The Christ of Velázquez †Poetry Visits Art Essay Example for Free

The Christ of Velà ¡zquez – Poetry Visits Art Essay Leonardo da Vinci is quoted as saying, â€Å"Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen. † There is no better illustration of this than the inspirational painting of Diego Rodriquez de Silva y Velazquez –The Christ of San Placido, more commonly known as The Christ of Velazquez and the equally moving poetic meditation on Velazquez’s painting by Miguel de Unamuno centuries later. Painting and poetry, as da Vinci suggested, join together in a unique way – the artist painting what he feels in his soul and the poet feeling in his soul what is painted. The Painting Diego Velazquez was one of the foremost Spanish painters of the 17th century. And one of his greatest paintings was The Christ of San Placido which was painted in 1638 for the convent of San Placido, but now resides in the Museo de Prado in Madrid. This stirring depiction of Christ just after His death offers an open invitation for the viewer to meditate on this epic moment. The body of Christ on the cross stands alone on the backdrop of a black sky. The crucifix has no flourishes or embellishments. Velazquez chose to portray this solitary Christ with His head hanging and the right side of his face covered by his hair. (â€Å"Diego†) This veil of hair has prompted many explanations. The Museo de Prado’s explanation is that Velazquez could not copy Christ’s expression on that side of His face and so he â€Å"opted to cover the left [right] side with His falling hair instead. † Another analysis assumes that this disruption of the composure of the body was done to recall the torture and the cruelty that Christ suffered. Yet another attributes this half-hidden face to the artist’s intention to lead the viewer of the painting into the spiritual world. (â€Å"The Painted†) Whatever the artist’s purpose might have been, it cannot be denied that this purposely simple representation of the dead Christ, dripping blood can inspire deep spiritual reflection. Its Inspirational Connection to Poetry Ekphrasis Ekphrasis, purely defined, is: â€Å"a literary description of or commentary on a visual work of art. † (â€Å"Ekphrasis-Merriam†) This is, of course, a sterile definition that cannot begin to convey the true connection that art and poetry can enjoy. The term goes back as far as Homer’s The Iliad, in which he vividly describes how the blacksmith god forged the Shield of Achilles. Modern ekphrasis tends to focus only on works of art; and not so much by extraordinary description as in the case of the Shield of Achilles as by how the art inspires or moves the poet. (â€Å"Ekphrasis: Poetry†) This is what Miguel de Unamuno undertook to do with his book-length poem El Cristo de Velazquez. Unamuno expressed his spiritual doubts through his poetry. With El Cristo de Velazquez he confronts the painting of Velazquez to â€Å"define a uniquely Spanish Christ. † (â€Å"Miguel†) The stark figure of Christ on the cross elicited deep feelings from Unamuno, some mystical, some perplexing. He put these thoughts into lyrical form over the course of seven years producing a piece that is considered by some to be a most important religious poem. Its 2,538 lines are divided into four parts. They relate to Christ as a symbol of sacrifice and redemption, as a reflection of His many names, as God painted with the brush of Velazquez and they end with an invocation to the Holy Spirit to guide Unamuno as He guided Velazquez. (Nozick 178) The Personalization of The Christ of Velazquez by Unamuno In his book on Unamuno, Martin Nozick speculates on why Unamuno would have chosen this painting by Velazquez rather than any of the myriad of others he could have chosen as the subject of his poem. He notes that Unamuno thought that the representation of Christ that was adopted by the king of Spain as his official symbol was â€Å"bland† as compared with the image of Christ painted by Velazquez and that the Christ of Cabrera was â€Å"granitic† and the Christ of Santa Clara more like a wooden mannequin. (179) It seems that the Christ of Velazquez was ordained to be his choice. The posture of Christ in Velazquez’s painting is somewhat unique in that it suggests that death has already occurred. His head is hanging limply while His face, now as lifeless as His body, is veiled by his mangled locks of hair. Undoubtedly this moved Unamuno to comment on Christ in Part One as the white Lamb of God whose death took away the sins of the world. (Section XVI) He continues with expressive commentary on Christ as the host of wheat ground under the millstone, an apt expression for one who had gone through so much suffering for mankind. (Section XVII) The symbolic use of the colors of white and red to contrast the magnificence of Christ as the Son of God with the human suffering of the Son of Man run throughout this part of the poem especially. Unamuno stops to reflect