DOCSLIB.ORG

Castelnuovo- Tedesco

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Castelnuovo- Tedesco 95548 CASTELNUOVO- SHAKESPEARE SONNETS OP.125 AND DUETS OP.97 TEDESCO Valentina Coladonato soprano · Mirko Guadagnini tenor · Filippo Bettoschi baritone Genova Vocal Ensemble & Sibi Consoni Accademia Vocale di Genova Roberta Paraninfo conductor Claudio Proietti piano Mario Castelnuovo-Tedesco 1895-1968 6. CXXIX. Th’expense of spirit in a waste of shame 2’47 Shakespeare Sonnets Op.125 (first complete recording) 7. CXLVI. Poor soul, the centre of my sinful earth 3’35 8. CLIV. The little Love-God, lying once asleep 2’21 CD1 50’08 9. XXVII. Weary with toil, I haste me to my bed 2’48 1. VIII. Music to hear, why hearst thou music sadly? 2’24 10. XXXV. No more be grieved at that which thou hast done 2’45 2. XVIII. Shall I compare thee to a summer's day? 2’34 11. XL. Take all my loves, my love, yea take them all 3’11 3. XXIX. When in disgrace with Fortune and men’s eyes 2’26 12. LXXI. No longer mourn for me when I am dead 3’26 4. XXX. When to the sessions of sweet silent thought 2’19 13. XLVII. Betwixt mine eye and heart a league is took 2’43 5. XXXI. Thy bosom is endeared with all hearts 2’20 6. XXXII. If thou survive my well-contented day 3’00 3 Shakespeare Duets Op.97 (premiere recording) 7. LIII. What is your substance whereof are you made 3’10 14. I. Romeo and Juliet (Pavane) 3’23 8. LVII. Being your slave, what should I do but tend 2’58 15. II. Lorenzo and Jessica (Nocturne) 4’08 9. LX. Like as the waves make towards the pebbled shore 1’48 16. III. Katherine and Petruchio (Burlesque) 3’54 10. LXIV. When I have seen by Time’s fell hand defaced 3’16 11. LXV. Since brass, nor stone, nor earth, nor boundless sea 2’45 Valentina Coladonato soprano* * Sonnets 29, 31, 57, 73, 90, 98, 12. LXXIII. That time of year thou mayst in me behold 2’11 Mirko Guadagnini tenor ** 104, 116, 35, 40, 71, 47; Duets 1, 13. LXXXVII. Farewell! thou art too dear for my possessing 3’10 Filippo Bettoschi baritone *** 2, 3 14. XC. Then hate me when thou wilt; if ever, now 1’57 ** Sonnets 53, 87, 97, 102, 105, 106, Genova Vocal Ensemble & Sibi Consoni 15. XCIV. They that have power to hurt, and will do none 2’43 109, 128; Duets 1, 2, 3 Accademia Vocale di Genova 16. XCVII. How like a winter hath my absence been 3’03 *** Sonnets 8, 18, 30, 32, 60, 64, 65, conducted by Roberta Paraninfo **** 17. XCVIII. From you have I been absent in the spring 1’56 146, 27 18. CII. My love is strengthen’d, though more weak in seeming 2’49 Claudio Proietti piano **** Sonnets 94, 129, 154 19. CIV. To me, fair friend, you never can be old 2’33 CD2 50’35 Genova Vocal Ensemble & Sibi Consoni Accademia Vocale di Genova 1. CV. Let not my love be called idolatry 2’57 Manuela Allemano, Luca Arrigo, Chiara Ciurlo, Lucrezia Crovo, Davide D’Ali’, 2. CVI. When in the chronicle of wasted time 2’47 Alessandra D’Ancona, Giulia Filippi, Giulia Ghiorzi, Chris Iuliano, Andrea 3. CIX. O never say that I was false of heart 3’01 Lagomarsino, Arianna Lazzari, Anna de Luca di Pietralata, Barbara Maiulli, 4. CXVI. Let me not to the marriage of true minds 3’07 Lysia Malarby, Marco Mensi, Giorgia de Palma, Alessandro Papini, Elena Papini, 5. CXXVIII. How oft, when thou, my music, music play’st 3’02 Marta Pesci, Jarianni Reinoso, Alice Quario Rondo, Simone Perotto, Emanuele Rapisarda, Anna Rocca, Greta Rossi, Laura Schintu, Gloria Sgrò, Andrea di 2 Spigno, Elena Torrini, Tomaso Valseri 3 Shakespeare Sonnets Op.125 & 3 Shakespeare compositions. Yet Castelnuovo-Tedesco also wrote for other eminent instrumentalists, Duets Op.97 including Gieseking, Heifetz, Piatigorsky and Toscanini. by Mario Castelnuovo-Tedesco (1895-1968) Given his family background and the circles among which he grew up in Florence in the early years of the 20th century, Castelnuovo-Tedesco was naturally