with an actress, Fabrice kills a rival, is imprisoned, escapes, and is pardoned. In prison Fabrice falls in love with Clélia Conti, the daughter of the citadel's governor. He continues his affair with her after she marries, and he becomes a high-ranking ecclesiastic and an admired preacher. The death of their child and then of Clélia herself causes Fabrice to retire to the Carthusian monastery, or charterhouse, of Parma, where he dies. The incongruous yet always harmonious combination of lyricism and high comedy, of realism and dreamlike atmosphere, of The Charterhouse of Parma allows the author to caricaturize the petty tyranny of post-Napoleonic Europe, to question public morality, and to assert the prerogatives of love's follies. There are subtly drawn portraits of the naive and idealistic young Fabrice del Dongo (notably at the Battle of Waterloo); of his courageous and passionate aunt, the Duchess de
concerts in Moscow, Estonia and Finland since 1898. In 1904 he accepted the post of director at the Astrakhan2 Music School, where his activities were numerous: teaching, composing prolifically, and performing as an organist and conductor. In 1920 he returned home to Estonia. Don Carlos was first performed in Pavlovsk3, later in Moscow, in Astrakhan and in Tartu4. In the work the main feature of Kapp’s individual style for powerful dramatic tension associated with passionate lyricism was already developing. The score has an abundance of thematic material. The introductory theme begins with the doleful sounds of a French horn: Example 8. The strenuous singing main theme (Violins) is activated by chromatics and syncopation: Example 9. The subsidiary theme is also in a minor key and played as if in one exhalation of breath, this is a wide “vocalisation” (Flute, Clarinet and Violins): like the plaintive song of a lost soul: Example 10.
biography, since it is here that she was born and spent her childhood. Her personal cliche´ s and `idealized landscapes' about Eastern Europe Á `a land of childhood sensuality, lyricism and human warmth' Á are counteracted by her wish `to Downloaded by [KU Leuven University Library] at 06:11 02 June 2015 understand [the area] for what it was Á from a larger, more robust, and more informed perspective' (1999, pp. ixÁx).
The following line reflects Whitman's love of nature: My tongue, every atom of my blood, form'd from this soil, this air... (l.6) For Whitman to say he was formed from nature shows just how much he believed he was one with nature. The "I" has become identified with every element in the universe. Whitman was a bundle of contradictions because the form was loose enough to allow for long lists and catalogs abundant in detail, but also flexible to include delicate moments of lyricism and oratory. Whitman extended cadence of poetic lines through parallelism, alliteration and assonance. For example, in "When I Heard the Learn'd Astronomer," he writes: When I heard the learn'd astronomer, When the proofs, the figures, were ranged in columns before me, When I was shown the charts and diagrams, to add, divide, and measure them, When I heard the astronomer where he lectured with much applause in the lectureroom...(l.14) Whitman uses parallelism in this poem when he
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