on the white linen in which Christ’s body is so meagerly wrapped; and refers to Him as the white lion of the desert, among other references to the color white (white cloud, white light, white bull, etc. ). These references are juxtaposed against the stark images of the red blood that runs from the wounds of Christ. Unamuno â€Å"paints† this in one line as he describes Christ’s â€Å"whiteness dotted with bloody riddles. † (Section XXIV) However he does not merely explain the vividness of the white dotted with red. It is evident through his verse that he is also deeply affected by these aspects of the painting. The exhausting effort that is manifest in this first part may have prompted a weaker, less driven man to end the poem there. But Unamuno forges on. In Part II the painting inspires a recounting of earthly forces such as fire and water and storm intertwined with deep insights into the soul of Unamuno. This second part also reflects the biblical aspects of Christ and His mission of salvation. It evokes an historical aspect often citing events from the Bible as well as some of the many titles of Christ such as â€Å"Lion of Judah†, â€Å"King of the Desert,† â€Å"Light of Life† and more. From the powerful imagery of Unamuno in this part emerges the soul of a man who is trying to grasp the full meaning of salvation, seeing it as something that mankind was given as a gift but did not deserve. God the Father is seen by Unamuno as the sun; Christ is seen as the moon and the earth is the Virgin Mother. As Cannon puts it, â€Å"It is a mythic triad in accord with ancient beliefs in the magic and perfection of three-ness and in the family organization of the cosmos. † (28) Cannon tells us that Unamuno even made a full-page drawing which he attached to the final manuscript representing this cosmological triad. This seems to infer that Unamuno saw in Velazquez’s painting more than what was physically there. The painting evidently inspired a much greater vision in the mind of Unamuno – one that portrays him as â€Å"an intoxicated evangelist† (Nozick 180) Unamuno does come back to earth however in Part III by concentrating on the visible features of Christ in the actual painting – His head, face, eyes, ears, arms, hands, etc. Consider this translation in the section dealing with the eyes of Christ. Shivering russet which dew on your eyelashes, Pearls of fire shudder liquid And going through the closure of the eyelids Viewed with dark eyes . . . . The imagery is magnificent and throughout this imagery are woven references, once again, to the Bible, both Old and New Testaments. Unamuno himself calls this â€Å"a sort of rhythmoid, dense prose. † (180) This third part of the poem is probably the most descriptive of the painting itself whereas the prior two parts were more illustrative of the feelings that the painting evoked. As Unamuno leaves the more descriptive portion of his poetry behind, he approaches what Cannon considers the most famous part of the poem. (Cannon 28) It begins and ends in darkness, but in between Unamuno presents the â€Å"luminous white body of the glorified Christ. † (28) Here again, Unamuno pulls hope out of despair, joy out of sorrow, expectation out of apathy. The images that the painting of Christ by Velazquez inspires in Unamuno are powerful ones that make a lasting impression on the reader. It may be that Unamuno has personalized Christ in a way that may not occur to the casual observer of this or any other painting of Christ on the cross and in this intense personalization Unamuno vitalizes the depiction of Christ with hope – a way out of the darkness. Velazquez painted his Christ on the cross to be a stark and solitary figure devoid of the sympathetic eye of the observers present at the crucifixion. Unamuno supplements the darkness of the artist’s work with a renewed sense of anticipation of his own death and rebirth in Christ. He ends his poem with a plea that he may enter â€Å"the clear day that has no end, my eyes fixed on Thy white body, Son of Man, complete Humanity . . . my eyes fixed on Thine eyes, oh Christ, my gaze submerged in Thee, oh Lord! † His life was admittedly full of theological uncertainties, but the spiritual doubts that may have manifested themselves in the life of Unamuno are put to rest in this profusion of imagery inspired by The Christ of Velazquez that was written and rewritten over seven years by Unamuno. The sweeping dynamic of the painter’s brush met the commanding inspiration of the poet’s pen so that together they make an impact that neither of them alone could manage. Works Cited Cannon, Calvin. â€Å"The Mythic Cosmology of Unamuno’s El Cristo de Velà ¡zquez.† Hispanic   Ã‚  Ã‚  Ã‚  Ã‚   Review 28 (1960): 28 – 39. Complete Works of Miguel de Unamuno. Ed. Ricardo Senabre. Vol. 4., Madrid: Jose   Ã‚  Ã‚   Antonio Castro Foundation, 2006. Madrid: Biblioteca Virtual Miguel de Cervantes 20 Oct. 2008    http://www.cervantesvirtual.com.

