In the ban of such dreamily mystic feelings he composed three 'midnight-choirs').
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The song consists of verse-and- refrain (strophe-antistrophe) pairs, with each half of each pair consisting of four lines featuring an ABCB rhyme scheme.
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Many scholars, however, have re-divided the lines of the strophe to produce three choriambic dimeters and a pherecratean, with the first choriambic dimeter acephalic.
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An epodeFrom , epodos, "singing to/over, an enchanter." is the third part of an ode that follows the strophe and the antistrophe and completes the movement.
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Antistrophe (, "a turning back") is the portion of an ode sung by the chorus in its returning movement from west to east, in response to the strophe, which was sung from east to west. It has the nature of a reply and balances the effect of the strophe. Thus, in Gray's ode called "The Progress of Poesy" (excerpt below), the strophe, which dwelt in triumphant accents on the beauty, power and ecstasy verse, is answered by the antistrophe, in a depressed and melancholy key: When the sections of the chorus have ended their responses, they unite and close in the epode, thus exemplifying the triple form, in which the ancient sacred hymns of Greece were coined, from the days of Stesichorus onwards. As Milton says: "strophe, antistrophe and epode were a kind of stanza framed for the music then used with the chorus that sang".
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In most of the pieces from the Agenda defunctorum, Vásquez uses the homophonic and polyphonic style alternately. The Canticum Zachariae is optimised for alternating between these, in which the strophe with even numbers will be performed by several voices (SATB), and the strophe with odd numbers by one voice. The Responsorium Libera me, Domine is similarly written for alternating plainsong and polyphony. The Graduale is set for three voices (ATB).
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Pictorial book in Municipal Library of Campo Maior, in Piauí, Brazil. The locus amoenus: the strophes that come after strophe 52 of Canto IX, and some of the main parts that appear from strophe 68 to 95 describe the scenery where the love encountered between the sailors and the Nymphs take place. The poet also talks about the fauna that live there and of fruits produced instantly. It is portrayed as a paradise.
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The 28-bar-long work in F minor is scored for choir and 3 trombones. The setting of the first two strophes (bars 1 to 8) is identical. It is followed (bars 9 to 16) by the setting of the third strophe, and, after two instrumental bars, ends (bars 19 to 28) with the setting of the last strophe. Although it is a funeral song, it displays little of the mournful character one might expect.
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A strophe () is a poetic term originally referring to the first part of the ode in Ancient Greek tragedy, followed by the antistrophe and epode. The term has been extended to also mean a structural division of a poem containing stanzas of varying line length. Strophic poetry is to be contrasted with poems composed line-by-line non-stanzaically, such as Greek epic poems or English blank verse, to which the term stichic applies. In its original Greek setting, "strophe, antistrophe and epode were a kind of stanza framed only for the music," as John Milton wrote in the preface to Samson Agonistes, with the strophe chanted by a Greek chorus as it moved from right to left across the scene.
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' (Latin for "Bread of Angels" or "Angelic Bread") is the penultimate strophe of the hymn "" written by Saint Thomas Aquinas for the feast of Corpus Christi as part of a complete liturgy of the feast, including prayers for the Mass and the Liturgy of the Hours. The strophe of "" that begins with the words "" ("bread of angels") has often been set to music separately from the rest of the hymn. Most famously, in 1872 César Franck set this strophe for tenor voice, harp, cello, and organ, and incorporated it into his '. Other hymns for Corpus Christi by Saint Thomas where sections have been separately set to music are "" (the last two strophes begin with "") and "" (the last two strophes begin with "").
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Strophe (from Greek στροφή, "turn, bend, twist") is a concept in versification which properly means a turn, as from one foot to another, or from one side of a chorus to the other.
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In the muwashshaḥ, the first strophe of the poem sets up a specific rhyme, and each strophe that follows is composed of four verses, whose last rhymes with the original strophe.Maswari-Caspi, Mishael (1980), pp. 173–198 These poetic genres were strictly composed in Hebrew, or else with a mixture of the two languages (Hebrew and Judeo-Arabic), although, occasionally, it could be found solely in Judeo-Arabic. The vast majority of these compositions are contained in an anthology known as the Dīwān.
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In contrast, the epode is written with a different scheme and structure. Odes have a formal poetic diction and generally deal with a serious subject. The strophe and antistrophe look at the subject from different, often conflicting, perspectives, with the epode moving to a higher level to either view or resolve the underlying issues. Odes are often intended to be recited or sung by two choruses (or individuals), with the first reciting the strophe, the second the antistrophe, and both together the epode.
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Horace composed some poems in the Alcmanian strophe or Alcmanian system, a couplet consisting of a dactylic hexameter followed by a dactylic tetrameter a posteriore (so called because it ends with a spondee, thus resembling the last four feet of the hexameter). Examples are Odes I.7 and I.28, and Epode 12 ("Quid tibi vis, mulier nigris dignissima barris? / munera quid mihi quidve tabellas"). Later Latin poets use the dactylic tetrameter a priore as the second verse of the Alcmanian strophe.
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Before the official audio release, the track "Hosanna" was leaked and went viral on the internet. Later the track was officially released with the same singer but another strophe had been added to the song.
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Krasicki's literary writings lent splendor to the reign of Poland's King Stanisław August Poniatowski, while not directly advocating the King's political program. Krasicki, the leading representative of Polish classicism, debuted as a poet with the strophe-hymn, "Święta miłości kochanej ojczyzny" ("O Sacred Love of the Beloved Country"). He was then nearing forty. It was thus a late debut that brought the extraordinary success of this strophe, which Krasicki would incorporate as part of song IX in his mock-heroic poem, Myszeida (Mouseiad, 1775).
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Ubiquitous in the Billboard charts throughout the middle and late 1960s, clear examples include the Beatles's "Strawberry Fields Forever" and Jimi Hendrix's "Purple Haze", Stevie Wonder's "Living for the City".Hodgson (2010), p.161–162. In the Beatles's "A Day In The Life" Lennon's vocals are switched to the extreme right on the first two strophes, on the third strophe they are switched center then extreme left, and switched left on the final strophe while during the bridge McCartney's vocals are switched extreme right.Hodgson (2010), p.161.
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The poem is written in ottava rimaOttava rima at Poetry Foundation.Ottava rima, poetic form (oitava rima in Portuguese).Oitava rima at dicionarioinformal.com.br. Lines consist of ten syllables and the strophe rhymes according to the pattern abababcc.
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It is unusually long, containing 1019 lines. 4. It does not use octosyllables, but a tailrhyme strophe. 5. It has character development. 6. The characters of Richeut and Herselot, the maid, exist outside of this text.
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Strophe 4, which is sung again by the two soprano soloists with accompaniment of the men's choir, is ending pianissimo. In the Göllerich/Auer biography, the song is described as ' (a felicitous evocation of autumnal nature-romanticism).
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The manuscripts do not group the strophes, and they are usually regarded treated as standing alone, rather than forming the multi-strophe poems typical of later Minnesang. However, the first two strophes, which differ in form from the rest, seem to for a "Wechsel", that is a song with a strophe from each of a pair of lovers. The two strophes of the "Falkenlied" ("falcon song") clearly belong together. Possibly other pairs of strophes belong together, even though separated in the manuscripts, but this is not amenable to a definitive conclusion.
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The Augustinuskirche in Schwäbisch Gmünd, the space in which Litanei 97 was premiered The score also specifies stage movement. The choir follow the conductor onto the stage at the beginning, forming an inward-facing circle around him. At the end of each line of text, the choir members synchronously take a step to the right throughout the first strophe. In strophes II to I, steps are sometimes taken in the opposite direction, and in strophe V, initially every other singer takes one step backward, thereby forming two concentric circles which rotate in opposite directions.
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This is where Sinmara figures, as the keeper of Lævateinn, the only weapon capable of slaying the cock: \--> }} That Sinmara will only award the weapon to one who brings her the tail feather of the cock creates an insurmountable paradox to obtaining it. Fjölsviðr insinuates that a man may succeed in obtaining the weapon Lævateinn if a man carries a certain hard-to-obtain item to Sinmora (here she is referred to as eir aurglasis or "the goddess of gold")., strophe 27. p. 205., strophe 44. p. 246.
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It opens with an exordium (1st strophe), in which, after an original welcome, Jupiter briefly defines the subject. This is followed, in the ancient rhetorical fashion, by the narration (the past shows that the intention of the Fados is the same one that the orator presented). There is then a confirmation of suggestions already put forth in the narration of the 4th strophe. This episode then ends with two strophes of peroration, where Jupiter appeals to the benevolence of the gods concerning the sons of Lusus, with Jupiter's speech eventually settling the debate.
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She kills Atli when he is in a defenseless state and unlike in Atlamál, he is not portrayed as a tyrannical husband. The final strophe (43) does stress that her actions led to the deaths of three kings. According to the medievalist Ursula Dronke, this might have been a later addition, but the strophe that precedes it also focuses on the deaths her actions caused. The heroic ethic of vengeance that overtakes Guðrún makes her monstrous, giving her an inhuman self-control which the poem's author appears to both be horrified by and admire.
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Also Kazimierz Wroczyński tried to imitate Greek rhythm in his poem Strofa Safony (Sappho's strophe).Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 287. His stanza is composed of three lines of SsSsSsSSsSs and one of SssSs.
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In October 2010, his brother Nesli released an interview to the newspaper Panorama about his relationship with Fabri Fibra. In 2013, Nesli makes peace with his brother, dedicating to him a strophe in the song Un bacio a te.
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George Washington Moon is the author of a book-length epic poem, Elijah the Prophet (1866). It was written in Spenserian stanza, a nine-line strophe with rhyme scheme ABABBCBCC.Spenserian stanza, poetic form at Encyclopaedia Britannica.Spenserian stanza at Poetry Foundation.
