AN IDEALISTIC FRIENSHIP Essays - The Cask Of Amontillado, Sherry

THE CASK OF AMONTILLADO:An Idealistic Friendship Fortunato knew how his true virtuoso spirit shined through between his interactions with others. His enthusiasm was adopted to suit the time and opportunities. Unfortunately, it was Montresor who achieved his merciless plans, which were presented at any given time. Adaptation in and out of a world in which one only works in, involved several evidences of disadvantages. For example, The Cask of Amontillado written by Edgar Allan Poe revealed one main common theme of betrayal and revenge and class struggles. The characters of Fortunato and Montresor was about ?Nemo Me Impune Lacessit is, the motto of the Order of the Thistle, and means "No one (Harms, wounds, hurts, provokes) me with impunity.? Anger and insults are the main motivational factors that provided the motive for revenge. Montresor deceptive objectives of the placing of bricks and waiting until he knew for sure Fortunato was drunk. Fortunato was at a disadvantage and Montresor did achieve his justification of revenge. Alcoho lism is an evil abode between enemies. Alcoholism was a part of the demise of Fortunato. However, how does ignorance and the lack of the knowledge about the difference of Amontillado and Sherry, when factually Amontillado is a type of Sherry. Knowledge is important. However, compassion and empathy is more important than knowledge. With knowledge one needs to ask the question, do you know who you are? Montresor was a faceless mental sickness and perhaps a mad man. Why did he not keep company of his own class? The answer lies in his ?thousand injuries? History have proven how class struggles consistently favors the elite of any societies. Montresor inner sense of what is right or wrong in one's conduct and motives did not impel Montresor with compassion of the right action. His single mission was not at all in his onslaught of Fortunato. "Schlaraffia is an idealistic organization based on friendship and tolerance," Mr. Seher said. "We believe that the human being counts; we don't care where a man prays or what his politics are, only that he performs within our circle." schlaraffia-josefina.com internet on 11/15/10. Class Struggles:? Having declared in the opening sentence of the Manifesto that all history is the history of class struggles, Marx adds immediately in a footnote "of written history". For prior to the invention of writing, societies were nomadic, organized in tribes, each tribe made of less than 100 individuals. There was hardly any division of labor, other than sexual. The tribe would designate a chief, and modern ethnology tells us the chief had very little power. His main function was to defuse any conflict among tribesmen, not as a judge, he had no power to judge, but more by using his charisma to talk people out of their quarrels. His authority would be limited to leading the hunt and, of course, the war. That's all. In his essay, The Origin of Property, Family and the State, Engels describes social life in these primitive tribes very much as something like "anarchy".

Henri Matisse Le femme au chapau essays

Henri Matisse Le femme au chapau essays The atmosphere in the Museum of Modern Art was very tranquil, the lights arent too bright, and the wall itself looked like a piece of artwork. Id been walking around the museum for a while and I finally saw a piece of painting that was what Id been expecting to find. It was located in a big room with many other paintings and artwork surrounding it. Femme au Chapeau (lady with a hat) by Henri Matisse was painted in 1905. It is 31 3/4 in. x 23 1/2 in. (80.65 cm x 59.69 cm) and is oil on canvas. The style of this painting is realistic and is naturalistic. This painting is of a woman sitting down and shes holding a cane. She is wearing a very large fancy hat, she appears to be attractive and her facial expression looks melancholy and desolate. She looks like shes in her early twenties, she has red hair and big brown eyes, and her eyebrows are thick as they arch over her big brown eyes. Shes wearing a very nice dress, something only upper middle class to upper class people wear during that time. The colours are very cool even though this painting is polychromatic. Although she is recognizable, the background is not. The background appears to be abstract expressionism. It is composed of blotches of colors, these blotches almost look like squares as if they were organized. The colors in the back ground are shades of pink, blue, yellow, red, green, and purple. These are such pretty colours, it suggests happiness and beauty. She is holding a cane, or rather resting her hand on it. She must have trouble walking or maybe that is something rich people do, walk around with canes. Her hat is very glamorous and it looks like there are fruits and flowers on it. Her hat looks very dark against the bright, light colored background. It looks nice, it makes her hat stand out very much. The tone of this painting befuddles me. I cant tell whether this is a happy painting or a sad painting. The colours...

