Reality and Illusion in Shakespeares Hamlet - Appearance versus Realit

Appearance versus Reality in Hamlet      Ã‚  Ã‚  Ã‚   Appearance versus reality is one of the central themes of Shakespeare's play, Hamlet. The characters in the play assume roles for the purpose of concealment - Claudius, in reality a murderer and usurper, plays the roles of grieving brother and rightful king; the adulterous Gertrude plays the role of a 'most seeming-virtuous queen' when she is, in her son's view, a 'most pernicious woman'. Even Hamlet himself assumes the role of a madman in his attempt to establish the reality of his uncle's guilt.    In 1.2, the anxious Gertrude asks her son why he is taking the death of his father so personally...    Why seems it so particular with thee?    Hamlet indignantly asserts the sincerity of his grief....    Seems, madam? Nay, it is. I know not 'seems'. 'Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspiration of forc'd breath, No, nor the fruitful river in the eye Nor the dejected haviour of the visage, Together with all forms, moods, shapes of grief, For they are actions that a man might play; But I have that within which passes show, These but the trappings and the suits of woe.    Here the prince may be implying that his mother's grief, unlike his own, is merely an appearance.    When the ghost of old Hamlet appears and reveals to his grieving son the horrific details of his death at the hands of his treacherous brother, the theme of appearance versus reality becomes firmly rooted in the plot as Hamlet is presented with a moral dilemma. If the ghost is in reality what he appears to be, then Claudius is merely an appearance, an arch-hypocrite. The king is not in re... ... A.C. Quote. Literary Companion to British Authors: William Shakespeare. San Diego: Greenhaven, 1996. Danson, Lawrence. "Tragic Alphabet." Modern Critical Interpretations: Hamlet. Ed. Harold Bloom. New York City: Chelsea House Publishers, 1986. 65-86 Findlay, Alison. "Hamlet: A Document in Madness." New Essays on Hamlet. Ed. Mark Thornton Burnett and John Manning. New York: AMS Press, 1994. 189-205. Hopkins, Lisa. "Parison and the Impossible Comparison." New Essays on Hamlet. Ed. Mark Thornton Burnett and John Manning. New York: AMS Press, 1994. 153-164. Rose, Mark. "Reforming the Role." Modern Critical Interpretations: Hamlet. Ed. Harold Bloom. New York City: Chelsea House Publishers, 1986. 117-128 Wiggins, Martin. "Hamlet Within the Prince." New Essays on Hamlet. Ed. Mark Thornton Burnett and John Manning. New York: AMS Press, 1994. 209-226.

