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The story of Amintor and Celia provides the narrative core for a number of restoration poems and songs, though the outcome of the story varies. A shorter version of the poem first appeared in Thomas Duffet 's New Poems, Songs, Prologues and Epilogues, under the title Song to the Irish Tune. [ 2 ]
A rhyme scheme is the pattern of rhymes at the end of each line of a poem or song. It is usually referred to by using letters to indicate which lines rhyme; lines designated with the same letter all rhyme with each other.
In the 1730s, Handel wrote new musical scores for both "A Song for St. Cecilia's Day" and Dryden's second ode on the same theme, "Alexander's Feast" (1697). [6] In 1958, American composer Norman Dello Joio once again put the ode to music in his cantata for mixed voices and piano or brass instruments, and called it "To Saint Cecilia".
The song was performed by Sherwood in their album The Favourite Songs of Henry VIII. Laura Wright recorded a version, featured on her album The Last Rose (2011). George Eliot refers to this song in her novel The Mill on the Floss, Book 6, Chapter 13, as being sung by character Stephen Guest.
Florante at Laura is written as an awit, meaning "song", but it also refers to a standard poetic format with the following characteristics: [6] four lines per stanza; [7] quatrain [6] twelve syllables per line; [7] an assonantal rhyme scheme of AAAA (as described by José Rizal in Tagalische Verskunst); [8] a caesura or pause after the sixth ...
Hymn to St Cecilia, Op. 27 is a choral piece by Benjamin Britten (1913–1976), a setting of a poem by W. H. Auden written between 1940 and 1942. Auden's original title was "Three Songs for St. Cecilia's Day", and he later published the poem as "Anthem for St. Cecilia’s Day (for Benjamin Britten)".
An early poetic form that uses the simple 4-line rhyme scheme is the pantoum. [1] A pantoum constist of a series of 4 line stanzas, using the simple 4-line rhyme scheme, in which the second and fourth lines from one stanza act as the first and third lines of the following stanza. Pantoums evolved from short Malaysian folk poems in the fifteenth ...
This rhyme scheme was extremely popular in French poetry. It was used by Victor Hugo and Charles Leconte de Lisle. In English it is called the tail-rhyme stanza. [2] Bob Dylan uses it in several songs, including the A-strains of You're Gonna Make Me Lonesome When You Go and the B-strains of Key West (Philosopher Pirate).