Before I start typing my blog, I would just like to take a minute and remorse the fact that this will be the last blog post I write for this class. I have thoroughly enjoyed the past semester, and I will miss having this class in the future.
In response to questions 2 & 3, I think that a prominent theme in the film was Indiana's return to his "roots", for lack of a better term, and his discovery of himself. This is seen by the emphasis on his childhood. In the beginning, Spielberg establishes a connection back to Jone's childhood. We see the type of childhood that Jones had, including his values, morals, abilities, and home life. The fact that Jones has been searching for the cross all his life symbolizes his search for himself. It cannot be disputed that the cross scene was an integral moment in shaping Jones' life. Proof of this lies in him keeping the hat that the man gave him. When he finally attains the cross he is on his first steps toward finding closure for his past.
Jone's search for himself is also shown by his search for his father, both literally and emotionally. In the childhood scene, Jones Sr's harshness and emotional distance from Indy is blatantly obvious. Jones the elder also tries to obscure Indy's individuality and personality by calling him "Junior", a name that refers to himself more than it refers to Indiana, instead of the name that Indiana chose. This presents Indiana's struggle to connect with his father as one of the "goals" of his quest.
Before I conclude, I would like to make a speculation on all the grail quests, including this one. I believe that every grail quest is not a means to an end, but rather an end in itself. While each person to seek their own grail never attained what they thought they were looking for, they gained much more. Perceval, Persse, and Indiana all learned an incredible amount while in search of their grails, and this is the true reward, not the grail in itself. This is why the grail can never truly be had. Knowledge is infinite, and therefore no search for it can be conclusive.
Tuesday, December 8, 2009
Sunday, December 6, 2009
Small World- Part Four/Five
First I would like to say that I hope I am correct in assuming that part four refers to parts four and five, seeing as this is the last scheduled day to discuss the work.
Seeing as the characters resolutions are all fairly transparent, I would like to just write about my observations in these last parts. I will begin by saying that I think this book was a great choice to wrap up the course. It presents themes that we have been discussing all semester, such as the nature of desire, the glorification of a love interest, and the theme of quest. I really like the way that Lodge used the concept of twins to illustrate Persse's lack of true love for Angelica. By having two women who are physically identical, it illustrates the concept of an image of love very nicely. I see this as being similar to the concept of sign-signified. If a person is presented with two identical signs that have different significances, such as the word screen, it is easy to determine which significance is in reference by analyzing the context in which the word is used. In the novel, the twins served as identical signs with radically different significances, but Persse did not have the context of actually knowing Angelica that would have allowed him to determine which was which.
Seeing as the characters resolutions are all fairly transparent, I would like to just write about my observations in these last parts. I will begin by saying that I think this book was a great choice to wrap up the course. It presents themes that we have been discussing all semester, such as the nature of desire, the glorification of a love interest, and the theme of quest. I really like the way that Lodge used the concept of twins to illustrate Persse's lack of true love for Angelica. By having two women who are physically identical, it illustrates the concept of an image of love very nicely. I see this as being similar to the concept of sign-signified. If a person is presented with two identical signs that have different significances, such as the word screen, it is easy to determine which significance is in reference by analyzing the context in which the word is used. In the novel, the twins served as identical signs with radically different significances, but Persse did not have the context of actually knowing Angelica that would have allowed him to determine which was which.
Tuesday, December 1, 2009
Small World- Part Three
How is the theme of disillusionment shown in this part? What does this have to say about the characters affected?
One of the prominent themes in this part of the text is the idea of disillusionment. This concept is raised at many points. First, there is a general disillusionment of the study of English. This can be seen through Parkinson's research student, Frobisher's contempt for the number of literary awards, and von Turpitz's plagiarism of Persse's paper, to name a few.
The most blatant display of disillusionment is Persse's disillusionment over Angelica. When Persse finds out that Angelica is a stripper, and later, a prostitute, he feels like he should no longer love her. I find this to show a lot about Persse's view of Angelica and his love for her. The first thing that I think of in this scenario is the parallel to Calisto in Celestina. Once Calisto slept with Melibea, he ceased to desire her. When Persse, an academic, discovered Angelica's true self, he ceased to want her any more. I think that it is possible to say that knowledge is Persse's version of sex, and that this knowledge satiated his desire.
I also speculate that there is more to Angelica than Persse thinks. First off, her name suggests that she is not the Jezebel that Persse believes her to be. Besides the obvious connotations to innocence that her first name invokes, the reader learns that her middle name is Lily, another symbol of innocence and purity.
