Why am I here? What does this all mean? What is my destiny? Where is God? These are questions we ask during our lifetime, questions of discernment that unlock not only the truth about ourselves, but our perception of God. Even as time passes, these questions remain and we are drawn to answer them not by words but the way we live our lives. Still one should not doubt that God also plays a prevalent role in who we are to become and and recognize that even if we choose to deny God's existence he will play a role within our ruin. Similar to 1830’s play Amadeus, we are introduced to Court Composer, Antonio Salieri, a once virtuous man now fallen from grace due to his continuous sin. After his disappointing encounter with Wolfgang Amadeus Mozart, Salieri comes to realize the true nature of his work and how, despite his virtuous life, he will never be as talented as his counterpart. Within Peter Shaffer's play Amadeus Salieri wages a war against God through His “believed” disciple, Mozart; after Salieri’s discontent he is quickly engulfed by the deadly sins of greed, lust & gluttony, and pride using them to prove that it is possible for Man’s actions on earth are greater than God’s virtues.
Initially, Salieri’s transition into the annihilation of his faith came through his acknowledgement of the musical virtues Mozart had been given over him (by God); through this Salieri begins to transform from a virtuous man to a man rising from jealousy to a being actively pursuing his greed. In the beginning of his life, Salieri had adored and devoted his life to God through his given talents and passion of music, and through this he lived a chaste life of a catholic man, able to appreciate and give thanks for the abilities he had been given. Ho...
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...ior vows and his new found denial of God’s authority. From simple sweet cakes to vicious murder, Salieri’s transition into his fall from grace is seen as one of the vital plot points of the play, which are due to the copious amounts of relatable questions and desires people face even now. In leaving behind his pursuit for a righteous lifestyle, Salieri weakens and gives into his malicious intent through sin. He believed that in order to attain the attention he deserved from a higher being, he would have to discard the vows he had promised Him, replacing them with indulgences of fine foods, women, and raising himself above God on earth. In the war between good and evil, Salieri battled with God for power and authority, but his actions proved that no bad deed goes unpunished.
Works Cited
Shaffer, Peter. Peter Shaffer's Amadeus. New York: Harper & Row, 1981. Print.
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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...
Although Measure for Measure is not a tragedy by standard conventions, Angelo can be considered a tragic hero since he falls because of his hamartia, hubris. While he fits into Steinbeck's generalization of "innocent" as a victim of the circumstances created by the Duke, Angelo is responsible for his own fate. When asked "Whether you had not sometime in your life/Err'd in this point which now you censure [Claudio]," (14-15, II.i) Angelo affirms he has never felt love or passion, nor had sex. Thus, being a man of virtue, Angelo believes he has the right to impose morality upon the city: he unquestioningly enforces the law forbidding fornication. Since he is righteous, Angelo's motivation is not wrong or immoral; however, once he begins to manipulate sexual morality in his favor, his innocence decreases. Angelo offers to spare Claudio's life should Isabella engage in sexual relations with him; he claims to be tempted by Isabella's virtue, and does not recognize his own hypocrisy in proposing there is charity in sinning to save Claudio. The reduction of Angelo's virtue and righteousness continues as he sends Claudio's death warrant after he has had sex with Mariana, who he believed to be Isabella. In additio...
And a musical genius Mozart was indeed! As I analyzed this piece, I was continually struck by his following of major voice leading and counterpoint rules. The times Mozart did break away from the standard were masterfully done, engaging to the ear, and he was always able to bring us back home. In this paper I will share with you what I learned about Mozart’s Requiem, Domine Jesu measures 1 through 43. I will start with the big picture and whittle it down to the minute details.
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.