The tragedy cannot exist in your analysis of Hamlet Essay Example For Students

The tragedy cannot exist in your analysis of Hamlet? Essay In the situation wherein God is dead, then, tragedy of an Aristotelian nature categorically cannot exist, whether in terms of strict form or in terms of audience reaction to the situation presented. Conversely, suppose that God is indeed clearly known: under such circumstances, Hamlet is highly likely to let God judge the fate of Claudius, even to forgive Claudius, thus revenge cannot be exacted, directly violating Freytags Pyramid in that there would be no rising action or climax, meaning that the situation does not become worse for the tragic hero, inhibiting mythos. We will write a custom essay on The tragedy cannot exist in your analysis of Hamlet? specifically for you for only $16.38 $13.9/page Order now Additionally, the lack of climax would mean the eradication of any feeling of catharsis, a crucial aspect of tragedy. It is the feeling of catharsis, according to Aristotle, which allows the audience to gauge emotions correctly, meaning that he thinks of tragedy as a calibrator of sorts. Fundamentally, the scale of the tragedy witnessed in the play would usually dwarf the problems in the lives of the audience, purging them, theoretically making them feel happier: this cathartic concept in particular central to the primary purpose of tragedy thus, the removal of the cathartic effect and of mimesis through verification of God has a hugely weakening effect on tragedy. However, speaking from a Marxist perspective (which is of course the perspective from which the quote in the title is derived), catharsis is not always desirable. Bertolt Brecht, another Marxist and a prominent dramatist, believed that his plays should be a representation of reality, but not reality itself: he did not want a perfect representation of human emotion, which Constantin Stanislavski endorsed, but instead proposed his own Verfremdungseffetkt or distancing effect theory, making scenes alien to the audience in order to discomfort them: he is scathing of Aristotles idea of catharsis in Poetics in his own theoretic work A Short Organum for the Theatre, saying that the cathartic effect left the audience unconcerned, even apathetic, that what the ancients, following Aristotle, demanded of tragedy is nothing higher or lower than it should entertain people9, rather than making them recognise social injustice and feel a sense of duty to society. Thus the removal of catharsis via the confirmation of Gods existence, while diminishing an Aristotelian aspect of tragedy, may well enhance Marxist tragedy. In the event that God is clearly known, perhaps Claudius does not kill King Hamlet at all, as the ultimate consequences of his actions would be laid bare before him, and the fear of damnation exceeds his greed, meaning the entire plot (mythos, which includes peripateia and nearly all aspects of tragedy) collapses. Even if Hamlet chooses to seek revenge, he would be seen as foolish by the audience (especially the typical Elizabethan audience, who were typically God-fearing and strongly Christian), as he knows that God will unquestionably punish him, and that God would have punished Claudius regardless of Hamlets own actions, again diminishing pathos and with it the overall tragic qualities of the play. However, perhaps tragedy may still exist in a less strict sense if God is dead or clearly known. If God was clearly known, and yet the killing of King Hamlet, who the audience have been told multiple times was a just and honest ruler (So excellent a king that was, to this, Hyperion to a satyr10), was allowed to continue, the (short-term, at least) success of evil over good could yet inspire pathos, a feeling of sympathy from the audience towards Hamlet (although this may be more the case for the more emotionally empathetic and