One of the prominent themes in this part of the text is the idea of disillusionment. This concept is raised at many points. First, there is a general disillusionment of the study of English. This can be seen through Parkinson's research student, Frobisher's contempt for the number of literary awards, and von Turpitz's plagiarism of Persse's paper, to name a few.
The most blatant display of disillusionment is Persse's disillusionment over Angelica. When Persse finds out that Angelica is a stripper, and later, a prostitute, he feels like he should no longer love her. I find this to show a lot about Persse's view of Angelica and his love for her. The first thing that I think of in this scenario is the parallel to Calisto in Celestina. Once Calisto slept with Melibea, he ceased to desire her. When Persse, an academic, discovered Angelica's true self, he ceased to want her any more. I think that it is possible to say that knowledge is Persse's version of sex, and that this knowledge satiated his desire.
I also speculate that there is more to Angelica than Persse thinks. First off, her name suggests that she is not the Jezebel that Persse believes her to be. Besides the obvious connotations to innocence that her first name invokes, the reader learns that her middle name is Lily, another symbol of innocence and purity.
Sunday, November 29, 2009
Small World- Part Two
In the words of Cogsworth, from the classic Disney piece Beauty and The Beast, "If it's not Baroque, don't fix it!" Therefore, I will write this blog in the style of my other recent blogs, that being a summary of some things that I noticed in the text.
The first thing that strikes me when reading the second part is the state of disrepair that the English Literature world is in. I noticed this more in this part than in the first part, even though there are many references to it in part one. In the second part this disrepair is characterized primarily through physical appearance. Lodge does not cast any of his characters that are established English professors as being attractive in any way. At the beginning of this part the reader is introduced to Rodney Wainwright, a balding, overweight, and disproportionate English professor. Furthermore, Lodge blames Wainwright's appearance on his occupation. He writes:
"The effects of twenty years' dedication to the life of the mind are all too evident when he puts on a pair of swimming trunks..."
This insinuates that Wainwright's life of academia has lead to degradation, and that the true degradation is present in the study of English itself.
Another reference to this idea comes from Lodge's description of Zapp's tongue:
"It resembles, this tongue, the dried out bed of a badly polluted river. Too much alcohol and too many cigars last night. And every night."
In this passage is where Lodge's true message really shines through. Earlier in the year we spoke about the tongues significance, and how it is a conveyor and symbol of knowledge. Seeing as Zapp is really the "head professor" in the story, the fact that his tongue is malformed is quite important. Lodge isn't mincing words when he says that Zapp's tongue represents a polluted river bed. In his view, the study of English has been polluted and destroyed, and all that remains is Zapp's decaying views.
The first thing that strikes me when reading the second part is the state of disrepair that the English Literature world is in. I noticed this more in this part than in the first part, even though there are many references to it in part one. In the second part this disrepair is characterized primarily through physical appearance. Lodge does not cast any of his characters that are established English professors as being attractive in any way. At the beginning of this part the reader is introduced to Rodney Wainwright, a balding, overweight, and disproportionate English professor. Furthermore, Lodge blames Wainwright's appearance on his occupation. He writes:
"The effects of twenty years' dedication to the life of the mind are all too evident when he puts on a pair of swimming trunks..."
This insinuates that Wainwright's life of academia has lead to degradation, and that the true degradation is present in the study of English itself.
Another reference to this idea comes from Lodge's description of Zapp's tongue:
"It resembles, this tongue, the dried out bed of a badly polluted river. Too much alcohol and too many cigars last night. And every night."
In this passage is where Lodge's true message really shines through. Earlier in the year we spoke about the tongues significance, and how it is a conveyor and symbol of knowledge. Seeing as Zapp is really the "head professor" in the story, the fact that his tongue is malformed is quite important. Lodge isn't mincing words when he says that Zapp's tongue represents a polluted river bed. In his view, the study of English has been polluted and destroyed, and all that remains is Zapp's decaying views.
Tuesday, November 17, 2009
Small World- Part One
While the prologue in the beginning of Small World serves to demonstrate everything that a good conference should embody, it also serves to inform the reader of all the things that Persse's conference will not have. When the list is examined, it really becomes clear that this is a utopian view of the modern English conference. It is really quite absurd to expect that every conference is filled with captivating speakers, exquisite meals and cocktail hours, and perfect weather. I find this to be both a reference to and a commentary on medieval chivalry. The prologue references chivalry in the form that Chretien viewed it. While it seems as if it is a great and profound institution, in reality it is completely defunct. Just as Persse's real life conference lacked all the luster of the "ideal conference", chivalry lacked the charitable and good nature that it was alleged to have.
