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Monday, 11 February 2013

Lalalala

In Maestro, both capital of Minnesota and Eduard Keller are imperfect tones.
capital of Minnesotas selfishness causes him to forsake Keller, leaving both with
a esthesis of loss; yet capital of Minnesotas trust in beauty saves him from being
unappealing. Unlike capital of Minnesota, Kellers distrust of the beautiful mars
his character; yet these facets also hint at his debilitating guilt.
age Kellers strength, musical prowess and rare moments of
tenderness end him as worthy, he, like capital of Minnesota, can non be regarded
as wholly admirable.
capital of Minnesotas arrogance blinds him to Kellers painful history. Pauls
self-absorption is accentuate by categorising Keller as a
Nazi, despite knowing intimately nothing about him. This is
the older Pauls greatest regret, as it inhibited the young Pauls
relationship with Keller. On hearing Kellers comic book parody
accent, Paul immediately characterises Keller as a criminal a
judgement make easy by Kellers authoritarian teaching regime.
Pauls tendency to blame Keller for his own lack of conquest is a
serious character flaw. The spoilt Paul basks in the murmurs of
grip from his parents friends and resists being placed
in difficult situations. This is evident in his attempts to extricate
himself from Kellers tuition, and his reluctance to attend boarding
school where he may not be able to slam his pen down decidedly
… at the end of every maths problem.

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While Paul appears narcissistic, he is often aware of his flaws.
Despite being pretentious, Paul is fundamentally shy. His refuge
in the music room parallels Kellers voluntary solitude at the
Swan. Paul is unsure of himself, as his self-perception lagged
shyly behind [his] growth spurt. His arrogance protects him
from his loneliness and his unfitness to attain greatness. Although
Pauls delusions of grandeur mark him as a weak character
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