inclined In 1938 Italy’s Fascist government passed to be open-minded, polyglot and cosmopolitan. From the outset, he was particularly anti-Semitic racial laws, and the following year drawn by vocal music, furthering this interest during the years he studied with Jewish-born Mario Castelnuovo-Tedesco, along Pizzetti and later devoting considerable creative energy to the composition of songs with his wife Clara and their sons Pietro and based on verses by poets such as Horace, Dante, Petrarch, Cervantes, Lorca, Heine, Lorenzo, opted to emigrate to the United States. Byron, Wordsworth and Whitman. It was for Shakespeare, however, that he nurtured On this imperative journey the composer also his foremost passion, writing music for all the Songs in his plays. Published in 12 took with him a few close friends with whom volumes, these works are models of purity and elegance: totally in keeping with the he had long been in earnest conversation, poetic subtlety and linguistic versatility of the texts, they perfectly mirror the rhythms including, first and foremost, William and accents of the English language. Shakespeare. Castelnuovo-Tedesco had already Over twenty years later, “isolated and proud” in the bitter-sweet exile of Beverly written The Passionate Pilgrim. 33 Shakespeare Hills, Castelnuovo-Tedesco wrote the cycle of the Shakespeare Sonnets, the first Songs (1921-1925), the orchestral overtures La four of which were quietly presented in July 1944. These were Sonnets XXX (a bisbetica domata (The Taming of the Shrew), La dodicesima notte (Twelfth Night), birthday gift for his friend Aldo Bruzzichelli), CIV, VIII and XVIII. Sonnet XXI was Il mercante di Venezia (The Merchant of Venice), Giulio Cesare (Julius Caesar), Il set to music in January 1945, to be followed between 17 August and 13 October racconto d’inverno (A Winter’s Tale) composed between 1930 and 1934, and the by an astounding succession of 21 Sonnets, by which time, as the composer himself 3 Shakespeare Duets of 1937. It was thus only natural that Shakespeare should declared, “the form came easily to me and the ‘problem’ seemed to be resolved”. It continue to be his faithful companion during his American exile. was indeed a remarkable creative achievement, even for a musician of his calibre, who Castelnuovo-Tedesco was an extremely prolific composer. His oeuvre comprises seemed to compose effortlessly. By 17 April 1947, Sonnet XXVII was also ready. 210 opus numbers, including oratorios, concertos, symphonic and choral works, At this point the composer copied the entire collection out by hand in what was operas, chamber and vocal music, plus pieces for the piano and the organ. To add to become their definitive order. Then 16 years later (between 13 and 19 October to which there are a further 60 uncatalogued compositions, as well as various 1963), he added a further batch of four sonnets (XXXV, XL, LXXI, XLVII) at the transcriptions and over 200 film scores. It is thus strange that today, half a century end of the manuscript score; songs that were more intensely expressive and dramatic. since his death, he should largely be remembered for his works for the guitar. Thus the total of sonnets he set to music was ultimately 32, out of the 154 written by Granted, the repertoire for the instrument is closely connected with the name Shakespeare, and of these three were for vocal ensembles. and fame of Andrés Segovia, who commissioned and performed many of these The Shakespeare Sonnets spent most of the next fifty years slumbering in the 4 5 Library of Congress in Washington, occasionally awakened for the odd performance, in Castelnuovo-Tedesco’s handling of the Sonnets. Rather than an established formal cited from time to time in learned publications, including catalogues, and described as solution, he opts for a variety of highly-charged forms