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Jealousy and its effect
Jealousy and its effect
Jealousy as an interpersonal process
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The film Amadeus is based on two composers, the history’s greatest musical genius, Wolfgang Amadeus Mozart and Antonio Salieri, who is the court composer and narrator of the story. The film Amadeus displays the destructive effects of jealousy. Mozart is a well known composer, but he is obscene and immature. Mozart had a God-given music talent and Salieri is jealous of his talent. Salieri tries to replicate Mozart’s musical pieces but is unable to achieve success. Salieri is obsessed with Mozart’s “voice of God” and is fascinated with his talent to master the art of music. He acts like Mozart’s friend and supports his music. However, Salieri is not really Mozart’s true friend. He despises his talent and is jealous of his musical capabilities. …show more content…
When he finally meets him, Salieri describes the “night that changed his life”. Salieri’s first impression of Mozart is that he is a “dirty-minded creature, crawling on the floor”. In the film, Mozart is perceived as conceited and childlike. Salieri doesn’t understand why God has chosen such an obscene child to be his instrument. He makes requests to God through prayer and confesses that if God gives him Mozart’s talent he will sacrifice his desires. Throughout the film, Salieri battles with God and prays to rise up to Mozart’s level. The jealousy that Salieri had developed for Mozart forces him to diminish the value of Mozart’s music. This is seen in the film when the Emperor gives feedback on Mozart’s opera and states that he had to many notes. He then proceeds to ask Salieri for his feedback and Salieri agrees with the
...Countess would never have been able to resurrect her spirit and rise up to help foil the Count’s plan. It is thanks to Susanna that the Countess rediscovers herself, and gratitude is owed to the Countess for helping the marriage of Susanna and Figaro to successful transpire. The letter aria is the pinnacle of their friendship, and “the only duet [written by Mozart] that portrays both females in a favorable light.”15 He sought to depict a state of equality between the two, despite social differences, in which they would “be defined by the nobility of their souls rather than their social rank.”16 Here we see the ideals of the Enlightenment shine through, as Mozart gives us a glimpse of a world without class barriers, where two people build a relationship on mutual respect, and judge each other by their actions in relation to their character, not their social station.
Throughout history, child prodigies have been celebrated as objects of envy and adulation. Rarely, however, have they been understood. Often taunted by peers, hounded by the press, prodded by demanding parents and haunted by outsize expectations of greatness, they are treated as wondrous curiosities. But their stories are often a sad and captivating one, marked by early achievement and the promise of something greater. The letters exchanged between Mozart and his family reflect a wider story of how complications arise during a prodigy's transition into adulthood with evidence of immense pressure from his father, immaturity, and the eventual need to lead a normal life.
One of the most interesting challenges in operatic composition , is composing for all the specific characters. A composer has to distinguish between characters through his music. Jan can’t sound like Fran , and Dan can’t sound like Stan. Each character must have his or her own traits. Mozart’s opera , Don Giovanni , provides us with many different characters to compare and contrast. One scene in particular lends itself to the comparison of Don Giovanni , Leporello , and The Commendator. Scene fifteen of Act two, places all three characters in close interaction with each other , making it easy to compare and find out how Mozart and his Librettist Lorenzo da Ponte brought them all to life.
40 is an effective composition that allows one’s mind to imagine vivid pictures. While listening to the piece by Mozart, I felt a sense of urgency throughout the piece while eliciting strong emotions of passion and grief. Composers like Richard Wagner and Peter Tchaikovsky were greatly influenced by Mozart’s musical capabilities of conveying intense feelings. The listener is affected by the different measures of commonalties between the musical periods, the composers of those periods and the pieces they compose. Mozart’s music pulled away from the norms and constraints of period style music. This composition enhances my knowledge because he has created compositions that employ the sonata, rondo, aria as well as other forms to exude strength, beauty, and grace with every
Amadeus, the Tony-Award winning tale of 18th-century court composer Antonio Salieri's envy of Wolfgang Amadeus Mozart, is a mighty challenge for actors.
