Otto Schulze : A Poet Of Franz Schubert

Once he was placed back in the world of his family he was enlightened yet confused. He was unable to do anything with the powers he was given until he was older. As he came to be a man, he was blessed with a gift of helping people. He worked curing illnesses until he felt it was time that his life should take another turn.

After his father died in 1903, his mother allowed him to drop out of his school and 2 years later, he went to Academy of Fine Arts in Vienna, Austria in order to become an artist. He failed in entrance exam and decided to remain in Vienna as a casual laborer and watercolor painter. A year later, he tried to take entrance exam and he failed again. While he run out of money, he moved into a homeless shelter and remained for several years. During his time in Vienna, he learned to hate non Germans. He was a German-speaking Austrian and considered himself as a German.

2. According to the way the author was raised, what did he believe would bring people respect?

He was looked at as a marvelous specimen that everyone admired. Some even thought of him as a god among men. But what they didn’t know was that he was a big scaredy cat. He was also very shy.

His childhood had a major influence on his coming to the christian church and also being with the poor. Since he and his family spent money lavishly, “He was able to show an instinctive sympathy to the poor; it still flowed in channels as to attest a princely magnanimity of spirit.” (Robinson 3). He was eager to share the life of poverty with everyone in his life. He

He was a hospitable, respectful person. He wanted to be baptized and received into the church.

Schubert 's Elfking was his initially distributed creation, and has turned out to be considered among the finest tunes in the established repertoire. The content that the music is set to be composed by that popular German artistic figure, Goethe. It is a somewhat dull sonnet, particularly considering that it was imagined as a section of a bigger work in an abstract class with entertaining and humorous connotations. Schubert benefits from the indistinct idea of the content, translating it with a shade that doesn 't neglect to ascribe a kind of fatalistic and matter of truth thought in regards to the lamentable occasion that at last happens.

The melody and mood of Goethe’s poem and Franz Schubert composition ‘The Erlking’ or ‘The Erlkönig’, is a prime example of the Romantic period’s vocal music, as it captures the spirit of the late eighteenth century. The Romantic period was widely known to be a time fascinated with the supernatural, and the recurring themes of love and death, all of which are contained in Goethe’s poem. The Erlking symbolizes death back in that time. Goethe’s poem is based on the theme of the loss of innocence, as shown in the poem when the Erlking lures the young boy and kills him, along with his innocence. Franz Schubert composed his Lied, “Erlkönig“, with the form created for a solo voice and grand piano accompaniment in 1815, from the setting text from Goethe poem. The music was written in 1815 but based on a 1782 poem by Johann Wolfgang von Goethe. Overall Shubert has created drama through his use of the melody and mood from Goethe’s poem.

Many prominent musicians produced major works during the romantic period. Among these are Beethoven, Strause, and Bach. But the musician that I think had the most impact, was Franz Schubert. Franz Peter, born on 31 January 1797 was one of fourteen children born of Franz Theodore Schubert and Elisabeth Vietz, four of which survived. He grew up in an apartment that daily converted to a classroom in which his father taught several elementary school classes. He received a thorough basic education; his father being a good teacher, and son being a bright student. From his father Franz also learned to play the violin, and from his

For this essay I will be unraveling two poems to find a deeper meaning from The Norton Anthology of World Literature, Volume B. The two poems are “A Lover’s Prize” by Beatrice of Dia and “The Wound of Love” written by Heinrich von Morungen. Heinrich and Beatrice are considered to be medieval lyric poets; however, Beatrice was a medieval lyric poet from France and they are known as troubadour. Beatrice just so happened to be apart of southern France’s trobairitz which was just a tribute to some of the best troubadour of their time. She was married to the Count of Viennois, Guilhem de Poitiers but she was having an affair with another troubadour who went by the name Raimbaut d’Orange and their poetic style was quite similar. However, when it comes to Heinrich von Morungen not much is known about him. From the little we know about Heinrich, we find that, his style of writing fit into the category of Minnesang which means “songs of love”. His lyrics (that have survived) are also some of the greatest in early German history. Nonetheless, these writers have both put forth some impressive work.

Strangely, although the secular aspect is quite vividly seen in his way of life, the religious references and biblical allusions cannot be ignored. Despite the lack of cultivation and learning in the morals and ethics of Christianity, he is able to form his own code of behavior based on example and the behavior he views from others. It should be noted that his instinctive sense of morality comes without knowledge of God or a creator and while this may seem to be an atheistic or at least secular way of thinking about how morality is “inborn” it is impossible to ignore the way the Bible and religious learning influence even this aspect of his life.

Arnold Schoenberg’s celebrated monodrama of 1912, Pierrot lunaire, op. 21, offers a compellingly personal perspective on Pierrot’s allegorical relationship to the artists of fin-di-siécle Europe. So too, in his fusion of music and poetry, does Schoenberg provide what may be the most powerfully illustrative example of the character Pierrot’s appeal to artists of the era.

To this effect, I shall explore this text’s connections to Nietzsche's key intellectual influences. First, I shall address the impact of the Schopenhauerian view of the world on The Birth of Tragedy, in particular as regards the opposition between Apollo and Dionysus and the nature and goal of tragic art. Subsequently, I shall refer to the influence of Richard Wagner's thought in order to explore the relationship between metaphysics and art as humanity's "true metaphysical

(1) Franz Schubert composed Gretchen am Spinnrade (Gretchen at the Spinning Wheel) in 1814, when he was only seventeen years old. The song is sung by a soprano, and the only accompaniment to the voice is a piano playing a constant rhythmic pattern (“OnMusic”).

And if he hadn’t lived like this he wouldn’t have had his phonograph, radio, car, and frigidaire. However, it was also this conduct that turned him into a follower, unable to make decisions for himself. This is shown in lines 23 and 24 when the speaker says, “he held the proper opinions for the time of year; When there was peace, he was for peace; when there was war, he went. He even had five children, which was the right number for a parent in his generation”. He did everything by the book just like everyone else of this time.