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The poem's description of gold as a "discord-metal of men" () does however align with the Icelandic Rune Poem's opening line, "wealth is kinsmen's discord" (). Guðrún is relentless in her need to avenge her brothers. Although the poem expresses horror when it portrays the consequences of her actions—filicide, unsuspecting cannibalism and the deaths of kings—there is no direct condemnation of her behaviour. Unlike in Guðrúnarhvöt, where Guðrún is angry at the Norns for making her kill her sons, Atlakviða only suggests sorrow once, in strophe 37, before strophe 38 says that she "never wept".
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She was identified as the Maroie de Dregnau de LillePetersen Dyggve 176. from whom a single strophe of a single chanson remains, "Mout m'abelist quant je voi revenir" (in a typical trouvère form, ABABCDE), along with its music.Manuscript F-Pn f.f. 844, f.181. Coldwell.
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The call of this species is distinctive. It is high-pitched four note whistle that has been transcribed as "wee-ti wee-tee" or "smoke-yer-pepper". The frequency starts at 2.4 kHz and each note falls in pitch with the strophe lasting a second.
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A strophe of the Anglo-Saxon rune poem (c. 1100) records that: :Ing was first among the East Danes seen by men This may refer to the origins of the worship of Ingui in the tribal areas that Tacitus mentions in his Germania as being populated by the Inguieonnic tribes. A later Danish chronicler lists Ingui was one of three brothers that the Danish tribes descended from. The strophe also states that "then he (Ingui) went back over the waves, his wagon behind him" which could connect Ingui to earlier conceptions of the wagon processions of Nerthus and the later Scandinavian conceptions of Freyr's wagon journeys.
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One problem which has been discussed concerning the relationship between music and word accent is what may have happened in choral music which was written in pairs of corresponding stanzas known as strophe and antistrophe. Rhythmically these always correspond exactly but the word accents in the antistrophe generally do not match those in the strophe.The question is discussed by . Since none of the surviving music includes both a strophe and antistrophe, it is not clear whether the same music was written for both stanzas, ignoring the word accents in one or the other, or whether the music was similar but varied slightly to account for the accents.
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Cambridge University Press, 2012, p. 42. In Sophokles’ Oedipus, for example, "as Kreon seizes Antigone (832), they break into an excited lyrical strophe, full of antilabe in which Oedipus, Kreon, and the chorus participate."Edmunds, Lowell. Theatrical Space and Historical Place in Sophocles' Oedipus at Colonus.
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Bruckner composed this youth work on a five-strophe text of the parish priest of Kronstorf, Alois Knauer, in 1843, during his stay as schoolteacher's assistant. He dedicated it to Josef Ritter von Pessler, the parish priest of Enns.C. van Zwol, p. 720C. Howie, Chapter I, p.
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In 1653, Paul Gerhardt used the Sapphic strophe format in the text of his sacred morning song "Lobet den Herren alle, die ihn ehren". Sapphic stanza was often used in poetry of German Humanism and Baroque. It is also used in hymns such as "Herzliebster Jesu" by Johann Heermann.
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The Adamastor episode is divided into three segments. The first, a theophany, goes from strophe 37 to 40; the second, which in chronological-narrative terms is a prolepsis, occupies strophes 41 to 48; finally, the third part, a marine eclogue with some points of contact with Écloga III of Camões, ends in strophe 59. The vigorous theophany that the first part describes is in the following verses: "Chill the flesh and the hairs/ to me and all [the others] only by listening and seeing him" ("Arrepiam-se as carnes e os cabelos / a mi e a todos só de ouvi-lo e vê-lo"). This is intended to convey pure fear, the imminent threat of annihilation.
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The Ambrosian strophe has four verses of iambic dimeters (eight syllables), e. g. — :Aeterne rerum Conditor, / noctem diemque qui regis, / et temporum das tempora / ut alleves fastidium. The metre differs but slightly from the rhythm of prose, is easy to construct and to memorize, adapts itself very well to all kinds of subjects, offers sufficient metric variety in the odd feet (which may be either iambic or spondaic), while the form of the strophe lends itself well to musical settings (as the English accentual counterpart of the metric and strophic form illustrates). This poetic form has always been the favourite for liturgical hymns, as the Roman Breviary will show at a glance.
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Snorri paraphrases the strophe of the poem a second time (at Gylf. 51) merely saying: "Surt rides first, and before him and after him is burning fire",Gylf. 51, : "Surt will ride in front, and both before behind.."; Cf. p. 54 "After that Surt will fling fire over the earth".
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Bruckner composed this work, together with Vaterlandslied, on a six-strophe text of August Silberstein in November 1866 during his stay in Linz on request of Anton M. Storch. The song was performed by the Liedertafel Frohsinn on 13 February 1868 under Bruckner's baton.C. Howie, Chapter III, pp. 90-91U. Harten, p. 463C.
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The different verse is the third, and it demonstrates the "admixture of dramatic traits" in the lyrical song, which Fischer-Dieskau calls "a classic example of the strophic song with Abgesang ... 'after- strain'." The "after-strain" comes at the final stanza; the composer and Schubert scholar Brian Newbould observed that for three-quarters of the song's final stanza, Schubert departed from the strophe to give a musical impression of the trout being caught, but returned to the strophe for the final couplet. The primary rhythmic figure in the piano accompaniment suggests the movement of the fish in the water. When the fisherman catches the trout, the vocal line changes from major to minor, the piano figuration becomes darker and the flowing phrases are "broken by startled rests".
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The finding that drove their hypothesis was that the males were able to recover a high percentage performance by switching song types. If the male was producing shorter strophes and having longer inter- strophe pauses (low percentage performance), then by switching to a different song type the bird would once again be able to produce longer strophes and have shorter inter-strophe pauses. Lambrechts and Dhondt proposed the anti- exhaustion hypothesis, which provided both a functional and casual explanation for the song switching behaviour in birds along with having song repertoires. The anti-exhaustion hypothesis stated that when it is necessary for a bird to sing for a prolonged period of time at a high rate, it must continuously switch song types.
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In the poem "Idź, idź w pokoju!" ("Go away in peace") Konopnicka used a six- line strophe 5a/11b/11b/11c/11c/5a. Another form used by Konopnicka suggestive of the Sapphic stanza is a quatrain composed of three hendecasyllabic lines and one trisyllable,Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 262.
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The fragments are sufficient to show that the poem was composed in twenty-six line triads, of strophe, antistrophe and epode, repeated in columns along the original scroll, facts that aided Page in placing many of the fragments, sometimes of no more than a word, in what he believed to be their proper positions.
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Later, he regretted his behavior and wrote the song thinking of the importance of respecting different beliefs. Eller's mother, Nanci Ribeiro, sings with her on "Pedra Gigante". Ribeiro was a singer before marrying Eller's father and taught her daughter how to sing. Reis once said the third strophe of "O Meu Mundo Ficaria Completo (com Você)" is about Eller.
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An ode (from ) is a type of lyrical stanza. It is an elaborately structured poem praising or glorifying an event or individual, describing nature intellectually as well as emotionally. A classic ode is structured in three major parts: the strophe, the antistrophe, and the epode. Different forms such as the homostrophic ode and the irregular ode also enter.
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172 (1992) Pollack. "The form of the introduction itself, with its slow harmonic rhythm and three cadences in the tonic, faintly suggests a "blues" strophe, a suggestion that further contributes to the music's distinctively earthy character." The ensuing Allegro is. The Adagietto's theme "is classically balletic, with supple rhythms, graceful turns, sighing fourths, and sweet appoggiaturas and suspensions."p.
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One document of 1269 may refer to Perrin when it names Petrus de Angicuria as a "rector of the chapel" (rector capellae) to Charles in Naples. Most of Perrin's poems are strophic, that is, they contain stanzas each with lines of different length. "Quant partis sui" has five line lengths per strophe. His preference was for heptasyllables.
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Arthur Gilchrist Brodeur, online at voluspa.org. However, as de Vries points out, the only basis for associating Forseti with justice seems to have been his name; there is no corroborating evidence in Norse mythology.De Vries, p. 283. 'Puts to sleep all suits' or 'stills all strifes' may have been a late addition to the strophe Snorri cites, from which he derives the information.
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Poem 51, on the other hand, is an adaption and re-imagining of Sappho 31. Poems 51 and 11 are the only poems of Catullus written in the meter of Sapphic strophe, and may be respectively his first and last poems to Lesbia. He was also inspired by the corruption of Julius Caesar, Pompey, and the other aristocrats of his time.
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It was released on 15 October 2012. The initial single is a double-A side release, the tracks "Panis Angelicus" and "Sancta Maria".Vivere Assisi: Frate Alessandro sbarca nei negozi di dischi The first is the penultimate strophe of the hymn Sacris solemniis written by Saint Thomas Aquinas for the Feast of Corpus Christi and the second is from Cavalleria rusticana .
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In 1755 he began work on The Bard, and by August of that year had completed two thirds of the poem. Initially he worked with a speed and a sense of identification that were both unusual for him. "I felt myself the Bard", he declared. But composing the third and final strophe proved more difficult, and he eventually ground to a halt.
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She confides in her daughter, Strophe, who likewise warns Phaedra against pursuing an affair with Hippolytus. Phaedra approaches Hippolytus, regardless of the warnings she has heard. Hippolytus openly speaks about his multiple sexual partners and reinforces how he doesn't care for any of them and won't care for Phaedra. Phaedra confesses her love for him, but he spurns her, telling her she will only be hurt.
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Afterwards, Phaedra kills herself, leaving behind a note that states Hippolytus has raped her. Strophe confronts Hippolytus about the accusation, but he refuses to deny or confirm the allegation, though the subtext implies that he did not. Whilst in prison, Hippolytus speaks with a priest who eventually performs fellatio on Hippolytus. In the final sequence Theseus has returned home and disguises himself in a crowd.
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Following the models provided by the poems of Gabriello Chiabrera and Fulvio Testi, Menzini wrote his Pindaric "Canzoni eroiche e morali" (1674–80). These observe the Greek division - strophe, antistrophe, and deal with subjects that were also engaging the attention of the contemporary poet Filicaja, e.g., the freeing of Venice, the taking of Budapest. Some seventeen of his elegies treat of matters of various interest.
