He struggles to be agreeable with people who cannot hear what he hears. To the Court musicians and composers, there is an order and balance to the status quo.
He complains bitterly that his life is unfair. Mozart creates music that upsets the status quo of the Court, and the sensibilities of his patrons. His most extraordinary work, comes out of the chaos of his life. Any change would make the music less. It keeps rising to the top and raising Mozart with it. Also, he has an instinctive timing in many points of the story, like getting the Emperor to come to a rehearsal.
Mozart is blindly sure that his music will save him. As Mozart tries to understand how to make a living, he is constantly seeing that he is only getting in worse condition. He cannot keep pupils, sell music, or even hold onto his friends.
Mozart is silly, giggly, profane, loud and nervous. He speaks in a high voice and laughs like a hyena. He is disagreeable and unlikeable. He makes enemies of almost everyone. No matter what Mozart suffers, no matter how many enemies he creates, his music is always pure and true. It is this fact that continues to inflame Salieri. Symbolically, Mozart is the Music, and therefore the Voice of God.
The relationship between Mozart and Salieri is played out in the situation. Further, he bases his understanding of the way things should have been during the time he dealt with Mozart on his earlier past bargain with God.
By staking out Mozart as the battlefield between himself and God, Salieri seeks to define his own destiny, despite the fate that may await him. Salieri had a bargain with God that he was peacefully living up to.
He never touched the students he lusted after, because he had a bargain with God. He wrote music only to glorify God. By creating as much imbalance as possible, Salieri can destroy Mozart from a distance. So the new event furthers the imbalance and takes Salieri closer to his goal. The first time he hears it, he must run out into the street to get away from it. Further, he wants more than anything to be the voice of God himself. Mozart, despite his shortcomings, is the only focus of that divine music.
The death of his father moves him closer to his own destruction. The choices he makes in his music push him farther away from those who could help him. Salieri has only to stand by and take advantage of the fate that befalls Mozart. When he hears The Magic Flute, he comes close to compassion for the man. Even though Mozart irritates everyone, his music keeps him afloat.
He is constantly looking to the future to see how that is unfolding. Mozart looks to his own future when he writes his Requiem. He and Constanze worry about the future if he has no money. This all shows Salieri that his plan is unfolding the way he wants. Salieri grows to hate Mozart intensely and seeks every chance to harm him. Even at the end of the play, Salieri attempts suicide in a vain attempt to become famous as the man who killed Mozart.
This goal is not achieved, and what is worse for Salieri, is that his nemesis, Mozart, will never be forgotten for his music. Salieri is stuck with his past bargain with God. His past literally catches up with him. Salieri must come to an understanding of who he really is. He understands what he believes is the true nature of God, not the falsehood he had lived with.
This undermines his world. His understanding is shown to be flawed. He cannot defeat God. Salieri finally figures out how to have the fame he craved. But once he launches his war, he sees how to have the good life, how to destroy Mozart, how to manipulate the Emperor to get what he wants. As Mozart tries to convince the emperor to let him premiere an opera based on the banned play, The Marriage of Figaro , Mozart calls himself vulgar in front of the emperor. He tells the emperor that he knows that he is vulgar, but that his music is not.
Mozart's self-awareness becomes more obvious in the aftermath of Leopold's death. Mozart feels tremendous guilt towards Leopold after Leopold dies.
As Salieri watches Don Giovanni , Mozart's opera that premieres after Leopold's death, Salieri comments that Mozart creates a character in the opera that resembles Leopold and that this character denounces Mozart for the entire world to see. Another contradiction is the fact that Mozart is both irresponsible and disciplined when it comes to his work. At the prince-archbishop's residence, Mozart arrives late to his performance because he was flirting with Constanze.
Despite this action, however, Mozart shows his dedication to music throughout the film. Lorl , a maidservant who appears later in the film, comments on the fact that Mozart spends the majority of his days composing music. Mozart shows passion for music even in his last hours. One last contradiction is the fact that Mozart is far from being an old man, yet he has a characteristic that is typically found in old men.
Like old men, Mozart is very much living in the past. In his late twenties, Mozart is still that child that appears in the beginning of the film. Old Salieri talks about how a young Mozart travelled and performed for important individuals under the guidance of Leopold. In his late twenties, Mozart is still very dependent on his father.
When he angers the prince-archbishop, Leopold is the one that apologizes to the prince-archbishop. Leopold removes the blame from Mozart and places it upon himself. Salieri also lives in the past, but his case is a little more complex.
Two versions of him are living in the past. Old Salieri, the one who is telling the narrative, feels the weight of his actions in Mozart's death even though thirty-two years have passed since Mozart died. His guilt is so strong that he tries to commit suicide and ends up instead in an asylum. The adult Salieri in old Salieri's narrative is also living in the past. Adult Salieri, who has an esteemed position in the emperor's court, is still tied to prayers he made to God as a child.
Adult Mozart and adult Salieri feel entitled because of their attachment to the past. Adult Mozart always wants his way because his father has spoiled him from a very young age.
Adult Salieri, on the other hand, feels that God owes him greatness because of the pact that he made with God in his childhood prayers. The Question and Answer section for Amadeus is a great resource to ask questions, find answers, and discuss the novel.
What kind of person was Mozart portrayed? Mozart speaks while Salieri notates throughout the night. The Requiem is never finished, and Antonio is left helpless as Mozart's body is hauled away for burial in a grave with many people.
Amadeus ends with a cut back to Antonio later and the visibly shaken young priest. Antonio concludes that God killed Mozart rather than allow him even an ounce of his glory, and he accepted the title of "patron saint of mediocrity".
Interestingly enough, the final sound before the credits would be the preposterous laugh of Wolfgang Amadeus Mozart. Get Access. Satisfactory Essays. Sympathy for the Sinners Words 2 Pages. Sympathy for the Sinners. Read More. Wolfgang Amadeus Mozart Words 2 Pages. Wolfgang Amadeus Mozart.
Powerful Essays. Amadeus Words 5 Pages. Better Essays. Appearance vs. Reality in Peter Shaffer's Amadeus. Melancholic Hamlet Words 3 Pages. We are fooled into thinking that a combination of a suit, a bible and ceremonial mumbling creates a priest-like character. However the directors wanted to portray how these aspects can be combined to create a connection between the two characters The Good and The Bad. They are both stubborn, refuse to listen to anyone else 's ideas and will challenge anybody who goes against their morals, sometimes resulting in a showdown.
In chapter seven in the Outsiders Ponyboy talks to Randy about how the Socs and Greasers hate each other and in the end, Ponyboy made Randy feel better of himself. With all that Ponyboy experienced, he knows that everyone has some potential for being good and that Randy would have saved the kids in the church too.
Randy mentions that the world hates him, but Ponyboy says that he hates the world and he needs to change that. The answer of the hypophora, then, underlines the absurdity of such thoughts by emphasizing that the world still needs light but that light can not be deemed as guaranteed by God but requires sacrifices to perpetuate the light once granted by. Doctor Faustus by refusing the creator of universe, the God, he is condemned to mediocrity.
He has gained the limitless power, but the problem is that he does not know what to do with such a power. This doubt goes throughout the play whether if he should to be good and return to God, but after his pact with the devil he is obsessed with power, and so he struggles what to do.
His desire for revenge increases. Abigail is loved by both Mathias and Lodowick and barabas takes this opportunity to start a fight between them. Not realizing it is he himself who has been alse and unkind, he accuses Abigail of unkindness, for her adoption of Christianity has disgraced him.
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