IN: Giuseppe Fortunino Francesco Verdi (Italian: [dZu'zeppe 'verdi]; 9 or 10 October 1813 - 27 January 1901) was an Italian opera composer. He was born near Busseto to a provincial family of moderate means, and developed a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini, whose works significantly influenced him. By his 30s, he had become one of the pre-eminent opera composers in history.

The writer Friedrich Schiller (four of whose plays were adapted as operas by Verdi) distinguished two types of artist in his 1795 essay On Naive and Sentimental Poetry. The philosopher Isaiah Berlin ranked Verdi in the 'naive' category--"They are not...self-conscious. They do not...stand aside to contemplate their creations and express their own feelings....They are able...if they have genius, to embody their vision fully." (The 'sentimentals' seek to recreate nature and natural feelings on their own terms--Berlin instances Wagner--"offering not peace, but a sword.") Verdi's operas are not written according to an aesthetic theory, or with a purpose to change the tastes of their audiences. In conversation with a German visitor in 1887 he is recorded as saying that, whilst "there was much to be admired in [Wagner's operas] Tannhauser and Lohengrin...in his recent operas [Wagner] seemed to be overstepping the bounds of what can be expressed in music. For him "philosophical" music was incomprehensible." Although Verdi's works belong, as Rosselli admits "to the most artificial of genres...[they] ring emotionally true: truth and directness make them exciting, often hugely so." That is not to say his operas did not come as great innovations. What sounds to a modern listener as derivative of the bel canto, his first major success, Nabucco, came as a something entirely new. Never before had opera been so harmonically complex and direct. No longer was there the empty vocal display of the bel canto period composers. Granted, there is a significant amount of vocal fireworks, but they exist for the purpose of drama, not to show off singers. Aside from this, his use of the chorus was entirely new. Before Nabucco, an opera's chorus was limited to be only a background voice, another instrument. In Nabucco, this is abolished; he uses the chorus as character, to show the suffering and consensus of the people. The famous "Va, pensiero" is an example of this. The first of his "big three" operas, Rigoletto, followed by La Traviata, and ending with Il Trovatore, also was revolutionary. In a letter to Rigoletto's librettist, Francesco Maria Piave, he says, "I conceived Rigoletto almost without arias, without finales but only an unending string of duets." And that it is. Rigoletto is one of, if not the earliest operas to abandon the traditional distinction between the sung aria, and the more speech-like recitative. After these three operas, his works took an increasing amount of time to finish, were significantly longer, and more masterfully orchestrated.

What does Spirit relate to?

OUT: Verdi's operas are not written according to an aesthetic theory, or with a purpose to change the tastes of their audiences.

IN: Count Dracula is the title character of Bram Stoker's 1897 gothic horror novel Dracula. He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction. He is also depicted in the novel to be the origin of werewolf legends. Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula.

Count Dracula is depicted as the "King Vampire", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts. However, hypnotism was only able to be done before dawn. Van Helsing refers to the act of drinking blood by both the vampire and the victim "the Vampire's Baptism of Blood". The effects changes Mina' physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food, begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection. Dracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to successfully escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death.

what is count draculas greatest power?

OUT: Count Dracula is depicted as the "King Vampire", and can control other vampires.

IN: Murray Bookchin (January 14, 1921 - July 30, 2006) was an American social theorist, author, orator, historian, and political philosopher. A pioneer in the ecology movement, Bookchin formulated and developed the theory of social ecology within anarchist, libertarian socialist, and ecological thought. He was the author of two dozen books covering topics in politics, philosophy, history, urban affairs, and ecology. Among the most important were Our Synthetic Environment (1962), Post-Scarcity Anarchism (1971) and The Ecology of Freedom (1982).

Bookchin was critical of class-centered analysis of Marxism and simplistic anti-state forms of libertarianism and liberalism and wished to present what he saw as a more complex view of societies. In The Ecology of Freedom: The Emergence and Dissolution of Hierarchy, he says that: My use of the word hierarchy in the subtitle of this work is meant to be provocative. There is a strong theoretical need to contrast hierarchy with the more widespread use of the words class and State; careless use of these terms can produce a dangerous simplification of social reality. To use the words hierarchy, class, and State interchangeably, as many social theorists do, is insidious and obscurantist. This practice, in the name of a "classless" or "libertarian" society, could easily conceal the existence of hierarchical relationships and a hierarchical sensibility, both of which-even in the absence of economic exploitation or political coercion-would serve to perpetuate unfreedom. Bookchin also points to an accumulation of hierarchical systems throughout history that has occurred up to contemporary societies which tends to determine the human collective and individual psyche: The objective history of the social structure becomes internalized as a subjective history of the psychic structure. Heinous as my view may be to modern Freudians, it is not the discipline of work but the discipline of rule that demands the repression of internal nature. This repression then extends outward to external nature as a mere object of rule and later of exploitation. This mentality permeates our individual psyches in a cumulative form up to the present day-not merely as capitalism but as the vast history of hierarchical society from its inception.

what else did he say?

OUT:
To use the words hierarchy, class, and State interchangeably, as many social theorists do, is insidious and obscurantist.