Circe speaker 450
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This essay argues that Shakespeare discloses and metaphorically reanimates the biological matter incorporated in Renaissance musical instruments: animal skins, horns, bones, even guts. Stringing a lute involves the manipulation of life forms viewed as base and irrational, implying a radical contradiction between smooth instrumental music and the compromised vehicle of its production. Shakespeare rarely allows audiences to ignore the beastly, yet paradoxically euphonious, anatomy of music.
Examining the representation of music in Western philosophy and mythology, the paper explains that allusions to animals illustrate Pythagorean-Platonic assumptions about music, such as its universal power over every class of being.
Shakespeare sometimes echoes this tradition, but more often invokes animals and their anatomy to undermine the moral value of music and suggest its debasing and disempowering effects on human beings. Horns underscore the slippage between these activities and the animal impulses that motivate what we typically think of as distinctively human social rituals. Revealing in its own numerical construction a parallel order in the cosmos, music is bound up in the framework of every natural thing and being.
Are they superior to the immovable man? Or does their ability to appreciate music diminish its moral and intellectual value? Juxtaposing ideal notions of music with the banal facts of its production, including the anatomical matter incorporated in musical instruments, Shakespeare elucidates the paradoxical association of this divine art with the lowest creatures in the Great Chain of Being. An impassioned debate over the moral value of music unfolded during the English Reformation and centered particularly on its suitability for use in religious worship.
Although plenty of musicians found legitimate employment in private households, town waits, churches, and at gatherings such as weddings, for example, their unlicensed peers, common pipers and fiddlers, were often stereotyped as beggarly, drunken, and debauched. In such cases, animal references emphasize the carnal sound and appearance of musical instruments. It also embellishes terms of abuse, for example, descriptions that dehumanize persons who appear to be used by others as if they were instruments.
The interpretive portion of this essay addresses the ironic implications of joining the animal with the musical, a yoking together that underlines the universal power of music, but also, diminishment of personal agency and rationality. Because it conjures up divergent values and associations, animal musicality evokes the tensions embedded in courtship rituals between sexual impulse and social imperatives, for example, to obtain a lawful and respectable union.
One reason for the relevance of animals to music has already been hinted at: classical encomia on music conventionally refer to the musical susceptibility of beasts. For instance, the class of wind instruments known as horns —now typically constructed of brass, but originally made from converted animal horns—exemplifies the fundamental, semiotic relationship between animal parts and musical instruments.
The sheer demand for these strings in early modern England may be gauged by their rate of importation during in the s. In a single month period, 13, lute strings were brought into London. This ancient invention consists of a bag that inflates by means of a blowpipe, or sometimes bellows, and connects to one or more reed pipes. Central to its distinctive sound is the drone , a pipe that accompanies the melody with a continuous bass note.
This verb derives from an older homonym, the English word for the male honey-bee. Reminiscent of animal husbandry, of sheep and goats, and the proverbially laziest members of the hive, the bagpipe thus appears in Henry IV , Part I as a symbol of dishonorable masculinity. The Shakespearean resonance of these signaling instruments will be considered in more detail later in the paper.
Animal and musical subjects were sometimes paired in medieval art. Depictions of animals playing real and imaginary musical instruments, for example, occur in manuscripts, visual arts, and architecture of the Middle Ages. Figure 1. Pig gargoyle playing bagpipe, Melrose Abbey, Melrose, Scotland. Stone carving, late 14 th century. Figure 2. Hertz , , p. Reed instruments, for example, in Greek and Roman myths are associated with Pan, the half-goat deity and god of shepherds, flocks, and mountain wilds.
Like Pan, he also challenges Apollo to a musical contest and loses; but this time the story ends tragically with the victorious god inflicting on Marsyas the punishment of flaying him alive.
In mutilating Marsyas, the god of music resorts to brutal behavior; by the same token, the bestial song of Marsyas, in some versions of the myth, achieves immortality in the melody of the river that bears his name. Deprived of the conquest he had hoped for, Pan must be content to possess the nymph in portable form. Fastening together the reeds into which her body changed, Pan devises an instrument that he can carry with him and responds predictably to the motions of his breath.
As we turn now to Shakespeare to examine the motif of animal musicality in his works, it will be helpful to recall the role that the musical instrument plays in this particular myth. The instrument both emblematizes and repairs the loss of personal and sexual autonomy, which arguably is a cost of entering a binding social arrangement such as marriage. A great deal has been said about the symbolism of the beasts and how they caricature the attitudes of the two protagonists.
I am interested in the poem for how it illustrates the meanings and associations that Shakespeare assembles together in the image of the hunting horn.
Venus and Adonis exploits this fact to illustrate the error of spurning a viable mate in favor of animal companionship. Even when the horn ceases to be heard, the noise of the dogs serves as an almost indistinguishable substitute:.
She hearkens for his hounds and for his horn: Anon she hears them chant it lustily, And all in haste she coasteth to the cry. Venus and Adonis , The lines conflate the dogs with the sounds they make. Distinctly unintellectual, this music appeals to the irrational and amorous instincts of the lower soul. Her pursuit of Adonis is similar to his quest to kill the boar, although her aim is erotic, not violent. By juxtaposing two varieties of chase, the poem proposes that the animalism, aggression, and as I argue, the music of the hunt, all have their counterparts in the erotic context, that is, in the rituals that accompany the pursuit of sex.