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Goethe translated some of the passages into German and began to design a play about Muhammad, fragments of which remain. Mahomet's Nachthymne is a poem from 1773, the last strophe of which is a monologue of Muhammad and is one of the fragments of the unfinished play. For the first time in Western literature, Goethe represented Muhammad as a prophet of God. Saladin in Jerusalem.
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Her repertoire includes works by contemporary composers such as Charles Chaynes's Piano Concerto and Léon Mouravieff's Strophe, Antistrophe and Epode. From 1987 to 1995 she was artistic director of the Cévennes Festival, which she founded. Between 1988 and 2000 she ran a summer university. She has given master classes in the USA, Russia, Germany and Ukraine and teaches a master class for piano at the Toulouse Conservatory.
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Preludio Scene 1 (Strophe): Marie has moved from Armentières to Lille with her father Wesener, a fancy goods merchant. She writes a letter to the mother of her fiancé, Stolzius, a young draper in Armentières, while her sister Charlotte does needlework. Charlotte's aria: Herz, kleines Ding, uns zu quälen. An argument breaks out between the sisters, Charlotte being scornful of Marie's love for Stolzius.
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The song is a musical strophe that can be rendered sweet sweet sweet, I'm so sweet, although it varies considerably between populations. The call is a soft or harder chip or ship. This is particularly frequently given by females after a male has finished his song. In territorial defence, they give hissing calls, while seet seems to be a kind of specialized cowbird alert (see below).
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Horace Odes were first developed by poets writing in ancient Greek, such as Pindar, and Latin, such as Horace. Forms of odes appear in many of the cultures that were influenced by the Greeks and Latins. The ode generally has three parts: a strophe, an antistrophe, and an epode. The antistrophes of the ode possess similar metrical structures and, depending on the tradition, similar rhyme structures.
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The guitar solo by Randy Rhoads after the second strophe became one of the most known in heavy metal. It was ranked on 28th place in the list of the best guitar solos by the readers of Guitar World.100 Greatest Guitar Solos. guitar.about.com The song was ranked the 23rd greatest heavy metal song of all time, according to a readers' preferences poll held by Gibson.
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Before 1937, only two strophes of the poem survived, both quoted in other ancient authors. Hermogenes of Tarsus quotes part of the second strophe in his work Kinds of Style (Peri Ideon), and Athenaeus quotes from the fourth stanza in the Scholars at Dinner (Deipnosophistae). In 1937, the Italian papyrologist Medea Norsa published an ostrakon which preserves four stanzas of the poem. The ostrakon (PSI XIII.
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The song itself has three strophes and a powerful chorus, with some kind of orchestral background on which guitar, bass and floor tom are giving the rhythm to the song. The song begins with staccato piano part with strings begin in approximately 0:08, and first strophe in 0:12 together with crescendo floor tom. After first chorus, bass and main guitar comes in. The song's duration is 3:00.
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Transcription of Constantine of Preslav's Bulgarian abecedarius Азбучна молитва ("Alphabetical prayer"). In this work, the first letter of each verse, highlighted in bold, is part of a series of letters that are in alphabetical order (from top to bottom). An abecedarius (also abecedary and abecedarian) is a special type of acrostic in which the first letter of every word, strophe or verse follows the order of the letters in the alphabet.
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A bout is a stereotyped repetition of one to five notes which are called a phrase. Between two and 20 phrases are sung are short bursts which are called strophes. In-between strophes are periods of silence, and this is referred to as the inter-strophe pause. Therefore, a great tit sings several strophes of one song type before switching to a bout of another song type from their repertoire.
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"Dance" was recorded at Fonogram Studios in Bucharest, Romania. Stan first thought of the song's melody and lyrics in Paris, and later brought her idea for further development by her team at Fonogram Records, led by producers Alexandru Cotoi and Mika Moupondo. The song is a dance track, also incorporating house music influences into its sound. The track opens with acoustic guitar chords, which are then followed by a pop strophe.
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Eleven of Bartolino's madrigals survive; like the ballate, they are mostly for two voices, however there are two pieces for three, and one of them (La Fiera Testa) has a macaronic text which is trilingual, one strophe in Italian, one in Latin and the final Ritornello section in French. This practice was common in the high Middle Ages but had become rare by the end of the 14th century.
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Each strophe is composed of monorhyming ottonari and a concluding monorhymed couplet or tercet of endecasillabi, though there are metrical and linguistic irregularities. The poet is indebted to an unnamed Latin source, scriptura, possibly the Bible. It has been speculated, based on internal references to fegura (figure, allegory, picture, drawing), that the poem may have been performed by a giullare with visual aids. The opening stanza introduces the contrast between this life and the afterlife.
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The Miller's outpouring is matched with a lyrical arpeggio pattern and gently rocking 6/8 rhythm in this strophic song. An accepted performance convention places the third strophe, concerning dreams, an octave higher in the accompaniment. There is no explicitly indicated outro music, which is unusual in Schubert, but accompanists often choose to simply repeat the introduction. Regardless of this choice, the ending segues into the next song, in the same key.
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Unfortunately, all he could recall was that they came from the 'neighbourhood of the Tigris'. The manuscript (Cod. Syr. 9 in the John Rylands Library) is the most complete of the extant texts of the Odes. The manuscript begins with the second strophe of the first verse of Ode 3 (the first two odes have been lost). The manuscript gives the entire corpus of the Odes of Solomon through to the end of Ode 42.
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Silva, in Spanish poetry, a strophe, laisse (Sp. tirada) consisting of in eleven- and seven- syllable lines: hendecasyllables (endecasílabos) and heptasyllables (heptasílabos), the majority of which are rhymed although there is no fixed order or rhyme, nor is there a fixed number of lines. Silvas are used by persons of high rank, usually in soliloquies, and for highly emotional narration and description. The use of Silva can be found in Góngora's Soledades.
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Vanemuine (Eldermost) is a god of music in the artificial Estonian mythology created by Friedrich Robert Faehlmann and Friedrich Reinhold Kreutzwald. His name is probably derived from the Finnish Väinämöinen. Vanemuine is mentioned in the opening strophe of the epic Kalevipoeg by Kreutzwald. In 1865, the Vanemuine Cultural Society was founded in Tartu, which evolved into the first Estonian-language theatre, Vanemuine, which continues to be the main theatre of the city of Tartu.
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14, col. 255. Augustine also appears to refer to No. 4 (to the third verse of the fourth strophe, Geminae Gigas substantiae) when he says: “This going forth of our Giant [Gigantis] is briefly and beautifully hymned by Blessed Ambrose”. Other attributions to Ambrose are due to Pope Celestine V (430), Faustus, Bishop of Riez (455) and to Cassiodorus (died 575). Of these four hymns, only No. 1 is now found in the Roman Breviary.
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The musical structure of "All for the Beatles" is a traditional 12-bar blues framework, which repeats itself five times. As an introduction, there are two bars of a major scale tonic, and in the conclusion, several bars of a tonic guitar solo up to the fade out. The first and last 12-bar figures are split into strophe and refrain. Nilsson presents the strophes single-partly, but the four-part refrain was recorded by overdubbing.
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As in the refrains, there is a process of augmentation upon repetition, in which new duration units are added in order to form more complex rhythmic cells. The pitches grow out of the major seventh and the tritone found at the beginning of the first strophe and in its third bar, respectively. Five basic dynamic- envelope patterns are applied to different groups, while at the same time the melodic motives constantly re-emerge in different rhythms .
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Hepokoski argues that Sibelius allows the material to determine form in many of his works, developing by the necessity of the music and not by an 18th- or 19th-century template; in the Fifth Symphony a circular rotation or strophe passes through sections of material, further developing it with each rotation. Through this analysis Hepokoski maintains the general location of sectional changes described by the earlier musicologists and agrees that the movement can roughly be analysed in sonata form.
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In 1829, Leopardi wrote La quiete dopo la tempesta ("The Calm After the Storm"), in which the light and reassuring verses at the beginning evolve into the dark desperation of the concluding strophe, where pleasure and joy are conceived of as only momentary cessations of suffering and the highest pleasure is provided only by death. It also delegates with his dignities onto the crowd nor grieving himself on the sorrows he obsessed and afterwards, his prowess dominates.
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Both of the latter are epithalamia, a form of laudatory or erotic wedding-poetry that Sappho was famous for. Catullus twice used a meter that Sappho developed, called the Sapphic strophe, in poems 11 and 51, perhaps prompting his successor Horace's interest in the form. Catullus, as was common to his era, was greatly influenced by stories from Greek and Roman myth. His longer poems—such as 63, 64, 65, 66, and 68—allude to mythology in various ways.
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Denial (Greek: Άρνηση) is a poem by Giorgos Seferis (1900–1971) published in his collection Turning Point (Στροφή "Strophe") in 1931. After the coup that overthrew the Greek government in 1967, Seferis went into voluntary seclusion and many of his poems were banned, including the musical versions which Mikis Theodorakis had written and arranged. Denial came to be the anthem of resistance to the regime and was sung by the enormous crowds lining the streets at Seferis' funeral.
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This work references a stylistic choice used in all of Kodály’s compositions, to reference the tools used in traditional Hungarian folk music. In this way, he was quite similar to Béla Bartók, who also used these traditional resources in his compositions. The works of these two composers use certain pentatonic groups, isometric strophe structure, and tempo giusto most commonly. It can be seen from this example that most of the Te Deum follows the traditional compositional style of Kodály.
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In Roman Catholic liturgy, Rex Gloriose Martyrum is the hymn at Lauds in the Common of Martyrs (Commune plurimorum Martyrum) given in the Roman Breviary. It comprises three strophes of four verses in Classical iambic dimeter, the verses rhyming in couplets, together with a fourth concluding strophe (or doxology) in unrhymed verses varying for the season. The first stanza illustrates the metric and rhymic scheme: :Rex gloriose martyrum, :Corona confitentium, :Qui respuentes terrea :Perducis ad coelestia.
