Aschenbach was certainly an artist. A very decent one. He had his life planned out, was very accurate and organized. Perhaps even a bit boring, monotonous. He was a hard-working man, he had that certain motus animi continuus. He was seen as a genius. From the beginning, he wanted to become known, to become famous, but his life was empty. He yearned for a change of pace, for some action, adventure and unpredictability of what might come. He was afraid of 'breaking out', yet he was also afraid of being trapped.
Then he goes to Venice, where all will change. In his hotel, he sees a young boy by whom he is fascinated. The young boy is the perfect image of a happy, idle child that has all it desires, all Aschenbach never had; his childhood was rather gloom since it was spent mostly at home and indoors, he didn't meet many people and he certainly never had that laisser aller attitude that the young boy so obviously possessed. Aschenbach studied the child and found out that his name was Tadzio. The sound of his name was almost musical. Aschenbach would sit on the beach and watch him play, the young child that, in his point of view, looked like the god Apollo. Slowly but surely, he became obsessed with Tadzio, with his youth, beauty, effortlessness and his idleness.
Whilst being obsessed with this young boy with whom Aschenbach has no connection or relation, around him disease broods. The plague is sweeping over Venice, unnoticed at first and denied by the Venitians. They are all lying, denying and acting as to make sure the tourist business will continue to thrive through this period of silent turmoil. People are dying around Aschenbach, while he is alive in the midst of death.
If he would have been wise, he would have left as soon as he started considering the fact that there was indeed a plague in Venice. Yet he could not leave. He was so immensely drawn to Tadzio, he could not make himself leave. After he finally takes the step to leave the wretched place of contagion, his bags go missing, giving him the opportunity he subconsciously longed for; to stay longer with a cause. Even when his luggage is returned, he has no intention of trying to leave again. Instead, he stays to be close to Tadzio, with whom he believes to have a bond.
“It is a wise father that knows his own child,” said shakespeare in the sixteen hundreds. These words directly resemble both The Merchant of Venice and Night by Elie Weizel in their father son relationship. Portia and her late father, Jessica and Shylock as well as Elie and his father Shlomo. All of the fathers in the stories try hard to build up the person to be the best version of himself, but do not always succeed.
An unknown eye witness accounts details of the immediate stress the plague brought to Europe. "Realizing what a deadly disaster had come to them, the people quickly drove the Italians from their city. But the disease remained, and soon death was everywhere. Fathers abandoned their sick sons. Lawyers refused to come and make out wills for the dying.
One of the early examples of dramatic irony in the play is during the scene in which Oedipus accuses Creon of plotting against him with Teiresias, an old, blind prophet. Creon is a great friend to Oedipus, and Teiresias, by at first refusing to reveal the murderer is trying to p...
The Plague (French, La Peste) is a novel written by Albert Camus that is about an epidemic of bubonic plague. The Plague is set in a small Mediterranean town in North Africa called Oran. Dr. Bernard Rieux, one of the main characters, describes it as an ugly town. Oran’s inhabitants are boring people who appear to live, for the most part, habitual lives. The main focus of the town is money. “…everyone is bored, and devotes himself to cultivating habits. Our citizens work hard, but solely with the object of getting rich. Their chief interest is in commerce, and their chief aim in life is, as they call it, 'doing business’” (Camus 4). The citizens’ unawareness of life’s riches and pleasures show their susceptibility to the oncoming plague. They don’t bother themselves with matters not involving money. It is very easy for the reader to realize that they are too naive to combat the forthcoming calamity. The theme of not knowing life is more than work and habits will narrow the people’s chances of survival. Rieux explains that the town had a view of death as something that happens every day. He then explains that the town really doesn’t face towards the Mediterranean Sea. Actually it is almost impossible to see the sea from town. Oran is a town which seems to turn its back on life and freedom. The Plague was first published in 1948 in France. “Early readers were quick to note that it was in part an allegory of the German occupation of France from 1940 to 1944, which cut France off from the outside world; just as in the novel the town of Oran must close its gates to isolate the plague” (“The Plague” 202). When the plague first arrives, the residents are slow to realize the extreme danger they are in. Once they finally become aware of it...
he has to try to come to terms with Venetian rules. His fatal flaw is
Mack, Benjamin. “Tourism overwhelms vanishing Venice.” DW.DE. Deutsche Welle, 11 Sept. 2012. Web. 12 Jan. 2014. .
Bruni explains that Florence is a beautiful city, one which cannot even be described in words. He notes that Florence is not ostentatious, but rather, it is elegant in its moderation (23b). The city is physically beautiful, but it also “possesses the clearest and purist speech” (42a). “The study of literature in Florence grows in full vigor,” Bruni points out. Pitti indirectly shows that he agrees with the art of literature by writing a sonnet in his diary (Pitti 71). Everything from the buildings to the land it sits on, Florence is claimed by Bruni to be the most gorgeous city in the world. The city is also amazingly clean (24a). Everywhere you go, Bruni is positive that you will find nothing “disgusting to the eye” (24a). However, according to Pitti, his family had to leave the city because “they had taken refuge from the plague then raging in Florence” (Pitti 64). Pitti again mentions how he and his family had to leave because of the plague in 1411 (Pitti 87). Dati also states that “there was a plague” in the year 14...