Critically evaluate the role of creative therapies in work with Essay

Critically evaluate the role of creative therapies in work with children - Essay Example For this reason, there have been a growing number of programs designed to work with troubled children through venues other than shelters and governmental organizations (Groves, 2002b). Many of these programs attempt to discover more effective means of reaching the child in a trusting, comforting environment that speaks to the child’s level but without ‘talking down’ to them. Group interventions are one means of addressing the problem while still letting children know they are not alone and have little to be ashamed of (Peled & Edleson, 1995). These types of group meetings, often held in shelters or other community center-type settings, tend to benefit children in the 6 to 15 year age range and work to group children together in age spans of less than 2 to 3 years (Peled & Edleson, 1995). This treatment technique is not recommended for children of preschool or younger age, however, because of their natural lack of focus and reduced dependence upon peer relationships to help them cope with issues and more impulsive natures. Very small children do not respond well to sit-down sessions so require alternate forms of therapy to be developed that meet their specific needs. Regardless of the therapy approach selected, the goal is always the same. â€Å"The therapist seeks to stabilize the child’s life situation, to help the child integrate the experiences of the violent events in an adaptive manner, and to work with the child to manage the symptoms that resulted from the trauma† (Groves, 2002b). There are a number of other therapies currently being studied that may be more successful than these approaches in bringing the discussion to the level of the child in a non-threatening, non-invasive way. Several alternative and less-threatening forms of therapy have b een devised that allow children to be treated in a less-threatening environment which matches the

Personal statement Example | Topics and Well Written Essays - 500 words - 4

Personal Statement Example This stage I suppose marked the instant I gained profound interest with depth of insight and respect toward medical profession in which personalized healthcare is highly regarded. With its highly standardized curricula in sciences and medicine, I believe that Ashford University is not only capable of facilitating students to achieve foundation with academic knowledge and skills in such fields but even of inculcating beliefs and values by which learners may be refined. Upon admission to the university’s Schar College of Nursing, I hope to accomplish pursuit of nursing studies through a competency-based program which enables each aspiring nurse to go after scholastic excellence, to develop scientific attitudes and traits that reflect nursing principles, and to strengthen my religious character in areas of compassion and perseverance. While in the academe, I expect to find improvement toward my capacity for hard work, creativity, motivating behavior, and cooperation. By academically exploring the world of patient care with a sense of commitment in saving human lives while taking part in enhancing individual health and well-being, I would be adequately equipped in reaching my ultimate dream of participating in a medical mission to promote health welfare across the world’s vast

Whether Red Bull Should Invest In The Formula 1 Racing Championship Essay

Whether Red Bull Should Invest In The Formula 1 Racing Championship Next Year Or Not - Essay Example s a good decision on part of the company to start up with this heavy investment marketing activity†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 10 Finding 2 11 4.2 Objective 2: Analyze and compare the past results of the Formula 1 championship over the last six years and identify the success position of Red Bull Racing during this time span†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..11 Finding 3 18 4.3 Objective 3: Find out whether the Formula 1 championship has created an impact on the brand’s image and did it help increase the energy drink’s sale†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 18 Finding 4 †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.19 4.4 Objective 4: Recommend whether the company should invest in the Formula 1 racing championship next year i.e. 2011†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦19 5. Conclusion and Recommendations †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.20 5.1 Conclusion 20 5.2 Recommendations 22 References 24 Introduction Red Bull was founded in 1984 by Dietrich Mateschitz. He fine-tuned the formula of a tonic drink and developed a unique marketing concept for the drink. In 1987 Red Bull energy drink hit the market for the first time and started selling on the Austrian market. Red Bull entered its first foreign market Singapore in 1989 and then Hungary in 1992. United Kingdom followed in 1995 and in 1997 United States. Since then, over 30 billion cans of this popular energy drink have been consumed, highest consumption being in 2010. Red Bull is currently being served in more than 160 countries with annual sales of approximately 4 billion cans (Red Bull Company,...Red Bull entered its first foreign market Singapore in 1989 and then Hungary in 1992. United Kingdom followed in 1995 and in 1997 United States. Since then, over 30 billion cans of this popular energy drink have been consumed, highest consumption being in 2010. Red Bull is currently being served in more than 160 countries with annual sales of approximately 4 billion cans (Red Bull Company, 2011) Red Bull is not just an energy drink, it’s a brand. Red Bull has become a renown brand and has well-managed to create its strong brand image worldwide. Red Bull energy drink is associated with adventure and targets the consumers who have a taste and longing for thrill and extra-ordinary excitement levels. Its target market is basically the group of people with fun active lifestyle. Red Bull has a blend of certain high-quality ingredients that vitalizes body and mind. These ingredients together improve stamina, alertness, concentration, speed of reaction and also stimulates metabolism (Red Bull Company, 2011) Red Bull has always believed in heavy brand investment. As its marketing strategy, Red Bull avoided usual methods of marketing and relied heavily on buzz marketing or word of mouth. Other than the buzz marketing Red Bull has developed an international campaign of sponsoring events. These events mainly comprise of sports events like mountain biking, surfing, snowboarding, rallies, Formula 1 racing, etc.

