In order to reach his goal of completely reconstructing France, Robespierre unleashed a campaign of terror. Terror was used to enforce his revolutionary ideas, but the radicalization eventually lead to the downfall of Maximilian Robespierre and the Committee of Public Safety. Maximillian Robespierre and the Committee of Public Safety used excessive terror to enforce new revolutionary changes during the French Revolution. After the old French government was overthrown, Maximillian Robespierre took control of France in 1793. Robespierre wanted to change the social and economic structure of France for the better, spreading equality throughout France.
In contrast, practitioners of bourgeois drama aimed at converting the theatre into a schoolhouse for moral values and virtue in social interaction. Parisian audiences, especially those standing in the open parterre area in front of the stage, often used the theatre as a forum for voicing their own opinions on political issues. Far from being mindlessly molded by any agenda of the French playwrights or royal patrons, the spectators claimed for themselves the capacity to pass judgment on the plays presented on the stage. The Crown's formal regulation, the playwrights' didactic intention, and the spectators' vocal reactions created an interaction of control, manipulation, and political articulation in eighteenth-century Parisian theatre. From the popularity of amateur productions among the moneyed and elite to the general trend of rising ticket sales at public theatres, drama played an important role in the social life of eighteenth-century France.
Benvolio tries to cheer Romeo up, he tells him they shall go to the Capulets party in disguise. Meanwhile Juliet’s parents want her to marry Paris. Shakespeare is setting up our expectations. We expect love and conflict to be present at the party. Act one scene five is a climax to the first act, and provides a dramatic link to the rest of the play, leads to marriage and the balcony scene.
Fate is another word for one's fortune and destiny. The word fate is first mentioned in the play when Lady Macbeth receives Macbeth's letter telling of the witches' prophecies. She is afraid that he will not take advantage of his opportunity to take the crown, "Which fate and metaphysical aid doth seem to have thee crown'd withal"(1.5 29-30). Macbeth faces his fate at the end of the play after he himself created the monster within. The second element is Macbeth's weakness, which is fear.
At... ... middle of paper ... ...tarted to question and fear their own safety. They then executed Maximilien Robespierre. This led to the moderates regaining their power, because they were in the middle of the two opposing sides, and would stop the fighting as much as they could. The revolution ended after this. After the revolution, the French created a new plan of government by creating a two house legislature and an executive branch.
soon after at the age fifteen she imagined yet another unearthly voice that told her to go and fight for the Dauphin. She believed the voices she heard were the voices of St. Catherine and St. Margaret and many other people another being St. Michael. She believed they also told her to wear mens attire, cut her hair and pick up her arms. When she first told her confessor she did not believe her. When she tried telling the judges she explained to them how the voices told her it was her divine mission help the dauphin and rescue her country from the English from the darkest periods during the Hundred Years’ War and gain the French Throne.
In 1917, a month after attending a performance of Princess Seraphina Astafieva’s Swinburne Ballet, the thirteen-year-old boy registered for lessons with the Russian ballerina. A former pupil of the Imperial School and at one time principal dancer in the Diaghilev Ballet Russe, Astafieva was then conducting the only school of Russian ballet in London, which stressed the importance of the individual dancer in ballet. After Pat had been her student for about four years, the famous Diaghilev visited the school one day in search of promising young dancers for extras in The Sleeping Princess. It was then that the seventeen-year-old youth was given his first dancing bit, a part in Diaghilev’s chorus. The Sleeping Princess had a three-month run, after which the young dancer returned to school for two more years of instruction.
The original title as it translates from Russian to French is; Le Sacre du Printemps, meaning the rite of spring, but the literal translation from Russian to English means “Sacred Spring”. The ballet and music were composed by Igor Stravinsky, with the help of Nicholas Roerich, who proposed the general idea behind the ballet to Stravinsky. Roerich wanted to put into motion the ideas behind pagan pre-Christian rituals in Russia. Together the two created the story line behind the ballet; a sacred pagan ritual where a young female dances herself to death and is then offered to the “Gods” of spring to make them happy. The music was composed by Vaslav Nijinsky and the ballet was produced by Sergei Diaghilev for the Russian Ballet.
The arts of classical Greece had a different flair than any other civilization. The Greeks invented both drama and built the first theaters in the west. Statues in Greece depicted their gods and goddesses in idealized human form, their faces neither showed laughter or anger, only serenity. Athena, goddess of wisdom, is found in the Parthenon, dressed in full battle armor, holding a six-foot high figure of victory. The Parthenon is a masterpiece of not only craftsmanship, but also design.
Each goddess attempted to sway Paris with offerings, and Aphrodite's temptation was Helen; this leads to the war and the immortal alliances that overshadow its mortal activities. The story that the poem implicitly addresses is of the Achaen king Agamemnon and his daughter Iphigenia. The Achaen forces have gathered at Aulis before mounting their attack on Troy when one of Artemis' stags is killed; this, coupled with Agamemnon's boasting of the act, is why "Artemis is offended" (51). In retaliation, the goddess imprisons the troops at Aulis by preventing the wind from powering their fleet. In order to appease the goddess and begin the war, Agamemnon sacrifices his own daughter Iphigenia as "the child" who will become "the victim of Aulis."