Risk is the exposure to danger. Taking risks are necessary because risk reveals experience to an individual. Hazard has both malevolent and benevolent outcomes, which can affect the overall atmosphere in a play. The content of William Shakespeare’s The Merchant of Venice includes many scenarios of risk-taking among the relationships between characters. The Merchant of Venice consists of four different plots: the bond plot, casket plot, love plot, and ring plot; in which characters are exposed to danger. Risk serves a major responsibility as it divulges many elements of dramatic significance throughout the play. Shakespeare manifests hazard through rival arguments, lovers’ commitments, and father and child agreements.
The plot of Oedipus Rex uses dramatic irony as a key narrative element. From beginning to the end, Sophocles expose the audience to irony. The result is both shocking and devastating for multiple main characters. Oedipus, for example, states the weight of the punishment Laius’ killer will face. This builds irony because Oedipus is Laius’ killer, but he does not realize it yet. As realization of Oedipus’ crime against the Greek gods begins to set in, so does the climax and resolution of the irony. Overall, Sophocles’ use of dramatic irony is integral to both the progress of the play and to its climax.
Stereotypes are a fixed image of all members of a culture, group, or race usually based on limited and inaccurate information resulted from the minimal contact with this stereotyped groups. stereotypes have many forms; people are stereotyped according to their religion, race, ethnicity, age, gender, coulor, or national origins. This kind of intolerance is focused on the easily observable characteristics of groups of people. In general, stereotypes reduce individuals to a rigid and inflexible image that doesn't account for the multi-dimensional nature of human beings. One example of stereotypes is the categorization of the Jews in Elizabethan era. In fact, Elizabethan era was an age of prejudice, discrimination, and religious persecution particularly against minorities. Jewish people were one of those minorities who was suffering and struggling for survival. This racist attitude was rife not only in England but also across Europe. "Christians tended to see the Jews as an alien people whose repudiation of the Christ had condemned them to a perpetual migration. Jews were denied citizenship and its rights in much of Europe and forced to wear distinctive clothing to identify themselves in public (the yellow star, or badges of shame). There were forced expulsions of the Jews from several regions across Europe." (1). Jews were even believed to worship the devil.
Mann, Thomas, and Clayton Koelb. Death in Venice: a new translation, backgrounds and contexts, criticism. New York: W.W. Norton, 1994. Print.
In the play The Merchant of Venice by William Shakespeare, there is a concept of otherness throughout the play. Many characters had roles in which they were examples of the outsiders, that occurred during the time the play was written. If not all but in most plays by William Shakespeare, there is always a character who is categorized as the outsider. However, The Merchant of Venice took the concept into a deeper level, instead of depicting differences in social class as otherness, the play included race and religion, instead of social class. These beliefs shaped not only the way the play was written, but how the characters treated certain individuals in the play and how the personality of each character
Life for humans is dictated by the yearning for more through our experiences. We strive for more knowledge, more wealth, and more happiness, but it all is endless like an abyss. Beauty, however, is pure and can be found in the simplest matters in life. Throughout the novel Death in Venice, by Thomas Mann, Aschenbach works his whole life rigorously day by day searching for more and more until his introduction to Tadzio in Venice. Upon Aschenbach’s first site of Tadzio he falls in love with the perfect beauty of the child. For the first time in his life he sees the simplicity of beauty and how perfect it is, however, he is consumed by it. Aschenbach’s introduction to beauty consumes his mind from the rest of the world. Aschenbach searches for beauty in life, but is trapped and consumed by it and is pulled away from the rest of the world.
The elements at play in the novel and film are quite remarkable for their traditionally universal appeal.3 The fates of two adolescents, one jailed the other unwilling jailer, intersect and are soon bound together in a struggle for survival at the hands of unsuspecting enemies. The filmmaker's aim was to adopt a child's unadulterated point of view in referential opposition to the surrounding adult world. Given the suspenseful plot and the exploration of the young protagonists' fears at coping with a habitat they must disavow, such an aim and narrative scheme were expected to gather much attention.4 The pre-teens Michele, the novel's principal hero, and Filippo the kidnapped child are ultimately elevated from a pit of dirt and fear, the antechamber of death, chiefly by their own heroic praxis. Yet the problematic lack of any meaningful degree of depth in the novel and film seems to lie precisely with its overly schematic construction, tailored to safely weather the otherwise unpredictable market.
Shakespeare’s Merchant of Venice contains many themes and elements that are considered timeless or universal. Samuel Taylor Coleridge defines a timeless or universal element as a “representation of men in all ages and all times.” A universal element is relevant to the life of every human being – it is universal. The first major theme that plays an important role in the play is the Christians’ prejudice against the Jews. A second important theme is the attitude toward money. Perhaps the most important theme of the play is the love between people. This love can occur between the same sex, or the opposite sex, platonic or romantic. In Merchant of Venice, the three timeless elements are prejudice, money, and love.