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The swan is often referenced in literature as an example of a "graceful" animal. Like swans, ballerinas are often used as an examples of gracefulness. The "graceful" Japanese cherry tree. Gracefulness, or being graceful, is the physical characteristic of displaying "pretty agility", in the form of elegant movement, poise, or balance.
Note the alliterations in [s], expression of a sigh, in the line Je pense à mon grand cygne , avec ses gestes fous (I think of my great swan with its mad gestures), and in [i] in the lines Comme les exilés, ridicule et sublime / Et rongé d’un désir sans trêve ! (Like exiles , ridiculous and sublime / And gnawed by incessant desire). The ...
The Swan is a 1920 play by Ferenc Molnár, adapted from the Hungarian language A hattyú by Melville Baker. It is a three-act comedy with three settings and fifteen characters. It is a three-act comedy with three settings and fifteen characters.
The Trumpet of the Swan (1970) Letters of E. B. White (1976) Essays of E. B. White (1977) Poems and Sketches of E. B. White (1981) Writings from The New Yorker 1925-1976 (1990, HarperCollins, ed. Rebecca M. Dale) Farewell to Model T / From Sea to Shining Sea (2003, Little Bookroom) In the Words of E. B. White (2011) An E. B. White Reader ...
The book received a strong positive review by John Updike in The New York Times, in which he said, "While not quite so sprightly as Stuart Little, and less rich in personalities and incident than Charlotte's Web – that paean to barnyard life by a city humorist turned farmer – The Trumpet of the Swan has superior qualities of its own; it is the most spacious and serene of the three, the one ...
"The Crown Returns to the Queen of the Fishes". Illustration by H. J. Ford for Andrew Lang's The Orange Fairy Book Folio Society editions of the Coloured Fairy Books. The best-known volumes of the series are the 12 Fairy Books, each of which is distinguished by its own color.
The Three Graces: embodiment of the Romantic ballet, ca. 1840.This lithograph by A. E. Chalon depicts three of the greatest ballerinas in three of the era's defining roles: (left to right) Marie Taglioni as the Sylph in Filippo Taglioni's 1832 ballet La Sylphide; Fanny Elssler as Florinda in the dance La Cachucha from Jean Coralli's 1836 ballet Le Diable boiteux; and Carlotta Grisi as Béatrix ...
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]