Caspar David Friedrich's Wanderer Above The Sea Of Fog

The structure of a novel enables it to embody, integrate and communicate its content by revealing its role in the creation and perception of it. A complex structure such as that of Robert Drewe’s work The Drowner, published in 1996, refers to the interrelation or arrangement of parts in a complex entity1. Drewe’s novel is a multi-faceted epic love story presenting a fable of European ambitions in an alien landscape, and a magnificently sustained metaphor of water as the life and death force2. The main concerns of the novel include concerns about love, life, death and human frailty. These concerns are explored through the complex structure of the novel. That is, through its symbolic title, prologues, and division into sections. The

The figure at the rim of the water has been speculated to be Friedrich himself. This notion could allow the viewer to see what Friedrich sees through a personal level. In the article titled Caspar David Friedrich: The Romantic Pioneer, Choules (2013) starts out with the main reason why this artist took a gothic vibe into his paintings by the understanding of his mother, sister, and brother all passing away before he entered adult life. The childhood grief can last one’s entire life and Friedrich may have suffered from this though gaining comfort through painting. Through his paintings the gothic and solemn impressions impact the way the views of the painting are viewed. In The Monk By The Sea specifically, the viewer sees the dark colors, wave capes, sand dunes, the Monk dressed in dark clothing, and the solidity of the light sky above the darkness. This light sky could be a way of Friedrich saying, without too many details, that life in itself gets better and there is hope. Once Friedrich married his lover, there appeared to be more female figures in his paintings, another example of how Friedrich’s personal life pulls a significant role in what he painted and

In Night, the point Elie Wiesel is making about survival is disheartening, giving examples of what people will do to survive and their every man for themselves mindset. While fighting to survive, numerous animalistic instincts control every aspect of how a person thinks. Moreover, these instincts make you think you must do whatever you can to survive, regardless of who you are harming in the process. Night gives an excellent example of the concept that family and friends do not matter when it comes to life or death, people with this mindset will do nearly anything to live another day. Nevertheless, there are many instances when the survival mindset is strictly internal, pushing them further than they thought they were capable of.

“Berlin, Ira. The Making of African America The Four Great Migrations. By Ira Berlin. New York: Penguin Group, 2011. Pp 289”

By his vertical placement of the cliff in the right forefront of the picture plane, he further emphasizes the illusion of space. Second, the diminishing size of the sea, cliffs in the background, and the jetty all express depth in the overall scene. The violent cove appears to move away from us in to the open sea. Ante Meridian is an example of atmospheric perspective. The foreground colors are bold and rich, whether it is the white wave caps or the cliff façade, but as the scene retreats in to the distance, the sea, background rocks, and sky become bluer, paler, and less distinct. The objects in the distance are blurrier to demonstrate this open space even more.

Through the immersion of one in a variety of physical environments, the manipulation of genre, form and perspective presents a polysemic representation of a diverse range of landscapes, in turn allowing responders to develop complex understandings into the human psyche. Specifically, through the interwoven utilization of complex allusions and personalized outlooks Alain De Botton’s The Art Of Travel shapes humanities greater knowledge of traveling’s impact on the human behavior and perception. Likewise, this notion is extended amongst Kenneth Slessor’s minimalistic, poetic piece North Country in which the composer highlights man’s dichotomous relationship with the physical world, and how ongoing, differentiated experiences cultivate interpersonal growth and develop individualized standpoints towards the wider globe. Consequently, both texts elicit portrayals of innumerable landscapes, which foreground the intricacies of civilization through the construction of a piece that reveals the subjectivity of our human mentalities today.

Symbolism is also creatively used by victor Kelleher in this image as the ripples in the sand represent the many paths the traveler can take on the journey and how the paths have no end, they could also represent the hardship experienced by the traveler on his journey and how they have learnt from the obstacles faced.

In Black Hawk's it is mentioned "The sun rose dim on us in the morning, and at night it sunk in a dark cloud, and looked like a ball of fire." This quote shows that Black Hawk uses the rhetorical device of atmosphere to show readers a view of what his surroundings were. By Black Hawk giving the reader a image of what the situation looked

"There was no breeze. The sea was as flat as a plate-glass window. We were drawing near the island then. What I felt was a-a mental chill; a sort of sudden dread." (Connell 2).

The technique most artists use to project an illusion of the three-dimensional world onto a two-dimensional surface is called perspective. Objects are painted smaller the farther away from the audience is supposed to be, and are painted bigger the closer the audience is supposed to be. A vanishing point is helpful in creating perspective. This technique helps to make up a sense of depth in a piece of art. In Autumn on the Seine, Argenteuil, perspective is created by the body of water that is in the foreground of painting. This body of water is going off into the distance in which you cannot see it’s end. In the background, there are

As he continues from pool to pool, each house is described by the various occupants, who most are drinking or having a party and welcome him, keeping his mind on the idea of being an explorer/hero. The first inclination of a turning lies in the coming storm, "the stand of cumulus cloud - that city - had risen and darkened, and while he sat there he heard the percussiveness of thunder again" (Norton, p. 1864). As he starts again to make his way towards home, he begins to be a bit foggy, wondering what time it has gotten to be. It is almost as if his mind is clouding over, the imagery of darkness descending, "it was growing dark; it was that moment when the pinheaded birds seem to organize their song into some acute and knowledgeable recognition of the storm's approach" (Norton, p. 1865).

Throughout the history of British Literature, there have always been the themes of loneliness, torment or exile. Many times authors speak from their experiences and at times those experiences have to do with misery and discomfort with their lifestyles. In the Renaissance age, times were not always happy and people chose to pass on stories generation to generation to reveal their feelings and experiences. Poems made a great impact in easing the pain. In the poems, "The Seafarer" and "The Wanderer", the themes of loneliness and exile exist throughout both of the poems. The unknown authors portray the two themes through detail and emotion.

The use of light and color by Friedrich contributed to the calm and peaceful mood which is created. The main source of light in this painting comes from below the man and the rocks he is standing on. There is no visible sun in the sky and it is most likely behind the clouds. The light from below the rock illuminates the air around the man, directing your focus to him and his calm stance. The fact that the main light source from the painting is below him could represent the man's past and how he is reflecting on it while he is standing here looking out at the landscape. There is very little darkness in the painting, and this contributes to the peace of the painting because everything has the same level of light. It shows a sense of evenness and calmness in the landscape. This evenness is also displayed through the colors

“The Seafarer” and "The Wanderer” are both poems that describe the hardships of the average Anglo-Saxon warrior. These stories show that life during the times of the Anglo-Saxons is not pleasant. In fact, it appears to be tough, fearful, and depressing. In “The Seafarer”, a man describes his horrid life on the sea, and in "The Wanderer”, a man tells his tale of being put into exile and losing all his fellow warriors and lord. Both men feel physical and emotional pain while going through their adventure. The seafarer claims that the sea itself is torturing him by saying “...the sea took [him], swept [him] back and forth in sorrow and fear and pain.” (2-3) The seafarer also explains that coldness is much more than just a feeling but a