Examination Of The Motifs In Till Eulenspiegel Music Essay

Examination Of The Motifs In Till Eulenspiegel Music Essay After an unsuccessful premiere of the opera Guntram in 1894, Strauss was consistently looking for new material for an opera. It appears he became more concrete about plans for an opera after finding the Eulenspiegel material from the chapbook Ein kurtzweilig lesen von Dyl Ulenspiegel [an amusing reading of Dyl Ulenspiegel] from 1515. The opera libretto for Till Eulenspiegel remained only a sketch, but the symphonic poem became a triumph. Franz Wà ¼llner conducted the premiere in November 1895. He asked Strauss for a few programmatic explanations, but the composer restricted himself to enunciating the two Eulenspiegel themes at the beginning. Further, he said that it would be impossible to produce a programme for Eulenspiegel. So this time we will leave the audience to crack the nuts themselves the rogue hands out to them. 615. Up that ladder. See him hang, he is running out of breath, one last convulsion. Till, the mortal, is no longer In my work I have decided to focus on Till Eulenspiegel ´s melodic motifs and their interpretations presented by Mathias Hansen, Thomas Armstrong and Michael Kennedy (see bibliographical references at the end). I have compared and examined them in reference to points on which they agree or disagree and I have integrated my own ideas by implying text to the score. In the first few bars we can find disagreement between the different observations. Mathias Hansen writes that the six introductory bars do not play a role until the epilogue in bar 633. It is true that this introduction does not take over the function of a ritornello in the sense of a Rondeau, but I disagree with the claim that this once upon a time theme has a separate status in the story. The opening phrase is in a folk-lore character taking as back to the times when Till was a historical figure. The first half of Tills theme, starting in bar six, is hesitant, however the second, identical entry is confident and self-assured, as if Till was checking the scene before appearing. Das war ein arger Kobolt wrote Strauss himself under this phrase (He was a wicked Goblin) and the above musical example portrays Till according to Strauss description. Thomas Armstrong notices that prologue is based on the second Till theme in bar 46/47: By writing this theme in its simplest form, we can easily detect that the prologue is a conclusion of it: Hansen also notices the Till-chord, which is the dominant chord in bar 47/48 (related to C and leading to the F home key); further on, he shows the relationship between this chord and the Tristan-chord: written in another tone or interval position, the harmony of the Till-chord corresponds with the one from the Tristan-chord. Strauss: Till EulenspiegeWagner: Tristan und Isolde The section between bars 51 -111 Strauss uses for exposition of the Till themes. One interesting thing is noticed by Armstrong, who shows the appearance of the wicked goblin theme in bar 53, starting with the clarinet and continuing with the first violins, further developments takes place in bassoon and lower strings part. Hansen also refers to these theme in his observation on bar 63 (et sqq) where a compressing through a massive overlapping of the first part of the wicked goblin theme takes place. Hansen writes that the passage from bar 46 et sqq. is dominated by one motif Regardless of its meaning, it [material compression] tries to integrate approximately every note in the context relating to motifs. Such complexity, that tries to dissolve the contrast of primary and secondary material, of foreground and background of a piece, is emerging emphatically in Strausss way of composing Till  [1]  . Hansens dissolving of foreground and background material might be suitable for the passage he is describing; however, if we think of Strausss Don Quixote, which was written two years after Till, we can find a quite clear separation of primary and secondary material. Strauss even assigned the characters of the piece to instruments: there is Don Quixote, who is represented by the solo cello and his squire Sancho Panza, who is described by the solo viola and the bass clarinet. In Till Eulenspiegel the whole passage from bar 46 to bar 134 includes figures that imply use of verbal text; this musical narration finds the words and their meaning in the actual notation of the music; e.g.: Bar. 71 et sqq.: Till is ready for his first prank Bar. 81-85: But when? But where? Bar. 98 et sqq.: Tills zest for action Bar. 105-109: Till is thinking of a crude prank Bar. 111 133: Just you wait you bootlicker! War ten mal! (just you wait) This is when the first true episode takes place. Clarinets rush upwards, cymbal clashes and Till mounts a horse andà ¢Ã¢â€š ¬Ã‚ ¦jumps! (137et sqq.) Riding roughshod through the market square as the beginning is presented in the string section: Strauss noted down in the score Away in seven-league-boots for bar 151 and 152 