I also see the prologue as a commentary on the absurdity of the idealized chivalry. It is quite foolish to believe that men who traverse the length and breadth of England seeking fights are charitable, respectful, and good. Lodge parallels this by suggesting that conferences can be all the things that he outlines, and then at the end of the prologue he foreshadows the truth.
I also see the prologue as a commentary on the absurdity of the idealized chivalry. It is quite foolish to believe that men who traverse the length and breadth of England seeking fights are charitable, respectful, and good. Lodge parallels this by suggesting that conferences can be all the things that he outlines, and then at the end of the prologue he foreshadows the truth.
Monday, November 16, 2009
Perceval- Part 3
When Perceval goes to repent to the hermit, I think it is safe to say that his self image is in a state of utter disarray. The story says that Perceval spent five years wandering around performing all sorts of adventurous feats, but in doing so, forgot who God was. I do not think that this statement is without flaws, however. In fact, I would question whether or not Perceval ever truly knew God. I think he did not. Furthermore, I do not think that Perceval ever knew himself. Throughout the story Perceval has been trying to develop a personality and an identity of his own, but he has yet to achieve this. The Bible says that God created man in his image. Therefore, if Perceval does not know who he is, he can never know God.
This fatal flaw is one that is seen in a much earlier story about a similar young man. In Ovid's Narcissus, Narcissus disdains all those who love him. This action has been seen all throughout the story of Perceval, but most clearly in the case of Perceval's mother. It is interesting to note that his mother represents true charity at the highest level. When Perceval goes to the hermit he learns that his mother really sacrificed herself for him, and that the only thing that has allowed him to live for so long was her prayer. I also find it interesting that Perceval's resurrection is initiated by a holy man, and that this was the only masculine advice that was given by someone who was not a knight.
This fatal flaw is one that is seen in a much earlier story about a similar young man. In Ovid's Narcissus, Narcissus disdains all those who love him. This action has been seen all throughout the story of Perceval, but most clearly in the case of Perceval's mother. It is interesting to note that his mother represents true charity at the highest level. When Perceval goes to the hermit he learns that his mother really sacrificed herself for him, and that the only thing that has allowed him to live for so long was her prayer. I also find it interesting that Perceval's resurrection is initiated by a holy man, and that this was the only masculine advice that was given by someone who was not a knight.
Thursday, November 12, 2009
Perceval- Part 2
While reading this portion of the story, I first became aware of the things that Perceval gave up in order to become a knight. Prime among these, in my opinion, is his ability to learn. This sacrifice is seen best when Perceval is staying at the castle of the Fish King. Here he sees many interesting and mysterious things, yet he does not ask what the meaning of these are.
The reason for Perceval's silence derives from the advice given to him by Gordemant of Gohort. Gordemant told him not to speak in excess or to gossip, and Perceval took this advice to heart. He did so to his detriment, however. In the beginning of the story, Perceval's curiosity brought him only good things. Even though he was seen as a fool for the entire first part (and even now) he never hesitated in trying to learn what he did not know. This lead him to become a knight, and was one of the traits praised by Gordemant. It is only after Perceval stops questioning the unknown that bad things happen to him. When this occurs, a deluge of misfortune falls upon him. He learns his mother is dead, he is cursed by the Fish King's niece, and he learns that he failed to save the Fish King from his injury.
I think that this is Chretien's way of denouncing several of the evils of knighthood. By arranging the story in this way, he shows the difference between what knighthood should be, and what knighthood actually was. Gordemant is representative of a true knight. He is kind, just, and charitable. He tries to give Perceval good advice by warning him not to engage in gossip or talk about such things too much, but Perceval misunderstands him. Instead, Perceval adopts the ways of the common knight by willfully stopping the learning process and being content with ignorance.
The reason for Perceval's silence derives from the advice given to him by Gordemant of Gohort. Gordemant told him not to speak in excess or to gossip, and Perceval took this advice to heart. He did so to his detriment, however. In the beginning of the story, Perceval's curiosity brought him only good things. Even though he was seen as a fool for the entire first part (and even now) he never hesitated in trying to learn what he did not know. This lead him to become a knight, and was one of the traits praised by Gordemant. It is only after Perceval stops questioning the unknown that bad things happen to him. When this occurs, a deluge of misfortune falls upon him. He learns his mother is dead, he is cursed by the Fish King's niece, and he learns that he failed to save the Fish King from his injury.
I think that this is Chretien's way of denouncing several of the evils of knighthood. By arranging the story in this way, he shows the difference between what knighthood should be, and what knighthood actually was. Gordemant is representative of a true knight. He is kind, just, and charitable. He tries to give Perceval good advice by warning him not to engage in gossip or talk about such things too much, but Perceval misunderstands him. Instead, Perceval adopts the ways of the common knight by willfully stopping the learning process and being content with ignorance.
