He tries to accomplish his goal by hiding his sin but is distressed because of his pursuit of what he believes to- be happiness. Towards the end of the play his struggles eventually end in his downfall. His courage to stand strong in his beliefs leads him to death at the gallows. His personal struggle with Elizabeth is resolved as he makes his decision to refuse to confess to witchcraft. Elizabeth sees his inner goodness shine when he refuses to lie about being involved in witchcraft, and she realizes how unfair she has been.
His ex-friend Bennie Reid taught Paul that sometimes relationships ‘just happen’ even though Paul did not like the prospect of befriending Bennie largely because of his position in the social hierarchy, he still could not abandon Bennie and be left with nobody. Paul’s relationship with Keller is therefore very important to him because although Paul might be at the bottom of the school hierarchy along with Bennie, he is as his parents often remind him, a talented musician. The maestro sees Paul’s arrogance for what it is and conversely devises his teaching methods to suit the position at which Paul was at. As this was initially an insult to Paul the relationship started with no mutual respect, Keller having respect for no one in his surroundings treated his student as he would anyone else. Paul’s first impressions of Keller are ‘Misleading, of course’ and that he is a bad teacher because of Keller’s patronisation.
16. It is significant because they are both important characters in the novel. 17. Keller’s comment ‘ But better a small hurt now.. than a wasted life’ affects Paul in a such a way that it spits in the face of Paul’s pride and self-esteem, as he believes that Keller is telling him that he doesn’t have it in him to become a great pianist. Vienna, 1975.
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.
Keller knew how Paul’s music would sound like and crushed Paul’s smugness about his ability, which was less accomplished than he believed. Paul thought of it as an insult and a waste of his time, as reflected by his strong opinion expressed with frustration to his father after the first lesson that, “He practically broke my arm… He’s a sadist,” when he complained to his parents. Knowing that Paul was an arrogant teenager who had been praised too much, Keller tried to teach him more than just the mastery of the piano, but how his attitude should be. Although Paul did not receive Keller’s message, later on he realized how much Keller had taught
‘Neither Paul nor Keller gets the life he expects.’ Is Maestro primarily a study of disappointment and loss? In Peter Goldsworthy “Maestro” there is the hard truth of reality that not all dreams come true but through this disappointment there is growth, happiness and learning. Eduard Keller had a life of success with a sudden loss that ruined him and caused him to escape, with this he found a new life, a new student and became happy with his achievements and relationship with Paul. Paul Crabbe doesn’t get to achieve what he aims to be but the journey and everything that happened to him during it changes him, his dream didn’t come true but who says he isn’t happy with the life he ends up with. Even though Paul and Keller do suffer disappointment they both need each other to strive through and reach their goals, their relationship drives each other and they
Roy, who has acted the role of the bully throughout Cosi says something so shocking that it makes the audience wonder what Roy has experienced in his life to make him view love as a feeling ‘when you don’t have enough emotion to hate’ but Roy’s childhood is soon revealed which the audience then sympathises with Roy and understands Roy’s great appreciation of music for ‘music is what love between humans should be.’ Henry, the most silent of the patients has such a strong but quite outdated view on love and fidelity in contrast with the younger characters. It is also ironic that the character that Henry plays in Cosi Fan Tutte is completely cynical about the fidelity of women whereas Henry is a firm believer that women can stay true because his mother ‘only llloved his fffather, no one else.’ Doug, however has the same views as Nick and Lucy about free love and offers Lewis the advice, ‘you can always find loneliness in marriage, but never solitude.’ Julie who is a drug addict describes the feeling of love as ‘being stupid and foolish... hallucinating without drugs.’ This view is the closest in the relationship between love and what is real. The
evil. In this book, Lorraine and John seem to be the exact opposite. Lorraine is a careful, good person while John is the bad, spontaneous kind of person. While John wants to have a party while Mr. Pignati is gone, Lorraine gets mad and keeps telling him it’s not a good idea and he shouldn’t. John wants to be an actor, he smokes, and drinks.
Zac’s eccentricity helps him to become a successful musician Institutions cannot help Insanity Cosi demonstrates that institutions cannot help people like Roy and Henry who are suffering from severe mental illness. Roy’s mania continues Henry dies soon after Cosi, despite his brief respite from his stuttering
Paul left Darwin and by leaving Darwin ran away from music to study at university. Paul didn't realise that the lovemaking music had followed him all the way and Paul's "dreams of New York and Vienna" were impossible to run away from. The reader is encouraged to see that Paul may have tried to run away, but in doing this his lust for music only grew and this demonstrates that running away may be easy but it's only a matter of time before your past catches you and you have to face the truth. The Maestro lived a life of regret filled with pain and guilt and wanted nothing more than for the past to vanish and to start over. The maestro went to the extremes of feeling "grief and guilt and