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Gibbons's "The Silver Swan" is a swan song: an artistic trope which depicts the legend of the swan which, supposably silent throughout its life, performs a despairful song before its death. [30] According to Helen Sword , "the swan song, of course, has long served as a favorite metaphor for both the proximity of art to death and for the triumph ...
Hughes explaining Flint's form is best understood 'by comparing his poem ' A Swan Song'(Published in 1909 and later by Pound in 1914 in 'Des Imagistes') and, his later 'cadenced ' version thereof, ' The Swan', a poem so devoid of superfluities and cliches, to achieve that perfect chiseled beauty which is the essence of classical art' [5]
Her brow is like the snaw-drift, Her neck is like the swan, Her face it is the fairest, That e'er the sun shone on. That e'er the sun shone on - And dark blue is her e'e, And for bonnie Annie Laurie I'd lay me down and dee. Like dew on gowans lying, Is the fa' o' her fairy feet, And like winds, in simmer sighing, Her voice is low and sweet.
It is the fourth poem of the section "Tableaux Parisiens", and the first in a series of three poems dedicated to Victor Hugo. It is the second poem of the section named after one of its characters. The Swan is also the only poem of this section to feature a titular non-human protagonist. [1]
The Swan of Tuonela is the most popular of the four tone poems and often is featured alone from the suite in orchestral programs. It has a prominent cor anglais solo. The music paints a gossamer, transcendental image of a mystical swan swimming around Tuonela, the island of the dead.
The whooper swan's nearest relatives, the trumpeter and tundra swans, share its musical tracheal loop. Zoologist D.G. Elliot reported in 1898 that a tundra swan he had shot and wounded in flight began a long glide down whilst issuing a series of "plaintive and musical" notes that "sounded at times like the soft running of the notes of an octave ...
The poem opens by describing the flight of three swan-maidens identified in stanza 1 as meyjar, drósir, alvitr and suðrœnar ('young women, stately women, foreign beings, southerners') to a 'sævar strǫnd' ('lake/sea-shore') where they meet the three brothers Egill, Slagfiðr and Vǫlundr. Each maid takes one of the brothers as her own.
Lemminkäinen Suite (also known as Four Legends from the Kalevala), Op. 22 * [a cycle of four tone poems] Lemminkäinen and the Maidens of the Island (1895, revised 1897 and 1939) * The Swan of Tuonela (1893-1895, revised 1897 and 1900) * Lemminkäinen in Tuonela (1895, revised 1897 and 1939) * Lemminkäinen's Return (1895, revised 1897 and 1900) *