Through out Salieri's childhood his father had forbid him to become a composer because in so many words it was a waste of time for him. Normally a father dying would be something bad but being the man Salieri would turn out to be it is understandable that he would take it as gaining his freedom. He would become Gods instrument because he vowed to heath the word of God in his music. He eventually worked his way to be the court composer for Emperor Joseph II. The real jealousy came to him when his dreams were put on hold because Emperor Joseph II asked specifically for Mozart to compose a national opera for Viennese.
At the age of the Enlightenment, Antonio Salieri becomes the most triumphant musician in the city of Vienna, however, without any warning his harmonious universe comes to an utter halt. Salieri’s absolute faith in the world, in himself, and in God is all at once diminished by this spontaneous child composer. When the two opposite ends meet, there emerges a fury, a rage, and a passion in Salieri to sabotage the boy that has secured Salieri’s deserved God given talent; to destroy the one pubescent child that has made him so mute and naked now in a world of discordance. Salieri’s entire reputation and boyhood prayer to attain fame thus rests on his ability to annihilate that child prodigy, Wolfgang Amadeus Mozart.In analyzing the two composers, Salieri and Mozart, there is a distinct line that clearly divides them. Salieri’s operas receive astounding receptions, making them the “talk of the city,'; shaking the roofs, buzzing the cafes, and even the name Salieri “sounds throughout all of Europe'; (2,3). The reason for Salieri’s success, as well as many musicians of the eighteenth century, is because they have become enslaved by the well-to-do and hence are “no better than servants'; (1,3). This applies especially to the king. For example, in Amadeus, His Majesty forbid any ballet in his operas. Imperial commands such as this are not to be interpreted in any way, in other words, they are to be merely obeyed without any dispute. Since operas tend to the needs of the high society in order to obtain recognition, the operas must communicate through the language of the nobility, that is, Italian. In addition, since the majority of the audience is made up of the upper class, the subject matter of the operas must consist of elevated themes. Such as, mythological heroes, kings, and queens, and so forth. According to the eighteenth century view, operas are supposed to be a sublime and an aggrandizing art. The elevated subject matter is then chosen in order to venerate and honor the nobility. It’s purpose is to “celebrate the eternal in man'; says Van Swieten (2,4). Meaning that there is an element in a noble person that lasts without any end, like God who is immortal. God represents the everlasting and the eternality of existence, thus God gives inspiration to operas that...
Opera is a unique genre of spoken word and song accompanied by music. The music takes one through ascending and descending ranges of emotions. Mozart's Don Giovanni is a perfect example of how this genre emits a wide variety of feelings and attitudes. This "dark comedy seems to convey Mozart's feeling that events have both comical and serious dimensions…" (Kerman, 205). The opera, as a whole, is neither exclusively comedic nor entirely tragic.
Countless dozens of Ph.D. theses must be written about Mozart's The Magic Flute, and yet it is so lively with elements of fantasy and free-flying imagination that it is often the first opera to which children are taken. It has a plot of such complexity that it takes several viewings for all but the most studious opera buffs to sort out the characters and follow the ins and outs of the multilevel story. At the same time, it has so much easily accessible charm and so many glorious Mozart tunes that even the novice will be captivated. There is a large cast of characters including the priest Sarastro (a very serious, proselytizing basso), the Queen of the Night (a mean, angry, scheming coloratura), and her daughter, the beautiful and courageous Pamina. There is the handsome hero, Tamino, on the quintessential road trip, and his cohort in misadventure, the bird seller, Papageno.
