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Geoffrey Chaucer (/ ˈ tʃ ɔː s ər / CHAW-sər; c. 1343 – 25 October 1400) was an English poet, author, and civil servant best known for The Canterbury Tales. [1] He has been called the "father of English literature", or, alternatively, the "father of English poetry". [2]
Canterbury Tales is a musical conceived by Martin Starkie and written by Nevill Coghill and Martin Starkie with music by John Hawkins and Richard Hill.Originally presented at the Oxford Playhouse in 1964, it was expanded into a full-length musical and presented at the Phoenix Theatre, London on 21 March 1968.
Chaucer climbs the hill and sees the House of Fame and thousands of mythological musicians still performing their music. He enters the palace itself and sees Fame. He describes her as having countless tongues, eyes, and ears, to represent the spoken, seen, and heard aspects of fame.
Chaucer may have read the Decameron during his first diplomatic mission to Italy in 1372. [citation needed] Chaucer used a wide variety of sources, but some, in particular, were used frequently over several tales, among them the Bible, Classical poetry by Ovid, and the works of contemporary Italian writers Petrarch and Dante. Chaucer was the ...
Geoffrey Chaucer retells the story of Cecilia and Valerian and his brother in "The Second Nun's Tale" in The Canterbury Tales. Cecilia is a symbol for the divine power of music in Heinrich von Kleist's extended anecdote "St. Cecilia, or the Power of Music".
Medieval music encompasses the sacred and secular music of Western Europe during the Middle Ages, [1] from approximately the 6th to 15th centuries. It is the first and longest major era of Western classical music and is followed by the Renaissance music; the two eras comprise what musicologists generally term as early music, preceding the common practice period.
Dolores Huerta, one of the most influential labor activists in the 20th century, attests that music was a crucial spark in America's largest farmworker movement. “So much of the music from that ...
Chaucer attributes the story to a "Lollius" (whom he also mentions in The House of Fame), although no writer with this name is known. [1] Chaucer's version can be said to reflect a less cynical and less misogynistic world-view than Boccaccio's, casting Criseyde as fearful and sincere rather than simply fickle and having been led astray by the ...