notes that depict that theme are assigned to the flutes, the oboes and the clarinets and refer these two bars to the first part of the wicked goblin theme. There is a pause in bar 154 when Till hides himself in a mouse-hole and carefully puts out his head. Armstrong explains the pause in bar 154 with the words: Till seems to be lost. I would rather say that the break has the character of Phew that was a near thing! Starting from bar 157 until 169 Till is again in the heart of a new adventure. Strausss note on that passage: He emerges in disguise as a priest, oozing unction and morality lets us expect a musical caricature. On the contrary, whatever the clarinet, the bassoon and the violas play in a folksong-way of simplicity it has nothing to do with open mockery or cautious irony. The repeated inclusion of the first part of the wicked goblin theme does not radiate the effect of a caricature. With his note The knave peeps out of [his disguise] at the big toe, Strauss must have meant the figure in bar 191: It is when D clarinet presents Tills second theme revealing who is under preacher disguise! The chromatic runs of the horn, trumpets and violins (bars 196 198) show how dangerous Tills practice of mocking religion is at that moment. 9 bars later a glissando in solo violin opens another adventure: Bar. 209 et sqq.: Till the cavalier, exchanging sweet courtesies with beautiful girls Tills horn theme is presented in a romantic way Till felt in love with one of the girls and the music is coated with harmonically richer material. When Till is mistreated by the girl, his themes stomp through the orchestra until the four horns seem to be shaking their fist at the world and this is when in bar. 287 288: He [Till] vows he will take revenge on all mankind The most promoted part of the tone poem starts here (bar 293 et sqq.). Strauss brings the rhythmical energy of the motifs into play. Till is amongst the Philistines whose motif is played by bass clarinet and four bassoons (bar 293 299). Tills horn motif is now played by strings as if Till was asking the pedagogues his questions; this is how Strauss puts it: After he has posed a couple of atrocious theses to the philistines, he leaves them to their fate dumbfounded. The music of this section portrays pointlessness of pedagogues calculations; They have been cornered by Till and left puzzled. Concerning the Philistines, a series of variations develops, in which the formative force is in the rhythmical richness of creation, some of them are composed as canonical variations: In the following passage Strauss tries to create a deceptive silence after the council of the Philistines decided to end Tills days. Till is waiting cautiously for revenge, he takes advantage of this situation and does more and more mischief, rather than trying to become an ordinary citizen. The first Till theme sounds again, Till reappears first in first horn in F in bar 429, then in bar 436 horn in D presents Tills theme enriching the tonality. Starting in bar 429 (et sqq) Till appears again for new pranks and these know no bounds anymore. Consumed by disappointments, he does not appear as a harmless humorist, but as a revengeful human being in a fools costume. It gives a feeling of wildness and in this broadening atmosphere Strauss develops an intensity and complexity of motives combinatory that is difficult to beat. Armstrongs description is also in this direction: The music is keyed up to a higher pitch of excitement than ever. Tills last stretch of development, some 140 bars in length, shows Strausss music in full and unhesitating flight.  [2]   Trying to describe this long passage, I would put the following words: Bar 410 to 429: There is a deceptive silence From bar 486: Till is very successful From bar 546 Till gets up to more and more mischief, he becomes more high-spirited, livelierà ¢Ã¢â€š ¬Ã‚ ¦ à ¢Ã¢â€š ¬Ã‚ ¦and even daredevil (bar 555 et sqq.) He feels like the lord of the world, even a god! (Bar 567 et sqq.) Fanfares in trumpets and horns: Straus puts an extra emphasis on this passage by expanding the brass section by three trumpets and an optional second quartet of horns. The boldness and arrogance of Tills behaviour is growing. He gets arrested and faces judges accusations (bars 573 581) accompanied by violent side-drum roll that lasts for fifteen bars. Till wants to keep his nonchalant attitude but starts to realize he has gone too far. The biggest penalty is given pictured in music by second Tills theme instrument D clarinet playing upward notes falling into major seventh chord (bars 615 616), when Till is going up the ladder to be hanged. This is when D clarinet reaches its highest A flat, holding it awhile and starts to move down, accompanied by the flute-trill (bars 619- 620) that describes Till running out of breath. This passage does not only sound like a sharp cry, though, it also portrays the breathlessness of Till. None of the authors specifies the epilogue. Kennedy refers the epilogue to Till himself: A gentle epilogue recalls the works fairy tale opening, as if to remind us, before he scampers away, that Till was not such a bad fellow.  [3]   Armstrong writes similarly: It is Tills characteristic tune with the devil taken out of it, so that it seems almost tender. This epilogue shows the composers insight at its keenest  [4]  . The epilogue recalls and extends Once upon a time version of Tills second theme (bar 632 et sqq). The atmosphere is similar to the one from the opening of the piece with it folk-lore narration and charm. In my opinion, Strauss composed the following content: Once upon a time, there was a foolà ¢Ã¢â€š ¬Ã‚ ¦he diedà ¢Ã¢â€š ¬Ã‚ ¦but through this story, he is still alive. Hansen and Werbeck have differing opinions about the form of Till Eulenspiegel. Hansen describes the form as follows: Basically, there are only two central events, and they are actually a combination of theme and motif those two of the hero, of which Strauss informs Wà ¼llner in his letter  [5]  . Walter Werbeck tries to explain the form more accurately: Strauss composes neither an authentic sonata rondo nor a traditional rondo chain  [6]  . The element of a rondo that is missing is ritornello, but if we see rondo as representation of two themes then we might be dealing with a variant of rondo in Till Eulen spiegel. Walter Werbeck continues: One could easily describe the first part of Till as a free variation form, or, preferably, as a form in which rondo and variation are combined as follows: A (Exposition); Aà ¢Ã¢â€š ¬Ã‚ ² (market scene, variation 1); B (sermon scene, episode 1); A à ¢Ã¢â€š ¬Ã‚ ²Ãƒ ¢Ã¢â€š ¬Ã‚ ² (love scene, variation 2); and C (Philistines, episode 2). Strauss also drew on principles of sonata form. As evidence we might cite especially the emphatic recapitulation of the initial horn theme in bar 429 that opens the second part of the piece.  [7]   Both Hansen and Werbeck divide the piece in the same way into two main parts. Whereas Hansen only tells us approximately where his second part starts, Werbeck gives us the exact bar number (429) of his division. Hansen is content with the division into two central events; Werbeck, however, tries to show that Till is undoubtedly much more than a sonata rondo. The composer combines sonata form, variations and rondo. These forms cannot be seen separately they overlap and penetrate each other to varying degrees. At some points the form of a set of variations dominates, sometimes as sonata or as rondo. Warbecks quotation As Till Eulenspiegel, the protagonist of the tone poem, resists societal norms by mocking them with continuous pranks, so does the composer thwart the expectations of those who want to pin him down to the norms of a rondo  [8]   seems to be especially appropriate here. Trying to fit Till into a rondo form, the following division makes sense: 1. Prologue and Exposition; bar 1-111, the fool is introduced 2. Variation I; bar 112-178, the upsetting of the market place 3. Episode I; bar 179-206, the mockery of the sermon 4. Variation II; bar 207-288, Till in love 5. Episode II; bar 289-409, the confusing of the professors 6. Recapitulation (Variation III); bar 410-594, Till goes on his way 7. Coda (Episode III); bar 595-632, Till is arrested and hung 8. Epilogue; bar 633-658 At this point I would like to summarise the themes of Till Eulenspiegel: The wicked goblin theme and its modifications: BASIC FORM: NARRATIVE: AS A CAPER: HE LIES IN WAITING AT A GALLOP RELIEVED, AT A SAFE PLACE IN LOVE AS AN OATH OF REVENGE IN A CONFIDENT WAY UP THE LADDER FURTHER THEMES: Till Eu len spie gel, till Eu-len-spie gel, Till Eu-len spie-gel NAMING OF TILL NEW PRANKS IN LOVE COURTING AGAINST THE PHILISTINES DECEPTIVE SAFETY MISCHIEVOUS Richard Strausss Till Eulenspiegel appears as a masterpiece in composers career. In this piece Strauss used yet the biggest orchestra with massive woodwind section and optional second horn quartet. It is in some way symbolical that after serious labour on Guntram Strauss composes such a spectacular work inspired only by a folk legend. Richard Strauss himself leads us well and truly to believe in something with his title Nach alter Schelmenweise in Rondeauform [after an old rascal manner in rondo form]. Whoever thinks that Strauss came to a compromise with the traditional form will notice quickly that any pattern is avoided. It is not the form of the rondo with the methodical; umpteen times reprise of the theme, the unity is reached by the consistent development of the melodical-thematical elements. These elements, which come in the most varying forms, in the bravest disguises and the rhythmical and harmonical transformations, are the two main themes. Strauss uses the specific sound character of an instrument in the score very carefully. This is what gives the whole tone poem the humorous colour. When the notes become alive, everything sounds so simple, natural and unconstrained. Strauss makes high demands on the musical intelligence of the musicians playing his works.

