is laid upon your hate That heaven finds means to kills yours joys with love” (V, iii, 291-293) “For there never was a story of more woe, then this of Juliet and her Romeo” (V, iii, 309-310) Tragedy- Reinforced by the death of Mercutio as it is seen by Levin as quite an ironic end, as he has been the satirist- “represents the play moving from Romantic comedy to Romantic tragedy.” Comparing Comedy & Tragedy- Tragedy tends to isolate where comedy bring together, to reveal the uniqueness of individuals rather than what they have in common with others. Examples have been shown with the progression of Juliet whom begun in tragic settings as an only child mother “But one, poor one, one poor, and loving child” (IV, v. 46) whilst Romeo friar reflects on then as “two in one” (II.iv.37) yet again when taking the potion “my dismal scene I needs must act alone.” (IV.iii. 19) reflected in the setting of each of them dying
According to Aristotle’s hypothesis of a tragic hero the character must be of some form of nobility, suffer from some form of error in judgment, go through a period of reversed fortune, and finally recognize that the error was actually caused by his own actions. The concept of tragedy is deeply embedded into both plays however
Charles Lamb states that Malvolio “becomes comic by accident”. His criticism portrays Malvolio as a tragic character. Lamb describes Malvolio’s dialect as “that of a gentleman, and a man of education.” Predisposed with Malvolio’s dialect and seemingly noble manner is hubris which leads to his downfall in the play. In Shakespeare’s ‘Twelfth Night’, Malvolio is not a tragic character but, the fool of the play in that he is a scapegoat for mockery and entertainment. Aristotle in ‘Poetics’ defined comedy as “an imitation of inferior people-not, however, with respect to every kind of defect; the laughable species of what is disgraceful.
He alters Aristotle’s model for tragic hero and add his own component to Medea. Underneath all the tragic flaws and immoral actions, Medea truly is a tragic hero. Sometimes, the readers need to overlook people’s negativities to see the real person in
He started his career when he was hired by the Esterhazy family, giving him the chance to write and compose symphonies and conduct orchestras. Also known as the Father of the Symphony or String Quartet, he invented the idea of sonatas (History Reference Center 1). His best known piece, the Emperor Quartet, was so well written that it was the national anthem of Austria until the end of World War I. without the guidance of the Esterhazy family and the chance to write and compose, Haydn’s career would not have been as influencing. Haydn was an ideal man of the Enlightenment. He had a great sense of humor, and loved playing jokes on his friends.
Though Copland began writing his music in the mid 1920s it was in 1935 with “El Salón México” that Copland began his most productive and popular years. The piece presented a new sound that had its roots in Mexican folk music. Copland believed that through this music, he could find his way to a more popular symphonic tune. Some agree that Copland’s best works were his scores for ballets. He composed scores for a number of ballets, including two of the most popular of the time: “Agnes DeMille’s Rodeo” (1942) and Martha Graham’s “Appalachian Spring” (1944), for which he won the Pulitzer Prize.
Compare and Contrast: Creon and Brutus Aristotle defines the tragic hero in three ways: not completely virtuous nor utterly villainous, has a downfall brought on by some error in judgment or frailty, and is either “highly renowned or prosperous” so that the fall from good fortune to disaster will arouse strong emotion in the audience. In Shakespeare’s Julius Caesar and Sophocles’ Antigone it’s easy to see that according to this definition both Creon and Brutus are definitely tragic heros. In these works, it is easy to see that both Creon and Brutus are neither completely virtuous nor utterly villainous. Creon states he wants what’s good for the state and no enemies. However, he becomes stubborn and unwilling to listen to Haemons plea for Antigone’s life.
A few composers who made music today possible by struggling through the aftermath of the Black Death epidemic would be; Jasquin Des Prez, (who was a big name at the time,) Pierre De La Rue, a very well proclaimed vocalist (The New York Time Company 2012, March 23. Top 8 Renaissance Composers Retrieved from http://classicalmusic.about.com.) One such composer whose name is still heard pretty often would be Johann Sebastian Bach; he is considered as one of the faces of classical music. Like all of us, he started out with baby steps, slowly learning the ways of music. Bach came from a family of musicians who brought him into the whole scene; his father was a director and had several uncles who were musicians (Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: W.W. Norton and Company, Inc., 2000.)
The honor of being the “father of music” was assigned to him by Plutarch, the Greek biographer who wrote Parallel Lives (46?-120 AD.) The music of the flute, which had formerly been peculiar to Phrygia was said to be “naturalized,” or normalized by him. Olympus was also a great inventor of rhythm. Three of them being Ison, where the arsis and thesis are equal, displasion, where the arsis is twice the length of the thesis, and hemiolion, where the length of the arsis is equal to 2 short syllables and the thesis is equal to 3. However, there is doubt that the last form, hemiolion, was ever actually used by him.
However, his misfortune is not entirely deserved. One might say his punishment exceeds the crime, in which case he is admirable in the eyes of the viewer. Before Othello’s tragic death a catharsis is produced, and Othello has gained self- knowledge. A tragedy, such as Othello creates a shared, common experience. Some might say that Othello’s tragic flaw is his jealousy however others may argue that jealousy is not a