Unlike now many things had changed from the past. Beside the libretto, music is also one of the most important parts of an opera. The music is the mood setter of the show, the sense in the opera depends... ... middle of paper ... ..., the story is a twist from stories written in the present days. Being able to see an opera live was a wonderful experience but at the same time it has some ups and downs. Being able to see all kinds of art combined in to one was amazing; the story, the music, singing, dancing, costumes, scenery, etc… those being all the ups of the opera.
The supernatural is used most fearsomely in Hamlet, with the ghost of Hamlet's father representing the most frightening apparition in all of the Bard's plays. However, the supernatural is used to an almost whimsical degree in A Midsummer's Night Dream and The Tempest. In both of these plays the supernatural does not assume an evil demeanor, though it does wreak havoc on the lives of those in its midst. Yet, the supernatural is connected more with a generic nature of chance than one that is pure evil as in Macbeth or pure "foul and most unnatural" as it is in Hamlet (Shakespeare 1078). In A Midsummer's Night Dream there is a great deal of mirth and whimsy and the supernatural elements are more of a mischievous variety than any kind of sinister entities.
At first, the music was used mainly for background. However, by the end of the century, the drama and the music were equally important. The opera innovation inspired some of the biggest composers known today. In France, Je... ... middle of paper ... ...); and Puccini’s Madame Butterfly (1904); to list just a few. Famous recording opera stars include Enrico Caruso, Maria Callas, Dame Joan Sutherland, Dame Kiri Te Kanawa, Plácido Domingo, Luciano Pavarotti, and José Carreras.
The Count is the benchmark of the vampire archetype as the monstrous Other that “announces itself as the place of corruption” (Anolik and Howard 1). Dracula is associated with disruption and transgression of accepted limits—a monstrosity of great evil that serves to guarantee the existence of good (Punter and Byron 231). The “Otherness” Dracula possess reinforces our own norms and beliefs through his transgression that separates him from society and the polarity to Western norms and ideals makes him an effective device for extorting revulsion and horror. Stoker’s novel employs Gothic tradition, providing “the principle embodiments and evocations of cultural anxieties” from which the very Gothic mood and horror is produced, establishing the baseline used to distinguish the modern vampires, as part of vampire mythology within the Gothic (Botting Aftergothic
Winesburg, Ohio Text and Criticism. Ed. John H. Ferres. New York : The Viking Press, 1966. 432-443.
Although Gaston Leroux's The Phantom of the Opera has not generally been highly commended by critics, many would agree that there are several elements that prove Leroux to be a talented writer. One of the strongest elements in the novel is the narrator's voice. The narrator is on a quest, starting out with the question of whether the opera ghost was real and is trying to find evidence in order to reach a conclusion. He takes the reader behind the scenes of the opera. He does this with the themes of appearance and reality.
Many critics writing at the time of the Romantic Gothic (i.e: Gothic written during the arbitrary period of Romanticism) considered such novels to be sensationalist, trashy and "completely expurgated of any of the higher qualities of mind" (Peacock quoted in Sage, 11). I think this is an unfair judgemen... ... middle of paper ... ...------------------------------------  Most quality Gothic books are likewise referential or intertextual. Frankenstein draws on a rich lineage of Romantic favourites from Milton to Goethe through Godwin up to Percy Shelley. It is from these books the monster learns his culture thus his humanity. Melmoth has frequent allusions to contemporary romance e.g.
They were sublime, awe-inspiring and beyond life, they were fantasy ideas. However ‘The Woman In White’ fits into the Excess category, where the characters are exaggerated into their roles, and a lot of mystery and suspense is created. Typically gothic novels are set in large and intimidating buildings like a castle, like in this case, Blackwater Park, or they are very isolated, like Limmeridge. Supernatural or inexplicable events may take place, which create an atmosphere of mystery ... ... middle of paper ... ... many questions that we had are finally answered. We find out that Percival’s big secret was that he was born illegitimately and he did not want anyone to know as it might ruin his reputation.
He comes across three multifarious, 'grotesque custodians' who try to persuade him not to go into the supposedly haunted room. He does so, however, and experiences tremendous shock, trepidation and qualms. This essay will examine this to see how far it is a typical ghost story and how far it is not typical by looking at such features as setting, plot, characters and language. ' The Red Room' is set in Lorraine Castles in the early 19th centaury. In this story, the setting is quite appropriate to the theme as it quite gothic.
(Bown, 2001) All of these factors affected the interest in supernatural that meant interest in ghosts, vampires, werewolves, extraordinary human abilities, and other fantasy creatures. Supernatural cannot be explained by rational or scientific means. In this chapter supernatural is analyzed as a part of the Gothic novel connecting it with possibly the most popular supernatural beings of modern day - Vampires that have inspired more books and films than all other mythical creatures together. Supernatural literature uses persistent themes, images, and symbols to picture the human condition. Supernatural appears throughout literature but it is best-known in the literary genre called “Gothic,” which developed in the late eighteenth-century with the publication of Horace Walpole's novel “The Castle of Otranto” (1765), which Walpole called a “Gothic story”.