that leave no space for repetition a very special unicum in the composer’s autobiography Una vita in musica (Cadmo, of motifs or words. Each sonnet is unique because the form and figures are shaped by Fiesole, 2005). These songs, which have engaged the musicians involved in the present the underlying verse, in its turn made up of words that are also sounds, meanings and recording since 2008, are totally unknown to audiences at large. inner vibrations. The only recurring element is a coda in the piano that seems to act In 2016 Edizioni Curci printed the entire collection as part of a commendable like the unconditional resolutions that conclude each poem. Musical convention is rare, project involving all Castelnuovo-Tedesco’s unpublished works. Nevertheless, various and when it does surface is handled with irony, such that what prevails is a sense of inaccuracies in the edition suggested that we should stick to the original manuscript freedom and audacity that remains within the sphere of the Italian vocal tradition, yet version for our performance, because it promised greater verisimilitude as regards is not afraid to absorb elements from European music of the early 1900s or echoes of both the musical and the literary texts, and the order in which the individual songs the lighter, popular music that was evolving in those years in America. Castelnuovo- should be presented. Tedesco was able to assimilate these influences so that they became ingredients of his What exactly underlay Castelnuovo-Tedesco’s great love of Shakespeare? own creativity. Quite remarkable and somewhat mysterious are the 3 Sonnets he wrote Apart from the poet’s absolute greatness, he believed that the Shakespearean texts for chorus (XCIV, CXXVIII and CLIV, the last two for an ‘a cappella’ vocal ensemble) “asked for musical collaboration as a necessary element for completing the poetic in which the voice of the poet is multiplied and expanded so that it becomes choral, expression”, noting how Shakespeare’s English “is a perfectly musical language: I harmonic, on occasions contradictory, and unfailingly direct and disquieting.
Load more

Recommended publications
  • Anatomy of Criticism, Four Essays
    ANATOMY OF CRITICISM Four Essays Anatomy or Criticism FOUR ESSAYS ty NORTHROP FRYE PRINCETON, NEW JERSEY PRINCETON UNIVERSITY PRESS Copyright 1957, by Princeton University Press All Rights Reserved L.C. Card No. 56-8380 ISBN 0-691-01298-9 (paperback edn.) ISBN 0-691-06004-5 (hardcover edn.) Publication of this book has been aided by a grant from the Council of the Humanities, Princeton University, and the Class of 1932 Lectureship. First PRINCETON PAPERBACK Edition, 1971 Third printing, 1973 Tli is book is sold subject to the condition that it shall not, by way of trade, be lent, resold, hired out, or otherwise disposed of without the pub lisher's consent, in any form of binding or cover other than that in which it is published. Printed in the United States of America by Princeton University Press, Princeton, New Jersey HELENAE UXORI PREFATORY STATEMENTS AND ACKNOWLEDGMENTS THIS book forced itself on me while I was trying to write some thing else, and it probably still bears the marks of the reluctance with which a great part of it was composed. After completing a of William Blake study (Fearful Symmetry, 1947), I determined to the of apply principles literary symbolism and Biblical typology which I had learned from Blake to another poet, preferably one who had taken these principles from the critical theories of his own day, instead of working them out by himself as Blake did. I therefore a began study of Spenser's Faerie Queene, only to dis cover that in my beginning was my end. The introduction to an Spenser became introduction to the theory of allegory, and that theory obstinately adhered to a much larger theoretical structure.
