Two Warriors A Comparison And Contrast Of Beowulf And The Knight From

Two Warriors: A Comparison And Contrast Of Beowulf And The Knight From The Canterbury Tales The Canterbury Tales Character Knight Beowulf Quest - fights religious wars - fights for god - fights for the good of others - kills evil things - fights in order to have bragging right - fights for the good of others Society's View - most admired person of all the tales - seen as a hero - seen as boastful and overconfident - seen as a hero Religious Beliefs - believes in God - goes to church in his torn war clothes - believes in God and pagan gods - it is never mentioned of him going to church **Compare and/or contrast the Knight to Beowulf** All throughout literature there are characters that can be compared to each other. Two examples are the Knight from the Canterbury Tales and Beowulf from Beowulf. These two fictional characters exhibit both similar and diverse qualities. Their quest, society's opinion, and religious beliefs show both of these qualities. Victory is the quest of any great warrior. The reasons for war between the Knight and Beowulf are to be disputed. The Knight fights in religious wars. This means that he fights for God. On the other hand, Beowulf fights only to kill. Beowulf fights to obtain bragging rights. Both of these men fight for the good of others. Although Beowulf wants bragging rights, he dies to save his people. ?I sold my life for this treasure, and I sold it well. Take what I leave, Wiglaf, lead my people, help them; my time is gone.? In society, the public's view of a man means everything. Both are seen as heroes, but the Knight's reputation shows better than that of Beowulf. The Knight, the most admired of all the characters in the Canterbury Tales, is very humble and modest. ?And in his bearing modest as a maid The Knight resists any temptation to boast. Beowulf boasts of all his victories and amazing feats. Though ridiculed by many, Beowulf thinks that popularity means everything. He enjoys hearing people talk of his greatness, and he especially likes compliments. In the Canterbury Tales, religion is the main topic of discussion. The characters in the story are satirically described as moral or immoral. The Knight is moral. He believes in God and goes to church in his battle clothes just to be near God. While in church he asks for forgiveness for the slaying that goes on in the wars in which he participates. Beowulf is also moral. He not only believes in God, but also pagan gods. In this age in time it is accepted to believe in God and other gods. Opposed to Beowulf's society, in the Knights age in time the worship of pagan gods was unacceptable and unheard of. They are both heroes because of the things that were acceptable in their time. Beowulf is a hero for slaying horrible beasts. The Knight is a Christian man who spends his life fighting in the name of God. The writer never mentions of Beowulf going to church. It also does not mention of Beowulf asking for forgiveness for the slaying of others. The Knight and Beowulf are two fictional characters that spend most of their time fighting. They both are moral, but some of their qualities are quite different. The Knight, humble and virtuous, loves God and does anything for Him. Beowulf, boastful and arrogant, loves attention but dies to save his people. Both men are heroes in their time. English Essays

From Mozart To The Second School Of Vienna. Essays - Freemasons

From Mozart To The Second School Of Vienna. Essays - Freemasons From Mozart To The Second School Of Vienna. At Dimitris Mitropoulos hall on the 3rd of February took place a part of the sere From Mozart to the second school of Vienna. Wolfang Amadeus Mozarts piano, violin, viola and violoncello quartet num.2 in E-major, K.493 and Arnold Schoenbergs Ode to Napoleon Buonaparte, Op. 41 for string, piano and voice quartet and after the break, Wolfang Amadeus Mozarts piano, oboe, clarinet, horn and bassoon quintet in E-major, K-452. The quartets and the quintet were played as written above. Firstly, K.493 which wasAccording to Mozart's own catalogue, the second quartet in E-flat major was completed on June 3, 1786, less than nine months after the letter to Hoffmeister about the advance. This time, Mozart had the piece printed by the rival publisher Artaria and that edition is the earliest version we possess. With the exception of a few drafts from the Finale, which are in the British Museum, no autograph score remains. Even if one feels the work to be a relief after its uncompromising counterpart in G minor, the later quartet cannot really be seen as an easier alternative. It is too elaborate for that. This time Mozart sets the piano against the string trio more, but this is not done purely for convenience. The strong polarity of tonic and subdominant in the first two movements creates a somber undercurrent which is emphasized by the instrumentation. The second theme of the first movement (a softer version of the pent-up energy of the beginning, introduced by the violin) is preceded by a contracted motif of two descending sixths which then persists throughout the whole movement as a kind idee fixe. There are no less than 31 reputations of it in the development, where it serves as a harmonic pivot for a very bold series of modulations. The slow movement exudes warmth and thoughtfulness, twinned with chromatic moments of doubt. Harmonically expansive answering phrases in the strings anticipate the sublime music of the divertimento for string trio K.563. The movement is also a perfect example of Mozart's skill in figuration and ornamentation. The musicians who performed that were Ralf Gothoni who played the piano, hes appearing frequently across Europe, Canada, Russia,and Japan, Swedish Ralf Gothoni is a multitalentedmusician citing roles as solo pianist, accompanying pianist, chamber music member etc. He has worked withlarge orchestras as well as acting as art director forthree years at the festival of Savonlinna. Moreover he teached up till 1997 at the Hamburg Academy and iscurrently employed at the Sibelian Academy and at HansHaisler of Berlin. He has won the Gilmor Prize, the Schubert Medal, an award of honor from Finland andalso is active as a pediatrician offering seminars ona global basis. , Mirijam Contzen who played the violin, 24-year old Mirijam Contzen started her musical at thetender age of two. From the age of seven she studiedunder Tibor Varga at the Music Academy of Detmolnt andfinished her studies at the anotati scholi of Music ofElvetia. She won the first prize at the InternationalTibor Varga Violin Contest in 1993 and has played withmany orchestras such as Hamburgs and SaintPetroupolis and Hungarys national symphonyorchestras. In 1996 she recorded the concerto forviolin by Mendelson and Bruch and in 1998 sonatas bySains-Sans, Debissi, and Frank under the Arte Nova andBMG labels respectively. Diemut Poppen who played the viola starting from the age of seven Diemut Poppenconcentrated only on the viola from seventeen yearsold and on. Her studies have taken her all acrossEurope and to the USA. She has appeared as a soloistin many important musical events and theatres acrossthe world. She was one of the founding members and for15 years a member of the European Chamber Orchestra.At the early age of 29 she became a teacher of theviola and chamber music at the academy of Zaarbrukenand from 1994 she teaches chamber music at theThourigian summer academy. For the past three yearsshe has been the art director at Days of ChamberMusic of Onsabruk. She has also played in many radio,television and record productions.Frans Helmerson: violoncelloFrans Helmerson born in 1945 in Sweden started playingthe violoncello at the age of eight. He studied inGermany, Italy and England and since has done concertson all inhabited continents except Australia. Heappears in many roles- soloist