Lord Henry had not yet come in. He was always late on principle, his principlebeing that punctuality is the thief of time. So the lad was looking rathersulky, as with listless fingers he turned over the pages of an elaboratelyillustrated edition of Manon Lescaut that he had found in one of thebook-cases. The formal monotonous ticking of the Louis Quatorze clock annoyedhim. Once or twice he thought of going away.
Dorian: A Peculiar Edition with Annotated Text
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The first work to call itself "Gothic" was Horace Walpole's The Castle of Otranto (1764).[2] The first edition presented the story as a translation of a sixteenth century manuscript, and was widely popular. Walpole revealed himself as the true author in the second edition, which added the subtitle "A Gothic Story." The revelation prompted a backlash from readers, who considered it inappropriate for a modern author to write a supernatural story in a rational age.[28] Walpole did not initially prompt many imitators. Beginning with Clara Reeve's The Old English Baron (1778), the 1780s saw more writers attempting his combination of supernatural plots with emotionally realistic characters. Examples include Sophia Lee's The Recess (1783-5) and William Beckford's Vathek (1786).[29]
The Fumigation from Storax.O venerable goddess, hear my pray'r, for labour pains are thy peculiar care;In thee, when stretch'd upon the bed of grief, the sex as in a mirror view relief.Guard of the race, endued with gentle mind, to helpless youth, benevolent and kind;Benignant nourisher; great Nature's key belongs to no divinity but thee.Thou dwell'st with all immanifest to sight, and solemn festivals are thy delight.Thine is the talk to loose the virgin's zone, and thou in ev'ry work art seen and known.With births you sympathize, tho' pleas'd to see the numerous offspring of fertility;When rack'd with nature's pangs and sore distress'd, the sex invoke thee, as the soul's sure rest;For thou alone can'st give relief to pain, which art attempts to ease, but tries in vain;Assisting goddess [Eileithyia], venerable pow'r, who bring'st relief in labour's dreadful hour; Hear, blessed Dian [Artemis], and accept my pray'r, and make the infant race thy constant care.
The Fumigation from Storax.Etherial father, mighty Titan, hear, great fire of Gods and men, whom all revere:Endu'd with various council, pure and strong, to whom perfection and decrease belong.Consum'd by thee all forms that hourly die, by thee restor'd, their former place supply;The world immense in everlasting chains, strong and ineffable thy pow'r containsFather of vast eternity, divine, O mighty Saturn [Kronos], various speech is thine: Blossom of earth and of the starry skies, husband of Rhea, and Prometheus wife.Obstetric Nature, venerable root, from which the various forms of being shoot;No parts peculiar can thy pow'r enclose, diffus'd thro' all, from which the world arose,O, best of beings, of a subtle mind, propitious hear to holy pray'rs inclin'd;The sacred rites benevolent attend, and grant a blameless life, a blessed end.
In chapter 11, we encounter a peculiar first-person interjection from the narrator: "Is insincerity such a terrible thing? I think not." Does this voice, or this argument, remind you of any of the characters in the novel? Discuss Wilde's narrative voice in three or four instances. How does it relate to the different characters, does it seem to espouse similar views, or to sympathize with certain people more than others? Are we expected to trust the narrator on every occasion? What does this tell us about how the story is told?
Biblical hermeneutics is the branch of knowledge that deals with interpretation. The word most often refers to how to interpret the Bible or other sacred texts from other religions. This is not to be confused with exegesis. Where exegesis refers to the interpretation of a specific Biblical text, hermeneutics is deciding which principles we will use in order to interpret the text.
Originally practiced by Jews who believed their laws, poems, and historical narratives had multiple layers of meanings, this approach supposes to reveal the ethics behind any text. One popular example is the Epistle of Barnabas, where the author believes the Old Testament food laws were misunderstood by the people of Israel. Rather than restricting diet, he believes the laws were meant to avoid behavior which was associated with these animals.