    [Show full text]
  • The Company of Strangers: a Natural History of Economic Life
    The Company of Strangers: A Natural History of Economic Life Paul Seabright Contents Page Preface: 2 Part I: Tunnel Vision Chapter 1: Who’s in Charge? 9 Prologue to Part II: 20 Part II: How is Human Cooperation Possible? Chapter 2: Man and the Risks of Nature 22 Chapter 3: Murder, Reciprocity and Trust 34 Chapter 4: Money and human relationships 48 Chapter 5: Honour among Thieves – hoarding and stealing 56 Chapter 6: Professionalism and Fulfilment in Work and War 62 Epilogue to Parts I and II: 71 Prologue to Part III: 74 Part III: Unintended Consequences Chapter 7: The City from Ancient Athens to Modern Manhattan 77 Chapter 8: Water – commodity or social institution? 88 Chapter 9: Prices for Everything? 98 Chapter 10: Families and Firms 110 Chapter 11: Knowledge and Symbolism 126 Chapter 12: Depression and Exclusion 139 Epilogue to Part III: 154 Prologue to Part IV: 155 Part IV: Collective Action Chapter 13: States and Empires 158 Chapter 14: Globalization and Political Action 169 Conclusion: How Fragile is the Great Experiment? 179 The Company of Strangers: A Natural History of Economic Life Preface The Great Experiment Our everyday life is much stranger than we imagine, and rests on fragile foundations. This is the startling message of the evolutionary history of humankind. Our teeming, industrialised, networked existence is not some gradual and inevitable outcome of human development over millions of years. Instead we owe it to an extraordinary experiment launched a mere ten thousand years ago*. No-one could have predicted this experiment from observing the course of our previous evolution, but it would forever change the character of life on our planet.
    [Show full text]
  • Renaissance Texts, Medieval Subjectivities: Vernacular Genealogies of English Petrarchism from Wyatt to Wroth
    Renaissance Texts, Medieval Subjectivities: Vernacular Genealogies of English Petrarchism from Wyatt to Wroth by Danila A. Sokolov A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada 2012 © Danila A. Sokolov 2012 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This dissertation investigates the symbolic presence of medieval forms of textual selfhood in early modern English Petrarchan poetry. Seeking to problematize the notion of Petrarchism as a Ren- aissance discourse par excellence, as a radical departure from the medieval past marking the birth of the modern poetic voice, the thesis undertakes a systematic re-reading of a significant body of early modern English Petrarchan texts through the prism of late medieval English poetry. I argue that me- dieval poetic texts inscribe in the vernacular literary imaginary (i.e. a repository of discursive forms and identities available to early modern writers through antecedent and contemporaneous literary ut- terances) a network of recognizable and iterable discursive structures and associated subject posi- tions; and that various linguistic and ideological traces of these medieval discourses and selves can be discovered in early modern English Petrarchism. Methodologically, the dissertation’s engagement with poetic texts across the lines of periodization is at once genealogical and hermeneutic. The prin- cipal objective of the dissertation is to uncover a vernacular history behind the subjects of early mod- ern English Petrarchan poems and sonnet sequences.
    [Show full text]
  • The Oxfordian Volume 21 October 2019 ISSN 1521-3641 the OXFORDIAN Volume 21 2019
    The Oxfordian Volume 21 October 2019 ISSN 1521-3641 The OXFORDIAN Volume 21 2019 The Oxfordian is the peer-reviewed journal of the Shakespeare Oxford Fellowship, a non-profit educational organization that conducts research and publication on the Early Modern period, William Shakespeare and the authorship of Shakespeare’s works. Founded in 1998, the journal offers research articles, essays and book reviews by academicians and independent scholars, and is published annually during the autumn. Writers interested in being published in The Oxfordian should review our publication guidelines at the Shakespeare Oxford Fellowship website: https://shakespeareoxfordfellowship.org/the-oxfordian/ Our postal mailing address is: The Shakespeare Oxford Fellowship PO Box 66083 Auburndale, MA 02466 USA Queries may be directed to the editor, Gary Goldstein, at [email protected] Back issues of The Oxfordian may be obtained by writing to: [email protected] 2 The OXFORDIAN Volume 21 2019 The OXFORDIAN Volume 21 2019 Acknowledgements Editorial Board Justin Borrow Ramon Jiménez Don Rubin James Boyd Vanessa Lops Richard Waugaman Charles Boynton Robert Meyers Bryan Wildenthal Lucinda S. Foulke Christopher Pannell Wally Hurst Tom Regnier Editor: Gary Goldstein Proofreading: James Boyd, Charles Boynton, Vanessa Lops, Alex McNeil and Tom Regnier. Graphics Design & Image Production: Lucinda S. Foulke Permission Acknowledgements Illustrations used in this issue are in the public domain, unless otherwise noted. The article by Gary Goldstein was first published by the online journal Critical Stages (critical-stages.org) as part of a special issue on the Shakespeare authorship question in Winter 2018 (CS 18), edited by Don Rubin. It is reprinted in The Oxfordian with the permission of Critical Stages Journal.