Waiting for the Sun :: Essays Paper

Waiting for the Sun 1 The theme of "Sweat" [Titles] is that in a fight between good and evil, good wins out eventually, because any evil done will come back to the source in time. There are three concepts that support this theme. They are conflict, irony and symbolism. 2 The conflict of the story is good vs. evil. Delia is good. She goes to church on a regular basis, sometimes more often than regularly. She continues to stay and fulfill her marital responsibilities, regardless of the fact that her husband is cruel. [She also kills Sykes, or at least lets him die.] 3 [Combine with previous paragraph.] Sykes is evil. He cheats on his wife and abuses her mentally, physically and verbally. The most evil thing Sykes does is let the snake loose in Delia’s hamper. His intent is that the snake will attack and bite Delia. Delia would die from the snake’s venom, and then she would be out of his life. 4 Irony supports the theme of this story. Sykes puts the snake into the hamper so that it will bite Delia when she goes to do the laundry. Instead, Delia gets away from the snake, and Sykes gets bit. This is ironic because Delia said, â€Å"What goes over the devils back, is got to come over his belly,†(762) earlier in the story. [What Delia says undercuts the irony.] 5 [Combine with previous paragraph.] Another irony of the story is when Delia notices there is only one match left. She curses Sykes for never getting any, and then she lights her lantern. When Sykes goes to get one, the match safe is empty. He is left in the dark because he never bought any matches. [Wouldn't one expect no matches if no one bought any? I don't see the irony.] 6 The most important concept of this story is symbolism. Sykes kicks a pile of white laundry, which symbolizes ["is"?] an evil act. The laundry is white which symbolizes good. Sykes â€Å"stepped roughly on the whitest pile† (761). A snake symbolizes evil or death. In the story the snake delivers the death.