He grows an awareness of disharmony in the universe that he has never encountered. Salieri clearly is culpable of his own tragedy. He is the Court Composer, his works are respected throughout Europe, and because he is not stupid, he does not say he is the better composer. Instead, he is the minority who actually appreciates Mozart’s music. There is definitely sympathy for Salieri, in that all human beings can work as hard as they want to at something and can still fail miserably.
Salieri noticed that Mozart conducted without notes. Although he recognized that Mozart was a ‘giggling, dirty-minded creature', he was also able to see the genius in him. He couldn't understand why God had chosen a ‘obscene child to be his instrument'. At another time, Mozart's wife presents to Salieri some of his work in an attempt to get him a job as a teacher. Salieri sees that the music sheets have no corrections and no notes.
But to his disbelief, the creature’s physical appearance was anything but perfect. Victor says “A mummy again endued with animation could not be so hideous as this wretch” (49). This shows that Victor clearly was not satisfied with the outcome ... ... middle of paper ... ...g ignorant and innocent to a knowledgeable murderer. In the story, the creature wanted to learn and fit into society, but that society just would not accept him. He also realizes that he should have a partner and demands it.
If we were to overlook Beethoven having the greatest influence over the Romantics, then we would come to Hector Berlioz (1803-1869), who is even considered more of an innovator than Mr. Beethoven himself. Berlioz became famous not because he changed the rules, but because he completely ignored them. Every aspect of music he dissected under his microscopic thinking. If he felt like a feature of music helped him express his soul’s desire, then he kept it, if not, he would shatter it completely down ... ... middle of paper ... ...omantic period pushed music along into the modern period, but there is one staggering observation that is obvious to all, and that is the quality of music. The pantheistic worldview that dominated this time period during the rise of Darwinism, brought people to think that what was good and beautiful is what they perceive as good and beautiful.
Abraham portrays a talented yet mediocre musician who, having revered God all his life, shows us clearly that "pride goeth before the fall". It is Salieri's greed for fame, and pride in his own "moral goodness" that lead him to denounce Mozart as a "fiend". When God continues to shower favor upon mozart, Salieri renounces God, and vows that he will be the instrument to thwart God. Salieri's Fall from Grace is brilliantly documented, and Abraham's performance utterly believable. Tom Hulce does a splendid job portraying Shaffer's Mozart.
But what qualities combine to create a genius? A true genius incorporates three general aspects: a natural curiosity; originality, alongside creativity; and finally, a remarkable ability to learn, think, and understand quickly. It is important to remember that, in some cases, all three aspects can exist without a high- intelligence score. The truth is that there are countless different types of geniuses. As with any term that describes a personality, not all geniuses will fit the mold carved out by any single definition.
Splatters become blotches when Mozart uses Salieri’s “prize pupil” (33), Katherina Cavalieri, to fulfill his professional and sexual aspirations. Covered in thick, black envy, Salieri seeks lust to better himself than his opponent: “As I watched her walk away on the arm of the creature, I felt the lightning thought strike – ‘Have her! Her for Katherina’ … Abomination! … Never in my life had I entertained a notion so sinful!” (39). The paper then turns black as Salieri’s “wanted fame” (16) is enveloped by Mozart’s egotistical and immature personality.
45-6), meaning she outshines the other women like a white dove in the middle of a flock of crows. In Sonnet 130, another one of Shakespeare’s works, he ridicules these Petrarchan clichés that idealize women beyond compare. In his sonnet, he declares: “I think my love as rare/As any she belied with false compare” (13-14). He is essentially saying that he ... ... middle of paper ... ...onclusion, Shakespeare’s Romeo and Juliet has proven to be a satire of courtly love conventions as opposed to a romantic tragedy that celebrates courtly love. It is no surprise that Shakespeare’s mockery of courtly love within sonnet 130 was also present within this play.
In the beginning of the movie, he is portrayed as an extremely vile creature, and yet, with great musical talent. As the movie progresses, Mozart transforms and his personality grows to fit his great musical talent. In the beginning of the movie, Mozart, while possessing great musical talent, is a bawdy impish jokester. When Salieri, the narrator of the movie first sees Mozart, Mozart is running on the floor with a girl, telling boorish jokes. He is angered by Mozart’s behavior, and believes that this was god’s way of mocking him-by giving him the ability to understand music, and yet using such a vile creature as his instrument.
The Mozart Effect implies that playing Mozart to a baby will increase its cognitive abilities, a claim which has instigated a rapidly increasing market of “CDS to make your baby smarter”. This claim, despite having partial merit and widespread popular acceptance, is fundamentally incorrect. Through the analysis of various attempted replication studies, it is abundantly clear that the ‘Mozart Effect’ is a falsehood. This is evidenced by: the prominent lack of longevity and replication of successful results; the evaluation of arousal levels on spatial and cognitive enhancement; and, finally, the investigation of procedural flaws in key studies. While playing Mozart can marginally increase spatial performance, the longevity of the increase is doubtful.