Tuesday, November 10, 2009
Perceval- Part 1
One of the things that first caught my eye in this piece was the numerous parallels to masonry and masonic rituals. While the establishment of Freemasonry does not come about until the 16th or 17th century, many of the rituals date to much earlier times.
The first potentially masonic reference that I noticed was the fact that Perceval is the son of a widow. This made me recall the (somewhat) famous masonic phrase "Oh Lord my God, is there no help for the widow's son?" Seeing as this story predates the advent of Freemasonry, I felt compelled to research earlier significances of a widows son. My research turned up rather interesting results.
One early belief was that the mother represented the soul and the father represented the instructor. This sentiment holds true to this day. I know that in my family my father took on the responsibility of instructing me on how to do many things, whereas my mother was always a more compassionate and comforting influence. When the man reached adulthood, it was believed that the father (instructor) did not live on within the man, and that the mother (soul) remained. This effectively "widowed" the mother, and turned the son into the widows son.
This information greatly supports my theory of a premasonic influence in Chretien's writing. From the beginning Chretien makes it clear that this is to be a coming of age story. I do not think that his use of seeds as a metaphor is a mistake. Neither is the fact that the story commences in the spring and that Perceval initiates his journey of discovery en route to checking on the planters. All of these things are symbols of a new beginning, in this case, a new beginning, or perhaps the true beginning, of Perceval's life.
The fact that Perceval's father died when Perceval was quite young also supports this theory. It can be assumed that his father was somewhat successful in educating his children, seeing as we know that Perceval's older brothers were knights. Therefore, Perceval's ignorance can be traced to the absence of his fathers presence, and as such, the absence of an instructor.
At this point, the connection to Freemasonry can be made complete. Freemasonry is an organization that claims to exist to promote learning and understanding of individual spirituality. This is something that masons believe is learned through allegory and experience. It is common knowledge that the masons use rituals and tests to teach and initiate their members into different ranks. This is exactly what Perceval needs to do. He questions those who he doesn't understand, and he proves himself by defeating the Red Knight. The phrase "...is there no help for the widow's son?" is designed to show that a mason is in distress, but I think that this meaning can be broadened to mean that a man needs help in learning about himself or others, and this is the kind of help that Perceval needs.
The first potentially masonic reference that I noticed was the fact that Perceval is the son of a widow. This made me recall the (somewhat) famous masonic phrase "Oh Lord my God, is there no help for the widow's son?" Seeing as this story predates the advent of Freemasonry, I felt compelled to research earlier significances of a widows son. My research turned up rather interesting results.
One early belief was that the mother represented the soul and the father represented the instructor. This sentiment holds true to this day. I know that in my family my father took on the responsibility of instructing me on how to do many things, whereas my mother was always a more compassionate and comforting influence. When the man reached adulthood, it was believed that the father (instructor) did not live on within the man, and that the mother (soul) remained. This effectively "widowed" the mother, and turned the son into the widows son.
This information greatly supports my theory of a premasonic influence in Chretien's writing. From the beginning Chretien makes it clear that this is to be a coming of age story. I do not think that his use of seeds as a metaphor is a mistake. Neither is the fact that the story commences in the spring and that Perceval initiates his journey of discovery en route to checking on the planters. All of these things are symbols of a new beginning, in this case, a new beginning, or perhaps the true beginning, of Perceval's life.
The fact that Perceval's father died when Perceval was quite young also supports this theory. It can be assumed that his father was somewhat successful in educating his children, seeing as we know that Perceval's older brothers were knights. Therefore, Perceval's ignorance can be traced to the absence of his fathers presence, and as such, the absence of an instructor.
At this point, the connection to Freemasonry can be made complete. Freemasonry is an organization that claims to exist to promote learning and understanding of individual spirituality. This is something that masons believe is learned through allegory and experience. It is common knowledge that the masons use rituals and tests to teach and initiate their members into different ranks. This is exactly what Perceval needs to do. He questions those who he doesn't understand, and he proves himself by defeating the Red Knight. The phrase "...is there no help for the widow's son?" is designed to show that a mason is in distress, but I think that this meaning can be broadened to mean that a man needs help in learning about himself or others, and this is the kind of help that Perceval needs.
