Bosch represents the hellish counterpart of the heavenly mansions in both the pictures, dominating the foreground with new motifs. Although the basic meaning of both the pictures is simple, the artist comments on an unpleasant aspect of human nature. Bosch has incorporated traditional iconography in both the scenes through dominating background images. Hell is a nightmarish place in both the triptychs. The Haywain and The Garden of Earthly Delights narrate two distinct stories in terms of their central panels.
That this is the best of all possible world 's. This belief in real life was popularized by Leibniz during the Age of Enlightenment and highly criticized by Voltaire. (Sharpe 12) As Candide goes about his travels he witnesses widespread misery; continuously challenging his belief that
Wilde’s ‘The Picture of Dorian Grey’ is a story immensely useful in painting a moral lesson. It is a representation of the potential consequences of having an unbalanced personality, which can be best read through the principles of the psychologist Sigmund Freud and his theories on the id, ego and superego. The id, which is the primitive part of our personality, operates on the pleasure principle and is entirely selfish –demanding instant gratification of its needs. It is manifested in ‘The Picture of Dorian Grey’ through Lord Henry, who ‘represent[s] to [Dorian] all the sins [he has] never had the courage to commit.’ The Superego, by complete contrast, represents the personalities internalised sense of right and wrong and is based on the morality principle. It is embodied in the character of Basil Hallward, who symbolises the novels only moral figure who is destroyed at the end of the story for presenting a threat to the pleasure principle of the id.
Timothy Brook, wrote the book “Vermeer’s Hat” to construct history through the examination of paintings, or objects within paintings. Brook quotes James Elkins who argues that paintings are like puzzles. The puzzle needs to be solved to satisfy the world’s confusion. He also conceders a painting to be a window into the past, that shows differences and similarities. He points out the mechanical discoveries such as the magnetic compass, paper and gunpowder has changed the world.
An Examination of Hamlet as a Tragic Hero Webster's word reference characterizes catastrophe as, "a genuine dramatization ordinarily depicting a contention between the hero and a predominant power, (for example, predetermination) and having a tragic or heartbreaking conclusion that energizes compassion or fear." A terrible legend, hence, is the character who encounters such a contention and endures disastrously as a consequence of his decisions and related activities. The character of Hamlet, in this way, is a reasonable representation of Shakespeare's heartbreaking saint. As the play's disastrous saint, Hamlet shows a blend of good and terrible characteristics. An unpredictable character, he shows a mixed bag of qualities all through the play's improvement.
Iqra Khan Dr Kamal ud Din English 315 11 October, 2014 Milton’s Conception of Hell in Paradise Lost Book 1 Milton in Paradise Lost recreates the tale of humankind's fall, primarily focusing on the Satan's rebellion against Heaven and its sole King. Book 1 of the epic is much like an informative piece of literature, the most imperative argument of which is the cause of man’s fall and Satan’s mutiny against God leading to his banishment to Hell. If we scrutinize Milton’s conception of Hell in the epic, it can be observed that he provides us with a visual description of the damned place both from his own as well as from the spectacle of Satan. One of the most effective tools that Milton utilizes is the contrast between Heaven and Hell in order to depict the desolate scenario of Hell. The description repeatedly conveys to us the gloomy atmosphere of the place which is characterized with extreme hopelessness and infernal horrors.
Byron with his Gothic verbiage, depicted a dark and pessimistic vision of world: in “Darkness” he prevised nation of their hanging fortune via a dream image about the end of the world. Percy Shelley, used Gothic in the same way that Lord Byron: he demanded the social order of his day, and offered an emotive advance of individual as he had belief in the elaboration and evolution of man. In “Ozymandias” with his melancholic mood, he underline the avoidable nature of human, terminating that that human and his work turn to fug in one time. Poetry of John Keats, also, reveals melancholy aware with the Gothic literature of his time. In his poem “Ode on Melancholy”, he research the points of nature, evanescence and mortality with direct references to death.
The stone gods is a picturesque cautionary tale lamenting the cataclysmic urge of humans towards self-annihilation. It elasticizes the temporal and geographic scale, material conditions of life, and forms of social and economic organization in order to mutate familiar conditions into uncanny conditions. This Borgesian allegory juxtaposes three narratives separated by interplanetary and temporal ambiguities that satirizes human tendency to impose their hegemonic clutches over this and every world they have access to. The repetitiveness and intertextuality condensed into a looping narrative that offers
The Picture of Dorian Gray, one of Oscar Wilde’s masterpieces, portrays one of the most important values and principles for him: aestheticism. As a criticism to the life lived during the Victorian era in England, Wilde exposed a world of beauty a freedom in contradiction to the lack of tolerance a limitation of that era; of course inspired due to Wilde’s personal life. All the restrictions of the Victorian England lead him to a sort of anarchism against what he found to be incoherent rules, and he expressed all this to his art. His literature is a strong, political and social criticism. He gave a different point of view to controversial topics such as life, morality, values, art, sexuality, marriage, and many others, and epigrams, for what he is very well known, where the main source to the exposure of his interpretations of this topic.
In his paintings, the characters have strange appearance: big head and short body. As we know, the methods selected by artists usually have something to do with their experiences, opinions and philosophies. Their life perspective are shaped by their special time and environment and determines the way they view the world---- It is what they feel. So life is not simple records of the objective world, but a mental world. From the above analysis we can see that the grotesque figures in Chen Hongshou’s paintings reflect his mentality and wild emotion.
One of the great painters of the Romantic period is Joseph Mallord William Turner. Turner belongs among Romantics, who rebelled against the rational thinking of the Enlightenment by championing intense emotion and feel as a form of aesthetic experience. This can be seen in Turner 's The Field of Waterloo (fig 2).The heavens are in upheaval, darkness smothers the scene, and dead bodies litter the ground, producing a scene fraught with emotion. Turner chose to show the aftermath of Britain 's victory at Waterloo, shrouding the battlefield in gloom and the only source of light illuminates only the dead and their searching loved ones. Emphasizing the realities of war, suffering, and grief rather than fleeting victory.