In Igor Stravinsky's passage “Conductor’s Faults,” he critiques common styles of conductors. Stravinsky develops these critiques by utilizing demeaning similes and metaphors and accusing diction. His purpose is to elaborate for the public what qualities of a conductor are misinterpreted as being skilled. Stravinsky employs his own haughty but accusatory tone with the inexperienced audience to correct them of this innocent misunderstanding.
Throughout the passage, Stravinsky uses literary devices to discredit the capabilities of conductors. Thus he claims that “conducting is like politics,” a simple simile that allows him to then point out how both careers lack “original minds” (Stravinsky 1). Regarding this, politics is a field where the involved people are considered grossly unqualified by public jest. Thus by making this connection, he alerts the audience of the opinion and bias he holds against conductors. Similarly, he claims that a “‘great’ conductor … [is] the
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That indicated difference is best portrayed by the second paragraph as “genuine” music making is often hindered by the “cult” of the “‘great’ conductor” (Stravinsky 14, 16). Stressing the value of music, he stereotypes the conductors as a “cult,” a word that carries a negative denotation (Stravinsky 16). The aforementioned stereotype, includes the idea that the conductors are self-conceited (Stravinsky 14). In the same manner, the inflated “ego” that Stravinsky hints at, is not “proportional” to the “real value” they hold (8, 11). Egotism is the praising of someone’s own self. Thus when Stravinsky says “‘great’ conductor,” the great is referring to the conductor’s own view of themselves, and not Stravinsky commending them (14). Overall, Stravinsky’s belittling diction harshly chides the conductors’ arrogant attitude while he instructs his audience of their innocent