Sunday, November 8, 2009
That Obscure Object of Desire
In Bunuel's film, I believe it is fairly clear that Conchita is meant to represent the "obscure object of desire". This is evident because everything about her character is somehow obscured or hidden. The most blatant of these obscurities is the fact that she is played by two characters. The transience and amorphousness of this does much to obscure her character. Another device used to obscure her person is the fact that she holds no steady job. In fact, nothing about her remains static. She moves from job to job, house to house, and not even her reactions to Matthieu are congruous. The only constant that we know of is her love for dancing. She even says that this is the only thing that interests her.
I find dancing to be an appropriate act to represent desire, and as such, Conchita. Desire is essentially a longing for something. It is not the actual act of attaining or having said object. Actually, once the object desired is attained, the desire no longer exists. Dancing, especially some Spanish dances, is a good example of this. When the couples are dancing, it is easy to see the sexual tension that can build between them. Some dances even include motions that have sexual connotations. Despite all of this, intercourse is never achieved. Depending on the couple, passion and desire are clearly evident, yet no resolution is found. Conchita's solo dancing also demonstrates this. She dances for tourists (which are by nature transient) who clearly want and desire her body, yet she never (as far as we can see) gives herself to them.
I find dancing to be an appropriate act to represent desire, and as such, Conchita. Desire is essentially a longing for something. It is not the actual act of attaining or having said object. Actually, once the object desired is attained, the desire no longer exists. Dancing, especially some Spanish dances, is a good example of this. When the couples are dancing, it is easy to see the sexual tension that can build between them. Some dances even include motions that have sexual connotations. Despite all of this, intercourse is never achieved. Depending on the couple, passion and desire are clearly evident, yet no resolution is found. Conchita's solo dancing also demonstrates this. She dances for tourists (which are by nature transient) who clearly want and desire her body, yet she never (as far as we can see) gives herself to them.
Tuesday, November 3, 2009
Celestina- Day 5
At the end of the novel, one thing that becomes clear is Pleberio's lack of love for his daughter. While he makes it seem like he loved Melibea, it is clear that he doesn't truly love her. First, had he loved her, much of this story would be different. He would have known Melibea better and the whole affair between her and Calisto wouldn't have happened. His lack of love was also manifested in his speech at the end of the book. In this speech he mourns the loss of Melibea, but only in its relationship to him. He doesn't seem to care about the pain that she went through or her suffering, but he does care about his. This can clearly be seen in his last sentence:
"Why did you afflict me and leave me sad and alone in this vale of tears?"
If Pleberio didn't love Melibea to begin with though, it raises the question as to why he is mourning her loss. I think that the reason has something to do with the world Pleberio tried to create. Melibea killing herself is merely proof that his patriarchal society is defunct. He tried to protect her by raising both physical and metaphorical barriers, but it shows that passion will break through the toughest bonds. I think that the other reason for his sadness is the fact that her suicide will bring shame and dishonor to him. This will come not only from her suicide, which was quite frowned upon by the Church and society, but also from the fact that her and Calisto's story will most likely be circulated through the city.
"Why did you afflict me and leave me sad and alone in this vale of tears?"
If Pleberio didn't love Melibea to begin with though, it raises the question as to why he is mourning her loss. I think that the reason has something to do with the world Pleberio tried to create. Melibea killing herself is merely proof that his patriarchal society is defunct. He tried to protect her by raising both physical and metaphorical barriers, but it shows that passion will break through the toughest bonds. I think that the other reason for his sadness is the fact that her suicide will bring shame and dishonor to him. This will come not only from her suicide, which was quite frowned upon by the Church and society, but also from the fact that her and Calisto's story will most likely be circulated through the city.
Sunday, November 1, 2009
Celestina- Day 4
The existence of Pleberio's male dominated world and Celestina's female dominated world can be likened to one of those books that have a clear plastic page over a paper page. Bits of the paper show through in the gaps where there is no printing, but the majority of the image comes from the ink on the plastic. In Celestina, Pleberio's world is like the plastic, and Celestina's is the paper. On the surface, everything appears prim and proper. Melibea seems to be a young virgin, Pleberio thinks he and Alisa are in control of Melibea's destiny, and their household seems impervious to the outside world. While all of this is true, parts of Celestina's world show through. Celestina and Calisto manage to enter their house, and Alisia warns Melibea of Celestina's true nature.
Once the page is turned, however, it is easy to see how Pleberio's utopia is merely a facade. Celestina's influence extends farther into Pleberio's world than he would ever imagine. Melibea is no longer a virgin, and in reality, her parents do not even know her. Alisia believes that Melibea doesn't even know about the existence of sex, and this lulls the parents into a false sense of security. Celestina knows Melibea better though. While Melibea's parent's are clueless about their daughter's thoughts and emotions, Celestina knows exactly what Melibea wants, and how to make sure she gets it.