Key terms and conceptsRelated to melody:contour: the shape of the melody as rising or fallingconjunct: stepwise melodic motion, moving mostly by step in intervals of a 2nddisjunct: melodic motion in intervals larger than a 2nd, often with a large number of wide skips range: the distance between the lowest and highest pitches, usually referred to as narrow (> octave) or wide (motive: a short pattern of 3-5 notes (melodic, rhythmic, harmonic or any combination of these) that is repetitive in a compositionphrase: a musical unit with a terminal point, or cadence. Lengths of phrases can vary.Related to rhythm:beat: pulsemeasures or bars: a metrical unit separated by lines in musical notationmeter: groups of beats in a recurring pattern with accentuation on strong beatsnon-metric, unmetrical: free rhythm, no discernable timesimple meters: beats subdivided into two parts (2/4, 3/4, 4/4)compound meters: beats subdivided into three parts (6/8, 9/8, 12/8)asymmetrical meters: meters with an uneven number of subdivisions (7/4, 5/8)mixed meters: shifting between metersmensurations: used in music from 1300-1600, the ratios of rhythmic durationsRelated to harmony:chords: three or more pitches sounding simultaneouslytriads: three notes that can be arranged into superimposed thirdsextended chords: thirds added above the triad, usually as a 9th, 11th or 13th consonance: a harmonic combination that is stable, usually in thirdsdissonance: a harmonic combination that is unstable, often including seconds or seventhsparallel motion: two or more parts moving in the same direction and same intervals, as in parallel fifthscontrary motion: two or more parts moving in the opposite direction oblique motion: occurs when one voice remains on a single pitch while the other ascends or descendscanon: (meaning rule) one melody is strictly imitated by a second part after a delay in the entrance of the second part. In order for the parts to end simultaneously, the canon may break down at the end of the composition. The canonic parts may occur at the unison or some other interval. round: an exact canon, ending at different times, as in ?Row, row, row your boat.?imitation: two or more parts that have the same or similar phrase beginning and with delays between entrances (as in a round or canon), but after the beginning of the phrase, the parts diverge into separate melodies Related to tonality:diatonic: a seven-note scale with a regular pattern of 5 whole and 2 half steps. Diatonic intervals are found within this type of scale.chromatic: using pitches outside of a particular diatonic scale, or using a succession of half steps.major tonality: pitches are related to a central pitch called the tonic. Major scales are used.minor tonality: pitches are related to a central pitch called the tonic. Minor scales are used.modal: refers to music using diatonic scales with Greek names (Western) or non-Western scales modulation: moving from one key area to another key atonality: music that is not tonal or not based on any system of keys or modesbitonality: the simultaneous use of two key areas.polytonality: the simultaneous use of two or more key areas.Related to texture:monophony (noun; monophonic = adjective, as in monophonic texture): literally ?one sound? - one melodic line, without harmony or any accompaniment, which can occur when one person or many people sing a melody simultaneously. Singing in octaves is considered a monophonic texture.homophony (noun; homophonic = adjective): one melodic line with a harmonic accompaniment that supports the melody.polyphony (noun; polyphonic = adjective): two or more parts sung or played simultaneously.heterophony (noun; heterophonic = adjective): multiple voices singing a single melodic line, but with simultaneous melodic variants between the singers. Heterophony often occurs in non-Western music and sometimes in folk music.
homorhythms: the same rhythms in all parts, as in the singing of a hymn.counterpoint (noun; contrapuntal = adjective): like polyphony in that it has two or more compatible melodies performed simultaneously.Related to tempo: consult the Oxford Music Onlinecommonly in Italian from the 17th-18th c., and then increasingly in other vernacular languageslargo, lento, adagio, andante, moderato, allegretto, allegro, presto, prestissimoqualifying terms: meno (less), pi (more), molto (very or much) poco a poco (little by little), assai (very) mosso (motion), sostenuto (sustained), non troppo (not too much)Related to expression:crescendodecrescendo/diminuendopianofortemezzoterraced dynamics: a sudden and dramatic shift from loud to soft or soft to loudaccelerandorubatoReleated to timbre: classifications of instrumentschordophone: string instrumentsaerophones: wind produces the sound (woodwinds and brass instruments)membranophone: a vibrating membrane produces the sound (drums)idiophone: sound is produced from the material (wood, glass, stone, metal)Related to ensembles:choir: vocal ensemblevoice ranges: bass, tenor, alto, soprano (from lowest to highest)choral: music written for a choira cappella: choral music without instrumental accompaniment, literally ?at the chapel?polychoral: two or more choirs in a composition, usually with an antiphonal or echo effectorchestra: large instrumental ensemble with stringsband: large instrumental ensemble without stringschamber ensembles: trio, quartet, quintet, sextet, octetStandard ensemble combinations:string trio: three string instrumentspiano trio: piano, violin, cellostring quartet: two violins, viola, cellopiano quintet: piano and a string quartetbrass quintet: 2 trumpets, french horn, trombone, tuba wind quintet: flute, clarinet, oboe, bassoon, french hornRelated to text and music:syllabic: one syllable sung to each notemelismatic: one syllable sung to several notes sacred: religious music, often for the church liturgy (services) secular: worldly, non-religious music, usually in the vernacularvernacular: texts in the language of the people (English, French, Spanish, German, etc.)Related to musical forms: Generally capital letters are used to distinguish different sections of a composition. A capital refers to an exact repetition. A lowercase letter refers to the same music but new text. A prime number after the capital refers to a variation of the music from the original section. repetitive forms: strophic: a vocal form consisting of several phrases. The musical form is repeated using different verses of text, as in a hymn or folksong. modified strophic: simply means that the repetitions of the sections are varied slightly, but not so much that they are a significant variation or the original.bar form: two sections of music, with only the first section A repeated. Many hymns use the far form.binary form: two sections of music, usually with each A and B section repeated. This is typically used in dances. When a group dances are combined into a suite, the dances generally all stay in the same key. 2ff7e9595c
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