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Since the poems of the troubadours were very often accompanied by music, the music of the tornada would have indicated the end of the poem to an audience.Levin 1984, p. 297. Comparatively, the Sicilian tornada was larger, forming the entire last strophe of the song or ballad being performed (canzone), and varied little in terms of its theme—typically a personification of the poem, with a request for it to deliver instructions from the poet.Levin 1984, p. 299.
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As the composer gained more experience, the structure of his choral compositions and arrangements of folk songs became more frequently intertwined with text. Leontovych arranged many Ukrainian folk songs, creating artistically independent choral compositions based on their melodies and lyrics. He followed the traditions of improvisation of Ukrainian kobzars, who would interpret every new strophe differently. He also employed humming and the variability in timbre of singers' voices as techniques in reaching a desired emotional or sensual effect.
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The standard Mass text was significantly truncated in accordance with Bacalov's desire that the work appeal to those of all Abrahamic faiths: Christians, Muslims and Jews. All references to Christ — except for the Lamb of God () — have been deleted. Credo, the third and longest text part of a sung Mass, has been reduced to most of its first strophe and part of the second one: "" (" I believe in one God, ... Almighty, Maker of heaven and earth") plus "Amen" at the end.
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Orlande de Lassus composed an adaptation as a motet for ten voices in c. 1592.published as part of his collected works in 1604, no. 513. The portion Tristes erant apostoli (strophes 5 to 11) was adapted by Francisco Guerrero (1528-1599).Liber vesperarum, Rome 1584. Pope Urban VIII substantially altered the hymn for his edition of the Roman Breviary (1629), in the incipit replacing rutilat by purpurat, the first strophe being altered from:The Ecclesiastic and Theologian 11 (1851) p. 233.
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Strophostyles is monophyletic three-species genus of flowering plants in the legume family, Fabaceae, subfamily Faboideae / Papilionoideae. Common names for the genus include wild bean and fuzzybean (due to their pubescent pods and seed coverings). It consists of annual and perennial herbaceous vines, ranging in their native distribution from Nevada, east to Florida, and north to the Great Lakes and eastern Canada. The etymology of the name is strophe (turning) + stylos (style), referring to the curve of the style within the keel petal.
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Tindr Hallkelsson was an Icelandic skald active around the year 1000. He was the court poet of earl Hákon Sigurðarson and fragments of his drápa on the earl are preserved in Jómsvíkinga saga, the kings' sagas (especially Snorri Sturluson's Saga of Óláfr Tryggvason in Heimskringla) and the Prose Edda. One strophe from the poem, relating to the battle of Hjörungavágr, is quoted in all those sources. The following is its occurrence and context in Heimskringla taken from the 1844 translation by Samuel Laing.
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Johann Caspar Kerll, Johann Sebastian Bach, Johann Fux wrote fugues on it, and the latter's extensive elaborations in the Gradus ad Parnassum made it known to every aspiring composer – among them Wolfgang Amadeus Mozart whose JupiterWilliam Klenz: "Per Aspera ad Astra, or The Stairway to Jupiter"; The Music Review, Vol. 30, Nr. 3, August 1969, pp. 169–210. theme borrows the first four notes. Anton Bruckner's first composition was a setting of the first strophe of the hymn: Pange lingua, WAB 31.
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The hypothesis was focused around the idea that extended bouts of singing would lead to neuromuscular exhaustion because of the repetitive and stereotyped fashion of song bouts. Marcel and André proposed that the male great tits would have longer inter-strophe pauses towards the end of a song due to this exhaustion. By switching song types, the birds would be using alternative sound-producing muscles and nerves, therefore they would be able to recover a high percentage performance once again.
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The performance of the shirah (poem) at wedding celebrations by the professional meshorer (precentor) opens with a melodious tune; the ghuṣn lines (the first lines that open the rhyme in the first strophe) being by nature slow and full of yearning. When the precentor reaches the third line of the ghuṣn, the tempo becomes more charged. At this point another person joins the performance, not necessarily an experienced precentor, who sings the second part of each line, or repeats the short tawshīḥ lines.
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Also some percussion instruments have been utilized such as the clave, the güiro and the guayo ( a metallic scraper). Singers gather themselves in contending teams, and improvise their lines. They sing fixed melodies called "tonadas" which are based on a meter of ten strophe verses called "décimas", with intervals between stanzas to give the singers some time to prepare the next verse. Early compositions were sometimes recorded and published, as were the names of some of the singers and composers.
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Ayo was one of four co-founders and Co- artistic Directors of the consensus-run defunkt theatre in Portland, OR in 2000.Silvis, Steffen, defunkt: No Curtain Calls, Please. Theatre Communications Group She served as the resident set designer winning Drammy Awards for her designs for David Mamet's The Woods and Mac Wellman's The Bad Infinity.Past Drammy Award Winners She served as assistant director on three plays, and acted in one play in the role of Strophe in Phaedra's Love by Sarah Kane.
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From his studies of the neumatic notation symbols of plainchant, Messiaen had formed the idea of exploring the rhythms corresponding to them. "In an interplay of transposition, the neumatic symbol as an indication of a sinuous melodic entity is now applied to a rhythmic motive. Each rhythmic neume is assigned a fixed dynamic and resonances of shimmering colours, more or less bright or somber, always contrasting" . The collage-like rhythmic structure grows from the iambic rhythm found at the beginning of the first strophe.
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Biologically, having a large repertoire is advantageous in territorial defence and larger repertoires are also correlated with higher reproductive success. Marcel Lambrechts and André Dhondt proved that average strophe length and repertoire size can be used as proxies for male quality. Male quality refers to the fitness of the bird, measuring how well it survives and its reproductive success. Lambrechts and Dhondt set out to find the answers to four questions also pertaining to percentage performance time and male quality in the great tit.
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When musique mesurée first appeared, it was used mainly in French secular songs known as chansons. Most of the chansons written in the style were for five voices, unaccompanied, although instruments began to be used as accompaniment before long. Typically they consisted of a strophe and a refrain; the refrain would have the same music each time it recurred. As composers realized the adaptability of the musical style to other forms, they began to employ it elsewhere, for example in sacred music, such as psalm settings.
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Notable is the Law & Order series, which started out with one theme song for Law & Order, and remixed it for its four spinoffs (Law & Order: Special Victims Unit, Law & Order: Criminal Intent, Law & Order: Trial by Jury and Law & Order: LA). The related shows Crime & Punishment, New York Undercover. Arrest & Trial and Stars Earn Stripes also aired with a remix of the theme. CSI: NY uses the first strophe of "Baba O'Riley" for its opening sequence, but with a remixed version of the instrumental track.
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But it extended beyond the ode, and in the early dramatists we find numerous examples of monologues and dialogues framed on the epodical system. In Latin poetry the epode was cultivated, in conscious archaism, both as a part of the ode and as an independent branch of poetry. Of the former class, the epithalamia of Catullus, founded on an imitation of Pindar, present us with examples of strophe, antistrophe and epode; and it has been observed that the celebrated ode of Horace, beginning Quem virum aut heroa lyra vel acri, possesses this triple character.
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Wolfdietrich and Ortnit are written in a strophic form called the Hildebrandston (similar to the Nibelungenstrophe used in the Nibelungenlied and Kudrun). It consists of four long-lines: each long-line has three feet with a feminine ending, a caesura, then three feet with a rhymed masculine ending. The strophes are marked in the manuscripts by a Lombardic capital. In the printed Heldenbücher, the Hildebrandston is transformed into the Heunenweise, an eight-line strophe: the long-line is split at the caesura and unrhymed line-endings are given rhymes, with the resulting rhyme scheme ABABCDCD.
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Accurate dating of the poems has long been a source of scholarly debate. Firm conclusions are difficult to reach; lines from the Eddic poems sometimes appear in poems by known poets. For example, Eyvindr skáldaspillir composed in the latter half of the 10th century, and he uses a couple of lines in his Hákonarmál that are also found in Hávamál. It is possible that he was quoting a known poem, but it is also possible that Hávamál, or at least the strophe in question, is the younger derivative work.
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A page from William Caxton's edition of Anelida and Arcite, dated 1477 Anelida and Arcite is a 357-line English poem by Geoffrey Chaucer. It tells the story of Anelida, queen of Armenia and her wooing by false Arcite from Thebes, Greece. Although relatively short, it is a poem with a complex structure, with an invocation and then the main story. The story is made up of an introduction and a complaint by Anelida which is in turn made up of a proem, a strophe, antistrophe and a conclusion.
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More attention was paid to fitting the syllables to the melody than to the text's meaning, sentiment, or message. The various songs were divided into three strophes, and each strophe was divided into two ' and a discant or '. Plate, in "",Strassburger Studien, vol. iii. (Strassburg, 1888) gives a long list of the various features of rhythm and rhyme in this complicated poetry, in all of which can be observed a singular likeness to the technicalities invented by the lesser, and even by the better, poets two centuries earlier in Southern France.
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Gesangsszene (Song Scene) is the final composition of German composer Karl Amadeus Hartmann. It sets in translation part of Jean Giraudoux's drama Sodome et Gomorrhe (Sodom and Gomorrah) for baritone and orchestra, with some of the text spoken; the final strophe, left uncomposed at Hartmann's death in 1963, is entirely spoken and unaccompanied. A performance lasts around 25 minutes. Begun in 1962, in the early stages of the Cold War, in the apocalyptic vision of Giraudoux's setting, it reflects Hartmann's ongoing concerns with the folly of empire-building.
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Friedrich von Hausen is one of the earliest of the minnesingers who are known to have imitated French models, with which he became acquainted on his travels through Burgundy and Provence. Together with Heinrich von Veldeke he introduced the Romance element into the minnesong. The Provençal influence is especially evident in the dactylic rhythm of his verses, which resulted from the adoption into German of a Romance ten-syllable line with four or five stresses. His rhymes are still occasionally imperfect and his songs contain more than one strophe.