The Symphony is a "collection of petty jealousies, neuroses, undiagnosed PTSD cases, and simmering resentments" (47), but the group manages to stay together because of "the camaraderie and the music and the Shakespeare, the moments of transcendent beauty and joy..." (47). The member's shared love and appreciation for the art they perform exceed all of their relationship issues, demonstrating the power of art in their lives. Even though the apocalypse pressures the survivors to prioritize staying alive, the Symphony still travel from place to place in relentless weather to keep art from being lost and forgotten. Despite the dangerous environment and reduced means of transportation, the Symphony still travels from place to place to perform some music and Shakespeare's plays. According to Dieter, the reason why people intuitively show extreme preference to Shakespeare's plays above other theatrical works is, "People want what was best about the world" (38). Art gives people pleasure and drives them to come out for the
It follows their disputes from the different visions they have for the work. It shows the authority Julius has as pope and representative of God. It shows how Michelangelo must accept this and do what he is ordered to do. He is a sculptor forced to paint the ceiling of the chapel. This film is a big budget epic from the sixties.
There is then a time jump and we find ourselves observing an older Salieri. Salieri, now has made somewhat a name for himself in the city of Vienna, which is referred to as the “city of musicians”. Salieri is the court composer for Holy Roman Emperor Joseph 2nd, and he seems okay with the way his life is going and feels that his God has honored his part of the oath and so has Salieri. That all changes when Salieri attends a performance that Mozart is giving, hoping to meet the man he has idolized for so long. Salieri first observes Mozart without his knowledge and within minutes comes to the conclusion that he is a vulgar man and wonders how his God could gift a man such as Mozart with the talent that he has. As Salieri first hears Mozart 's music he himself feels as though he has heard the voice of God, but instead of wanting to believe that God gifted Mozart with such talents Salieri chooses to believe that such music was nothing more than an accident, he needs it to be an
Salieri was a noble, decent and a mature person. After his father died, God gave him what he needed and made him a court composer for the Emperor. He was simply a model of virtue for other people. “I kept my hands off woman”. This was said by Salieri and this quote also proves that he was respectful and an honored person. “Teaching students, many of them for free, sitting on endless committees to help poor musicians”. This quote was also said by the court composer Salieri. This quote tells all of us that he was a really nice person and didn’t want anything in return because God gave him what he needed the most. “Let me celebrate your glory through music”. This shows us that he was very dedicated to his religion and to God. “I was the most successful musician in Vienna”. Salieri was really happy when he knew he was the greatest composer of Vienna but when ever there is a good time for a person, there is also a bad. Salieri’s evil side took over part of his good side and this all happened when he arrived. The most famous composer named Mozart.
The theme can be obvious but not when the story/film has more than one theme, when the theme is more complex than meets the eye, or when you overlook something from the story. Spellbound’s theme may seem clear, but there’s more than one. Rene’s jealousy of her sister’s success is the cause of the ink monster assassins so it seems evident that the theme of the film is about how jealousy causes trouble. However, Spellbound has more than one less-obvious theme topics like acceptance, truth, choices, and greed. More theme topics means more themes. All of this proves that Spellbound has both clear and less obvious themes. A theme can also be both obvious and not obvious when the theme is more profound than it seems. At the end of Spellbound, Rene
Salieri would eventually come to conclusion that God was laughing at him through Mozart. The film would go on to show how Mozart’s pride would eventually leave him in a poor financial situation because many people including those of the Emperor’s court brushing off his music. Once Mozart’s father passed away, Mozart turned to alcohol and became a heavy drinker and his wife would eventually take their son, Karl, and leave. While trying to compose several works, Mozart became very ill and exhausted, which would lead to him passing out during a performance of “The Magic Flute.” He and Salieri would work together on his Requiem, which would not be finished due to Mozart passing away, leaving Salieri to believe that God was against he and Mozart composing music together. With a plot like this, one of which where Mozart’s music was not good enough and despite the lessons he would give people, he still was struggling financially, I would have to say that, personally, this is not the life I would have thought Mozart lived, given how breathtaking his compositions are, how recognized his compositions are and the glory he receives for his work in today’s