Word: sonneteering
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...question. If an artist really believed in the supremacy of his condition (whose essence is mortality) why would he for a moment go through all the toil of creating an object whose whole intent is to last forever, to be immortal? We find these representative lines in a Shakespearian sonnet: "But thine eternal summer shall not fade/ Nor lose possession of that fair thou ow'st." Shakespeare, were he deferring to nature, would rejoice in the mortality of his beloved. In fact he does something very different: he calls her "eternal...
Like Browning, Lowell relies on energy, intelligence, originality, erudition. His best poems read like vigorous, carefully patterned prose. They are more vivid than sensitive; Lowell looks out at the world more often than he looks in on himself. The sonnet, To Speak of Woe That Is in Marriage, conveys the rude vigor of the late-Lowell style...
...local aristocracy, and in fact, the performance sounded quite dilettantish: the meters of the first and third movements were ambiguous and the 'cello muddy. But in the slow movement, Haydn dispensed with any melodrama or surprises. While the movement's great serene flow, like the cadence of a sonnet, revealed no secrets, it was delicious...
...Walker again sang superbly. Senturia generally kept up a good balance among soloists and instruments except in the middle of the rather terrifying Dirge, where he allowed the powerful, stabbing orchestral figures to overwhelm the vocal part. The sparkling Nocturne (Tennyson), cleverly humorous Hymn (Ben Johnson), and serene Sonnet (Keats) received especially fine treatment...
...wrote his Merchant in competition for the "Campari Prize," awarded by the opera-loving manufacturers of that bitter Italian aperitif. Castelnuovo-Tedesco's winning entry shifted some of the play's action around, telescoped five acts into three, transformed some scenes into ballets, added Shakespeare's Sonnet No. 109 ("O! Never say that I was false of heart") for his third-act finale. Under Castelnuovo-Tedesco's streamlining, the evils of intolerance become the play's main theme. But Castelnuovo-Tedesco changed the sense of Shakespeare in only one respect: he omitted Shylock...