Word: apollos
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Dates: during 1930-1939
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...Yale Club, led by Marshall Bartholomew, will sing a group of American folk songs. The Program Choruses from Croesus and Prinz Jodelet Keiser Shoot, false love Morley Glorius Apollo Webbe (Written for the first Glee Club London, 1700) Chorus from Khovanstichina Moussorgsky (Soloist: Fred Rogosin, 1G) Harvard Follow me down to Carlow Irish Folk Tune Nina Porgolese (Soloist: Donald S. Dever, Jr., '41) Ca' Hawkie Through the Watter North England Folk Tune The Turtle Dove Scotch Tune (Soloist: Hunter H. Comly, '41) More Was Lost at Mohacs Field Hungarian Folk Song Yale Brothers, Sing On Grieg Yale and Harvard American...
...effort is reminiscent of the gentleman who, observing Apollo's Hyperborean journey, declared emphatically, "I shall compass this in terms of Quately's logic, or bust." He bust...
...Westminter Choir School of Princeton and Dorothy Baker, soloist at St. Bartholomew's Church in New York have leading roles. Soloists from Harvard include Fred Rogesin '30 as Thauatos (Death), Herbert Moss 2G as the Herald and Heracles, James L. Morrisson '38 as Evander, and David MacAllister '38 as Apollo...
...poem is long, it builds up solidly. Under the primary influence of the later Yeats--in particular, I think, of "The Second Coming"--Mr. Brown has tried for the compression and suggestiveness of symbolist poetry. The difficulties of such a technique are great. In stanza 4 the strained Apollo-Daphne pattern of symbols sticks out like a bad metaphysical conceit; while in stanza 5, the symbols are blurred, which in turn gives the lines an affected air of forced subtlety. But at once Mr. Brown returns to the simpler strain in which he is at his best...
...seduction of Helen but in the opposing temperaments of the Greeks, whose civilization is on the make, and the Trojans, whose civilization is (in the best sense) finished. She makes her mouth piece-heroine a character unmentioned by Homer-Cressida, daughter of the Trojan's Chief Priest of Apollo, ill-famed in literature (by Boccaccio, Chaucer, Shakespeare) as a heartless jilt. Chosen as a central character because her "legendary real" identity offers the widest freedom for creating a sensitive female observer, Laura Riding's Cressida is not jilt but "almost in her time what woman...