Summary Of The Exegesis Of Rappaccini's Daughter

Paolo and Francesca represented, or symbolize, sinful love by example. They show how an intrinsically noble emotion, love, if contrary to God’s law, can bring two essentially fine persons to damnation and spiritual ruin. Dante’s personal response of overwhelming pity should not blind us to the justice of the penalty. Dante describes himself as fainting at the end of Francesca’s recital, his purpose is partly to portray the attractiveness of the sin. Dante allows the lovers the bitter sweetness of inseperability in Hell, but they have lost God and thus corrupted their personalities; they can hardly be considered happy. In a sense, they have what they wanted; they continue in the lawless condition that

In the literal sense, Nathaniel Hawthorn's Rappaccini's Daughter is the story about the rivalry between two scientists that ultimately causes the destruction of an innocent young woman. However, when the story is examined on a symbolic level, the reader sees that Rappaccini's Daughter is an allegorical reenactment of the original fall from innocence and purity in the Garden of Eden. Rappaccini's garden sets the stage of this allegory, while the characters of the story each represent the important figures from the Genesis account. Through the literary devices of poetic and descriptive diction, Nathaniel Hawthorne conveys the symbolism of these characters, as well as the setting.

Barna da Siena’s Mystic Marriage of Saint Catherine and Other Scenes from 1340 is vastly different in content, composition, and a number of other attributes from Fra Carnevale’s 1467 painting Presentation of the Virgin in the Temple. It is clear between the roughly hundred years between when the two were painted that advancements in realistic painting soared and a further appreciation for realism and humanism developed. The need to portray more than just the holy subjects, and to show how far painting had evolved is evident in the differences between Barna and Fra Carnevale’s works. Although, the emotion behind Barna’s work, and its significance are, in my eyes, far greater than that of Fra Carnevale’s.

Language and imagery plays a dramatic role in portraying relationships and feelings/thoughts of the persona. Whilst in ‘Burning Sappho,’ the mother’s attitude towards tasks is portrayed as emotionless (“the child is fed, the dishes are washed, the clothes are ironed and aired,”), language is utilised within ‘Suburban Sonnet’ to construct the mother’s mental state and situation as dire. “Zest and Love drain out with soapy water.” The use of two personal, passionate adjectives and the depiction of them being physically overcome by soapy water directly link the mother’s loss of feelings and fiery emotion to the household chores and duties. For example, she “scours crusted milk,” as a part of her role as mother and housewife as the reader is positioned to reject this requirement as a result of the huge impact to her quality of life (“Veins ache”). The literal image of a dead mouse symbolises the mother’s situation as the ‘soft corpse’ directly represents the mother, that is, emotionally dead as a result of the entrapment by society. The reader is positioned to fully

In his short stories, "Young Goodman Brown," "The Birthmark," and "Rappacciniâs Daughter," Nathaniel Hawthorne uses his female characters to illustrate the folly of demanding perfection in the flawed world of humanity. Although Hawthorneâs women appear to have dangerous aspects, they are true of heart, and thus, they cannot be fully possessed by the corrupt men who seek to control them.

For example, In “The Birth Mark,” Hawthorne writes about a woman named Georgiana and her birthmark on her cheek. This actually symbolizes what goes on in his own life with his wife, Sophia. Hawthorne’s wife Sophia had a miscarriage and it caused him to undergo a “sexual panic and arrestment” (Marshall 38). When Hawthorne wrote “The Birth Mark,” it was written to disguise “sexual anxiety as cosmetology” (Marshall 38). This coincided with the virginity of women. Women who lose their virginity have a crimson stain hence the crimson birthmark on Georgiana’s cheek. Meanwhile, “Rappaccini’s Daughter” focuses more on the human heart. Beatrice and Giovanni truly love each other even though they cannot physically be together. Even at her death she wants to save Giovanni. While she wants to save Giovanni, Hawthorne states, “he remains trapped in the situation that her death allows her to escape” (Wachtel). Giovanni is left alone and poisonous. Finally, “Dr. Heidegger’s Experiment” revolves around the effects of science on nature. Dr. Heidegger uses science to make his old friends young once again. His friends drink the concoction he created and they all begin to immediately turn into the younger versions of themselves right before his eyes. The elixir only lasts for a little while and then his friends end up old once again. Science caused the people to be young for a little while but in the end the elixir wore off and they went back to their original selves. Growing old is a part

Throughout history, people have used paintings and art as a tool to express their religious beliefs and values. Illustrations depicting the Virgin Mary and child, often referred to as Madonna and Child, are one of the most recurring images in Christian and European Art through the ages. Though these paintings and sculptures may have similarities in their iconography and style each work of art varies based on the different artists’ and time periods. Two paintings that portray these features currently reside in the Museum of Fine Arts Houston. The first, Virgin and Child by Rogier van der Wyden, was originally painted after 1454. In the painting, the Virgin Mary is holding Christ against her shoulder as he twists around to face toward the viewers. The second painting is Virgin and Child with a Donor, painted by Antoniazzo Romano and originally painted c. 1480. In this painting, Virgin Mary is supporting Christ who seems to be standing and includes a figure of a man with his hands crossed in prayer. While both paintings depict the mother and child, there are both similarities and differences in style and portrayal. In this paper, I will thoroughly examine these traits, as well as address the similarities and differences associated with the two paintings. This analysis will be done by using information gained from reading Gardner’s Art Through the Ages, in class lectures from ARTH 1381 Art and Society Renaissance to Modern and ARTH 1300 Ways of Seeing Art, and close visual

"The Annunciation" Religion has typically been used in history as the narrative for many pieces of artwork. The Early Renaissance was renowned for the religious themes the artists would use in their work. This period is also recognized for its focus on humanism, which refers to the cultural and educational reformation. Humanism draws many of its themes and styles from the ancient Greeks and Romans. The Renaissance spread throughout Europe and continued to focus on the rediscovery of these predecessors.

