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Indian dance (nritta, नृत्त) traditions, states Daniel Meyer-Dinkgräfe, have roots in the aesthetics of Natyashastra. [1] [84] The text defines the basic dance unit to be a karana, which is a specific combination of the hands and feet integrated with specific body posture and gait (sthana and chari respectively).
Krishna and Radha dancing the rasalila, a 19th-century painting, Rajasthan. The Raslila (Sanskrit: रासलीला, romanized: Rāsalīlā), [1] [2] also rendered the Rasalila or the Ras dance, is part of a traditional story described in Hindu texts such as the Bhagavata Purana and Gita Govinda, where Krishna dances with Radha and the gopis of Braj.
It is the first book of the Hill's late writing period (post-epic). The first book of collected poems after Hill's spiritual epic, consisting of "Triumph of Love", "Speech, Speech!", and "The Orchards of Syon" - a tragedic triad which may include "Scenes from Comus" as either a comic or at least distanced work in a four-part movement - Hill ...
The name of the poet is unknown, [12] but the poem dates from the early 14th century. [7] Opinions differ as to the dialect of the poem, and hence the place where it might be presumed to have been written. It has been identified as an Irish English poem, [2] [13] or again as the work of a poet in England writing in southern English dialect. [14 ...
Odissi is traditionally a dance-drama genre of performance art, where the artist(s) and musicians play out a story, a spiritual message or devotional poem from the Hindu texts, using symbolic costumes, [12] body movement, abhinaya (expressions) and mudras (gestures and sign language) set out in ancient Sanskrit literature. [13]
On the relationship between form and content, Anne Ridler notes in an introduction to her own poem "Villanelle for the Middle of the Way" a point made by T. S. Eliot, that "to use very strict form is a help, because you concentrate on the technical difficulties of mastering the form, and allow the content of the poem a more unconscious and ...
The ideas of both the German Reformation and Counter-Reformation stimulated hymn and religious poetry writing among both Catholics and Protestants, e.g. the Lutheran hymns of Martin Luther, Catharina Regina von Greiffenberg, and Paul Gerhardt (oft used in the chorales of Johann Sebastian Bach), the Calvinist hymns of Gerhard Tersteegen, and the ...
The poem was created as part of a friendly competition in which Shelley and fellow poet Horace Smith each created a poem on the subject of Egyptian pharaoh Ramesses II under the title of Ozymandias, the Greek name for the pharaoh. Shelley's poem explores the ravages of time and the oblivion to which the legacies of even the greatest are subject.