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This was referred to by MuuMuse as the "Coca-Cola Shake". The clip opens with Inna walking in a bikini and J Balvin doing rap movements, sporting a black T-shirt and pants along with red shoes. Subsequently, Inna is portrayed performing a synchronized choreography with two fellow background dancers while wearing a white body suit. For the second strophe of the song, Inna makes appearance in a darkened whole where she swims in a body of water, poses topless or dances along with the backup performers showed in the beginning.
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Cauda, a Latin word meaning "tail", "edge" or "trail" is the root of coda and is used in the study of conductus of the 12th and 13th centuries. The cauda was a long melisma on one of the last syllables of the text, repeated in each strophe. Conducti were traditionally divided into two groups, conductus cum cauda and conductus sine cauda (Latin: "conductus with cauda", "conductus without cauda"), based on the presence of the melisma. Thus, the cauda provided a conclusionary role, also similar to the modern coda.
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The male's song consists of short pleasant warbling strophes, interspersed with fluid whistles. The individual phrases may go like tu-tu-krr-pree-pree or trr- turit trr-turit.... To announce that it has become aware of someone straying into its territory – be it a female or male of its species or a large mammal – it gives long shrill raspy whistles like trrii(u) or (t')kwiiet. To announce to females, it often mixes these whistles with a strophe of song. A softer whistle goes like trüü(t).
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Nonetheless he is inferior to the sovereign god Oðinn: the Minor Völuspá defines his relationship to Oðinn almost with the same terms as those in which Varro defines that of Janus, god of the prima to Jupiter, god of the summa: Heimdallr is born as the firstborn (primigenius, var einn borinn í árdaga), Oðinn is born as the greatest (maximus, var einn borinn öllum meiri).Hyndluljóð strophe 37 and 40. Analogous Iranian formulae are to be found in an Avestic gāthā (Gathas).Yasna 45 first verses of strophes 2, 4 and 6.
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The poem alludes to the death in 1173 of Raimbaut of Orange; it was possibly first composed before that date and emended afterwards. The poem's envoi seems to mention Ermengarde of Narbonne (1143–1197), a well known patroness of troubadour poetry. As observed by Sakari, the third strophe of the poem seems to contribute to a poetical debate begun by Guilhem de Saint-Leidier as to whether a lady is dishonoured by taking a lover who is richer than herself. Raimbaut of Orange also comments in his poem A mon vers dirai chanso.
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However, Fr. Gregory and his brethren of Simonopetra Monastery have clarified that although it has become popular, it was never meant to be used liturgically, but rather to be sung only as a non-liturgical religious song for the edification of individuals. A Church Slavonic translation is known to be due to monks of Valaam Monastery. The text is in 24 stanzas or invocations, each followed by the refrain "Hail, unwedded bride". The 24 stanzas are arranged into four strophes, each strophe consisting of three tunes iterated twice over.
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The Knútsdrápa by the skald Óttarr svarti (Óttar the Black) is one of the Old Norse poems composed for King Cnut. Knútsdrápur (plural of Knútsdrápa) are Old Norse skaldic compositions in the form of drápur which were recited for the praise of Cnut. Most of Óttarr's poem is cited in the Knýtlinga saga, while one stanza is known only from other sources such as the Heimskringla. It has been debated whether strophe 9 truly belongs to Óttarr's Knútsdrápa or to a poem which Óttarr composed for Cnut's father Svein Haraldsson.
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All actors were male and wore masks. A Greek chorus danced as well as sang, though no one knows exactly what sorts of steps the chorus performed as it sang. Choral songs in tragedy are often divided into three sections: strophe ("turning, circling"), antistrophe ("counter-turning, counter-circling") and epode ("after-song"). Many ancient Greek tragedians employed the ekkyklêma as a theatrical device, which was a platform hidden behind the scene that could be rolled out to display the aftermath of some event which had happened out of sight of the audience.
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"Tambuka" is the Swahili rendering of Tabuk, a city located in north-western Saudi Arabia. The oldest manuscript of the epic is dated 1141 on the Islamic Calendar, corresponding to AD 1728. It was written at Yunga, a royal palace in the old city of Pate (the palace has since been destroyed). In strophe 1124–1125, the author notes that the "king of Yung"' (that is, the then Sultan of Pate) asked him to write an epic on the heroic deeds of the first followers of the Islamic prophet Muhammad.
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The Roman Breviary parcels No. 6 out into two hymns: for Martyrs (beginning with a strophe not belonging to the hymn (Christo profusum sanguinem); and for Apostles (Aeterna Christi munera). No. 7 is assigned in the Roman Breviary to Monday at Lauds, from the Octave of the Epiphany to the first Sunday in Lent and from the Octave of Pentecost to Advent. Nos. 9, 10, 11 are also in the Roman Breviary. (No. 11, however, being altered into Jam sol recedit igneus. Nos. 9-12 have verbal or phrasal correspondences with acknowledged hymns by Ambrose.
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Holy Sepulchre near the Church of Corpus Christi in Trata, Kočevje The traditional Gottscherish placenames are not always the same as the German names The Gottscherish placenames show that the stage of the sound system of Gottscheerish is different from Standard German Name of the City of Kočevje in Slovene, German and Gottscheerish Melody and first strophe of the Gottscheer folk song Də mêrarin ("The Woman by the Sea")Adolf Hauffen: Die deutsche Sprachinsel Gottschee. Graz 1895, p. 245. After Karl Bartsch, Karl Julius Schröer: Das Fortleben der Kudrunsage. In: Germania 14, pp. 323–336: p. 333.
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Consistent reference to Walther's songs is made by means of "Lachmann numbers", which are formed of an "L" (for "Lachmann") followed by the page and line number in Lachmann's edition of 1827. Thus "Under der linden", which starts on line 11 on page 39 of that edition (shown in the page image, right) is referred to as L39,11, and the second line of the first strophe is L39,12, etc. All serious editions and translations of Walther's songs either give the Lachmann numbers alongside the text or provide a concordance of Lachmann numbers for the poems in the edition or translation.
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The theme of syntactic imitation is exemplified by each strophe in the poem, comparable and balanced in length with the others. Local details in texture and counterpoint often directly relate to the syntactic affect of the text, like the sudden expanse of homophonic harmonies during "solemni plena gaudio". Following this moment comes "coelestia, terrestria...," while the vocalists join in climbing melodic lines and dense syncopation of rhythms in an attempt to evoke Mary's filling of heaven and earth. While the regularity of imitation initially articulates the phrases, the middle verses exemplify the articulation from contrasts in texture.
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The spilling of the oil was probably acted out for dramatic effect, though the bible knows nothing of it. The foolish then plead with the wise to share their oil, capping each strophe with the lamenting refrain Dolentas, chaitivas, trop i avem dormit: "We, wretched in our grief, have slept too long!" The wise virgins turn them away without pity, inviting them to buy oil from the merchants nearby. The foolish (who now seem wise) only blame themselves, but the merchants, who are presented sympathetically, tell them that they cannot help them and advise them to beseech their sisters in God's name.
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Ortnit and Wolfdietrich are both written in a strophic form called the Hildebrandston (similar to the Nibelungenstrophe used in the Nibelungenlied and Kudrun). It consists of four long-lines: each long-line has three feet with a feminine ending, a caesura, then three feet with a rhymed masculine ending. The strophes are marked in the manuscripts by a Lombardic capital. In the printed Heldenbücher, the Hildebrandston is transformed into the Heunenweise, an eight-line strophe: the long-line is split at the caesura and unrhymed line-endings are given rhymes, with the resulting rhyme scheme ABABCDCD .
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1282–1328) and Irene of Montferrat, and the fourth wife of Serbian king Stefan Milutin (r. 1282–1321). Two celebrated Serbian poems were inspired by the beauty of the fresco. Two dark stains on the places where queen's eyes were supposed to be have created a common belief that her eyes were being carved out by Albanians, hence the well-known strophe by Milan Rakić: > Your eyes were gouged out, oh beautiful image, On a pilaster at approach of > night, Knowing that no one would witness the pillage, An Albanian’s knife > robbed you of your sight.Simonida, Kosara Gavrilović translation.
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In "O Sacred Love," Krasicki formulated a universal idea of patriotism, expressed in high style and elevated tone. The strophe would later, for many years, serve as a national anthem and see many translations, including three into French. The Prince Bishop of Warmia gave excellent Polish form to all the genres of European classicism. He also blazed paths for new genres. Prominent among these was the first modern Polish novel, Mikołaja Doświadczyńskiego przypadki (The Adventures of Nicholas Experience, 1776), a synthesis of all the varieties of the Enlightenment novel: the social-satirical, the adventure (à la Robinson Crusoe), the Utopian and the didactic.
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The album was "decidedly a solo record" but the process was also markedly different, explained by Christensen as follows: "This was the first time I was without sparring partners, and I would definitely have bounced some things off of them. At the same time, I went into the studio without completed arrangements, unlike with Dizzy Mizz Lizzy where everything was pre-arranged and there was simply not a single strophe that we did not know of how they should be played." This also meant more time was spent in the studio, in total nearly four months.
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32, No. 2, pp. 281-297. Catalectic endings are particularly common where the rhythm of the verse is dactylic ( – u u ), trochaic ( – u ), or anapestic ( u u – ); they tend to be associated with the end of a strophe or period, so much so that it can almost be said that acatalectic forms cannot end a period. In classical verse, the final syllable of a line always counted as long, so that if a dactyl ( – u u ) is made catalectic, it becomes a spondee ( – – ). Ancient poetry was often performed to music, and the question arises of what music accompanied a catalectic ending.
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Examples of such interlocking stanzas include, for example, the ghazal and the villanelle, where a refrain (or, in the case of the villanelle, refrains) is established in the first stanza which then repeats in subsequent stanzas. Related to the use of interlocking stanzas is their use to separate thematic parts of a poem. For example, the strophe, antistrophe and epode of the ode form are often separated into one or more stanzas. In some cases, particularly lengthier formal poetry such as some forms of epic poetry, stanzas themselves are constructed according to strict rules and then combined.
