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"Xanadu" is a song by the Canadian progressive rock band Rush from their 1977 album A Farewell to Kings. [1] It is approximately eleven minutes long, beginning with a five-minute-long instrumental section before transitioning to a narrative written by Neil Peart, which in turn was inspired by the Samuel Taylor Coleridge poem Kubla Khan.
"Kubla Khan: or A Vision in a Dream" (/ ˈ k uː b l ə ˈ k ɑː n / [1]) is a poem written by Samuel Taylor Coleridge, completed in 1797 and published in 1816. It is sometimes given the subtitles "A Vision in a Dream" and "A Fragment."
"Welcome to the Pleasuredome" is the title track to the 1984 debut album by English pop band Frankie Goes to Hollywood. The lyrics of the song were inspired by the poem Kubla Khan by Samuel Taylor Coleridge. In March 1985, the album track was abridged and remixed for release as the group's fourth UK single.
"In Xanadu did Kubla Khan" 1798 1816 Recantation: Illustrated in the Story of the Mad Ox "An Ox, long fed with musty hay," 1798 1798, July 30 Hexameters. ('William my teacher,' &c.) "William, my teacher, my friend! dear William and dear Dorothea!" 1799 1851 Translation of a Passage in Ottfried's Metrical Paraphrase of the Gospel
The song is intended to sound to its Italian audience as if it is sung in English spoken with an American accent; however, the lyrics are deliberately unintelligible gibberish. [ 9 ] [ 10 ] Andrew Khan, writing in The Guardian , later described the sound as reminiscent of Bob Dylan 's output from the 1980s.
Concert music. Symphony No. 1 (1945-7, rev. 1951) Panorama for orchestra (1949) String Quartet (1950) Elegy for Flute, Harp and Strings (1951) Clarinet Concerto (1953) The Metropolis, concert overture (1954) Kubla Khan, for chorus, baritone and orchestra (1956) Symphony No. 2 (1964) The Song of Radha for soprano and orchestra (1966, rev. 1980)
Thematically the poem is one of Coleridge's most cohesive constructs, with the narrative plot more explicit than previous works such as the fragmented Kubla Khan which tend to transcend traditional composure. Indeed, in many respects the consistency of the poem – most apparent from the structural formality and rhythmic rigidity (four ...
The book is framed as a conversation between the Mongol emperor Kublai Khan, and Marco Polo.The majority of the book consists of brief prose poems describing 55 fictitious cities that are narrated by Polo, many of which can be read as commentary on culture, language, time, memory, death, or human experience generally.