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And yet, if The Improvisatore was labelled as juvenilia because of its lack of "the nervous vigour of the later style," its overwrought construction, its artificial language, and its excessive display of physical horrors (Strachey 1922: 243), The Brides' Tragedy, the poetical drama elaborated in the Elizabethan style, is the testimony of Beddoes's maturity as an artist.
It goes without saying that the 191-page text of Andrew of Padua, the Improvisatore has never been reprinted.
But the germ of Andrew of Padua, the Improvisatore is already to be found in Galt's Voyages and Travels of 1812.
On learning that he is an improvisatore, he regrets his outburst:
An improvisatore," cried Charsky, feeling the full harshness of his conduct.
So hateful did The Improvisatore become to him that, as Kelsall reports, 'he carried the war of extermination into the bookshelves of his acquaintance; where, as he chuckled to record, it was his wont to leave, intact in its externals, (some gay binding perhaps of his own selection,) but thoroughly eviscerated, every copy on which he could lay his hands' ('Memoir', p.
The poem is recognizably the work of the author of The Improvisatore in its ghoulish depiction of suffering and death.
The Improvisatore focuses upon issues popular in women's writing in the 1820s.
Accordingly the colorful spectacle of a popular festival in a village in the Appennines conveys something more than a mere accumulation of Italian theatrical practices like that of the improvisatore or the zanni, "a mimic opera" with its buffo, and parties of masks (p.
This improvisatore produced in her auditor not less surprise than admiration, when solemnly assured by its author, that this was the first time of its being repeated.
Ephraem the Syrian from the Russian Orthodox liturgy almost verbatim; the third and middle poem, "Podrazhanie ital'ianskomu," is a reworking of a sonnet about Judas's betrayal of Christ by the Italian improvisatore Francesco Gianni as translated into French by Antoni Deschamps; and the fourth poem, "Mirskaia vlast'," retells the story of the Crucifixion from the Gospels.
Some reflection on Shelley's interest in the phenomenon of the Italian improvisatore he encountered would be useful in this chapter to flesh out his preference for "living speech against the dead letter" (234), as would some acknowledgement of the way Shelley's poetry aspires to the condition of music.