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" :Camões, Os Lusíadas, strophe 22, Canto III The mistranslation became a real and plausible myth because according to Roman mythology, Bacchus would have been the conqueror of the region. Plutarch, according to the 12th Book of the Iberica of Spanish author Sóstenes,Lorenzo Hervás, Catálogo de las lenguas de las naciones conocidas, vol. IV, part II, 1804, p. 106 says that (notice that this theory is today completely descredited): > "After Bacchus conquered Iberia, left Pan to rule in his place, and it was > him that gave his own name to the country, calling it Pania, that by > corruption turned into Hispania.
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This man, emphasised in telling that he was doing it as a memorial of Celedon iturralde, who died 12 year before in the Carlist Wars. In 1918, Mariano San Miguel gathered all the typical songs of the festivities into a song book, and among them, there was the one which Celedón wrote with the strophe that sounds non-stop in the festivities "Celedón ha hecho una casa nueva. Celedón, con ventana y balcón". These lines talk about the house which was made by Celedón in Bitoriano (a small village next to Vitoria) where he had a balcony and a window (said in the song several times).
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The assembled fragments comprised one hundred and twenty-five consecutive lines, of which thirty-three were virtually intact, representing a portion of a much larger poem (calculated to have been about seven hundred lines). The verses were structured in triadic stanzas (strophe, antistrophe, epode), typical of choral lyric. Triads are found for example in plays by Aeschylus, Sophocles and Euripides, in odes by Pindar and Bacchylides, and they are known also to have been characteristic of the poetry of Stesichorus. The handwriting indicated that a scribe had written it as early as 250 BC but the poetic style indicated that the original composition must have been much earlier .
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First page of Las soledades (Chacon Manuscript, I, 193). Las Soledades (Solitudes) is a poem by Luis de Góngora, composed in 1613 in silva (Spanish strophe) in hendecasyllables (lines of eleven syllables) and heptasyllables (seven syllables). Góngora intended to divide the poem in four parts that were to be called "Soledad de los campos" (Solitude of the fields), "Soledad de las riberas" (Solitude of the riverbanks), "Soledad de las selvas" (Solitude of the forests), and "Soledad del yermo" (Solitude of the wasteland). However, Góngora only wrote the "dedicatoria al Duque de Béjar" (dedication to the Duke of Béjar) and the first two Soledades, the second of which remained unfinished.
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Middle High German and Maaslandic rhymes are used indifferently. Undoubtedly this is because the rhyme scheme in the lyric has higher demands than the coupled rhyme in story texts such as the Servatius and the Eneas Romance; in one strophe, more than two rhyming words must be found. Veldekes lyrics have been preserved in three Middle High German manuscripts from the late thirteenth and early fourteenth century: the Kleine Heidelberger Liederenhandschrift (Heidelberg, Universitätsbibliothek, Codex Palatinus Germanicus 357), the Weingartner Liederhandschrift (Stuttgart, Württembergische Landesbibliothek, Codex HB XIII 1) and the Groβe Heidelberger Liederenhandschrift, better known as the Codex Manesse (Heidelberg, Universitätsbibliothek, Codex Palatinus Germanicus 848).
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"We Wanna" was written by Ramon Ayala, Jacob Luttrell, Andreas Schuller and Thomas Troelsen, while being produced by Schuller and Troelsen. The song is an upbeat dance-pop recording inspired by 90s electro music and Paul Johnson's "Get Get Down" (1999); it makes use of saxophones. Lyrically, the track was described by music website Idolator to discuss on "letting your hair down and having a good time"; when interviewed, Stan confessed that its message is about "summer, partying and feeling good". Lasting three minutes and fifty-two seconds, it begins with Stan singing its chorus and the first strophe, following which she further provides vocals for the mainpart.
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It was edited by P. Piper and Steinmayer (in Müllenhoff and Scherer "Denkmäler deutscher Poesie und Prosa aus dem VIII-XII Jahrhundert", Berlin, 1892). The "Vita Altmanni" relates that in 1065, when rumours of the approaching end of the world were rife, many people started on a pilgrimage to Jerusalem under the leadership of Bishop Gunther of Bamberg, and that Ezzo composed the poem on this occasion. The opening strophe of the Vorau manuscript does not mention the pilgrimage, but simply states that the bishop ordered Ezzo to write the song. The effect, we are told, was such that everybody hastened to take monastic vows.
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A phorminx The epinikion was performed not at the games, but at the celebration surrounding the champion's return to his hometown or perhaps at the anniversary of his victory. The odes celebrate runners, pentathletes, wrestlers, boxers, and charioteers; Pindar usually narrates or alludes elaborately to a myth connected to the victor's family or birthplace. The Pindaric ode has a metrical structure rivaled in its complexity only by the chorus of Greek tragedy, and is usually composed in a triadic form comprising strophe, antistrophe, and epode. The odes were performed by a chorus that sang and danced to the musical accompaniment of the phorminx or aulos.
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The ornamented cantus firmus in these pieces represents a significant difference between the north German and the south German schools; Johann Pachelbel and his pupils would almost always leave the chorale melody unornamented. The chorale fantasias (a modern term) are large-scale virtuosic sectional compositions that cover a whole strophe of the text and are somewhat similar to chorale concertos in their treatment of the text: each verse is developed separately, allowing for technically and emotionally contrasting sections within one composition. The presence of contrasting textures makes these pieces reminiscent of Buxtehude's praeludia. Buxtehude was careful with correct word setting, paying particular attention to emphasis and interpretation.
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He chose the harp as bass instrument in order to achieve a muffled effect, and because he found the low notes the most beautiful on the instrument. The completed form is a sort of hymn, which Stravinsky likened to the Funeral Music for Queen Mary by Henry Purcell. There are four antiphonal strophes each in the harp and in the treble instruments, with each strophe containing one complete row statement: P, I, R, and RI in the harp, and P, RI, R, and I in the flute-clarinet duo . The resulting alternation of eight musical blocks dominates the form, though its force is counteracted by significant motivic connections among the blocks .
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But the traditions respecting Hercules and Pyrene, as well as Saturn, I conceive to be fabulous in the highest degree.'" This would have been read by André de Resende as "the name "Lusitania" derives from Lusus of Father (master or father) Bacchus", and therefore was interpreted that Lusus would be a companion or son of the furious god. It is this interpretation that is seen in the strophe 22 of Canto III of The Lusiads of Luís Vaz de Camões. > :"This was the Lusitania, which was derived :From Lusus, or Lisa, from > Bacchus ancient :Children where it looks, or then companions, :And in it by > then the first inhabitants.
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Retrieved 25 February 2013. The shepherdess' reply in the tornada: "and some will gawk before a painting / while others wait to see real manna."In the original Provençal: Que tals bad' en la peintura / Qu'autre n'espera la mana. From Marcabru, "L'Autrier jost'una sebissa" ("The other day, along a hedgerow"), translated by James H. Donaldson. Retrieved 25 February 2013. serves to "[create] some tension with the enigma she seems to introduce suddenly at the end."Koelb 2008 p. 54. In the original Occitan model, the tornada was a stanza that metrically replicated the second half (sirima) of the preceding strophe (a structural division of a poem containing stanzas of varying length).
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In 2005 she again played the lead in a Sam Spiegel student movie dubbed Whatever It Takes (Be'einaim Atsumot), as the fragile and self-destructive partner in a lesbian relationship. In 2005 she was cast on the Betipul television series as a suicidal gymnast. She played the fiancee of the character played by Yehuda Levi in the crime series The Arbitrator ("Haborer"), and in 2009 she was cast in the lead role on the melodrama Weeping Susannah on HOT3. In 2006 and 2007 her acting projects included a theatre role as Strophe in Phaedra's Love, Sarah Kane's modern take on the mythological tale of Phaedra and Hippolytus.
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Richart de Semilli (floruit late 12th or early 13th century) was a trouvère, probably from Paris, which he mentions three times in his extant works. These number ten in one chansonnier (with a few also copied into related manuscripts), and one anonymous song, "", which has sometimes been attributed to him by modern scholars, but of which most of the first strophe and music are missing. Unusually for a trouvère, Richart used the same poetic structure and melody for his "" and "", and also for "" and "". Even within his pieces his melodies make heavy use of repetition, another departure from what was typical of the trouvères.
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Ye Maaya Chesave is one of Rahman's most remarkable and successful Telugu soundtracks and was one of the most anticipated soundtracks as it was the first album composed by A. R. Rahman after his double Oscars win. Rahman won his first filmfare award in Telugu due to the success of the soundtrack. Following this anticipation, before the official audio release of the Tamil version, on 18 December 2009 in London and 20 January 2010 in Chennai, and the Telugu version on 3 February 2010, Ee Hrudayam/Hosanna track was leaked onto the internet. Later the track was officially released with the same singer but another strophe had been added to the song.
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The different moods of the six episodes are expressed in different key and time signatures, working from E-flat major in the first song through G major (and briefly C major) in the second to A-flat major in the third and fourth, and thence back through C to E-flat. With their underlying thematic linkage, each of the songs is carried without break into the next: a short bridge passage connects 2 and 3, and the last note of 3 is held through the first three bars of the accompaniment to 4 and proceeds into ' almost without a breath. The final strophe of 4 has an accelerando leading directly into the vivace of 5.
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This is generally considered not to have been part of Sappho 2: it is followed by a larger blank space than the other strophe ends on the potsherd, suggesting that it is part of a different text. Additionally, κατιου is not in Sappho's Aeolic dialect, and the most likely restoration of the line is unmetrical for a poem in Sapphic stanzas. The poem is in the form of a hymn to the goddess Aphrodite, invoking her and asking her to appear. In the form which it is preserved on the Florentine ostrakon, it seems to begin unusually abruptly – normally such a hymn would begin with a mention of the god being called upon.
