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Deus ex machina (/des ks mkn, mk-/ DAY-s ex-MA(H)K-in-,[1] .mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}Latin: [d.s ks makna]; plural: dei ex machina; English "god from the machine")[2][3] is a plot device whereby a seemingly unsolvable problem in a story is suddenly or abruptly resolved by an unexpected and unlikely occurrence.[4][5] Its function is generally to resolve an otherwise irresolvable plot situation, to surprise the audience, to bring the tale to a happy ending or act as a comedic device.[6]

Aeschylus used the device in his Eumenides but it became an established stage machine with Euripides. More than half of Euripides' extant tragedies employ a deus ex machina in their resolution and some critics claim that Euripides invented it, not Aeschylus.[9] A frequently cited example is Euripides' Medea in which the deus ex machina is a dragon-drawn chariot sent by the sun god Helios, used to convey his granddaughter Medea away from her husband Jason to the safety of Athens. In Alcestis the heroine agrees to give up her own life to spare the life of her husband Admetus. At the end, Heracles appears and seizes Alcestis from Death, restoring her to life and to Admetus.

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The device produced an immediate emotional response in Greek audiences. They would have a feeling of wonder and astonishment at the appearance of the gods, which would often add to the moral effect of the drama.[10]

Aristotle (in the Poetics 15 1454b1) was the first to use a Greek term equivalent to the Latin phrase deus ex machina to describe the technique as a device to resolve the plot of tragedies.[8] It is said by one person to be undesirable in writing and often implies a lack of creativity on the part of the author. The reasons for this are that it damages the story's internal logic and is often so unlikely that it challenges the reader's suspension of disbelief.[13]

The deus ex machina device is often criticized as inartistic, too convenient, and overly simplistic. However, champions of the device say that it opens up ideological and artistic possibilities.[24][25]

Antiphanes was one of the device's earliest critics. He believed that the use of the deus ex machina was a sign that the playwright was unable to properly manage the complications of his plot.[26]

Toward the end of the 19th century, Friedrich Nietzsche criticized Euripides for making tragedy an optimistic genre by use of the device, and was highly skeptical of the "Greek cheerfulness", prompting what he viewed as the plays' "blissful delight in life".[30] The deus ex machina as Nietzsche saw it was symptomatic of Socratic culture, which valued knowledge over Dionysiac music and ultimately caused the death of tragedy:[31]

Nietzsche argued that the deus ex machina creates a false sense of consolation that ought not to be sought in phenomena.[32] His denigration of the plot device has prevailed in critical opinion.

In Arthur Woollgar Verrall's publication Euripides the Rationalist (1895), he surveyed and recorded other late 19th-century responses to the device. He recorded that some of the critical responses to the term referred to it as 'burlesque', 'coup de thtre', and 'catastrophe'. Verrall notes that critics have a dismissive response to authors who deploy the device in their writings. He comes to the conclusion that critics feel that the deus ex machina is evidence of the author's attempt to ruin the whole of his work and prevent anyone from putting any importance on his work.[26]

However, other scholars have looked at Euripides' use of deus ex machina and described its use as an integral part of the plot designed for a specific purpose. Often, Euripides' plays would begin with gods, so it is argued that it would be natural for the gods to finish the action. The conflict throughout Euripides' plays would be caused by the meddling of the gods, so would make sense to both the playwright and the audience of the time that the gods would resolve all conflict that they began.[33] Half of Euripides' eighteen extant plays end with the use of deus ex machina, therefore it was not simply a device to relieve the playwright of the embarrassment of a confusing plot ending. This device enabled him to bring about a natural and more dignified dramatic and tragic ending.[34]

Other champions of the device believe that it can be a spectacular agent of subversion. It can be used to undercut generic conventions and challenge cultural assumptions and the privileged role of tragedy as a literary/theatrical model.[25]

Some 20th-century revisionist criticism suggests that deus ex machina cannot be viewed in these simplified terms, and contends that the device allows mortals to "probe" their relationship with the divine.[35] Rush Rehm in particular cites examples of Greek tragedy in which the deus ex machina complicates the lives and attitudes of characters confronted by the deity, while simultaneously bringing the drama home to its audience.[35] Sometimes, the unlikeliness of the deus ex machina plot device is employed deliberately. For example, comic effect is created in a scene in Monty Python's Life of Brian when Brian, who lives in Judea at the time of Christ, is saved from a high fall by a passing alien space ship.[36]

Plotting sheets individually, or Publish to: Plotter named in Page Setup seems to work, but both require more time and/or attention. And prefer not to to revert back to AutoCAD 2015 to perform Batch plots.

