The Yale Literary Magazine, Volume 121Herrick & Noyes., 1953 |
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Page 23
... Cantos . The first three cantos seem to form a unit . They are connected by " So that : " at the end of canto I and " And . . . " at the end of the second . The first canto is a trans- lation of a part of a Latin translation of the ...
... Cantos . The first three cantos seem to form a unit . They are connected by " So that : " at the end of canto I and " And . . . " at the end of the second . The first canto is a trans- lation of a part of a Latin translation of the ...
Page 28
... Canto XLIX is Chinese , imagistic , the end of the first half of the Cantos : the dimension of stillness . ... And the power over wild beasts . characterizes it . L has this beautiful cadence : Lalage's shadow moves in the fresco's ...
... Canto XLIX is Chinese , imagistic , the end of the first half of the Cantos : the dimension of stillness . ... And the power over wild beasts . characterizes it . L has this beautiful cadence : Lalage's shadow moves in the fresco's ...
Page 29
... Cantos . You can hear Canto LXXV on records . It is Jannequin's Chant des Oyseaux and a group under Nadia Boulanger sing it on a record called " French Renaissance Vocal Music " ( Decca LP 9629 ) . The birds of this canto appear again ...
... Cantos . You can hear Canto LXXV on records . It is Jannequin's Chant des Oyseaux and a group under Nadia Boulanger sing it on a record called " French Renaissance Vocal Music " ( Decca LP 9629 ) . The birds of this canto appear again ...
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