Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Richard wagners essays
Elementary research on richard wagner
Elementary research on richard wagner
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Richard wagners essays
born Leipzig, 22 May 1813; died Venice, 13 February 1883). He was the son either of the police actuary Friedrich Wagner, who died soon after his birth, or of his mother's friend the painter, actor and poet Ludwig Geyer, whom she married in August 1814. He went to school in Dresden and then Leipzig; at 15 he wrote a play, at 16 his first compositions. In 1831 he went to Leipzig University, also studying music with the Thomaskantor, C.T. Weinlig; a symphony was written and successfully performed in 1832. In 1833 he became chorus master at the Würzburg theatre and wrote the text and music of his first opera, Die Feen; this remained unheard, but his next, Das Liebesverbot, written in 1833, was staged in 1836. By then he had made his début as an opera conductor with a small company which however went bankrupt soon after performing his opera. He married the singer Minna Planer in 1836 and went with her to Königsberg where he became musical director at the theatre, but he soon left and took a similar post in Riga where he began his next opera, Rienzi, and did much conducting, especially of Beethoven. In 1839 they slipped away from creditors in Riga, by ship to London and then to Paris, where he was befriended by Meyerbeer and did hack-work for publishers and theatres. He also worked on the text and music of an opera on the 'Flying Dutchman' legend; but in 1842 Rienzi, a large-scale opera with a political theme set in imperial Rome, was accepted for Dresden and Wagner went there for its highly successful premiere. Its theme reflects something of Wagner's own politics (he was involved in the semi-revolutionary, intellectual 'Young Germany' movement). Die fliegende Holländer ('The Flying Dutchman'), given the next year, was less well received, though a much tauter musical drama, beginning to move away from the 'number opera' tradition and strong in its evocation of atmosphere, especially the supernatural and the raging seas (inspired by the stormy trip from Riga). Wagner was now appointed joint Kapellmeister at the Dresden court. The theme of redemption through a woman's love, in the Dutchman, recurs in Wagner's operas (and perhaps his life). In 1845 Tannhäuser was completed and performed and Lohengrin begun. In both Wagner moves towards a more continuous texture with semi-melodic narrative and a supporting orchestral fabric helping convey its sense.
Born in August 4, 1921, Maurice Richard was the eldest of eight children of Onesime and Alice Richard. Maurice’s parents moved from Gaspe region to Nouveau-Bordeaux so that his father could work as a machinist at the Canadian Pacific Railway. He started playing hockey when he was a young kid and he was good in boxing as well. In 1937, a young Maurice Richard at age16, was dropped out of school and worked with his father as a machinist and that was his only income other than some income in the winter with the senior Canadiens.
Composers throughout various zeitgeists are linked by different representations of universal human concerns, and their texts simultaneously embody certain values and agendas individual to themselves. An exploration of Shakespeare’s King Richard III (1592) and Al Pacino’s Looking for Richard (1996) allows for a greater understanding of the composer’s respective contexts, along with their intended agendas, through the lens of their own societal values and concerns. The manipulation of Richard III’s persona, whether by authorial adaptation of historical sources related to his character, or through the differing views of Richards motives, are universal concepts, that when studied in relation to the differing time periods, accentuates the context and our understanding of recurrent aspects of the human experience.
To explore connections between texts is to heighten understanding of humanity’s progressing values and the underlying relevant themes that continue to engage societies regardless of context. William Shakespeare’s King Richard III (1592) (RIII) and Al Pacino’s docudrama Looking for Richard (1996) (LFR) demonstrate how opinion is created through comparative study, both explore the struggle for power within differing contexts to determine the duplicity of humanity. Ultimately, despite the divergent eras of composition and textual form, these connections expose the relevant social commentaries of their composers, highlighting innately human values, which remain constant.
Anne is quite like a modern woman in the way that if a man tells her
The word "seduce" according to Webster's Dictionary means to "tempt and draw away from proper conduct." This is exactly what Richard, Duke of Gloucester/King Richard III accomplishes in Richard III. In Richard's life he does not only move from deformed "hedgehog" to husband, but from "beast" to King. One may ask how such deeds were performed. However, a second look may make the deeds look simple. Richard demonstrated a strong power of seduction throughout the play that not only seduced Lady Anne, but many others.
The attack of "conscience" that King Richard suffers in Act 5, Scene 5 of Shakespeare's Richard III (133-157) can be seen as the psychological climax of the drama, one that is critical to both Richard's development as a character and the play's ultimate success. Richard's struggle to reconcile the many different roles he attempts to play into one unified self, reflected in the tone and composition of his speech, adds depth and humanity to his character; at the same time, his ultimate failure to maintain his "self-made" identity simplifies the play in a way that allows the author to satisfy his audience by punishing the villain and reaffirming the world views that Richard's character appears to challenge (Luxon). While examining his own vision of himself, Richard finds his identity at a breaking point, and is forced to rely on the very ideas he used for his own advantage to judge himself. As the king, who seemed to be above the "afflict[ion] of "coward conscience" (5.5.133) is overwhelmed by the many different conceptions of who he is that are presented in the play, the audience cannot help but feel a mixture of sympathy and relief.
