Taugenichts In The Poem By Robert Shumann

The lyrics for Brahms’ “Wie Melodien” Op. 105, No. 1 are from a poem written by Klaus Groth. It is a poem that never clearly states its true meaning. Instead, it arouses an emotional feeling of one dreaming about something from the past. And, these emotional feelings are expressed in Groth’s poem through a variety of images.

When a reader grasps a theme throughout any piece of literature, he or she never clearly understands the intent without knowing where the theme came from. The theme that is portrayed in the poem is, often times reconnecting with a loved one cannot only bring happiness, but it can also bring sorrow. This theme was emphasized throughout the poem and without knowing the historical context of the poem, one could not necessarily understand where it came from. In the text it

The language and tone of ‘I Was Only Nineteen’ is solemn and reflective of the past. John Schumann has used various types of vocabulary to show this. Schumann’s wording of this text is well planned and thoroughly thought out.

Each part was broken up after a noticeable shift and atmospheric changes in the poem. The first part of the poem is during “Sad is the man...with one”(Ln 1-2), and repeats again at “In a room...on his father”(Ln 6-9). These lines create a shift into a narrative stage. It puts a pause on the poem to introduce or explain the scene in the poem. The narrative is important because it shows the point of view of the poem. The second shift is created with “Already the man...should never disappoint”(Ln 10-18). This shift is when the father is thinking about his fears and desires, to be more blunt, the father’s fantasies. It creates an unrealistic tone to the poem an shows the father’s dismay when he cannot remember a story for his son. The last shift begins with “His five-year-old...scratches his ear”(Ln 3-5), and ends with “But the boy...up to silence”(Ln 19-23). This shift bring the poem into reality. In fact the poem states that the “emotional rather than logical equation”(Ln 20) is where most people get confused and frustrated at the world. The poem also states the conflict of fantasy and reality. This conflict is what creates the the multiple shifts and the complicated relationship between the father and the

In the first song the text is reminiscent of earlier days in May, and the protagonist declares his love for a particular woman. Schumann’s ambiguous key structure gives the listener a feel that the piece never settles. Aus meinen Träuen spiressen the protagonist continues to profess his love and shows a little frustration in the phrase und meine Seufzwer warden ein Nachtigallenchor (And my sighs will be a nightingale choir). Schumann’s tonality begins to stabilize during this movement, provided by a simple chordal accompaniment allowing the vocal line to show and express the feelings of the text. The third movement relates the woman figure to beautiful images in nature such as the rose, the lily, the dove and the sun and finally professes that she is the one. The first three movements of this cycle set the initial tone and illustrate the protagonist’s love for this

I also enjoyed listening to this piece Fantasiestucke, Opus 88. This piece was played in Romanze and duet, and was performed by the pianist Luiza Borac, violinist Vladimir Dyo, and cellist Yves Dharamraj. After a deep sesearch about this piece I find out that the work was came at a happy time in the composer's life: Schumann had married his beloved Clara Wieck in 1840 after her father had made many attempts to thwart their matrimonial plans. The four pieces, or movements, comprising the trio are "Romanze," "Humoreske," "Duett," and Finale. During this program I feel that the "Romanze" opens in a tentative, mysterious mood, but then turns warmly Romantic, the piano dominating throughout. The "Duett" that follows, marked Slowly and with feeling, is for cello and violin, the piano providing a soft, running accompaniment to their passionate singing. The Finale, designated in March tempo, exhibits a heroic character at the outset, but turns lighter and more playful in succeeding variations. The main theme returns and the subdued, lively ending are sheer magic in its feathery nonchalance, its graceful instrumental exchanges,

First, the poet uses metre, a style that emphasizes the use of a specific structure, which is an appropriate way of presenting poems with positive themes such as love. In this case, the poet achieves metre through the use of a uniform number of syllables in every line of the first stanza (10 syllables per line). This approach not only makes the poem memorable in recitation and listening but also relaxes the listener which is important in understanding the subject matter. Petrach uses a qualitative metre, which concentrates on the use of uniform syllabic arrangement. As a result, he creates an aesthetic euphony thus making the listener and the reciter to enjoy the presentation of the poem. The technique is appropriate in the presentation of a love sonnet. Equally, the first two stanzas have four lines each, but the last two stanzas have three lines each. This aspect aligns with the two perspectives presented in the poem, the first being his great affection for Laura, and the second is an expression of the pain he experiences as a result of the unreciprocated love. Furthermore, he has been unable to express his feelings to her, which compounds his pain evident in the words “I had love's tinder in my breast unburned, was it a wonder if it kindled there?” (Lines 8 – 9).