Literature has historically been a means of passing traditions down, providing entertainment, inspiring creative ideas, and transferring knowledge through several generations. In society, literature can be embraced for its innovation or condemned for the values it intently expresses against societal, political, and even religious views. Social criticism in literature is meant to directly or subtly call out the flaws in the social structure in an attempt to create awareness or evoke reforms. Many literary works invent characters who either gladly embrace gender and sexuality norms or are predisposed to them and live unconsciously, but are ultimately ruined in the end as a means to show the issue with definitive terms that categorize individuals. In 1791, British-American novelist Susanna Rowson published her novel “Charlotte Temple” in England, and later it published in 1794 in the United

The era of Mannerism is renown for its increasingly complex works of art, much like the High Renaissance before it, and the discipline of sculpture is no exception. Out of this period comes more intricate poses, forms, and emphasis on the illusion of movement which is perhaps most evident in Giambologna's "The Rape of the Sabine Women". His sculpture depicts a young man attempting to carry a struggling young woman as he stands over the contorted body of an older man, either the woman's husband or father. What is interesting about this work is not only the realistic human forms and perceived chaos of the moment, but also the lack of a dominant side from which this sculpture would be viewed. In order to achieve these features, Giabologna utilizes a combination of various textures and diagonal lines to create the complete illusion of muscle, flesh, energy, and multiple focus points.

Boccaccio’s other main idea is also present in this tale. His notions that God’s rule is faultless and the tests that God places on man are meant to improve life are also apparent if Gualtieri is seen as the portrayal of God. Gualtieri initially realized the problem that his followers were foolishly judging “the characters of daughters from the ways of their fathers and mothers” (954). Therefore, as God does, he planned a flawless scheme to remove this thorn in society. He does this by marrying a woman that is of a peasant background, and he proves her loyalty and greatness by subjecting her to seemingly harsh punishments and treatments. In the end, his followers realize their mistake, causing the thorn in society to be removed (956-60). Gualtieri’s

Hawthorne 's books are inspired and fascinate to read. They are full of science fiction and tail of fantasies. The female characters have to face many challenges in their lives due to their natures. The human morals and man ambition are clear in "The Birthmark" and "Rappaccini 's Daughter" on which the two stories are similar in away. The two stories appear to be similar because innocence characters have to suffer. The hiding meanings are deep within each character and in each story. The two stories maybe different; however, the moral behind the two stories are closely related. The female characters are pure at hearts and innocence just like nature. However, the male characters are like the devil that creeping upon what is natural and pure and destroy it. It is very clear to see that Hawthorne’s stories embrace the female characters and their beauties. On other hand, he reviews the males’ evil ambitions; they are only seeking for their own glories by using science in created and change nature. Indeed, without any doubt, each of the stories, the male characters caused their love ones to parish due to their evil ambitions.

Meanwhile, Dr. Rappaccini continues to be as "an artist who should spend his life achieving a picture or a group of statuary..." (1655). This twisting of plot and character usage, on the surface, enforces the idea that Dr. Rappaccini is exactly as Baglioni claims him to be.

In this paper I will look to discuss Greek myths and how they are significant to Death in Venice and how these myths are used as metaphors within the novella. Myths and legends act as a form of moral regulation within society (Morford et al. 2013). They pose an extreme situation followed by what is deemed the “wrong choice” that is followed by extreme consequences to the character’s choice. Within Mann’s Death in Venice there are several instances of Greek mythology being used as metaphors that foreshadow various aspects in the book, such as Aschenbach’s impending death. The novella also makes comparisons between prominent Greek Gods and Myths, the Greek ideal to characters and situations in the novella.

During the Renaissance, new styles of retelling stories and religious scenes emerged as artists gained more freedom to experiment and show off their artistic talent. The newfound artistic freedom can be attributed to a rebirth and renewal of classical antiquity and renewed interest in the humanities. Artists, writers, philosophers, historians, poets, and many more intellectuals rose to the opportunity in the pursuit of knowledge and moral enlightenment. The changes in the era brought Europe out of darkness into the light, as new art was created, in new styles, forms, colors, and setting. The great artists of the era captured the real world in their works, engaging the people to the point that they could identify and relate to religious scenes of the Virgin Mary and Jesus Christ. Filippo Lippi, a skilled Italian Renaissance painter, combined the religious world, the Classical era, and the real world in his painting, Annunciation, painted in Florence from 1443-1450 with tempera on panel. Filippo Lippi made the Annunciation scene with the Virgin Mary, Jesus Christ, and angels accessible to everyday people, as they could enter the spiritual realm, experience it, and become enlightened.