To stick with this metaphor, the situation in Celestina reminds me of one such book that I had as a child. The book was a picture book of Roman architecture. On the plastic pages were artist's renderings of what they thought Roman constructs like the Colosseum looked like in their prime. On the paper pages were actual images of these buildings now, obviously much more delapidated and derelict than their plastic counterparts. In Celestina Pleberio attempts to hide Celestina's world. In his first "speech" he says that the best way to make a girl seem respectable is for her to marry young. His thought behind this is to stop her from sinning before she can sin. I think it is obvious that this is merely a "quick fix" for a much deeper "problem" in Pleberio's society. If he were alive today he would probably be a politician. The world that Celestina has created is the reality of life. It is not as nice as Pleberio's, but there are several key differences that make it more appealing. First, it is based on reality, not illusions. While the prostitutes create an illusion of love, it is one that is mutually understood, and I would imagine, sometimes necessary for them to perform their job. Second, Celestina's world is focused on life and living it. Pleberio focuses on life too, but he spends much time dwelling on death and trying to refuse living. Celestina uses death as a motivator to live life, Pleberio uses it as an excuse to refuse those around him the right to live their lives. This sentiment is shown where Pleberio says:
"And since we are uncertain when we should be called, seeing such clear signs, we must gird up our loins and pickup our burdens in readiness for our enforced march."
What Pleberio is saying here is that one should always act righteous, because they can never know when death is coming for them. This differs from something Celestina would say in the sense that she would advocate for the opposite, telling someone to live life to the fullest, because they only have a short time to do so.
Once the page is turned, however, it is easy to see how Pleberio's utopia is merely a facade. Celestina's influence extends farther into Pleberio's world than he would ever imagine. Melibea is no longer a virgin, and in reality, her parents do not even know her. Alisia believes that Melibea doesn't even know about the existence of sex, and this lulls the parents into a false sense of security. Celestina knows Melibea better though. While Melibea's parent's are clueless about their daughter's thoughts and emotions, Celestina knows exactly what Melibea wants, and how to make sure she gets it.
To stick with this metaphor, the situation in Celestina reminds me of one such book that I had as a child. The book was a picture book of Roman architecture. On the plastic pages were artist's renderings of what they thought Roman constructs like the Colosseum looked like in their prime. On the paper pages were actual images of these buildings now, obviously much more delapidated and derelict than their plastic counterparts. In Celestina Pleberio attempts to hide Celestina's world. In his first "speech" he says that the best way to make a girl seem respectable is for her to marry young. His thought behind this is to stop her from sinning before she can sin. I think it is obvious that this is merely a "quick fix" for a much deeper "problem" in Pleberio's society. If he were alive today he would probably be a politician. The world that Celestina has created is the reality of life. It is not as nice as Pleberio's, but there are several key differences that make it more appealing. First, it is based on reality, not illusions. While the prostitutes create an illusion of love, it is one that is mutually understood, and I would imagine, sometimes necessary for them to perform their job. Second, Celestina's world is focused on life and living it. Pleberio focuses on life too, but he spends much time dwelling on death and trying to refuse living. Celestina uses death as a motivator to live life, Pleberio uses it as an excuse to refuse those around him the right to live their lives. This sentiment is shown where Pleberio says:
"And since we are uncertain when we should be called, seeing such clear signs, we must gird up our loins and pickup our burdens in readiness for our enforced march."
What Pleberio is saying here is that one should always act righteous, because they can never know when death is coming for them. This differs from something Celestina would say in the sense that she would advocate for the opposite, telling someone to live life to the fullest, because they only have a short time to do so.
Thursday, October 29, 2009
Celestina- Day 3
1. Celestina's actions towards Areusa lend much insight into her character. First, we can see that Celestina still has desires and feelings towards women. This sequence of events begins with Celestina commenting on Areusa's bed. She says that her bad smells sweet, and then she even gets into bed with Areusa. Then, even thought it is not implicitly stated, we can assume that Celestina molests Areusa. The dialogue includes Celestina saying that she will feel Areusa to attempt a diagnosis of the illness, and then is followed by Areusa telling Celestina that the pain is farther up, over her stomach. Finally, Celestina comments on Areusa's breasts and her youth, and advises her to enjoy it while it lasts. While I feel that this conveys a sense of lust towards Areusa, I also believe that Celestina is jealous of Areusa and her youth. She gets frustrated when Areusa talks of having only one lover, and I think it is because she cannot have any lovers, and she detests Areusa's waste of this advantage.
