Altri libri che potrebbero interessarti

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  Henry VI - Part II

  William Shakespeare

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  The Music contained in this audiobook complete edition of "Henry VI - Part II" by William Shakespeare is played by Kimiko Ishizaka, and taken from "Goldberg Variations" by Johann Sebastian Bach (BWV 988).

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  The Poetry of Emily Brontë

  Emily Brontë

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  Whilst best remembered as the author of Wuthering Heights, Emily Brontë was also a celebrated poet. Here, Emma Topping reads her finest poetry.

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  A Kaleidoscope of Butterflies -...

  Jonathan Bradley

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  There are 59 species of British butterfly and each one deserves a couple of stunning photographs, some interesting facts about its life cycle and a poem dedicated to it.   
  Lifelong butterfly lover and poet Jonathan Bradley and his photographer friend Yealand Kalfayan have done just that in this colourful and inspiring book.
  Bradley has also included a mini biography of several famous lepidopterists who have left their mark in this radiant world.
  This lovely, bright hardback is a feast for the eyes.

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  A Florentine Tragedy and La...

  Robert Baldwin Ross

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  Two short fragments: an unfinished and a lost play. A Florentine Tragedy, left in a taxi (not a handbag), is Wilde’s most successful attempt at tragedy – intense and domestic, with surprising depth of characterisation. It was adapted into an opera by the Austrian composer Alexander Zemlinsky in 1917. La Sainte Courtisane, or The Woman Covered in Jewels explores one of Wilde’s great idées fixes: the paradox of religious hedonism, pagan piety. Both plays, Wildean to their core, revel in the profound sadness that is the fruit of the conflict between fidelity and forbidden love. Written towards the end of his tragic life, these fragments give us a glimpse of a genius at his best: visceral, passionate, personal, poetic. (Summary by Simon Larois)A Florentine Tragedy - cast:Narrator: TriciaGGUIDO BARDI, A Florentine prince: mbSIMONE, a merchant: Simon LaroisBIANNA, his wife: Ruth GoldingLa Sainte Courtisane - cast:Narrator: Ruth GoldingFirst man: mbMyrrhina: PhilippaSecond man: L.FrenchHonorius: woggy298Edited by Ruth Golding

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  The Ballad

  Oscar Wilde, Edna St. Vincent...

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  The ballad is one of the oldest poetic forms in English and are simply poems or songs that tell a story.  Traditionally they are composed in quatrains, with common meter that follow an a b c b rhyming structure and this, together with the simple language (often the dialect of the region), made them easier to memorise and recite by wandering minstrels as they were passed down orally.   
   
  Originally derived from the Medieval French the name suggests that they were to dance to and whilst widely used around Europe and other parts of the world, became characteristic of British poetry from the Middle Ages to the 19th century when it settled into our current usage of the term as a slow sentimental song. 
   
  By the 17th century the printed version of ballads, often with music and illustration, known as Broadsides or Broadsheets, circulated, probably in their millions throughout Britain and remained popular until the Victorian era when they lost prestige. 
   
  Whether they be folk, literary or lyrical, most ballads contain a self-contained, concise, plot driven story told in the third person narrative, often featuring dialogue and moving at a pace with an emotional urgency to arrive at a dramatic conclusion.  The subject of ballads are limitless and they can be tragic, historical or comic. 
   
  Maybe it’s because of childhood associations or that we all enjoy a cracking good story told in rhyme but as this volume demonstrates, the ballad has endless appeal.  We include favourites such as Coleridge’s The Rime of the Ancient Mariner, Edna St Vincent Millay’s The Ballad of the Harp Weaver, Edgar Allan Poe’s Annabel Lee as well as classics such as Sir Patrick Spens, the Ballad of Reading Gaol by Wilde and La Belle Dame Sans Merci by Keats.  There’s many more known and lesser known in this volume celebrating this most popular and accessible poetic form.

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  Otter

  Ben Ladouceur

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  His body, like yours, would liemute as a plumuntil a vigilant limb cameto a decision. As you might have guessedI've come to one myself.
   
  Moving from the absurdity of the First World War to the chaos of today’s cities, where men share beds, bottles of ouzo and shade from willow trees, these poems ask questions: If your lover speaks in his sleep, how do you know 'you' is you? What good is it to decorate a headstone? What if you think of the perfect comeback to a six-year-­old argument? Otter fails, with style, to find answers.
   
  'Ladouceur writes with an awareness of queer history, documenting it faithfully, but with his own twist … This is poetry motivated by an honest wit.'-- John Barton, Arc Poetry Magazine

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