Keenan 1 Harry Keenan Dr. Millar ENGL 1102-8 12 March 2012 Power of Music Being an artist can be tough. Some people do not take artists seriously, and others are constantly critiquing their material. But, if an artist is good at what they do, be it filmmaking or painting, they are left alone. However, in some cases, such as in Steve Lopez's The Soloist, the artist's well being is constantly in question by other characters. If we analyze Nathaniel Ayer, we can see that true artists are misunderstood by society.
In defiance of Keller’s instruction when Keller asks Paul to practice one piece instead he prepares two; he is hurt by the implication that he is not as good as he thinks he is or that Keller dismisses his talent in saying, ‘perhaps there can be no perfection’ which Paul responds to be ‘ignoring his advice,’ playing, ‘till his hands ached.’ Paul’s insensibility, which the author uses to render Keller’s teaching less efficacious is shown in the scene where Keller tries to inform Paul about his past and Paul is at first too insensitive, probing too deeply by asking Keller ‘Why didn’t you [leave]?’ and later during the confession Keller paternally hopes will benefit Paul, his interest is not sufficient to miss his rendezvous with Rosie. The context of Darwin’s steamy sexuality fuels his love for romantic music, something Keller no longer has any interest in. He is encountering sexuality and he loves Keller’s passionate rendition of Wagner’s Tristan from which he describes as ‘wonderful’ yet which Keller dismisses as ‘cheap tricks’. It is this sexual awakening that makes Paul ‘increasingly impervious to [Keller’s] criticism’ and though Keller’s brilliance is evident and the scathing eccentric teaching style as relevant as ever, Paul becomes less able to appreciate it.
Can’t I simply ignore the nuisance? Is it really worth it to emit an ugly sound, which grates on my ears as well, which may distract others from the movie and may distract others from the movie and may draw on my head some physical retaliation against which I am ill-prepared to defend myself, or else some unpleasant curse? Here, the author clearly shows his purpose with his process of telling people to be quiet, but it’s not in a serious tone. He’s telling it with a flare of humor which adds a bit of irony. The author’s arrogant tone is also clearly shown when he was trying to hold himself back from telling the two ladies to stop talking.
This arrogance shown by Birling portrays the upper class in a bad way and creates the dislike for Mr Birling. In the play priestly makes the audience perceive birling as foolish and arrogant, this portrays the upper class as bad and the audience of 1946 start to see that maybe the upper class isn’t so great and that they might be wrong “the Germans don’t want war” and “absolutely unsinkable” these show how wrong birling’s views and ideas were and how the upper class are wrong. This use of showing Birling as arrogant makes the audience side with the audience. Birling denies major future events and priestly uses dramatic irony to show the arrogance of Birling and the denial he is in. this arrogance by Birling is shown through his lack of care for his family and his priories are climbing the social ladder and stopping a public scandal.
You can tell that nobody takes them seriously, especially when Leonato shows no sign of gratefulness that he has captured two men by simply saying “go drink some wine” (Shakespeare 46) As we look into the theories of comedy for the play, it is clear that an option is Freud’s theory. He believes that the essence of comedy and laughter come at the extent of others. Comedy is often a disguised form of anger or aggression. We find ourselves, as well as some of the characters in the play, laughing at the fact that some of the characters are being manipulated into believing one thing from another. Much Ado About Nothing was a difficult play for me to understand at first, but after watching the play and going back and reading it again it definitely helped my understanding of the sarcasm happening by the characters.
This does not sit well with the Savage, as he came from outside the society and was able to experience both pleasure and pain and appreciate one for the other. Confronting the Controller about the prohibition of high art from the society and the encouragement of sensual experiences and drug use, the Savage states that the whole situation seems “quite horrible.” The Controller counters this with “Of course it does. Actual happiness always looks pretty squalid in comparison with the over-compensations for misery…Happiness is never grand.” This concept of actual happiness alludes to Mill’s idea of the differentiation of pleasure and happiness. While the society
Another example is “Lennie twisted with embarrassment”. This shows that he is humiliated by Curley and just wants him to leave as he does not know what to say in reply to Curley and is rather like a hedgehog as he wants to curl up into ball. “Lennie was looking helplessly” shows his helplessness and inadequacy to sort out the problem as he needs to George to step in and help him. He cannot deal with the situation and is unable to get out of it without somebody else’s
He loses himself in his emotions, but he struggles to control himself while “evolving the right way” (125) in order to survive. Gene feels guilty for losing himself, as a child would, when throwing a temper-tantrum. He does not mean to hurt people, especially the ones he cares for, he just does not know any better. Gene’s instincts kick in when he feels threatened, and he always regrets when they do. After Gene kicked Leper’s chair he says to Mrs. Lepellier, “I’m terribly-it was a mistake…he said something crazy.
1366 If he heard songs or instruments of music, then would he weep and could not be consoled. So feeble and low and changed were his spirits, that nobody could recognize his speech or his voice even if they heard them. And in his behavior he acted not only as if he had the lover’s sickness of Eros, but rather like madness sprung from melancholy in the cell of imagination in his brain. In short, both the disposition and habits of this woeful lover, lord Arcite, were turned all upside-down. 1379 Why should I describe all day his woe?
Capulet insults Juliet by calling her a “tallow-face!” and “disobedient wretch!” Name calling is a very childish thing to do and here we see Capulet just throwing a tantrum because he is not getting his way. This shows that Capulet is not used to Juliet or anyone disobeying him, he is used to being in the spotlight where people treat him as royalty. However as soon as someone does not do what he says he goes mad and you can see this because he starts cursing his only child and he doesn’t care about how she might feel. This is very immature because he just carries on shouting at her and doesn’t even stop to actually question her motives because all he wants is for Juliet to change her mind. He is also cruel in his choice of insults as he calls her a “green-sickness carrion!” and he is trying to tell her that she’s no different than a pile of skeletons if she doesn’t marry