Download Free Lyric Echoes Classic Reprint Book in PDF and EPUB Free Download. You can read online Lyric Echoes Classic Reprint and write the review.

Excerpt from Lyric Echoes This volume - "Lyric Echoes" - was written in odd moments snatched from a busy and strenuous life during the past two years. To me, the time spent in the composition of these Poems has been such a change from the arduous duties of business, with all its cares and burdens, that the mental diversion and consequent rest has been a blessing for which I am truly grateful. This book is hereby lovingly dedicated to my dear children, in the hope that it may sometime while away an idle moment and carry with it the blessing of a loving father. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Durling's edition of Petrarch's poems has become the standard. Readers have praised the translation of the authoritative text as graceful and accurate, conveying a real understanding of what this difficult poet is saying. The literalness of the prose translation makes this book especially useful to students who lack a full command of Italian.
The Greek lyric, elegiac and iambic poets of the two centuries from 650 to 450 BCE produced some of the finest poetry of antiquity. This new poetic translation captures the nuances of meaning and the whole spirit of this poetry.
A comprehensive anthology bringing together more than one thousand of the best American and English song lyrics of the twentieth century; an extraordinary celebration of a unique art form and an indispensable reference work and history that celebrates one of the twentieth century’s most enduring and cherished legacies. Reading Lyrics begins with the first masters of the colloquial phrase, including George M. Cohan (“Give My Regards to Broadway”), P. G. Wodehouse (“Till the Clouds Roll By”), and Irving Berlin, whose versatility and career span the period from “Alexander’s Ragtime Band” to “Annie Get Your Gun” and beyond. The Broadway musical emerges as a distinct dramatic form in the 1920s and 1930s, its evolution propelled by a trio of lyricists—Cole Porter, Ira Gershwin, and Lorenz Hart—whose explorations of the psychological and emotional nuances of falling in and out of love have lost none of their wit and sophistication. Their songs, including “Night and Day,” “The Man I Love,” and “Bewitched, Bothered and Bewildered,” have become standards performed and recorded by generation after generation of singers. The lure of Broadway and Hollywood and the performing genius of such artists as Al Jolson, Fred Astaire, Ethel Waters, Judy Garland, Frank Sinatra, and Ethel Merman inspired a remarkable array of talented writers, including Dorothy Fields (“A Fine Romance,” “I Can’t Give You Anything but Love”), Frank Loesser (“Guys and Dolls”), Oscar Hammerstein II (from the groundbreaking “Show Boat” of 1927 through his extraordinary collaboration with Richard Rodgers), Johnny Mercer, Yip Harburg, Andy Razaf, Noël Coward, and Stephen Sondheim. Reading Lyrics also celebrates the work of dozens of superb craftsmen whose songs remain known, but who today are themselves less known—writers like Haven Gillespie (whose “Santa Claus Is Coming to Town” may be the most widely recorded song of its era); Herman Hupfeld (not only the composer/lyricist of “As Time Goes By” but also of “Are You Makin’ Any Money?” and “When Yuba Plays the Rumba on the Tuba”); the great light versifier Ogden Nash (“Speak Low,” “I’m a Stranger Here Myself,” and, yes, “The Sea-Gull and the Ea-Gull”); Don Raye (“Boogie Woogie Bugle Boy,” “Mister Five by Five,” and, of course, “Milkman, Keep Those Bottles Quiet”); Bobby Troup (“Route 66”); Billy Strayhorn (not only for the omnipresent “Lush Life” but for “Something to Live For” and “A Lonely Coed”); Peggy Lee (not only a superb singer but also an original and appealing lyricist); and the unique Dave Frishberg (“I’m Hip,” “Peel Me a Grape,” “Van Lingo Mungo”). The lyricists are presented chronologically, each introduced by a succinct biography and the incisive commentary of Robert Gottlieb and Robert Kimball.
This book addresses the performance and dissemination of Greek poems of the seventh to the fifth centuries BC whose premieres were presented by a chorus singing in a ritual context or in secular celebrations of athletic victories. It explores how choruses presented themselves; individuals' and communities' roles in funding performances and securing the circulation of texts; how performances continued inside and outside family and city, whether chorally or in symposia, with the consequence that Athenian theatre audiences could be expected to appreciate allusion to or reworking of such poetic forms in tragedy and comedy; and how such performances contributed to transmission of the poems' texts until they were collected by Hellenistic scholars.
The second volume in this series presents the reader with an extensive study of some major genres of Persian poetry from the first centuries after the rise of Islam to the end of the Timurid era and the inauguration of Safavid rule in the beginning of the sixteenth century. The authors explore the development of poetic genres, from the panegyric (qaside), to short lyrical poems (ghazal), and the quatrains (roba'i), tracing the stylistic evolution of Persian poetry up to 1500 and examine the vital role of these poetic forms within the rich landscape of Persian literature.
In this volume, tragedy in antiquity is examined synoptically, from its misty origins in archaic Greece, through its central position in the civic life of ancient Athens and its performances across the Greek-speaking world, to its new and very different instantiations in Republican and Imperial Roman contexts. Lively, original essays by eminent scholars trace the shifting dramatic forms, performance environments, and social meanings of tragedy as it was repeatedly reinvented. Tragedy was consistently seen as the most serious of all dramatic genres; these essays trace a sequence of different visions of what the most serious kind of dramatic story might be, and the most appropriate ways of telling those stories on stage. Each chapter takes a different theme as its focus: forms and media; sites of performance and circulation; communities of production and consumption; philosophy and social theory; religion, ritual, and myth; politics of city and nation; society and family, and gender and sexuality.
Tony Harrison and the Classics comprises fifteen chapters examining the lasting importance of Tony Harrison's classical education, the extent of the influence of Greek and Roman texts on his subjects, themes, and styles, his contribution to knowledge and understanding of classical literature, his popularization of classical works, and his innovative treatment of classical drama in plays which have been performed globally. Harrison's work fosters debates about the role and perception of the classics and adaptations of classical literature in relation to education, 'high' and 'popular' culture, accessibility, and reception. A unifying theme of the collection is the way in which Harrison finds in classical literature fruitful matter for the articulation and dramatization of his longstanding preoccupations: language, class, access to art, and the causes and effects of war. Through his adaptations and translations, Harrison uses classical drama to stage interventions in modern politics, but neither idealizes nor romanticizes the ancient world, depicting inequality, bigotry, greed, and brutality.