Murmurs And Melodies Verse

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1884 edition. Excerpt: ...he wept, came Sleep, the comforter. Back unto the better time, far down into the beautiful Ever blooming haunts of Hope, the wizard Slumber bore him. In the village street he played among his old companions, But unto him, even then, a sorrow came and smote him--Came and smote him, as the first fair flowers of spring are smitten By the frost-winds of a world in which they wake too early; For, while in the street he played among his dear companions, From his heart the bird named Joy, that had its nest within it, In a fearful flight flew forth. For from his father's cottage Came a crowd of people, clad in garments black and gloomy, Bearing down the village lane toward him a white sleeper; Bearing by him where he stood the corse of his dear mother! Sadly by her grave he crept down, in the " acre holy." Down upon her coffin door he heard the clay-clods rattle, And the dong of the death-bell into his heart was driven, So that, from his slumber in the hawthorn grove he started--Started from his slumber in the hawthorn grove, exclaiming: "Wrong it is to murmur with the pleasure of the present! From my journey to my past this wisdom I have won: That the Eden of my youth was not all bright and pleasant; Teach me, holy Lord of Life, to say 'Thy will be done!'" A GREETING TO SUMMER. T TAIL! of seasons the delightful queen!----Beautiful Summer! in luxurious robes Of glorious green, with radiant roses set In elegant profusion, unto thee My happy thoughts are as a band of birds That, in a scented sea of dainty light, Swim o'er the whirling world. Heavens! how good It is that thou art here! How the fresh fruits Of earth to ripeness quicken at thy kiss, Thou all-caressing Sun! Now to the shade We from the fervour of thy burning beams...

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Vols. for 1871-76, 1913-14 include an extra number, The Christmas bookseller, separately paged and not included in the consecutive numbering of the regular series.

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R.E.M.'s debut album, released in 1983, was so far removed from the prevailing trends of American popular music that it still sounds miraculous and out of time today. J. Niimi tells the story of the album's genesis - with fascinating input from Don Dixon and Mitch Easter. He also investigates Michael Stipe's hypnotic, mysterious lyrics, and makes the case for Murmur as a work of Southern Gothic art.

Most scholars study postrevolutionary Mexico as a period in which cultural production significantly shaped national identity through murals, novels, essays, and other artifacts that registered the changing political and social realities in the wake of the Revolution. In Biocosmism, Jorge Quintana Navarrete shifts the focus to examine how a group of scientists, artists, and philosophers conceived the manifold relations of the human species with cosmological forces and nonhuman entities (animals, plants, inorganic matter, and celestial bodies, among others). Drawing from recent theoretical trends in new materialisms, biopolitics, and posthumanism, this book traces for the first time the intellectual constellation of biocosmism or biocosmic thought: the study of universal life understood as the vital vibrancy that animates everything in the cosmos from inorganic matter to living organisms to outer space. It combines both analysis of unexplored areas—such as Alfonso L. Herrera’s plasmogeny—and innovative readings of canonical texts like Vasconcelos’s La raza cósmica to examine how biocosmism produced a wide array of utopian projects and theorizations that continue to challenge anthropocentric, biopolitical frameworks.

This new study of the intersection of romance novels with vocal music records a society on the cusp of modernisation, with a printing industry emerging to serve people’s growing appetites for entertainment amidst their changing views of religion and the occult. No mere diversion, fiction was integral to musical culture and together both art forms reveal key intellectual currents that circulated in the early nineteenth-century British home and were shared by many consumers. Roger Hansford explores relationships between music produced in the early 1800s for domestic consumption and the fictional genre of romance, offering a new view of romanticism in British print culture. He surveys romance novels by Ann Radcliffe, Matthew Lewis, Sir Walter Scott, James Hogg, Edward Bulwer and Charles Kingsley in the period 1790–1850, interrogating the ways that music served to create mood and atmosphere, enlivened social scenes and contributed to plot developments. He explores the connections between musical scenes in romance fiction and the domestic song literature, treating both types of source and their intersection as examples of material culture. Hansford’s intersectional reading revolves around a series of imaginative figures – including the minstrel, fairies, mermaids, ghosts, and witches, and Christians engaged both in virtue and vice – the identities of which remained consistent as influence passed between the art forms. While romance authors quoted song lyrics and included musical descriptions and characters, their novels recorded and modelled the performance of songs by the middle and upper classes, influencing the work of composers and the actions of performers who read romance fiction.