Vaccination and Eradication of Smallpox Essay -- Biology Medical Biome

The Vaccination and Eradication of Smallpox Smallpox, a disease caused by the variola virus, has devastated humanity for many centuries. Because of its high mortality rate, civilizations around the world sought to protect themselves from this disease. Throughout the 1700's, these protective methods became more sophisticated, and led up to Edward Jenner’s vaccination method in 1796. Indeed, the World Health Organization, the Center for Disease Control and the Agency for International Development began a joint program to eradicate smallpox in 1967. It utilized methods of mass vaccination, surveillance, and containment. The endeavor was successful, and in 1980, WHO officially declared the eradication of smallpox. Since 1000 B.C., the world had been plagued by the variola virus, the causative agent of smallpox. The disease has a 30% mortality rate (Centers for Disease Control [CDC], 2004). Consequently, it was a great victory for humankind when the World Health Organization (WHO) officially declared the eradication of smallpox from the world. The smallpox vaccine was the first vaccine ever developed, and the eradication was the first successful eradication of a disease. Therefore, it is very important for society to study the processes that led to the vaccination and eradication of smallpox. Inoculation, a process that offered protection from smallpox, can be dated back to 1000 B.C. In China, the smallpox scabs were powdered and blown into noses, and in India, pus was rubbed into skin lesions to immunize the healthy individuals against future infections. Throughout Asia and Great Britain, inoculation was also frequently practiced (History and Eradication of Smallpox, n.d., p.2). Inoculation methods improved over time. Originally, ... ...enner's smallpox vaccine. Great Britain: Heinemann Educational Books. Centers for Disease and Control. (2004, December 30). Smallpox Overview. In Centers for Disease Control and Prevention. Retrieved July 20, 2006, from http://www.bt.cdc.gov/agent/smallpox/overview/disease-facts.asp History and Eradication of Smallpox. (n.d.). Retrieved July 20, 2006, from http://www.portfolio.mvm.ed.ac.uk/studentwebs/session4/32/history.htm Ogden, H. G. (1987). CDC and the smallpox crusade. Washington, D.C.: U.S. Department of Health and Human Services. Razzell, P. (1977). The conquest of smallpox. Sussex: Caliban Books. World Health Organization. (n.d.). The World Health Organization Smallpox Eradication Programme. In WHO smallpox eradication programme. Retrieved July 20, 2006, from University of Toronto Web site: http://choo.fis.utoronto.ca/fis/courses/lis2102/KO.WHO.case.html Vaccination and Eradication of Smallpox Essay -- Biology Medical Biome The Vaccination and Eradication of Smallpox Smallpox, a disease caused by the variola virus, has devastated humanity for many centuries. Because of its high mortality rate, civilizations around the world sought to protect themselves from this disease. Throughout the 1700's, these protective methods became more sophisticated, and led up to Edward Jenner’s vaccination method in 1796. Indeed, the World Health Organization, the Center for Disease Control and the Agency for International Development began a joint program to eradicate smallpox in 1967. It utilized methods of mass vaccination, surveillance, and containment. The endeavor was successful, and in 1980, WHO officially declared the eradication of smallpox. Since 1000 B.C., the world had been plagued by the variola virus, the causative agent of smallpox. The disease has a 30% mortality rate (Centers for Disease Control [CDC], 2004). Consequently, it was a great victory for humankind when the World Health Organization (WHO) officially declared the eradication of smallpox from the world. The smallpox vaccine was the first vaccine ever developed, and the eradication was the first successful eradication of a disease. Therefore, it is very important for society to study the processes that led to the vaccination and eradication of smallpox. Inoculation, a process that offered protection from smallpox, can be dated back to 1000 B.C. In China, the smallpox scabs were powdered and blown into noses, and in India, pus was rubbed into skin lesions to immunize the healthy individuals against future infections. Throughout Asia and Great Britain, inoculation was also frequently practiced (History and Eradication of Smallpox, n.d., p.2). Inoculation methods improved over time. Originally, ... ...enner's smallpox vaccine. Great Britain: Heinemann Educational Books. Centers for Disease and Control. (2004, December 30). Smallpox Overview. In Centers for Disease Control and Prevention. Retrieved July 20, 2006, from http://www.bt.cdc.gov/agent/smallpox/overview/disease-facts.asp History and Eradication of Smallpox. (n.d.). Retrieved July 20, 2006, from http://www.portfolio.mvm.ed.ac.uk/studentwebs/session4/32/history.htm Ogden, H. G. (1987). CDC and the smallpox crusade. Washington, D.C.: U.S. Department of Health and Human Services. Razzell, P. (1977). The conquest of smallpox. Sussex: Caliban Books. World Health Organization. (n.d.). The World Health Organization Smallpox Eradication Programme. In WHO smallpox eradication programme. Retrieved July 20, 2006, from University of Toronto Web site: http://choo.fis.utoronto.ca/fis/courses/lis2102/KO.WHO.case.html