Baroque Art Essay

Baroque art falls into the period of Counter-Reformation led by the Catholic church against the Protestants. Much of the Baroque art, especially in Italy, reflects reaction to Mannerism, but also the social turmoil of the time. According to the Council of Trent and the Catholic church artworks should be a clear, intelligible subject realistically interpreted in order to stimulate piety. This was part of the reason that the artwork turned towards naturalism, becoming emotionally engaging and intense. STYLE strong perspective effects ramatic color dramatic light and dark (chiaroscuro and tenebrism) movement of figures (especially upwards) broken and agitated draperies loose brushstrokes heavy impasto dense and detailed compositions (for emotional impact on viewer) Wofflin’s 5 points of the differences between Baroque and Renaissance recessional compositions (not planar) Baroque art has continuous overlapping of figures and elements where the Renaissance and clear defined planes that recede in depth. Baroque art often has a sweeping diagonal element that crosses many planes. painterly instead of linear The figures in Baroque art are merged better through chiaroscuro that blends the edges of each form. This creates a mystical union of all the figures/elements. Renaissance art treats each figure in isolation and they appear as discrete objects. Color contrasts, outlines, contours or hard edges contribute to this linearity. open form (not closed form) The figures in Baroque art seem projected out into the viewer’s space (so that the viewer becomes involved in the picture). unity rather than muliplicity Baroque art uses light (and other compositional elements) to create meaning instead of for its purely naturalistic effects or to reveal form. The light sources often are not natural or there are multiple sources. The meaning often emphasizes what will happen in the moment after that depicted. tendency towards unclearness subject matter includes or shows grandiose visions ecstasies and conversions (religious) martydom and death (religious) ephemeral moments and the passage of time intense light powerful psychological renderings (outward emotions, intense contemplation) OVERALL: EXAMPLES: (Italian) Caravaggio, Bernini, (Spanish) El Greco, Velazquez, (Low Countries) Peter Paul Rubens, Rembrandt ARTISTS and IMAGES Italian Baroque Spanish Baroque Baroque in the Low Countries French Baroque Italian Baroque Caravaggio The Conversion of St Paul Santa Maria del Popolo, Rome 1601 Caravaggio The Crucifixion of Saint Peter companion piece of The Conversion of Saint Paul Santa Maria del Popolo, Rome 1601 Caravaggio Calling of Saint MattewSan Luigi dei Francesi, Rome 1600 Caravaggio Death of the Virgin Louvre, Paris 1606 Artemisia Gentileschi Judith and Maidservant Institute of the Arts, Detroit 1625 Francesco Borromini San Carlo alle Quattro Fontane Rome 1665-1676 Gianlorenzo Bernini David Galleria Borghese, Rome 1623 Gianlorenzo Bernini The Ecstasy of Saint Theresa Santa Maria della Vittoria, Rome 1645-1652 Gianlorenzo Bernini Piazza and Colonnade Sculpture and architecture at saint Peter’s, Rome 89. Gianlorenzo Bernini Baldacchino at the crossing of the church over the tomb of Saint Peter Saint Peter’s, Rome Gianlorenzo Bernini Cathedra Petri The throne of Saint Peter Saint Peter’s, Rome Spanish Baroque El Greco The Burial of Count Orgaz Santo Tome, Toledo 1586 El Greco Portrait of Fray Hortensio Felix Paravicino Museum of Fine Arts, Boston 1609 Jose (Jusepe) de Ribera The Martyrdom of Saint Bartholomew Prado, Madrid 1639. Diego Velazquez Los Borrachos (â€Å"The Drinkers†) Prado, Madrid 1628 Diego Velazquez Portrait of Juan Pareja Metropolitan Museum, New York 1650 Diego Velazquez Las Meninas (â€Å"The Maids in Waiting†) Prado, Madrid 1656 Baroque in the Low Countries Peter Paul Rubens The Elevation of the Cross Antwerp Cathedral 1610 Peter Paul Rubens The Abduction of the Daughters of Leucippus Alte Pinakothek, Munich 1617 Peter Paul Rubens The Arrival of Marie de’ Medici at Marseilles Louvre, Paris 1622-1625 Gerrit van Honthorst Supper Party Uffizi, Florence 1620 Jacob van Ruisdael View of Haarlem Royal Picture Gallery,

How to Mix Acid and Water Safely

When you mix acid  with water, its extremely important to add the acid to the water rather than the other way around. This is  because acid and water react in a vigorous exothermic reaction, releasing heat, sometimes boiling the liquid. If you add acid to water, the water is unlikely to splash up, however, even if it did, its less likely to cause injuries than if you make the mistake of adding water to acid. When you add water to acid, the water boils and  the acid may splatter and splash! Extra Caution With Strong Acids This rule is particularly important if you are working with strong acids that react completely with water. Mixing sulfuric acid and water is particularly risky because any splashed acid is corrosive enough to immediately burn skin and clothing. When mixing sulfuric acid or another strong acid, start with a volume of water large enough to absorb the heat of the reaction. Add the acid in small amounts of volume and stir thoroughly prior to adding more. Just Remember: Add the Acid An easy way to remember the rule  is Add the Acid. Protective Gear and a Fume Hood Because of the risk of splashes and the release of dangerous fumes, acids and water should be mixed inside a fume hood. Protective goggles, gloves, and a lab coat should be worn. If Acid Splashes In most cases, an acid splash should be treated by immediately rinsing the affected area with running water. Acid splashes on a lab bench or other surfaces may be neutralized by adding a weak base solution (e.g., baking soda in water). Although a strong base will neutralize an acid more quickly than a weak base, a strong base should never be used because the reaction between a strong base and acid releases a great deal of heat.