less God-fearing modern audience rather than the more devoutly religious Elizabethan audience), as he must then question the morality of God, pondering whether God is necessarily omnibenevolent there would still be scope for uncertainty, even with the verified existence of God. .u6104d77681d377e56f607adee712301c , .u6104d77681d377e56f607adee712301c .postImageUrl , .u6104d77681d377e56f607adee712301c .centered-text-area { min-height: 80px; position: relative; } .u6104d77681d377e56f607adee712301c , .u6104d77681d377e56f607adee712301c:hover , .u6104d77681d377e56f607adee712301c:visited , .u6104d77681d377e56f607adee712301c:active { border:0!important; } .u6104d77681d377e56f607adee712301c .clearfix:after { content: ""; display: table; clear: both; } .u6104d77681d377e56f607adee712301c { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u6104d77681d377e56f607adee712301c:active , .u6104d77681d377e56f607adee712301c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u6104d77681d377e56f607adee712301c .centered-text-area { width: 100%; position: relative ; } .u6104d77681d377e56f607adee712301c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u6104d77681d377e56f607adee712301c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u6104d77681d377e56f607adee712301c .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u6104d77681d377e56f607adee712301c:hover .ctaButton { background-color: #34495E!important; } .u6104d77681d377e56f607adee712301c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u6104d77681d377e56f607adee712301c .u6104d77681d377e56f607adee712301c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u6104d77681d377e56f607adee712301c:after { content: ""; display: block; clear: both; } READ: A Critical Analysis Of A Midsummer Nights Dream EssayIn Hamlet, uncertainty is the key to tragedy: it is uncertainty which lends Hamlet his fatal flaw, which results in the mistakes that lead him to his ineluctable death and the collapse of the Danish royal family. Also, ambiguity concerning the nature of the Ghost and its importance relative to God (should God exist) could also inspire procrastination within Hamlet: should he obey his father, his creator, or the ultimate creator? Furthermore, as mentioned above, the apparent declining importance of God in Hamlets motivation and reasoning as the play progresses is indicative of the fact that tragedy can still exist (and no t be hugely impacted at that) without God as a factor. It is therefore possible to achieve aspects of tragedy while categorically affirming or denying the existence of a God. Overall, though, the general ambiguity regarding God is vital in preserving true tragedy. Goldmanns quote may have been borne mainly out of his Marxist tendencies, but its message holds true for Hamlet. And while it has been established that certain facets of tragedy (pathos and hamartia) can remain in the face of hypothetical absolute truth, some components of tragedy are usually lost when God is dead or clearly known, as hope and faith, according to Marxism at least, fuels acceptance of social injustice and perpetuates suffering. BIBLIOGRAPHY Hamlet William Shakespeare Critique of Hegels Philosophy of Right Karl Marx Marxist Literary Theory Terry Eagleton Drew Milne Word Count 1615 1 Karl Marx, Critique of Hegels Philosophy of Right: (Cambridge University Press, 1970), p. 1 2 William Shakespeare, The Tragical History of Hamlet, Prince of Denmark, The Second Quarto 1604-5, (The Arden Shakespeare, 2006), p. 285 3 Shakespeare, Hamlet, p. 176 4 Shakespeare, Hamlet, p. 278 5 Shakespeare, Hamlet, p. 285 6 Marx, Critique of Hegels Philosophy of Right, p. 2 7 Marx, Critique of Hegels Philosophy of Right, p. 2 8 Shakespeare, Hamlet, p. 176 9 Bertolt Brecht, A Short Organum for the Theatre, in Marxist Literary Theory by Terry Eagleton Drew Milne, (Blackwell Publishers, 1999) p. 110 10 Shakespeare, Hamlet, p. 177.