One thing that puzzles me about this act is Areusa's illness. I cannot guess it's exact nature, but I can only imagine what type of illness it might be.We are only given a few clues about it. The first is that Celestina is familiar with it, and that this familiarity is due to her sins. Then, we know that Celestina's prescription for a cure is sex. She also says that after Areusa is done having sex with Parmeno she will wake up pale, but be cured. The only guess that I can fathom as to Areusa's illness, is that perhaps Areusa is menstruating. We know that Areusa is rather young, due to a remark that Celestina made a little earlier in the act. If Parmeno sleeps with, and impregnates, Areusa, she will miss her period the next month. While this inference may be far off-kilter, it is the only one I have.
One thing that puzzles me about this act is Areusa's illness. I cannot guess it's exact nature, but I can only imagine what type of illness it might be.We are only given a few clues about it. The first is that Celestina is familiar with it, and that this familiarity is due to her sins. Then, we know that Celestina's prescription for a cure is sex. She also says that after Areusa is done having sex with Parmeno she will wake up pale, but be cured. The only guess that I can fathom as to Areusa's illness, is that perhaps Areusa is menstruating. We know that Areusa is rather young, due to a remark that Celestina made a little earlier in the act. If Parmeno sleeps with, and impregnates, Areusa, she will miss her period the next month. While this inference may be far off-kilter, it is the only one I have.
Wednesday, October 28, 2009
Celestina- Day 2
1. At the end of act three it is easy to see Celestina's uncertainty about how Melibea will respond to her ministrations. First, she finds it necessary to create a talisman of sorts to use on Melibea. This is in the form of the thread that she anoints with oil and the prayer she says to Pluto. This becomes even more obvious with the final words she says; "or so I think." I think that Melibea has good cause to be hesitant about the success of her plan. She certainly realizes that the "love" between Calisto and Melibea is merely lust. She would also realize how capricious lust can be. This can be seen in the very essence of the story, when Calisto wanders into Melibea's garden and suddenly falls in love with her.
2. Throughout the novel, Celestina's fame seems to proceed her wherever she goes. Interestingly enough, the only person who doesn't know who she is is Calisto, and as a result he is the only person that genuinely trusts her. Celestina's reputation is one that can be a double edged sword. In the case of Lucretia, it helped her cause, because Lucretia is related to one of Celestina's prostitutes. In the case of Melibea, Celestina's reputation, compounded with the discovery of her true goal, almost caused Celestina's demise. I find that this says a lot about individual interpretation. First, due their different backgrounds, Lucretia and Melibea both interpret Celestina's reputation differently. Lucretia is more favorably inclined to Celestina because of her upraising. As a cousin of the one prostitute, it can be assumed that Lucretia is the female counterpart to Parmeno, at least in the sense that she most likely came from the underbelly of the city and is striving to better herself. Melibea's response was far from favorable though. I believe this is due to the fact that Melibea was raised in a different world, and sees no place for Celestina in it.
2. Throughout the novel, Celestina's fame seems to proceed her wherever she goes. Interestingly enough, the only person who doesn't know who she is is Calisto, and as a result he is the only person that genuinely trusts her. Celestina's reputation is one that can be a double edged sword. In the case of Lucretia, it helped her cause, because Lucretia is related to one of Celestina's prostitutes. In the case of Melibea, Celestina's reputation, compounded with the discovery of her true goal, almost caused Celestina's demise. I find that this says a lot about individual interpretation. First, due their different backgrounds, Lucretia and Melibea both interpret Celestina's reputation differently. Lucretia is more favorably inclined to Celestina because of her upraising. As a cousin of the one prostitute, it can be assumed that Lucretia is the female counterpart to Parmeno, at least in the sense that she most likely came from the underbelly of the city and is striving to better herself. Melibea's response was far from favorable though. I believe this is due to the fact that Melibea was raised in a different world, and sees no place for Celestina in it.
Monday, October 26, 2009
Celestina- Day 1
1. I found the discussion that Calisto and Sempronio have at the beginning of Act 1 to be quite amusing. As a matter of fact, I have been entertained throughout the entirety of the first two acts. The characters and their dialogue is so funny, that I find myself chuckling out loud. Anyway, I digress. When Calisto and Sempronio are talking, I do not interpret Calisto's illness to be one of love. Perhaps it is one of lust, but I would favor another theory over that one. I believe that Calisto is merely bored with his life. The reason I discard love as the cause of his melancholy stems from his reaction to a joke that Sempronio made about the people of Sodom. In response to this joke Calisto says:
"Damn you! You've made me laugh, a thing I hadn't expected to do this year."
