Gawain 3 Pagtutuwid ng Mali Kung ikaw ang nasabing ama sa kuwento paano ka babawi sa iyong mga
anak mula sa mga sitwasyon na nasa ibaba? Ilahad ang iyong sagot sa espasyong
nakalaan sa ibaba.
1. Kung umuuwi itong pasigaw-sigaw at padabog-dabog, tiyak na walang pagkain, at
ang mga bata'y magsisiksikan, takot na anumang ingay na gawa nila ay makainis sa
ama at umakit sa malaking kamay nito upang pasuntok na dumapo sa kanilang
mukha.


2. Walang ano-ano, ang kamao ng ama ay bumagsak sa nakangusong mukha ng bata
na tumalsik sa kabila ng kuwarto, kung saan ito nanatiling walang kagalaw-galaw.


3. Pagkalipas ng isang oras, bumalik ang ama. May bitbit itong malaking supot na
may mas maliit na supot sa loob. Inilapag nito ang dala sa mesa. Hindi makapaniwala
ang mga bata sa kanilang nakita, pero iyon ba'y kahon ng mga tsokolate? Tumingin
silang mabuti. May supot ng ubas at isang kahon yata ng biskwit.

changeable lenses of different focal lengths allows light to enter the camera,which then forms the image on light-sensitive film;

perhaps donatello’s landmark work – and one of the greatest sculptural works of the early renaissance – was his bronze statue of david.  this work signals the return of the sculpture in the round figure, and because it was the first such work like this in over a thousand years, it is one of the most important works in the history of western art.

david is shown at a triumphal moment within the biblical storyline of his battle with the philistine, goliath.  according to the account, after david struck goliath with the stone from his slingshot, he cut off his head with goliath’s sword.  here, we see the aftermath of this event as david stands in a contemplative pose with one foot atop his enemy’s severed head.  david wears nothing but boots and a shepherd’s hat with laurel leaves on top of it, which may allude to his victory or to his role as a poet and musician.

before donatello’s work, david was typically depicted as a king, given his status in the old testament.  here, however, we have a stark change in the way david is depicted.  not only is he shown in the, but he’s also a youth.  in middle ages, nudity was not used in art except in certain moral contexts, such as the depiction of adam and eve, or the sending of souls off to the underworld.  in the classical world, was often used in a different, majestic context, such as with figures who were gods, heroes, or athletes.  here, donatello seems to be calling to mind the type of heroic nudity of antiquity, since david is depicted at triumphal point in the biblical narrative of his victory over goliath.

as for david’s youthfulness, donatello has gone back to the early life of the biblical david to depict him, rather than to his later life as a king.  it seems that donatello is trying to associate david’s youth with an innocent and virtuous life.  david looks young here – so young, in fact, that his muscles have barely developed enough to hold the large sword – that his victory over his foe is all the more improbable.  could david’s victory have been gained without divine intervention?   donatello’s work seems to imply that the answer is “no” – the victory was god’s rather than man’s.

in any case, donatello’s david is a classic work of renaissance sculpture, given its judaeo-christian subject matter modeled on a classical sculptural type.  it was revolutionary for its day – so much so that it did not get copied right away.  the idea of the life-sized sculpture-in-the-round evidently took some time to sink in and become an acceptable statue type