In The Sorrows of Young Werther by Johann Wolfgang Von Goethe, Lotte has been seen as responsible for Werther’s fate. There are many ways through which Lotte’s behavior around Werther fuels his romantic obsession with her. Lotte continuously shows inappropriate affections towards Werther throughout the novel. Examples which show her affection for him are dancing the Waltz, the gift of the pink ribbon, and the bird beak kissing incident. Lotte leads Werther to believe she loves him by touching his hands, gazing at him, calling him “dear,” she entices him as well by requesting that he come to visit with her daily. Readers can also see Lotte’s improper affections towards him when she does not respond to Albert’s request that she stop seeing Werther; affections which are made even more clear when she responds to Werther’s kisses. These actions, coming from a woman who is engaged to be married, were all considered extremely indecent at the time and Lotte should not display them way she does because they encouraged Werther to make her the object of his obsession. The first instance of Lotte’s unsuitable behavior with Werther occurs on the first night of their acquaintance. Not only does Lotte make Werther immediately feel on familiar terms with her when she has her siblings call him “cousin”(38), but once at the ball, she dances the Waltz with him. “The Waltz received a great deal of criticism, as ‘leading to the most licentious of consequences’"(Powers). At this time, the Waltz was a very controversial dance, as it is a dance which requires partners to dance very close to each other. “After centuries of dancing at arm's length from one's partner, much of genteel society was not ready to accept the closed embrace of the Waltz” (Po... ... middle of paper ... ...responded to him and agreed to obey. The fact that she chooses not to respond, and chooses not to retort in any way shows that she cares. Regardless, her demonstration of innocent attraction and care towards Werther should never have been present because of Albert. This is proof of her knowingly fueling Werther’s obsession. When alone and Lotte responds to Werther’s kiss, it is the final step in proving to Werther that she loves him as well as he loves her. In the end, all of Lotte’s purposeful portrayals of affection towards Werther fueled his obsession and led him to his fate. Works Cited Goethe, Johann Wolfgang Von. The Sorrows of Young Werther. London, England: Penguin, 1989. Print. Powers, Richard. "Social Dances of the 19th Century." Social Dance at Stanford. Stanford University. Web. 26 Apr. 2011. .
Haskins, James. "Geoffrey Holder and Carmen De Lavallade." Black Dance in America. N.p.: n.p., 1990. 130-37. Print.
Dance is an ever evolving form of art; in much the same way that one can categorize and differentiate between eras and styles of architecture one can also do so with dance. These eras at times have sharp delineations separating them from their antecedents, other times the distinction is far more subtle. Traditional forms of dance were challenged by choreographers attempting to expand the breadth and increase the depth of performance; preeminent among such visionaries was Seattle born dancer and choreographer Mark Morris. Mark Morris' began as one of the millions of hopeful individuals attempting to simply make a career in dance; he not only succeeded but managed to have a lasting effect on the entire landscape of dance.
Allison Bonetti, a dancer in the performance, is quoted, remarking, “I feel dizzy every time we complete the Waltz section, but I don’t feel dirty or scandalous, as I would after, say I maybe danced in a club. I think I speak for many of us when I say that the Waltz feels like a dance my grandmother would do.” In fact, the performance is misleading seeing as it is paired with very formal and controlled dances such as the Pavane and the minuet. In fact, modern historians such as Mark Knowles have compared the Waltz to social hip hop dances of today such as “krumping and grinding” since through the ages social dances have been “manifestations of society’s beliefs, values, attitudes, confusions, and concerns.” If the performance was to correctly convey this notion, it would have beneficial to place the nineteenth century Waltz in the second half of the performance, along with dances like the Quan and the Whip. However, in order to maintain chronological accuracy, the Waltz was placed in the beginning of the performance, overall failing to reveal the true nature of the nineteenth century
Infatuation causes Helena to lose all sense of dignity, as can be seen when in the woods, she desperately pleads with Demetrius to ?but treat me as your spaniel?. Here, Helena also becomes irrational, obsessed with pursuing Demetrius, though it is obvious that Demetrius is fixated on winning Hermia?s hand in marriage. Helena?s infatuation also causes her to see things from a skewed perspective, for she falsely believes that when she divulges Hermia?s plans for eloping with Lysander, Demetrius? love for Helena will rekindle. As the audience, we know that the most probable course of action for Demetrius upon hearing such news is to pursue Lysander and Hermia, or to report them to Theseus or Egeus. Clearly, infatuation has clouded Helena?s ability to think clearly, and she sees things in her own idealistic way.