    [Show full text]
  • Time, Death, and Mutability : a Study of Themes in Some Poetry of The
    TIME, DEATH, and MUTABILITY: A Study of Themes in Some Poetry of the Renaissance - Spenser, Shakespeare, and Donne Jean Miriam Gerber B.A., Pennsylvania State University, 1961 A THESIS SUBMITTED IN PARTIAL FULFUHE3T OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English Jean Miriam Gerber, 1968 Simon Fraser University J~Y,1968 EXA XINIMG COK4ITTEX APPROVAL (name) Senior Supervisor \ ( name) Examining Cormittoe " - ( name ) Examining Conunittee PARTTAL COPYRIGIIT LICENSE I hereby grant to Simon Fraser University the right to lend my thesis or dissertation (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this thesis for scholarly purposes may be granted by me or the Dean of Graduate Sttldies. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Title of Thesis/~issertation: Author: (signature ) (name ) (date) ACKNOWLEDGMENTS The author wishes to thank Mr. Clark Cook for his many suggestions and close attention. Special thanks are also due to Mr. James Sandison who read this study in manuscript. Above all I wish to thank Dr. F. B. Candelaria, who supervised the thesis. ABSTRACT This study was undertaken in order to exanine some examples of Renaissance poe+zy in the light of the themes of love, death, time, and mutability.
    [Show full text]
  • Anatomy of Criticism with a New Foreword by Harold Bloom ANATOMY of CRITICISM
    Anatomy of Criticism With a new foreword by Harold Bloom ANATOMY OF CRITICISM Four Essays Anatomy of Criticism FOUR ESSAYS With a Foreword by Harold Bloom NORTHROP FRYE PRINCETON UNIVERSITY PRESS PRINCETON AND OXFORD Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, 3 Market Place, Woodstock, Oxfordshire OX20 1SY Copyright © 1957, by Princeton University Press All Rights Reserved L.C. Card No. 56-8380 ISBN 0-691-06999-9 (paperback edn.) ISBN 0-691-06004-5 (hardcover edn.) Fifteenth printing, with a new Foreword, 2000 Publication of this book has been aided by a grant from the Council of the Humanities, Princeton University, and the Class of 1932 Lectureship. FIRST PRINCETON PAPERBACK Edition, 1971 Third printing, 1973 Tenth printing, 1990 The paper used in this publication meets the minimum requirements of ANSI/NISO Z39.48-1992 (R1997) {Permanence of Paper) www.pup.princeton.edu 25 24 23 22 21 20 19 18 17 16 15 Printed in the United States of America HELENAE UXORI Foreword NORTHROP FRYE IN RETROSPECT The publication of Northrop Frye's Notebooks troubled some of his old admirers, myself included. One unfortunate passage gave us Frye's affirmation that he alone, of all modern critics, possessed genius. I think of Kenneth Burke and of William Empson; were they less gifted than Frye? Or were George Wilson Knight or Ernst Robert Curtius less original and creative than the Canadian master? And yet I share Frye's sympathy for what our current "cultural" polemicists dismiss as the "romantic ideology of genius." In that supposed ideology, there is a transcendental realm, but we are alienated from it.