William Shakespeare’s ‘Richard III’ presents a kingdom in turmoil, largely due to the Fascist ideals of the King’s brother, Richard. In this essay I will explore how Richard, the titular character represents the ideals of Fascism, mainly in the Italian style. These include; encouraged Nationalism and Patriotism, Disregard of human rights, Militant supremacy, Manipulation, Heavy punishment and fear mongering. I will go on to discuss how a monarchy and the role of kingship can affect these theories.
Michael Thornton makes seemingly logical arguments, however he only provides questionable and unsubstantiated facts as support. For example, he constantly refers to Richard smothering his young nephews on the basis that he killed them to secure his claim to the throne. While the author seems firm in his position, he does not once mention the immense amount of doubt that has been cast on Richard being murderer. As one peels back the layers or historical inaccuracies, some erroneous and others intentional, it becomes clear that Richard the Third was more likely the victim of political propaganda than a brutal and merciless child killer. Recent archaeological finds under an English parking lot, widely believed to be the remains of Richard, strongly
A hero is a man who is distinguished by exceptional courage, nobility. and strength to carry out tasks that involve great risks. A hero can also be a person who fights for other people to help or save them. from their fears and fears. He opposes the villain - a person who does wicked or intentionally harm others in some way, emotionally or otherwise.
Shakespeare Richard III was a traitor, a murderer, a tyrant, and a hypocrite. The leading characteristics of his mind are scorn, sarcasm, and an overwhelming contempt. It appears that the contempt for his victims rather than active hatred or cruelty was the motive for murdering them. Upon meeting him he sounds the keynote to his whole character. " I, that am curtailed of this proportion, cheated of feature by dissembling nature, Deform'd, unfinish'd sent before my time Into this word scarce half made up"( 1.1.20-23)
The plain text of a script does not live and breathe as a visual performance must. Both director and actors have to make choices in a production, to interpret and make clear the plot and purpose of the play. The Derek Jacobi Richard II uses the capabilities of film to remove many of the ambiguities that plague interpretation of that text. In doing so, it creates a passionate yet ineffective King Richard who, between his own insecurity and Northumberland's conniving, hurls the crown to the willing if uneasy Bullingbrook.
Throughout the historical literary periods, many writers underrepresented and undervalued the role of women in society, even more, they did not choose to yield the benefits of the numerous uses of the female character concerning the roles which women could accomplish as plot devices and literary tools. William Shakespeare was one playwright who found several uses for female characters in his works. Despite the fact that in Shakespeare's history play, Richard II, he did not use women in order to implement the facts regarding the historical events. Instead, he focused the use of women roles by making it clear that female characters significantly enriched the literary and theatrical facets of his work. Furthermore in Shakespeare’s history play, King Richard II, many critics have debated the role that women play, especially the queen. One of the arguments is that Shakespeare uses the queen’s role as every women’s role to show domestic life and emotion. Jo McMurtry explains the role of all women in his book, Understanding Shakespeare’s England A Companion for the American Reader, he states, “Women were seen, legally and socially, as wives. Marriage was a permanent state” (5). McMurtry argues that every woman’s role in the Elizabethan society is understood to be a legal permanent state that is socially correct as wives and mothers. Other critics believe that the role of the queen was to soften King Richard II’s personality for the nobles and commoners opinion of him. Shakespeare gives the queen only a few speaking scenes with limited lines in Acts two, four, and five through-out the play. Also, she is mentioned only a few times by several other of the characters of the play and is in multiple scenes wit...
Shakespeare’s plays were grouped into three categories: comedies, tragedies and histories. The histories were those plays based on the lives of English kings. Shakespeare was one of the first writers to write about English history. According to Garber, “before Shakespeare’s time there were few history plays such written in England--- England history was told in verse and prose chronicles (239)”. It’s considered that Richard II is one of the early “historical plays”. The play became so iconic that even Queen Elizabeth said that she was “Richard the second, know ye not that”. Richard II tells the story about a king’s downfall.
This poem thematically explains that wealth has no eternal purpose. Life is about the relationships you make and the impact you have on society. The person of interest in this poem is a man called Richard Cory. A distinguished figure said to have been the envy of everyone. From the way of in which he walks, to how he dresses, and how he relates to his community. The other entity in this poem is the “town’s people.” Known in the poem as the “people on the pavement”. The town’s people live and work in less desirable conditions. Their work is tedious to say the least. Most likely construction or another job of that nature that leads to blood, sweat, and tears. The poem begins with Richard Cory’s visit downtown. Now, the author uses the word “whenever”.
"What tongue speaks my right drawn sword may prove" is the sentence which concludes a short speech delivered by Henry Bolingbroke to King Richard II (1.1.6). These words are but the first demonstration of the marked difference between the above-mentioned characters in The Tragedy of Richard II. The line presents a man intent on action, a foil to the title character, a man of words.