Johann Wolfgang von Goethe began writing The Sorrows of Young Werther in the early part of 1774. It was written during the Sturm and Drang period in Germany. Sturm and Drang, or more conventionally known as Storm and Stress, was an attempt by people in this period to free themselves from the strict rationalism of the enlightenment period. It is about a young man, Werther, who finds himself in an impossible situation. He is in love with a young woman named Charlotte. Despite knowing that Charlotte is already engaged to another man, Werther continues to ...
New Dance is described as a developing art form; this dance was articulated in the early 20th century. According to Chapter 8 in History of Dance book, “the new dance emerged as a response to the ballet that populated the variety shows and music halls, which had a rigid formula of steps and poses” (Kassing). The New Dance was a product of several strands that interlaced together dancers’ studies and backgrounds; these strands and others were woven together in a historical, political, and societal framework. For instance, one strand of New Dance consisted of the concepts, techniques, costumes, and stage settings from around the world. These strands influenced major dancers and choreographers, such as, Isadora Duncan, Loie Fuller, Ruth St. Denis, and Ted Shawn.
Despite the fact that all the difficulties lovers face, eventually everyone gets along and they get their loves and problems seems to be fixed at least for the time being. The Duke finally supports Lysander and Hermia's marriage and Helena gladly accepts Demetrious although she is skeptical of his unexpected change in his behavior. The Duke changing his mind over Lysander and Helena's love and deciding not to enforce the Athenian rule that requires him to support Hermia’s father’s poition. Even after the opposition from Hermia’s father he allows to Lysander to marry Hermia in his own wedding day along with Demetrious and Helena. The story gets a happy ending unlike many of the Shakespeare work such as Romeo and Juliet. Although the characters journey to their love were full of challenges, ultimately they are victorious in achieving their love.
to portray in the social setting of late 1880’s and it is due to this
In conclusion, The Sorrows of Werther opened the creatures eyes to the immediate world around him and the pains associated with life especially when one is rejected by the people they love.
[6] Cohen, Selma Jeanne. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. New York: Oxford UP, 1998. Print.
Von Goethe, Johann W. “The Sorrows of Young Werther.” Romanticism. Ed. John B. Halsted. New . . York: Walker Publishing Company, 1969.
“The act of dancing in close range with the opposite sex was taboo” according to Richard Powers. In F.Scotts Fitzgerald’s book, “The Great Gatsby” it illustrates the elaborate parties, dancing, and music of the twenties7. In “The Great Gatsby” it illustrates illegal nightclub style parties that contains illegal liquor, music, and dancing. With a change in the dancing industry, came a change in the dance fashion choices (“1920s Dance” par.4). With the change in the dance came the change in fashion8. Out of those changes came Flappers and Sheik’s. As seen again the article “1920s Dance” dancing became a major part of people’s lives. Dances were held at churches, speak-easies, schools, and night clubs (“1920s Dance” par. 6)9 According to Carter, “with the rise in dance clubs and jazz music, came a rise in crime and brothels”.10 By the end of the twenties, nearly sixty communities across the nation had band jazz music. Dance of the twenties had a major impact on their society and has majorly impacted today’s
The Lovers have a lot of drama between the four of them. Lysander and Hermia love each other and Demetrius and Helena are suppose to be together, but instead Demetrius no longer loves Helena and loves Hermia. Hermias father Egeus wants Hermia to get married to Demetrius but is unable to change her mind on Lysander. He tells her that she has four days to decide on marrying Demetrius which is the day of Theseus and Hippolytas wedding. She has the choice of either marrying Demetrius, becoming a nun or she can face death. Hermia and Lysander decide to run away into the forest to be together. Helena and Demetrius end up in the forest as well. The fairy Oberon feels bad for Helena because the one she loves doesn’t love her back. Puck the fairy is suppose to put a spell on Demetrius so when he wakes up he sees Helena and falls in love with her but instead the spell is placed on Lysander so now he loves Helena not Hermia. Demetrius gets the spell and now both Lysander and Demetrius love Helena and Hermia is confused. The spell is taken off so Hermia and Lysander can love each other again and Demetrius actually falls in love with Helena for real.
The more obvious aspect of her tragedy is that she is seduced and abandoned by a lover above her in rank. Faust is another of the well-meaning but undependable heroes of the bourgeois tragedies popularized in Germany by Lessing , and indeed the Gretchen tragedy is the most compelling example of the genre in Germany. Goethe himself had Werther commit suicide with a copy of Emilia Galotti open on his desk, so it is hardly far-fetched to see Faust in the role of Lessing’s indecisive prince, torn between ...
Whitley, Peggy. "American Cultural History - The Twentieth Century: 1910 - 1919."American Cultural History. N.p., n.d. Web. 06 Jan. 2014. .