    [Show full text]
  • Tom Hiddleston
    www.hamiltonhodell.co.uk Tom Hiddleston Talent Representation Telephone Christian Hodell +44 (0) 20 7636 1221 [email protected], Address [email protected], Hamilton Hodell, [email protected] 20 Golden Square London, W1F 9JL, United Kingdom Film Title Role Director Production Company AVENGERS: ENDGAME Loki Anthony Russo/Joe Russo Marvel/Disney AVENGERS: INFINITY WAR Loki Anthony Russo/Joe Russo Marvel/Disney EARLY MAN Lord Nooth (Voice) Nick Park Aardman Animations THOR: RAGNAROK Loki Taika Waititi Marvel/Disney KONG: SKULL ISLAND Captain James Conrad Jordan Vogt-Roberts Legendary Pictures/Warner Bros. I SAW THE LIGHT Hank Williams Marc Abraham Bron Studios/Sony Pictures HIGH-RISE Recorded Picture Dr. Robert Laing Ben Wheatley Nominated for the Best Actor Award, British Independent Film Awards, 2015 Company/Embargo Films/Film4 Legendary Pictures/Universal CRIMSON PEAK Sir Thomas Sharpe Guillermo del Toro Pictures MUPPETS: MOST WANTED Great Escapo James Bobbin Disney TINKERBELL AND THE PIRATE FAIRY Captain Hook (Voice) Peggy Holmes Disney EXHIBITION Jamie Macmillan Joanna Hogg Wild Horses Films ONLY LOVERS LEFT ALIVE Adam Jim Jarmusch Bad Blood Films THOR: THE DARK WORLD Loki Alan Taylor Marvel/Disney Nominated for the Best Supporting Actor Award, Empire Awards, 2014 THE AVENGERS Winner of the Best Villain Award, MTV Movie Awards, 2013 Winner of the Best Fight Award (Robert Downey Jr., Chris Evans, Mark Ruffalo, Loki Joss Whedon Marvel/Disney Chris Hemsworth, Scarlett Johansson and Jeremy Renner vs. Tom Hiddleston), MTV Movie Awards, 2013 THE DEEP BLUE SEA Freddie Page Terence Davies Deep Blue Sea Productions WAR HORSE Nominated for Best Picture, 84th Academy Awards, 2012 Captain Nicholls Steven Spielberg Dreamworks Nominated for Best Motion Picture - Drama, Golden Globe Awards, 2012 MIDNIGHT IN PARIS Nominated for Best Picture, 84th Academy Awards, 2012 Nominated for Best Motion Picture - Comedy of Musical, Golden Globe Awards, 2012 F.
    [Show full text]
  • Issue Three July 2016 Angel City Review
    Issue Three July 2016 Angel City Review Janus by Matt Kivel now available on the iTunes store. Foreword So much of the creative writing world is paradoxical – the notion that you can’t get published without being published; the dream of making a living doing what you love while possibly be- traying the idea that art exists beyond consumption; the dance we all do, putting on brave faces at parties and in query letters while relying on our insecurities and vulnerabilities to render im- possibly vivid worlds. But I think these are all manifestations of what writing truly is. When you write or read, you are traversing a precipice of perspective. You are venturing out toward the horizon of what it is you think you know and witnessing where that line intersects with, contra- dicts, and challenges others of its kind. Some of us, I am sorry to say, cannot appreciate those other horizons or their effects on us. But you are here, reading this journal, and because of that I dare to believe that you can see the vistas before you. Those vistas are the point of this journal. The Angel City Review exists because we want to see seemingly impossible ideas that threaten our overly comfortable worldviews, because we want to move beyond conceptual points of no return, and because we want to share these moments with you. The work that our team has put in, spending many late nights debating the strengths of amazing poetry and prose, is not for profit; this is, after all, a free journal.
    [Show full text]
  • Shakespeare in Anthologies
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ ‘Cut out “into little stars”’ Shakespeare in Anthologies Isherwood, Anne Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 07. Oct. 2021 This electronic theses or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Title: ‘Cut out “into little stars”’ Shakespeare in Anthologies Author: Anne Isherwood The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement.
    [Show full text]
  • William Shakespeare
    Classic Poetry Series William Shakespeare - poems - Publication Date: 2012 Publisher: PoemHunter.Com - The World's Poetry Archive William Shakespeare (26 April 1564 - 23 April 1616) an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His surviving works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613 at age 49, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physical appearance, sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1589 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the 16th century. He then wrote mainly tragedies until about 1608, including Hamlet, King Lear, Othello, and Macbeth, considered some of the finest works in the English language.