The Coffered Ceiling in Architecture and Your Home

The Coffered Ceiling in Architecture and Your Home A coffered ceiling is a pattern of indentations or recesses in an overhead surface. In architecture, a coffer is a sunken panel in a ceiling, including the interior surfaces of domes and vaults. If a surface is coffered, it is not smooth. The architectural detail has been popular since Renaissance architects imitated Classical Roman techniques. Modernist architects often play with the depth and shape of the coffer. Key Takeaways: Coffered Ceilings A coffered ceiling is a series of indentations or hollows on the surface of a ceiling. Coffered ceilings decoratively hide ceiling imperfections and create the illusion of height. Historically, the design is considered dignified and formal.Simple coffered ceilings are created by crisscrossing beams that create geometric patterns, usually squares or rectangles. The word coffer comes from the ancient Greek word kophinos, which means basket. The Latin word for basket, cophinus, was adopted by the old French to mean various types of hollowed containers. The words coffer, a chest or strongbox to hold money, and coffin, a box for the dead, are both French derivations. The Latin word capsa, meaning box, evolved into the words caisson (an ammunition chest) and casket (same as coffin). Caisson ceiling is another term used to describe this type of ceiling hollow. The Chinese name for this type of ceiling, zaojing, means a well for plants that grow in water. The Latin word lacus, meaning lake or basin of water, is also used for this type of sunken panel (lacunar) ceiling. Coffers have been used in ceilings for centuries. Sometimes they were used to disguise the architectural engineering, where one beam or brace would be structurally necessary but others were built neaby for visual symmetry and to hide the necessary beam. Although hollows are sometimes used for structural weight distribution, coffers have always been used decoratively. Historically, a coffered ceiling can make a room look larger and more regal, as it does in the Palace of Versaille. Coffered ceilings are sometimes called caisson ceilings, plafond caissons, lacunaria, cross-beamed ceilings, and zaojing. Sometimes the English refer to these ceilings as coffer ceilings but never cougher ceilings. Coffered ceilings are found throughout architecture, from the Pantheon in Rome to the mid-century modern residence called Sunnylands at Rancho Mirage, California. The architect of Sunnylands used coffers inside and outside, to visually connect interior spaces with the outdoors. Exterior Detail at Sunnylands. The Greater Southwestern Exploration Company via flickr.com, Attribution 2.0 Generic (CC BY 2.0) cropped Coffers are not to be confused with latticework, a particularly important element in Islamic architecture. Like coffers, lattice is created with crisscrossed building materials, often pieces of wood, but lattice is arranged in decorative patterns to allow air through screens and windows, as in mashrabiya and jali. Coffered ceilings also should not be confused with the popular tray ceilings found in many large suburban homes. A tray ceiling is often a feature that enlarges a small kitchen or dining room without manipulating the footprint of the room. A tray ceiling has one, large sunken area in the ceiling, like one coffer, or an inverted tray. Creating Coffers Coffers are the sunken geometric areas in a ceiling, but most ceilings begin as a flat surface. Where do the coffers come from? Coffers can be created in at least two ways: (1) place a roof beam or crossbeam framework that naturally creates a space between the beams - the space appears sunken because the beams protrude; or (2) remove ceiling material, as you would carving a hole, or press into a flat surface to create an indentation, as you might create a sunken imprint into uncured concrete. Choosing the first method will take away ceiling height. Choosing the second method gains extra space for the rooms overall volume. Most coffered ceilings are created using the first method carried out in different ways. Unfinished Coffered Ceiling. Brian Moloney The Finishing Company Richmond via flickr.com, Attribution 2.0 Generic (CC BY 2.0) cropped Creating the design framework can be handcrafted by a carpenter like Brian Moloney, owner of The Finishing Company in the Richmond, Virginia area. Maloney is a finish carpenter, but that doesnt mean he comes from Finland. In fact, he comes from Ireland. Finishing is just one of the many carpentry skills of a master carpenter. Coffered Ceiling Built by Brian Moloney, Finish Carpenter from Ireland. Brian Moloney The Finishing Company Richmond via flickr.com, Attribution 2.0 Generic (CC BY 2.0) cropped An easier drop ceiling method is often used by commercial developers, manufacturers, and do-it-yourselfers (DIYs). Companies such as Classic Coffers can be hired to install a grid (sometimes beneath a fixed ceiling), then the panel coffers are placed within the grid. These arent the tacky looking drop ceilings of your grandmothers basement. A coffered drop ceiling can be created to look exactly like the wood finishing of a master carpenter. Only Brian Moloney could tell the difference. The DIY may buy a box of polystyrene foam tiles - faux tin like tiles - that purportedly can be installed right over Pop Corn ceiling. Its your choice. A less well-known method of creating coffers is offered by none other than Michelangelo. The Renaissance master manipulated the illusion of space with trompe loeil, a painting technique that tricks the eye into believing a certain reality. Michelangelo used his artistic skills to paint many of the three-dimensional moldings and crossbeams, creating the illusion of coffers in the most famous ceiling of all time, the Sistine Chapel in Vatican City, Rome. Which is wood and which is paint? Detail of Sistine Chapel Ceiling by Michelangelo. Fotopress/Getty Images (cropped) Photo Credit Tray Ceiling, irina88w/Getty Images