This essay (a translated, updated version of the last chapter of my book, Leopardi Sublime: la poetica della temporalit) examines Leopardi's conception of the role of sound as a major poetic device (a figure of sound). His writings on how sound produces poetic meaning and affect, scattered throughout his notebooks, Lo Zibaldone, have much in common with later 19th and 20th century poetic and linguistic investigations into what Roman Jakobson will call "the poetic function" or the paradigmatic axis of language use. For Leopardi, sound produces meaning in a more direct (or non-mimetic) mode than lexemes, and is inherently connected to his theories of the indefinite, memory and recurrence, and "il vago." The recurrence of a sound is therefore both the subject of many of his idilli and also a principle structuring device. In the concluding section, the essay turns to to Paul Valry's theories of poetic sound, and to several lyrics of William Wordsworth, in order to initiate a possible "conversation" between these three poets.

The first fictional work that used psychoanalysis as a central plot device was La Coscienza di Zeno (Confessions of Zeno), published in 1923 by Ettore Schmitz, a Triestino Jewish businessman who wrote under the pseudonym of 'Italo Svevo'. This paper describes Svevo's background, his relations with such important literary figures as James Joyce and with such central figures in Italian psychoanalysis as Dr Edoardo Weiss. It seeks to demonstrate to the Anglophone reader the particular psychoanalytic elements in the novel and to relate them to Svevo's personal experience (including his indirect contacts with Freud) and to the intellectual currents of the period in a city which had, until the aftermath of the First World War, been a crossroads of European culture.

Geoffrey Rush plays Virgil Oldman, an auctioneer who runs a high-end valuation business, poring through the antiques of others and putting together auction catalogs. He specializes in spotting forgeries from the actual article. He is a pained and isolated man, who eats alone in a plush restaurant, where the wait staff hover around him anxiously. He lives in lonely splendor in a penthouse apartment filled with statues and artwork, complete with a secret room filled with his favorite paintings (all of women, giving Virgil creepy shades of Bluebeard). He always wears gloves. He has no friends. Well, except for a brilliant young mechanic named Robert (Jim Sturgess), who fixes ancient equipment in a gigantic storefront in a posh section of town, making you wonder how the hell he can afford rent on such a joint. Robert never rises above his role as a blatant plot device, a phony "listening ear" to Virgil so that we can know what Virgil is thinking.

Tarot is also useful when it comes to launching a plot. The use of tarot to kickoff the plot is a common plot device in science fiction and fantasy, as well as in mysteries with a speculative fiction element. The Chronicles of Amber, a fantasy series by Roger Zelazny, is a series that begins with its amnesiac protagonist finding a tarot deck in which the Major Arcana are portraits of his relatives. This prompts him to journey to the land of Amber in an attempt to take the throne. Many mysteries begin with a reader foretelling the death of a querent (or some other disaster) and seeking to bring justice to a killer when the prediction comes true. The Game of Triumphs by Laura Powell begins when the protagonist finds a tarot card in her pocket that invites her to participate in a magical and dangerous game.

The Mouth of Truth, which now rests outside the doors of the Basilica di Santa Maria in Cosmedin, has been used as a whimsical lie detector in a number of movies and video games, most famously in the 1953 romance, Roman Holiday, in which the carving was a major plot device.

Around the time of Operation Mincemeat, Fleming was assistant to Admiral Godfrey, the head of naval intelligence. Fleming suggested the corpse plot to Godfrey as a clever way to trick the Nazis after reading a similar storyline in a novel. Cholmondeley and Montagu ran with the idea, expanding it to the fantastical scale depicted in the movie.

Larry Garvin: I confess that GONDOLIERS is not quite at the top of my list, fond as I am ofmany parts of it in isolation. One reason, I think, is the rather scattered plot construction -- notnearly as scattered, heaven knows, as UTOPIA or GRAND DUKE, but hardly as tight as many ofthe earlier shows. As others have noted, the second act has nothing to do with the plot until thevery end; though I don't intend to argue for the necessity of a taut book in operetta -- and a goodthing, too -- it is helpful to throw in a bit of plot every so often to give the audience theimpression that there's a point to all this. Rather a different problem comes in the much tighterfirst act. After the wonderful opening scene -- to my mind, one of the great sequences in G&S --on come the Spaniards, who talk, and talk, and talk . . . That has to be one of the longestdialogues in the canon, especially in the canon through GONDOLIERS. Brilliant dialogue mightordinarily keep the audience riveted, but after so long a span of music? Pshaw. And Gilbert wasnot at his best in that sequence. True, it has to carry a lot of exposition, but breaking up theexposition with a shortish number might ease the transition to speech. Ah, well. Paul McShane:Quite so. When you think about it, the GONDOLIERS plot is just about on a par with that ofUTOPIA. be457b7860