    [Show full text]
  • I He Norton Anthology Or Poetry FOURTH EDITION
    I he Norton Anthology or Poetry FOURTH EDITION •••••••••••< .•' .'.•.;';;/';•:; Margaret Ferguson > . ' COLUMBIA UNIVERSITY >':•! ;•/.'.'":•:;•> Mary Jo Salter MOUNT HOLYOKE COLLEGE Jon Stallworthy OXFORD UNIVERSITY W. W. NORTON & COMPANY • New York • London Contents PREFACE TO THE FOURTH EDITION lv Editorial Procedures ' Ivi ACKNOWLEDGMENTS " lix VERSIFICATION lxi Rhythm lxii Meter lxii Rhyme lxix Forms Ixxi Basic Forms Ixxi Composite Forms lxxvi Irregular Forms Ixxvii Open Forms or Free Verse lxxviii Further Reading lxxx GEDMON'S HYMN (translated by John Pope) 1 FROM BEOWULF (translated by Edwin Morgan) 2 RIDDLES (translated by Richard Hamer) 7 1 ("I am a lonely being, scarred by swords") 7 2 ("My dress is silent when I tread the ground") 8 3 ("A moth ate words; a marvellous event") 8 THE WIFE'S LAMENT (translated by Richard Hamer) 8 THE SEAFARER (translated by Richard Hamer) 10 ANONYMOUS LYRICS OF THE THIRTEENTH AND FOURTEENTH CENTURIES 13 Now Go'th Sun Under Wood 13 The Cuckoo Song 13 Ubi Sunt Qui Ante Nos Fuerunt? 13 Alison 15 Fowls in the Frith 16 • I Am of Ireland 16 GEOFFREY CHAUCER (ca. 1343-1400) 17 THE CANTERBURY TALES 17 The General Prologue 17 The Pardoner's Prologue and Tale 37 The Introduction 37 The Prologue 38 VI • CONTENTS The Tale 41 The Epilogue 50 From Troilus and Criseide 52 Cantus Troili 52 LYRICS AND OCCASIONAL VERSE 52 To Rosamond 52 Truth 53 Complaint to His Purse 54 To His Scribe Adam 5 5 PEARL, 1-5 (1375-1400) 55 WILLIAM LANGLAND(fl. 1375) 58 Piers Plowman, lines 1-111 58 CHARLES D'ORLEANS (1391-1465) 62 The Smiling Mouth 62 Oft in My Thought 62 ANONYMOUS LYRICS OF THE FIFTEENTH CENTURY 63 Adam Lay I-bounden 63 I Sing of a Maiden 63 Out of Your Sleep Arise and Wake 64 I Have a Young Sister 65 I Have a Gentle Cock 66 Timor Mortis 66 The Corpus Christi Carol 67 Western Wind 68 A Lyke-Wake Dirge 68 A Carol of Agincourt 69 The Sacrament of the Altar 70 See! here, my heart 70 WILLIAM DUNBAR (ca.
    [Show full text]
  • 03.AIC 13 Avadanei Layout 1
    AIC nr. 13 1/2014 A Waste of Shame ©2014 AIC DRAGOŞ AVĂDANEI “Alexandru Ioan Cuza” University, Iaşi This is a study focusing on six topological variants of William Shakespeare’s Son- net 129; the concept of “topologies of culture” is borrowed from George Steiner’s After Babel, and refers to all kinds of transformations that a text – a cultural arte- fact for that matter – can go through, as a result of various perspectives upon it; topologies thus include paraphrase, translation, parody, burlesque, lampoon, pas- tiche, adaptation, imitation, parallelism, etc. Our six (types of) variants are: the original sonnet proper, a film that takes its title from the first line, a translation – in fact, two versions – into modern English, a prose translation into Romanian, criti- cism on the sonnet (five approaches), a Romanian literary version, and its re-trans- lation into English; all together (and many other potential ones) are supposed to provide a complex picture of the meanings that can be extracted from the original. Keywords: sonnet; Shakespeare; topologies of culture; translation; re-translation; interpretation; irreversibility. et us begin by pointing out – and the reader might have to just take our word for it – that we had decided about this title (also required by the magazine’s thematic issue) L before knowing about three novels of this title (a SF 1965 one by Australian author GeorgeL Reginald Turner, a 1967 one by Edward T. McNamara, and a 2001 detective novel by Jim Lusby) or about the BBC’s one hour and 24' production “A Waste of Shame” (which we then viewed on the Internet: the story of the sonneteer’s life between 1592 – with the death of Hamnet, aged 11, in 1596 and the London plague of 1606 – and 1609, marking the publication of the sonnets by Thomas Thorpe, also featured in the film, and Master Shakespeare’s “return home”, to Stratford, where he died seven years later).
    [Show full text]