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Maria Konopnicka used Słowacki's stanza in her well-known poem with the Latin title "Contra spem spero", and in the poems "Do ziemi" ("To the soil") and in "Zima do poety" ("Winter to the poet"). In another poem, "Jej pamięci" ("To her memory"), she employed a very similar strophe, also 11/11/11/5/11/5, but rhymed AABBCC. In the lyric "Preludium" ("Prelude") she employed a seven-line stanza, built in much the same way: 11a/11b/11a/11a/5b/11c/5c. Once again she suggested Sappho's stanzaic pattern in the poem "Posłom wielkopolskim" ("To the deputies from the Greater Poland"), which goes 11a/11b/11a/5b/11c/11c; she repeated this scheme in "Improwizacja" ("Improvisation") and in "Ave, Patria".
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It was also the inspiration for the 1949 song "Dangerous Dan McGrew" by Guy Lombardo and His Royal Canadians. Also it has been recalled in the fourth strophe of the song "Put the Blame on Mame", sung by Rita Hayworth in the 1946 film Gilda; the text claims that rather than being shot and killed, Dan McGrew was slain by Mame's "hoochy-coo" dance. Also, the poem was recited by Miss Marple in the 1964 film Murder Most Foul, as her audition to join a theatrical troupe. The character of Dan McGrew was based on William Nelson McGrew (1883-1960), who was born and raised in Guinda, California to Isaac and Nellie Ophelia (Thomas) McGrew and whose nickname was "Dangerous Dan".
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His interpretation is in three phases: first to consider the essential meaning of the verse, and then to move through the sequence with that understanding, and finally to discern what was nature of humankind that Sophocles was expressing in this poem. In the first two lines of the first strophe, in the translation Heidegger used, the chorus says that there are many strange things on earth, but there is nothing stranger than man. Beginnings are important to Heidegger, and he considered those two lines to describe the primary trait of the essence of humanity within which all other aspects must find their essence. Those two lines are so fundamental that the rest of the verse is spent catching up with them.
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The basis for the association is the identification of Wolfdietrich as the grandfather of Dietrich. This connection is attested as early as 1230 in the closing strophe of Ortnit A, is perpetuated by the inclusion of truncated versions of Ortnit and Wolfdietrich in Dietrichs Flucht among the stories of Dietrich's ancestors, and is repeated in the Heldenbuch-Prose of the 15th and 16th centuries, where Ortnit and Wolfdietrich are placed at the beginning of the Dietrich cycle. Scholars have sometimes supposed that Wolfdietrich tells the story of legends about Dietrich that somehow became disassociated from him. In the Old Norse Thidreksaga, Thidrek (Dietrich) plays Wolfdietrich's role as the avenger of Hertnid (Ortnit), which may suggest that the two heroes were once identical.
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Based on the interpretation that Yakun was handsome, Pritsak identifies him as the Norwegian jarl Håkon Eiriksson whose family is said to have been unusually handsome in Snorri Sturluson's Haralds saga Sigurðarsonar ch 40-41.Pritsak 1981:412ff Moreover, the fact that Håkon Eiriksson belonged to a royal dynasty would explain why the Primary Chronicle mentioned him as a king and an equal to Yaroslav. Additionally, in Austrfaravísur (strophe 19) it is reported that when the skald Sigvatr Þórðarson arrived in Sweden in 1023, he learned of "treason" in Kievan Rus' (probably in respect to Olaf II of Norway) which would have been done by a man of Eiríkr Hákonarson's family. Eirík had been banished from Norway by Olaf II of Norway in 1014.
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Boulez has published only two complete movements of this work (in 1963), and a fragment of another (in ), the other movements having been written up to various stages of elaboration but not completed to the composer's satisfaction. Of the unpublished movements (or "formants", as Boulez calls them), described in , the one titled "Antiphonie" is the most fully developed. It has been analysed by Pascal . The formant titled "Strophe" is the one least developed since the preliminary form but: > a 1958 radio tape of the composer's Cologne performance of the Third Piano > Sonata shows that the wealth of cross-reference introduced by the inclusion > of the other three movements, even in their preliminary versions, > contributes exponentially to the complex, multiform effect of the whole.
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The same overall pattern is used in "Ode on Indolence", "Ode on Melancholy", and "Ode to a Nightingale" (though their sestet rhyme schemes vary), which makes the poems unified in structure as well as theme. The word "ode" itself is of Greek origin, meaning "sung". While ode-writers from antiquity adhered to rigid patterns of strophe, antistrophe, and epode, the form by Keats's time had undergone enough transformation that it represented a manner rather than a set method for writing a certain type of lyric poetry. Keats's odes seek to find a "classical balance" between two extremes, and in the structure of "Ode on a Grecian Urn", these extremes are the symmetrical structure of classical literature and the asymmetry of Romantic poetry.
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For example, in a Canon, the strophe or stanza of a standard hymn which indicates the melody of a composition is known as an irmos (eirmos, hirmos). An irmos is placed at the beginning of an Ode to introduce the melody to which it should be chanted, and to tie the theme of the Biblical Canticle on which it is based to the hymns of the Ode that follow (see Canon). A katabasia is the irmos that is sung at the end of an Ode by the choir (which descend from their seats (kathismata) and stand on the floor of the church to sing it). The katabasia winds down the Ode and returns it again to the theme of the Biblical Canticle.
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In fact, the phrase "dark, resting forces, alert forces" can be found on the back cover of the pencil draft score. Nielsen may have considered it an encapsulation of the contrast both between and within the two movements of the symphony. Nielsen also wrote to Dolleris about the presence of the "evil" motif in the first movement of the symphony: > Then the "evil" motif intervenes — in the woodwind and strings — and the > side drum becomes more and more angry and aggressive; but the nature-theme > grows on, peaceful and unaffected, in the brass. Finally the evil has to > give way, a last attempt and then it flees — and with a strophe thereafter > in consoling major mode a solo clarinet ends this large idyll-movement, an > expression of vegetative (idle, thoughtless) Nature.
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In 1536, when de Buttet was only six, Geneva defeated the Duke of Savoy and imposed Protestantism - throughout his life he would be torn between his Catholic parents from Savoy and his Protestant family from Geneva - canon Mugnier, in his biography of the poet, states "One must believe that without publicly renouncing his Catholicism, Marc-Claude had adhered to the new doctrines from his youth onwards, like most of the poets of France. Effectively we do not find a single word in any of his works which shows he was a Catholic. And even in Ode XVIII, we read a strophe that a Reformed poet would not have disavowed: "A Galilean nymph bore him in her blessed side. And by a non-human power, Mother and Virgin, she bore him.
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Dante himself will commemorate the event in the Commedia many years later, where, mindful of the political strife that had him exiled, he will attack many princes and popes, such as Boniface VIII, one of his biggest personal enemies. Frederick's censorship is also apparent from the structure of the song: the Sicilians transformed the tornada, the strophe which in troubadour poetry contains a dedication to a famous person with a congedo, where the poet bids goodbye to his reader and asks the song to bear his message to his lady. The re-shaping of the Occitan model also involved the suppression of music. The authors were great readers and translators, but apparently could not play any instrument, so their work was intended for reading, which called for logical unity, posing a question, proposing, and finding a solution in the end.
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But the moon, as the sheep-herder learns quickly, cannot provide the answers to these questions even if it knew them, since such is nature: distant, incomprehensible, mute if not indifferent to the concerns of man. The sheep- herder's search for sense and happiness continues all the way to the final two strophes. In the fourth, the sheep-herder turns to his flock, observing how the lack of self-awareness that each sheep has allows it to live out, in apparent tranquillity, its brief existence, without suffering or boredom. But this idea is ultimately rejected by the sheep-herder himself in the final strophe, in which he admits that, probably, in whatever form life is born and manifests itself, whether moon, sheep or man, whatever it is capable of doing, life is equally bleak and tragic.
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The valona is a popular narrative song- and poetry-form of the Mexican state of Michoacán. Its main characteristics are a bitter sense of humor, bawdy content, and social concerns. The lyrics of a Valona are composed as groupings of ten-line strophes, each line made up of eight syllables; musically, all valonas are sung (in fact, almost recited) to just a single tune, with an instrumental refrain after each strophe, which can vary. As a narrative popular genre, the valona is literarily and musically related to the Mexican corrido, and because of its stylistic, it is akin with other Mexican genres composed in ten minor-verse strophes (décimas or espinelas), such as some huapangos and the son arribeño, along with certain other Latin American genres, such as the Chilean run-run and the rhapsodes of the Argentine payadores.
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Fig. 2: Eurasian blue tit (Cyanistes caeruleus) A study completed by Angelika Poesel and Bart Kempenaers (2002) was aimed at explaining drift during blue tit (Cyanistes caeruleus) song and among other Parus species and to also explain their findings in relation to the anti-exhaustion hypothesis and the motivation hypothesis. They studied a group of 20 male blue tits at Kolbeterberg in Vienna, Austria that were living in mixed deciduous woods. The results from their study showed that male blue tits did show a decrease in performance output (percentage performance time) the longer that they performed one song typed, which was illustrated by an increase in inter-strophe pauses. In order to confirm the anti-exhaustion hypothesis, the two factors proposed by Lambrechts and Dhondt that influenced a low percentage performance time needed to be confirmed.
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Around 1761 Bentley turned playwright. His comedy The Wishes, or Harlequin's Mouth opened was acted at Drury Lane for three nights (27, 28, 80 July 1761), and at Covent Garden, 3 October 1761. It was written to ridicule the construction of Ancient Greek drama, especially the three unities and moralisings of the chorus: the chorus in the Wishes are informed that a madman, a torch in his hand, is just on the point of setting fire to a powder magazine, and commence in strophe and antistrophe to lament their own condition, proceeding to exclaim against the thrice-unhappy madman and against the six-times unhappy fate of themselves thus exposed to a madman's fury. His tragedy Philodamus (printed 1767), with its scenes of courtship, paternal vigilance, and spousal preparations, is said to have convulsed the house with laughter.