The story “The Storm” largely mirrored Kate’s life when she had an affair with a married man named Albert Sampite (According to Jasdomin Rolento, Pace University, May 5,2008). She used Albert’s name and personality to create the main character Alcee, who in the story is a married man having a guiltless affair with a married woman “The Storm” continues Chopin 's battle with the theme of women 's sexuality and the complications

Their story is full of music, love, and marriage. Before marriage, they went through a difficult time of parental disapproval and gossip. Schumann allowed his music to speak the depth of love he had for Clara. After getting married, Clara's composition changed. She now has

Chopin tells how “The very first chords which Mademoiselle Reisz struck upon the piano sent a keen tremor down Mrs. Pontellier's spinal column… perhaps the first time her being was tempered to take an impress of the abiding truth” (26). Being free from a restricted family life, Mademoiselle Reisz is able to live an unrestricted life inspired only by her own wants and needs. Reisz exposes Edna to artistry and thoughts beyond the household and influences her to find her own passions. Mademoiselle Reisz advises Edna “to succeed, the artist must possess the courageous soul” (61). Inspired by Mademoiselle’s life, Edna takes this advice and leaves her husband to pursue her own passions. However, she finds excitement only in love and finds herself lonely and without motivation. Edna’s lust for love distracts her from finding true fulfillment and she once again finds herself unsatisfied with her life.

In “The Story of an Hour,” Kate Chopin describes the series of emotions a married woman with a heart condition, Mrs. Mallard, endures after hearing about the death of her husband, Mr. Mallard. She assumes that she will be a mournful widow, but she ends up silently rejoicing. It turns out that she was not happily married and the thought of freedom from her attachments of marriage gave her

In the two stories of Chopin, both, Louise in The Story of An Hour, and Desiree in Desiree’s Baby, are two women who are struggling in their marriages. Both loved their husbands, but one wanted freedom, and one was forced to freedom. Each woman 's outcome satisfied no one, not even the reader. In The Story of An Hour,

Robert and Clara became very fond of each other, and asked Friedrich if he could marry Clara. Friedrich refused and did all he could to keep them from getting married. The couple filed lawsuit, and won. Clara and Robert got married on September 12, 1840. They had eight children, and their names were: Marie, Elise, Julie, Emil, Ludwig, Ferdinand, Eugenie, and Felix. Clara Still kept performing, even without the support from her husband. Robert too was a composer, but Clara played many of his works for him because he could not perform them due to a hand injury. Robert became very aggressive and depressive and was sent to an institution. Clara was left all alone to take care of the kids. Clara was not allowed to visit Robert at the institution, she depended on friends to visit him and sent her letters about how he was doing. It wasn’t until the end of his life that she was finally able to visit him. This is what she wrote about her time with him:

To make sense of this ironic situation, you wonder why Richards behaves in this manner. Figuring this out, you would firmly believe that Richards’ behavior is due to his adoration for Louise. Through the irony inundating this scenario, Chopin proves her point of a loveless marriage “But she saw beyond that bitter moment a long precession of years to come that would belong to her absolutely.” (525)

This piece has several “mini” themes given to almost each stanza, emphasizing reminiscing, grief, and isolation. Appearing to be from the point of view of a man (apparently the writer himself) profoundly grieving the departure of a lover who has passed on. He starts by calling for quiet from the ordinary objects of life; the phones, the clocks, the pianos, drums, and creatures close-by. He doesn't simply need calm, but be that as it may; he needs his misfortune well known and projected. Its tone is significantly more dismal than earlier versions, and the themes more all inclusive, despite the fact that it talks about a person. There is almost an entire stanza demonstrating a  bunch of analogies that express what the speaker intended to his lover. The style in the piece readers typically perceive it as a dirge, or a mourning for the dead. It has four stanzas of four lines each with lines in