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Echo and Narcissus is a myth from Ovid's Metamorphoses, a Roman mythological epic from the Augustan Age. The introduction of the mountain nymph , Echo , into the story of Narcissus , the beautiful youth who rejected Echo and fell in love with his own reflection, appears to have been Ovid's invention.
Canticle V: The Death of Saint Narcissus, Op. 89, is a 1974 composition for tenor and harp by Benjamin Britten, the last part of his series of five Canticles. Britten set a poem by T. S. Eliot, beginning "Come under the shadow of this gray rock", published in Early Youth. He wrote it in memory of his friend William Plomer.
This story is told from the perspective of the reflection pool in which Narcissus gazed at himself. Beginning immediately after Narcissus' death, the prose poem captures the Oreads and the pool grieving for the loss of Narcissus. Seeing that the pool has become a "cup of salt tears", the Oreads try to console the pool, saying that it must be ...
Thomas Edwards (fl. 1587–1595) was an English poet who published two Ovidian epic poems Cephalus and Procris and Narcissus. [1] Beyond his name, nothing is known with certainty of Edwards. He has been provisionally identified with a Shropshire law student of that name who transferred from Furnival's Inn to Lincoln's Inn in June 1587, where he ...
In the satirical Apocolocyntosis of Seneca the Younger, written soon after Narcissus' death, the servant greets his old master Claudius in Hades and runs ahead of him through the gates of the underworld. He is scared by Cerberus, a dog-beast so unlike the little white dog Narcissus is mentioned as owning in life. Robert Graves' novel I, Claudius.
This index is based on Macaulay’s marginal notations, which are a running analysis of the contents of the Confessio Amantis, a 33,000-line Middle English poem by John Gower. These have been used for subdivisions of the work in order to break it into smaller, more usable units and to serve as a very rough index of contents.
The harpies in Dante's version feed from the leaves of oak trees, which entomb suicides.At the time Canto XIII (or The Wood of Suicides) was written, suicide was considered by the Catholic Church as at least equivalent to murder and a contravention of the Commandment "Thou shalt not kill", and many theologians believed it to be an even deeper sin than murder, as it constituted a rejection of ...
Among the mountains in the background rests a third Narcissus figure. Metamorphosis of Narcissus differs from Dalí's other double-image paintings, in which there are multiple images hidden in one because Narcissus's figure is doubled in the stone hand. [1] Dalí composed a poem that he exhibited alongside his painting in 1937. The poem ends: