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The Evolution of Richard Wagner, 2001.
Explores the themes present in Wagner's operas "Parsifal" and "Lohengrin". Discusses how they represent common threads in Wagner's life as well as his evolution as a composer.
1,059 words (approx. 4.2 pages), 0 sources, $ 37.95
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Abstract
This paper discusses how Richard Wagner's operas "Parsifal" and "Lohengrin" share common themes such as religion, good and evil, love, lust, and Christianity. It shows how Wagner's typical characters are present in both operas. This essay explores the differences between Wagner's first works, and his last opera.
Table of Contents
Elsa's belief in God
Wagner's Views on Judaism.
"Blood Pollution"
Ortrud, Judaism and Paganism.
Purity and Foolishness
Lust and the Loss of Naivete
From the Paper
"Although Richard Wagner?s operas Lohengrin and Parsifal were written more than thirty years apart, they share many similar themes. Both dramas are intensely religious, although Wagner spent most of his adult life as an atheist, or at best, an agnostic. A closer look at the characters in each opera presents Wagner?s favorite archetype, but their interactions and fates are not necessarily the same. Lohengrin, written at the beginning of Wagner?s professional career, and Parsifal, written in the last years of his life, exemplify the evolution of a personal philosophy."
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Giuseppe Verdi and Richard Wagner, 2008.
A comparative analysis of the works of composers Giuseppe Verdi and Richard Wagner.
1,520 words (approx. 6.1 pages), 5 sources, APA, $ 50.95
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Abstract
This paper examines how two of the most notable romantic composers of the 19th century are Richard Wagner and Giuseppe Verdi. It looks at how both composers share the distinction of being the greatest opera composers of their home county. Wagner was acknowledged as the greatest German composer of the 19th century and Verdi as the greatest Italian composer. The paper also examines how both composers experimented on their own style and how both composers have influenced many composers after them.
Outline:
Short Biographies
Richard Wagner
Works of Richard Wagner
Giuseppe Verdi: Life and Works
Wagner vs. Verdi
From the Paper
"The later years of Richard Wagner gave rise to his masterpieces which advanced the art of opera. His masterpieces in this stage in life include Tirstan und Isolde (1857-59) which was considered by many to be Wagner's greatest single opera. Another masterpiece was Die Meistersinger von Nurnberg (1862-67) which was Wagner's only comedic opera. This stage in Wagner's life is also responsible for the creation of one of the lengthiest operas that is still performed today, Der Ring Des Nibelungen (The Ring Cycle) which took around 20 years to complete and requires around 15 hours to perform. The Ring Cycle is a set of four operas that are based on characters and elements from the Norse mythology especially those of the Teutonic myth. "
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Richard Wagner and Medieval Germanic Myth, 2002.
Historical account of Richard Wagner's transformation of German music through his use of myth distinct to German history and culture.
3,400 words (approx. 13.6 pages), 10 sources, $ 124.95
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Abstract
Richard Wagner, the monumental composer, dramatist, philosopher, and poet of nineteenth century Germany transformed the tradition of German music and art through the unique genius of his work. Wagner believed that art, in order to be powerful and fundamental to a nation, must be founded upon a myth that is shared by all those that encounter the art. Dissatisfied with the already developed tradition of Greek myth from Homer and onward, Wagner believed that somewhere in history, the myth fundamental to the distinct German spirit could be found and developed.
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Richard Wagner and "The Ride of the Valkyries", 2002.
An appreciation of the music of Richard Wagner and a review of his work "The Ride of the Valkyries".
1,365 words (approx. 5.5 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper discusses the composer Richard Wagner?s significance in 18th century music and his impact on the perception of German art and history. It provides a brief background on the life and work of Wagner and some of the more important experiences in his life. It also includes a short analysis of his work, "Ride of the Valkyries".
Outline
Introduction and Background
Wagner?s Early Life
Musical Education
Mature Years
Conception of Work
Conditions of Conception
First Performance
Analysis of Ride of the Valkyries
Scholarly Interpretation
My Opinion
Plot
Music
Composer?s Opinion
Conclusion
From the Paper
"In 1861 the political ban against Wagner and his music was lifted. Upon his return to Prussia, Wagner began work on his only comedic opera, Die Meistersinger von Nurnberg, completed in 1867. The work was produced in June 1868 in Munich. In the summer of 1872, Wagner composed the last part of The Ring Cycle and by November 1874, Gotterdammerung was completed. In 1877 Wagner began work on Parsifal, based on the legends of the Holy Grail. Parsifal was the last of the Wagnerian music dramas, as the composer died in February 1883 in Venice, Italy."
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Nietzsche on Richard Wagner, 1996.
Evolution of philosopher's views on composer (from favorable to critical) as symbolic of his critique of modernist German music, art & culture.
2,025 words (approx. 8.1 pages), 9 sources, $ 71.95
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From the Paper
"Nietzsche makes a very critical analysis of the German culture of his time in several of his works, beginning with his assessment of history and culture in The Birth of Tragedy and modified in later works as he rethought his position and changed some of his views. Nietzsche makes a comparison between historical knowledge about past cultures and culture itself. He sees true culture as a unity of the forces of life with the love of form and beauty. Nietzsche considers life as terrible and tragic, but he also views it as transmuted through art, the work of creative genius. Nietzsche discovers the proper role of art in his study of the Greeks, who also knew that life was tragic and terrible but who never gave in to the pessimism that this might entail. Instead, they transmuted life through art. They did this through two different aesthetics, one Dionysian and the.."
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Music and Political Power, 2002.
A look at the concept of music as a symbol of political power by relating it to an opera by Richard Wagner as well as a Chinese Kabuki opera.
900 words (approx. 3.6 pages), 4 sources, $ 35.95
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Abstract
This essay will examine music as a symbol of political power in a number of ways, first by relating it to an opera by Richard Wagner and, second, by relating it to a Chinese Kabuki opera. These instances will show how music has been used to stir political sentiment in people in regard to their nation or country.
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Bayreuth and Wagner, 2004.
A look at the staging of Wagner's operas in the German town of Bayreuth.
862 words (approx. 3.4 pages), 4 sources, MLA, $ 30.95
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Abstract
This paper examines how Bayreuth, a small town in Bavaria, Germany, is the site of the dream of one of the Romantic period?s greatest composers, Richard Wagner. In particular, it focuses on "Der Ring des Nibelungen", or Ring Cycle, his opera of massive proportions, which required much more than the average opera, an opera house which was built specifically for its performance in Bayreuth. It shows how the building of the Festival House in Bayreuth was both one of Wagner?s greatest achievements and a factor in one of his greatest losses and how, after his death, Wagner?s widow, Cosima, carried on his wishes to have each of his latter operas performed in Bayreuth. It discusses how the festivals suffered slightly because of her strict adherence to the old ideas and how, because of this, the performers were based less on talent than on their willingness to follow her instructions.
From the Paper
"Wagner had very specific desires on what type of town would hold his opera house. He wanted ?one of the less large towns in Germany, favourably sited and capable of accommodating an unusual number of guests, and in particular a town in which there would be no danger of clashing with a large existing theatre.? (Wagner, iv) He did not want the actual house to be of any extravagance either; he thought to make it only of wood, only desiring to make the place large enough to properly perform his cycle. Wagner chose Bayreuth not only because it fit his description but also because it was close to his patron (King Ludwig II of Bavaria) and because certain town authorities were eager to assist Wagner."
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Wagner's Operatic Aesthetic, 2002.
An analysis.
2,400 words (approx. 9.6 pages), 10 sources, $ 89.95
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Abstract
This paper outlines the principle features of Richard Wagner's operatic aesthetic, and illustrates its practical realization with reference to the operas "Tristan", "Isolde" and "Parsifal". The author conveys an understanding of Wagner's operatic aesthetic and illustrates its practical implications in the writing of "Tristan" "Isolde" and "Parsifal" through examples from the operas and the inclusion of citations from a variety of written and Internet sources.
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Richard the Lionheart, 2004.
An analysis of the life of King Richard the Lionheart.
2,739 words (approx. 11.0 pages), 24 sources, MLA, $ 81.95
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Abstract
This paper explains that the figure Robin Hood is based on a real person, a king of England to be precise. The paper claims that an examination of the life of King Richard, better known as Richard the Lionheart,will reveal the real tale of Robin Hood. The paper presents a biographical tale of the life of King Richard. The paper contends that it is Richard's positive traits and goals that people remember about him; it is his virtue and heroism that lives in storybooks. Though the fairytale has changed and gained an element of fiction, the paper explains that the truth of Richard's conquest is evident.
From the Paper
"Most people remember the character of Robin Hood from children's stories. When they think of him they recall a hero who "robbed from the rich and gave to the poor." What most people do not know is that the figure Robin Hood is based on a real person, a king of England to be precise. That character is King Richard I, better known as King Richard the Lionheart. Although Richard I did not, by the standards of the day, steal from "the Rich," historians have found a distinct connection between the lives of the two characters. Robin Hood lived during the 13th century, exactly one year after the time of King Richard's reign. Also, it is evident in the stories of Robin Hood that his main political goal is to "restore Richard to the throne after Prince John usurped it." Although most people are probably unaware of the connection between the two heroes, King Richard I had a very fascinating and interesting life. "
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"Richard III", 2005.
An analysis of Shakespeare's play, "Richard III", focusing on the relationship between the Duke of Buckingham and Richard.
2,143 words (approx. 8.6 pages), 2 sources, MLA, $ 67.95
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Abstract
This paper concentrates on exploring why the Duke of Buckingham helped Richard III as extensively as he did to lie, cheat, steal, and murder his way to being king. It also explores why Buckingham left Richard III at a certain point after he was asked to arrange for the murder of Edward. The author argues that Buckingham left Richard not because of his conscience regarding the murder of the boy, but out of a fear that by helping the tyrant to gain his power, he would not get anything in return but his own death.
From the Paper
"Shakespeare?s ?Richard III? was a play in the series of historical texts that also includes ?Henry IV.? With these texts, the author left the convention of setting his plays is exotic places like Athens and Italy, and concentrated on the theme of English history. Richard III was a monarch who is shown in Shakespeare?s ?Richard III? to have lost touch with reality more than a little bit in his quest for power, which has corrupted him deeply. At the end of the play there is little that can be done to redeem Richard III, such is his rejection of morality and his overriding ambition. These qualities caused Richard III to murder many of his own family members, and throughout the play he treats everyone as either someone to use or a potential threat. One of the people whom Richard III used was the Duke of Buckingham, who became his right-hand man during his quest for the throne."
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William Shakespeare?s ?Othello? and ?King Richard III?, 2003.
This paper compares William Shakespeare?s villains, Iago from ?Othello? and Richard III from ?King Richard III?.
1,490 words (approx. 6.0 pages), 6 sources, APA, $ 49.95
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Abstract
This paper relates that Shakespeare?s primary intent in ?Othello? was to develop the villainous character of Iago, whose motives are represented as being highly complex and ambiguous, but villainous in the extreme. The author points out that Richard is shown to be a villain of the highest caliber, whose power-mad lust for the crown compels him to confirm his claim that, ?I am determined to prove a villain?. The paper concludes that Shakespeare portrays Iago and Richard in much the same light, as sociopaths who view others as merely objects representing obstacles in their path to fame and glory, which makes them villains by any definition.
From the Paper
"However, much like Richard, Iago?s ambition is the source of his villainy rather than his resentment at being overlooked for promotion, sexual jealousy or the racial prejudice he had consistently faced; rather: ?A man motivated by simple jealously and hatred would have no such need. He is not inspired by pure evil and desire to torment Othello either. In reality, Iago?s main motivation, born out of an inferiority complex, is a desire to heighten his sense of superiority and power.? According to Agrawal, Samuel Coleridge?s phrase, ?. . . motive hunting of motiveless malignity,? may best describe Iago?s strange actions and behavior. ?Motive hunting? exactly describes Iago?s soliloquies. He continuously ponders over and tries to understand his emotions. It is clear that he wants to torment and destroy Othello. However, he is not sure of the motivations underlying that desire.? "
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Richard Cory and Abraham Lincoln, 2007.
A review of the poem, "Richard Cory" by Edwin Arlington Robinson, drawing comparisons between Richard Cory and Abraham Lincoln.
997 words (approx. 4.0 pages), 2 sources, MLA, $ 35.95
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Abstract
This paper introduces, discusses and analyzes the poem "Richard Cory" by Edwin Arlington Robinson. Specifically, the paper compares and contrasts Abraham Lincoln with Richard Cory in the poem. According to the paper, these are two very different men, but they share some common elements.
From the Paper
"Why did Richard Cory kill himself? The poem does not really answer this, but the poet insinuates that Cory seems to have everything, but it is not enough to make him happy. He is "rich as a king," but that is not the only thing that matters in life, as this poem shows. Happiness comes from contentment and satisfaction with your life and what you do. It seems that Lincoln was probably happy. He was doing an important job, and he had a family that loved him. He never had a lot of money, but he seems as if he was content with his life. In this, he was different than Cory. He would not have chosen to end his life the way Cory did, because he was content, and because he had important responsibilities. Maybe Cory was unhappy because his life was empty, and he did not have important responsibilities, and that would be a big difference between Cory and Lincoln. Lincoln was a success and he worked hard. Cory did not have to work, and he did not seem to have anything to motivate him or make him proud. Lincoln did, and so he had a reason for living, while Cory did not."
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The Two Richards, 2001.
This essay is a comparison of Shakespeare's "Richard III" and Tey's Richard III in her novel "The Daughter of Time".
865 words (approx. 3.5 pages), 2 sources, APA, $ 30.95
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Abstract
This paper explores the differences between William Shakespeare?s account of Richard III and Josephine Tey?s account of the same. The author discusses such differences as historical accuracy, the protagonist?s motivations and the differences in the plots.
From the Paper
"Shakespeare?s descriptions of Richard III have been the most popular historical account. He describes Richard to be a physically deformed individual with his deformities eating away at his mind and soul turning him into a loathsome character. Moreover, he depicts Richard to be greedy for throne so much so that he went about on a murdering spree. In Shakespeare?s account, Richard killed his own brother George whose turn it was in the line of succession within the House of York. Moreover, he had the queen's brothers, Rivers and Gray and his wife Anne murdered too with the aid of the conspiratorial Buckingham."
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'Richard III', 2006.
A review of 'Richard III' by William Shakespeare.
1,219 words (approx. 4.9 pages), 6 sources, MLA, $ 41.95
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Abstract
This paper takes a look at William Shakespeare's play 'Richard III' and two movie versions based on this play. According to the paper, 'Richard III' is both a tragedy and a historical account of the short career of the last medieval English king. The paper discusses how Shakespeare's 'Richard III' depicts Richard and his "reign of terror" both unflatteringly and beyond historical accuracy.
From the Paper
" In the movie version, "Looking for Richard," Al Pacino creates, directs and stars as Richard III's obsession for power, lust and betrayal through the streets of New York to the birthplace of Shakespeare to an emotionally charged production of Richard III (Richard III Society 1996) It is a presentation of Shakespeare with an untraditional format more accessible to the modern audience and with which this modern audience can relate better. The cast includes Estelle Parsons as Queen Margaret, Alec Baldwin as Clarence, Kevin Spacey as Buckingham, Winona Ryder as Lady Anne and Aidan Quinn as Richmond. Al Pacino also puts in the enthusiasm and help of Sir John Gielgud, Sir Derek Jacobi, Kenneth Branagh, Vanessa Redgrave, James Earl Jones and Kevin Kline in an attempt at making everyone enjoy Shakespeare and his tales truly timeless in exploring human nature. This version is different from the first two interpretations in that Al Pacino and his actors needed to break down the barriers, which render Shakespeare's history complicated and intimidating. Al Pacino allows his viewer to go behind the scenes and witness the actual process of acting. The heavier aspects of the play are made mild by informal shots of actors dealing with their roles in either a comic or heated forum. Al Pacino's methods of analysis are insightful, amusing and engrossing. He transcends the barrier between actors and their audience as he stands in London's legendary Globe Theater and the halls of New York City's Cloisters Museum (Richard III Society)."
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King Richard and Prospero, 2004.
An analysis of discourse between the characters, King Richard II and Prospero, in plays by William Shakespeare.
1,453 words (approx. 5.8 pages), 2 sources, MLA, $ 48.95
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Abstract
When considering matters of discourse in William Shakespeare?s plays, "The Tragedy of King Richard II" and "The Tempest", King Richard displays stronger leadership skills because he always speaks with eloquence. King Richard speaks with a grace and style that cannot be matched by Prospero. This paper examines how speech is an important part of how a leader is perceived through King Richard and Prospero.
From the Paper
"This soliloquy also illustrates how Richard has come to terms with the fact that he is not destined to be king, as he once believed. He has resigned himself to the fact of how he must live out the rest of his life. This soliloquy is beautiful and heart wrenching. It is through Richard?s speeches that Shakespeare is able to make Richard stand out. King Richard would be an ideal candidate for any political position in the world today. He was always able to deliver moving speeches and this is a valuable asset to any king. In fact, it is proof that a man?s words can carry him far even if they cannot save his life."
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