Importance Of Financial Planning Essay

Money may not be the most important thing in life. Nevertheless, it is still important. Every single revolves around money, from the time we open our eyes till the time we go to bed (and even while we are asleep). If only money grows on trees, then financial planning would not be such a headache, would it? Financial planning is a systematic way of organizing our financial affairs in the most effective and efficient manner in order to achieve our life goals. And success is defined as the attainment of one’s goals. In short, it is truly a key of success. Sense Of Direction In Life Through proper financial planning, we can look at what is more important and meaningful to us. Then we can organize effectively our finances and our lives around those things so that we do not end up on the wrong wall. Understanding Sacrifices -Though our wants are infinite, unfortunately, our resources are finite. Financial planning would help us realize and understand that in life, there is always sacrifice to be made. If we really want to achieve our important goals, we need to exercise Delayed Gratification and able to distinguish between needs and wants. Coping Easier With Changes In Life -The only constant in life is Change and learning to cope with changes early in life would be a plus point. We are better prepared to face these challenges in life if we have done proper financial planning. Creating Wealth -Wealth creation is not a sprint but a marathon for it takes time, discipline and a lot of financial stamina. With the help of a qualified investment advisor, we can select the most appropriate investments that suit our risk appetite to achieve our desired goals. Enriching Our Lives -Financial Planning does not merely enrich us financially but also physically, emotionally and mentally. Without the financial stress. We will able to focus on other important aspects of out lives like our health, our relationship with family and friends and devoting our time to other charitable causes. Security – Through proper risk management and insurance planning. We will be able to provide our loved ones and ourselves with total peace of mind while we go about living out lives and building our wealth. Success -That’s exactly what financial planning aims to achieve- helping us realize our life goals. Our goals should not be just having a lot of money in our bank accounts but rather what can money do for us. http://www.akpk.org.my/Articles/YOUNGADULTS/THEIMPORTANCEOFFINANCIALPLANNINGAKEYTOSU/tabid/168/Default.aspx

The Nazi Party and The Holocaust - 1119 Words

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