In making this point through the personification of love, the poet creates a comical scenario. Instead of gesturing towards concupiscence, the barking of the dogs accompanies a sport that centers on an act of domination, one animal overpowering another.
He trots the air. The earth sings when he touches it. The basesthorn of his hoof is more musical than the pipe of Hermes. It matters not that the instrument is still attached to the living creature. There are numerous illustrations in Shakespeare, as elsewhere in Renaissance literature and art, of music eliciting in its listeners an involuntary bodily response. Both speakers allude to animals to demonstrate that music drives listeners to do things against their will. Though his hatred is reasonless, it is nonetheless strong—almost like a muscle spasm.
The animal materiality of the bagpipe and its droning sound capture the ambiguity Shakespeare wishes to raise about the things, the creatures, and the people we violently hate. Do objects of hate make intolerable noise or are they capable of making music—of moving us? Are they as morally expendable and easily eradicable as a stray cat or pig, or do they represent interiority and emotion? Ariel recounts to Prospero how he strung them along:. Then I beat my tabor; At which like unbacked colts they pricked their ears, Advanced their eyelids, lifted up their noses As they smelt music.
So I charmed their ears That calflike they my lowing followed through Toothed briers, sharp furzes, pricking gorse, and thorns, Which entered their frail shins. The charm he claims to have put on their ears recalls the magic of Circe, which turns men into docile beasts. Marveling at the ease with which he distracts his victims from his thievery, he gloats:.
You might have pinched a placket, it was senseless. Comparing the crowd that gathers around him to sheep underscores the power of music to deprive listeners of their full humanity. Much Ado About Nothing dwells particularly on the instrumental and animal attributes of human beings possibly because the play, hearkening to Venus and Adonis , analogizes the courtship activities of its young protagonists to the sport of hunting.
Personifying the horn is therefore the ultimate sign of resigning to this self-inflicted abuse. The paradoxical derivation of music and its miraculous effects from crude animal materials serves as a conceit for the arbitrary power of sexual attraction over a human soul.
The conceit is not particularly auspicious for the lovers in the play. Because it reverses the roles between master and animal, flexing the power of animal anatomy over the souls of human beings, instrumental music according to Shakespeare assuages but also a mortifies the human condition. But his discretion is short lived. Mahood, coll. Hereafter this edition will be cited in the text by act, scene, and line number.
Alexander Jones and Liba Taub, coll. Philippe Vendrix, Farnham, England, Ashgate, , , p. On the kinds of employment open to the early modern musician, see p. Background on the origins of the idea of sympathy between animals and music may be found in studies of the Orpheus myth.
See, for example, Vladimir L. John Pitcher, coll. Hereafter, I will use quotations from this edition, citing them in the text by act, scene, and line number. See George W. Andrews, ed. Peter Holland, coll. Artisans also used gut-strings to make tennis racquets and clothes. See Jacques Savary des Bruslons, Dictionnaire universel de commerce: contenant tout ce qui concerne le commerce qui se fait dans les quatre parties du monde See also s.
Jay L. David Bevington, revised ed. Claire McEachern, coll. Karl K. Hulley and Stanley T. Katherine Duncan-Jones and H. Woudhuysen, coll. All subsequent quotations from this poem and The Passionate Pilgrim are from this edition and hereafter are cited in the text by line number. Andrew Gurr, updated edition, coll. Peter Holland, New York, Penguin, , p.
Research Paper On Three Little Pigs
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Models for sustainable and organic strategies to protect ecosystems, pollinators, and waterways. The 34th National Pesticide Forum. Download the program here. Friday, April 15 [Click below for speaker bios]. Speakers in alphabetical order. List is preliminary only -please check back as we continue to update this list. Rella Abernathy, Ph. Boulder was one of the first cities to adopt an IPM policy and neighbor notification ordinance for pesticide applications. Boulder has nearly urban parks and over 47, acres of open space land.
Robot or human?
The study of magic in the Greco-Roman world is a branch of the disciplines of classics , ancient history and religious studies. In classical antiquity , including the Hellenistic world of ancient Greece and ancient Rome , historians and archaeologists view the public and private rituals associated with religion as part of everyday life. Examples of this phenomenon are found in the various state and cult temples , Jewish synagogues , and churches. These were important hubs for ancient peoples, representing a connection between the heavenly realms the divine and the earthly planes the dwelling place of humanity. This context of magic has become an academic study, especially in the last twenty years.
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When they got old enough they set off to build their own houses. They youngest of the three little pigs made his house out of straw, and it was done in a flash, although it was not very sturdy. One day a wolf came with horrible allergies. Just before the wolf was leaving. Big bad wolf and the three Little Pigs Parody Once upon a time the the two little pigs and the Big bad wolf were friends, the pig with the stick house and the pig with the brick house. Until one day Pigers played the Wolfies in football for the championship title on TV.
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I've been looking all over the web for it for the past couple of hours. Inasmuch as we know that getting these custom tones have become easier with lots of available apps, picking up the best notification sounds might not be the easiest thing to do. SKP 32C, Gold tone. Designed by: Katie Wood. Eighties gold! Seventh period noticed a few different elements.
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