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The last strophe characterizes the mountain in the eyes of Fogazzaro: Ma, come un re disdegnato, nel buio cuor chiuso il pianto, spiegato in cielo la pompa immacolata del manto, guarda e si tace nel Nord con fronte pensosa, cinta di morte, gelo e spavento la Tosa. transl: But like an indignant king, with sorrow closed in the dark of his heart, the splendor of his immaculate mantle spread out in the sky, he looks down in silence and frowningly watches from the north; wall of death, of frost and of fear: the Tosa. See: Girardi, page 14–15 Carlo Garbari and Nino PooliSee the article on Campanile Basso traced a new route through the eastern rock face in 1890 (200m: II). In 1911, Giovanni Battista 'Tita' Piaz (il diavolo delle Dolomiti) and Michelson climbed through the majestic north-east face for the first time.
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Mesgegra (Messcegra), Mesroida (Mesreta), Mesdana, Mesdomnand are named as siblings in the poem Cethri meic Airtt Mis-Telmann ("four sons of Art Mes-Telmann") and notes Their father Art is said to have belonged to the tribe of Domnann, and the settlement of the British Dumnonii in East Leinster appears to be incontrovertible historical fact. Mesgegra was a King of Leinster, Mesroidia a wealthy brugaid of Leinster also known as Mac-Da-Tho, Mesdana, a warrior, and Mesdomnand, a poet according to the stated poem. Mesroída aka Mac Datho Mesroída who was the brugaid (hospitaller, from brug "hostel") was of course the titular figure of Scéla Muicce Mac Dáthó "The Tale of Mac Da Thó's Pig", and the final strophe of the poem recapitulates that story by telling of the pig and hound and the banquet and the "Four times seven fifties" who died in the mansion.
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Rondò texts usually employ an elevated rhetorical style and are almost always either laments of unhappy lovers or conventional calls to love. As a result, they are rather generalised and conventional in expression, detached and distant emotionally, so that they are easily transferable from one opera libretto to another, as happened with "Non tardar amato bene", rejected by Mozart for Le nozze di Figaro and recycled by his librettist, Lorenzo Da Ponte for another opera, Il demogorgone, ovvero il filosofo confuso, set by Vincenzo Righini . While there are examples of two-strophe rondòs through most of its period of popularity, the poetry far more often consists of three quatrains of ottonario, with the third quatrain usually shifting mood or dramatic focus in order to justify a new musical section. The slow part of the music sets the first two quatrains in an ABA pattern.
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However, Alan Shucard indicates a possible link to Whitman, and a passage in the fourteenth strophe "with the knowledge of death as walking one side of me, / And the thought of death close-walking the other side of me, / And I in the middle with companions" (lines 121–123). Beginning in the 1950s, scholars and critics starting with John Peter began to question whether Eliot's poem were an elegy to "a male friend." English poet and Eliot biographer Stephen Spender, who Eliot published for Faber & Faber in the 1920s, speculated it was an elegy, perhaps to Jean Jules Verdenal (1890–1915), a French medical student with literary inclinations who died in 1915 during the Gallipoli Campaign, according to Miller. Eliot spent considerable amounts of time with Verdenal in exploring Paris and the surrounding area in 1910 and 1911, and the two corresponded for several years after their parting.
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This episode, which comes right after the first strophe of the narration (no. 19 of Canto I) and depicts the entry of the caravan of carracks in the poem, sailing into the unknown upon the sheet of white foam of the Indian Ocean, has huge significance in the organization of the poem. The gods of the four corners of the world are reunited to talk about "the future matters of the East" ("as cousas futuras do Oriente"); in fact, what they are going to decide is whether the Portuguese will be allowed to reach India and what will happen next. The gods are described by Jupiter as residents of the "shiny, / starry Pole and bright Seat" ("luzente, estelífero Pólo e claro Assento"); this shiny, starry Pole and bright Seat or Olympus had already been described before as "luminous"; the Gods walk on the "beautiful crystalline sky" ("cristalino céu fermoso"), to the Milky Way.
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"To Autumn" is a poem of three stanzas, each of eleven lines. Like others of Keats's odes written in 1819, the structure is that of an odal hymn, having three clearly defined sections corresponding to the Classical divisions of strophe, antistrophe, and epode.Bate 1963 p. 499 The stanzas differ from those of the other odes through use of eleven lines rather than ten, and have a couplet placed before the concluding line of each stanza.Bate 1962 pp. 182–184 "To Autumn" employs poetical techniques which Keats had perfected in the five poems written in the Spring of the same year, but departs from them in some aspects, dispensing with the narrator and dealing with more concrete concepts.Bate 1963 pp. 581–582 There is no dramatic movement in "To Autumn" as there is in many earlier poems; the poem progresses in its focus while showing little change in the objects it is focusing on.
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A marble bust of Aristotle Aristotle (384–322 BC) was a student of Plato who famously set forth an extended treatise on rhetoric that still repays careful study today. In the first sentence of The Art of Rhetoric, Aristotle says that "rhetoric is the counterpart [literally, the antistrophe] of dialectic".Aristotle's Rhetoric Book I Chapter 1 [1354a] As the "antistrophe" of a Greek ode responds to and is patterned after the structure of the "strophe" (they form two sections of the whole and are sung by two parts of the chorus), so the art of rhetoric follows and is structurally patterned after the art of dialectic because both are arts of discourse production. Thus, while dialectical methods are necessary to find truth in theoretical matters, rhetorical methods are required in practical matters such as adjudicating somebody's guilt or innocence when charged in a court of law, or adjudicating a prudent course of action to be taken in a deliberative assembly.
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Officina de Antonio Rosse, 1732. Canto 6, strophe 7, lines 1-2, p. 6\. (Google Read . Retrieved 17 November 2018.)) Musicologist João d'Alvarenga saw the creation of the Patriarchate as "the first major achievement in a long- standing and complex political and diplomatic project designed to legitimize the Portuguese crown and the Bragança dynasty both internally and on the international stage",d'Alvarenga, p. 180. a statement which immediately focuses the king's motivation on the status of the monarchy as embodied in himself and on his ducal dynasty which had occupied the Portuguese throne after the 8th Duke in 1640 had grappled it from the hands of the Spanish to become João IV. A key motivating factor for João V was, according to d'Alvarenga, because "the church was a vital instrument of social control once its symbolic resources were placed in the service of an absolutist power", "gaining the endorsement of Rome" was seen by him as a way of ensuring that he could gain and maintain his political power.
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The classical conception of love's arrows were elaborated upon by the Provençal troubadour poets of southern France in the eleventh and twelfth centuries and became part of the European courtly love tradition. In particular, a glimpse of the woman's eyes was said to be the source of the love dart: In some medieval texts, the gaze of a beautiful woman is compared to the sight of a basilisk. Giovanni Boccaccio provides one of the most memorable examples in his Il Filostrato, where he mixes the tradition of love at first sight, the eye's darts, and the metaphor of Cupid's arrow:According to Nathaniel Edward Griffin: "In the description of the enamorment of Troilus is a singular blending of the Provençal conception of the eyes as the birthplace of love with the classical idea of the God of Love with his bows and quiver...," in "Nor did he (Troilus) who was so wise shortly before... perceive that Love with his darts dwelt within the rays of those lovely eyes... nor notice the arrow that sped to his heart."Boccaccio, Il Filostrato, Canto 1, strophe 29 (translation by Nathaniel Edward Griffin and Arthur Beckwith Myrick).
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Longinus de subl.13.3, cited by David Cambell, Loeb, pages 55 Modern scholars tend to accept the general thrust of the ancient comments – even the 'fault' noted by Quintillian gets endorsement: 'longwindedness', as one modern scholar calls it, citing, as proof of it, the interval of 400 lines separating Geryon's death from his eloquent anticipation of it.David A. Campbell, Greek Lyric III, Loeb Classical Library (1991), page 4 Similarly, "the repetitiveness and slackness of the style" of the recently discovered Lille papyrus has even been interpreted by one modern scholar as proof of Stesichorean authorshipCharles Segal, 'Archaic Choral Lyric' – P. Easterling and E. Kenney (eds), The Cambridge History of Classical Literature I: Greek Literature, Cambridge University Press (1985), page 186, note 2 – though others originally used it as an argument against. Possibly Stesichorus was even more Homeric than ancient commentators realized – they had assumed that he composed verses for performance by choirs (the triadic structure of the stanzas, comprising strophe, antistrophe and epode, is consistent with choreographed movement) but a poem such as the Geryoneis included some 1500 lines and it probably required about four hours to perform – longer than a chorus might reasonably be expected to dance.
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His political satires were mainly sonnets, such as Paracar che scappee de Lombardia ("Scarecrows [literally 'milestones', referred to Frenchmen] who are escaping from Lombardy", 1814), E daj con sto chez-nous, ma sanguanon ("And go on with this 'chez-nous', but bloody Heaven...", a satire about French, 1811), Marcanagg i politegh secca ball (1815, "Goddam ballbreaker politicians"), Quand vedessev on pubblegh funzionari ("When I'd see a public officer...", 1812). Porta satirized the upcoming new Milanese aristocracy, too, in La nomina del cappellan (1819, "The chaplain's appointment"), making a parody of the episode of the "vergine cuccia" ("virgin pet-pup") in Il Giorno (Il Mezzogiorno), by Giuseppe Parini (a satire itself). His best works are probably those portraying the Milanese popular life, with the collections Olter desgrazzi de Giovannin Bongee ("Other Troubles of Johnny Bolgeri", 1814), El lament del Marchionn di gamb avert ("The Lament of Melchior the Crippled", 1816) and what is generally considered his masterwork, La Ninetta del Verzee ("Little Nina, from Greens Market", 1815), a meaningful and heartbreaking monologue/confession of a prostitute. In 1816 Porta joined the Romantic literarian movement (Sonettin col covon, "Little sonnet, with a big tail"), obviously in his own way: in the very last strophe, he called himself a dumb, meaning instead the opposite.
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