What Is The Depravity Of Rappaccini's Daughter By Baglioni

“I’ll be out of here and away from all you knaves for one time anyway, as not a month will pass before you’ll see whether I’m nobody or a somebody.” The story of Bianco Alfani reflected the nature of 14th century Florentine society where, as Alfani remarked, the election to public office could make or destroy a person. In late 14th century and early 15th century Florence, decreased population and expanding commerce provided a favorable environment for ambitious individuals. The real life examples of Buonaccorso Pitti and Gregorio Dati demonstrated the positive role of ambition in Florence. Pitti, a nobleman had an extremely successful career, partaking in military campaigns, holding public office in Florence and being an ambassador to

Through the study of the records of courts, both secular and ecclesiastical, which exists in thousands of European and American archives and libraries, a patient and careful researcher can reconstruct particular images of “the world we have lost” and of the people who inhabited that world. From this vast, largely untapped repository of judicial records, Gene Brucker uses the notarial protocols of Ser Filippo Mazzei, which contains the transcripts of the litigation in the archiepiscopal court and the catasto records, which provides information about Florentine households, to piece together the dossier of Giovanni and Lusanna. The story of Giovanni and Lusanna explores the love and marriage in renaissance Florence and uncovers the gradation of the city’s social hierarchy and the role of women in society.

Steven Greenblatt’s “The Swerve,” argues the importance of Poggio Bracciolini finding of Lucretius; however, did Greenblatt undermined his own argument? The one piece of historic information conveyed clearly by these sources most deeply qualifies, limits, undermines or eve negates what I believe to be Greenblatt’s fundamental argument about Bracciolini and his historic significance is Poggio’s view of humanities while in England. While in England, Poggio found great cook book and so he turned to studying religious text which he found “the sources of these studies are vain and partly false and all worthless.” Greenblatt states Letter four, Poggio’s letter to Niccolo Niccoli, as “it was time for his humanist friends to abandon their dreams.” This statement undermines Greenblatt’s fundamental argument of Poggio. Greenblatt’s praises Poggio until this time. While Poggio wrote letter four, he was complaining to Niccoli, but was not telling his friend to give up. The sacred text Poggio read “cooled off (his) former interest in the Humanities.” Greenblatt justifies Poggio giving up on his study with

Giovanni Boccaccio and Francesco Barbaro provides for not only the men, but women in Italian society their conventional opinion on the perfect example of how a wife should act and behave in order to keep the domestic life at peace and whole. Through their story and most gracious outlook on a woman’s life, we can see what a marriage was life during this time.

Each man only saw what he wanted to see regarding Beatrice, and for Giovanni, it was most complex. Her father probably had good intentions when he caused his daughter to be poisonous. He did it as a means of protection, but this backfired, because the tendency of others to misunderstand Beatrice's complex makeup led them to unintentionally kill her. Each of the three men in Rappaccinni's Daughter wanted to mold Beatrice into something and each had his own idea of her identity, yet none of them looked at her subjectively. This is pointed out by Luedtke on page 188. "When he (Giovanni) was unable to bring Beatrice 'rigidly and systematically' within the realm of his own experience, and unwilling to risk a closer knowledge, Giovanni left the poison-damsel to die in her own pleasure-place." It is interesting to note Luedtke's use of the words "pleasure-place". This suggests that the poisonous garden was not the real problem or prison for Beatrice. An interesting point is revealed by Luedtke as he states, "The author makes a late attempt to intertwine her poison and her purity, but the demonic and the angelic continue to occupy their separate spheres, the former of the body, the latter of the soul. As Baglioni's antidote takes effect, eradicating the poison from Beatrice's system, her physical life is consumed. The soul might be innocent but it has no resting place."(181) If Beatrice's soul had no

Rappacini's character shows that he is willing to put science before his family by giving Beatrice to science for the gain of power “Rappacini cares infinitely more for science than for mankind.” (Roy R. Male, 1954) . Both characters have to lust for greater power, which blinds them from their mortal being and flaws that can become of the experiments “The fountain symbolizes man’s potential spiritual perfection, the shattered base his mortal clay.” (Roy R. Male, 1954). Though they are striving for potential perfect Aylmer and Rappacini, both will be destroyed when achieving

Fluids from one of the artificial blossoms dripped onto a colored reptile’s head, causing it to contort violently and pass away agonizingly. This imparts how science is able to devise potent materials capable of stripping organisms of their lives. A delicate winged insect was attracted by the heavy perfumes of the artificial flowers and was killed, suggesting that detrimental scientific discoveries can destroy innocence by luring unsuspecting individuals into its pitfall and annihilate them. The psychotic scientist, Giacomo Rappaccini, is described as a sickly, elderly man lacking warmth of hearth and wearing black clothing. This indicates that the process of making scientific improvements itself can be damaging to the scientist and can eliminate them of their morals, as black symbolizes evil which suits Rappaccini due to him seeking human test subjects. Once Beatrice realizes the enormity of the mischief imposed by Rappaccini, she promptly consumed the phial with the antidote and begins to fade away while having a desperate dialogue with Rappaccini and the main protagonist, Giovanni Guasconti. This implies that the disastrous effects of scientific advancement can have such a profound impact on an individual that he considers death or the potential of death as an alternative to escape the horrors of science. The startling descriptions of the negative aspects of

A major part of society, ranging from the beginning of time until present day, has been the aspect of social classes and the distinguishing features between the different levels. In Giuseppe Di Lampedusa’s novel The Leopard, through the use of different characters to symbolize the different social classes and the relationships between them, the author successfully distinguished and defined the different groups in nineteenth century Italian society. A special spotlight is shown on the aristocracy as that is the class the main character, Prince Fabrizio, belongs to. It is seen through the novel quite clearly the distinction between the different social classes ,the relationships between them, and why characters in the different classes behave as they do.

“In this world, it is disturbing easy for Don John and Borachio to convince Claudio, because rumors happen to be everywhere.” (xxxii)

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.

Today we are gathered here to commemorate Cesare Borgia, born on the 13th of September 1475 and died on the 12th of March 1507. He was born and raised here is Rome. I was close to Cesare being a cousin of his. This is a very sad time for his family and friends. I of course are deeply saddened by his passing. I’m only joking, I am glad he’s dead. He was one of the most malicious people I have ever known. The world will do better without him. I mean, poisoning people and raping your sister, do we really need that in this world. The man was pure evil. So my aim in this speech is to tell you all what a disgusting man Cesare was. Let’s start with the multiple deaths he is responsible for. In case you didn’t know, Cesare killed up to 70 of his rivals.

Perhaps the most foolish characters readers could come across in The Decameron were Friar Alberto and Monna Lisetta. Boccaccio masterfully parodied the Church by introducing Friar Alberto as a former con man who moved to Venice and became a priest: already, Boccaccio has criticized the vetting process for potential religious officials. Monna Lisetta, the next character introduced, is a vain, airheaded devotee of the angel Gabriel. By having these silly characters meet in a religious setting, Boccaccio mocked the Catholics of his day, especially once Friar Alberto used his credibility as a “man of God” to trick the gullible Monna Lisetta into having sex with “Gabriel,” who would be possessing the friar’s own body. Boccaccio could hardly be more derisive toward the Church than with this “tragic” story.

Despite the grotesque and shocking appearance of the creature, the boy shows no fear, or malice generally associated with other species, he is only calm and affectionate in the creature’s appearance. Pinccinini has described this work as a visual representation of empathy, “she looks different, but she is still beautiful.” The familial relationship shown in this sculpture emphasises our compassionate for this other-worldly creature, humanising her. Piccinini is endorsing the study of genetics with this work, there has been much debate about how far genetics can go in the future, how we will soon lose how humanity within our enhancement. This work is used to displace this fear, it is shouting through the loving posing, that no matter how far we go, we will always be fundamentally

Voltaire attacks the corruption within the church and its officials as well.  The Grand Inquisitor, a significant clergyman, makes Cunegonde his mistress at a Mass service.  Even more ironic is that he shares her with a Jew.  It was a Franciscan priest that robbed Lady Cunegonde of her money and jewels.  The old woman identifies herself as the bastard daughter of a pope, and the papacy is also identified as keeping soldiers for private use.  When Candide is ill in France, a clergyman is one of the many that harasses him in attempt on his wealth.  Ironically, the disease that Pangloss catches from Paquette, originated from a Franciscan priest.  Voltaire portrays the church as violent and corrupt and the clergy as parsimonious fortune hunters.

Hawthorne frequently uses words like "imagine", "seemed", or "appeared to " to cast a doubt upon the validity of what Giovanni thinks he sees. Even Giovanni himself rationalizes the situation and convinces himself that what he thought he saw did not happen. This is because in Giovanni's mind, it is impossible to separate the physical from the spiritual. For him, if Beatrice's body is poisonous, then so is her spirit. Giovanni is unable to see the possibilities for good and bad to be simultaneously within someone. This problem is at the heart of this story and is what ultimately causes Beatrice's death. Since Giovanni allows himself to disbelieve what he had seen earlier in the garden, he is able to fall for Beatrice. Giovanni is drawn to Beatrice not because of the "glamor" of science, but an interest in the unknown. He knows that all is not right in Rappaccini's garden and he is fascinated with the mystery. As Giovanni and Beatrice get to know each other, they develop a strong bond. However, for Giovanni this is not true love. Hawthorne provides the reader with clues that question the integrity of Giovanni. For example, Hawthorne writes, "Guasconti had not a deep heart or at all events, its depths are not sounded now-but he had a quick fancy, and an ardent southern temperament, which rose every instant to higher fever-pitch" (Hawthorne 614). Not only is Giovanni passionate in his lust for Beatrice, but he also