This shows that Calisto doesn't care to cure his "love sickness", but that he would rather mope around and garner sympathy from his servants. This is similar to Romeo's reaction to Rosalind's scorn, where he locks himself away and makes people worry about him.
As to their discussion about women, I believe I found a reason for Sempronio's misogynistic view. In his discourse on the topic he says that women can't stop lusting for men and that this is their great weakness. I think that the reason he believes this is because he is in love with one of Celestina's whores. I do not think he realizes exactly what she is though, and because of this he finds all women to be like Elicia.
"Damn you! You've made me laugh, a thing I hadn't expected to do this year."
This shows that Calisto doesn't care to cure his "love sickness", but that he would rather mope around and garner sympathy from his servants. This is similar to Romeo's reaction to Rosalind's scorn, where he locks himself away and makes people worry about him.
As to their discussion about women, I believe I found a reason for Sempronio's misogynistic view. In his discourse on the topic he says that women can't stop lusting for men and that this is their great weakness. I think that the reason he believes this is because he is in love with one of Celestina's whores. I do not think he realizes exactly what she is though, and because of this he finds all women to be like Elicia.
Thursday, October 22, 2009
Decameron- Day 6
9.3- While at face value it may seem that Calandrino's friends are at fault for Calandrino's foolish behavior, I would beg to differ. The root of the problem is really Calandrino's foolishness, and this makes him guilty. First, he is foolish to keep Bruno and Buffalmacco as close friends. They continually torment him and cause problems between him and his wife. Due to his ignorance, he doesn't realize this though.
Further proof of this is the fact that Bruno and Buffalmacco face no consequences for their actions against Calandrino. One motif common throughout these stories is the idea of justice and people getting what they deserve. It seems like the worthy always come out on top. For example, in the story about the monk bringing a girl into the monastery, he ends up "winning" over the prior because the prior was wrongfully punishing him, even thought the prior made the same mistakes. In the stories about Calandrino, Bruno and Buffalmacco always come out on top because Calandrino is the real fool.
10.10- I believe that neither Gualtieri or his wife deserve each others love. He is unworthy of her love because of all the hoops he made her jump through for no reason. There are certainly other ways to test her loyalty besides making her believe that her children were murdered and pretending to divorce her. I do not find her worthy of his love, because throughout the whole story she showed nothing but indifference to the things he was doing to her. If she truly loved him, she should have been more passionate about what he was doing to her, especially when he pretended to have their marriage annulled.
Further proof of this is the fact that Bruno and Buffalmacco face no consequences for their actions against Calandrino. One motif common throughout these stories is the idea of justice and people getting what they deserve. It seems like the worthy always come out on top. For example, in the story about the monk bringing a girl into the monastery, he ends up "winning" over the prior because the prior was wrongfully punishing him, even thought the prior made the same mistakes. In the stories about Calandrino, Bruno and Buffalmacco always come out on top because Calandrino is the real fool.
10.10- I believe that neither Gualtieri or his wife deserve each others love. He is unworthy of her love because of all the hoops he made her jump through for no reason. There are certainly other ways to test her loyalty besides making her believe that her children were murdered and pretending to divorce her. I do not find her worthy of his love, because throughout the whole story she showed nothing but indifference to the things he was doing to her. If she truly loved him, she should have been more passionate about what he was doing to her, especially when he pretended to have their marriage annulled.
Tuesday, October 20, 2009
Decameron- Day 5
7.3
How does Rinaldo trick Madonna Agnesa's husband into trusting him with Agnesa? What Classical structure does Madonna Agnesa and her child become?
The trickery in this story focuses on Brother Rinaldo using Madonna Agnesa to trick her husband into trusting him . To do so, Brother Rinaldo becomes the godfather to their child. This gives him a plausible excuse for spending time with Madonna Agnesa. Throughout the stories in the Decameron there are two types of tricksters, cautious ones and incautious ones. The cautious ones, such as Rinaldo and the woman who used the monk to convey messages to her lover, always seem to succeed in their goal. In this case, Rinaldo comes close to being discovered, but the precautions he took earlier saved him from his demise. The incautious ones, however, always get caught. For example, the woman with the gay husband was caught because she took few precautions to hide her relationships with the young men.
In using Madonna Agnesa and her child as a means to infiltrate her household, Brother Rinaldo essentially turns her and her child into a Trojan Horse. He uses the pregnant woman as an excuse to spend time in their house, and spend time with her. This would be valid if he truly wanted to be the child's godfather, but in this case he merely wants to have an affair with Madonna Agnesa without getting caught.
8.3
What fable does this story remind you of? How does the trickery involved differ.
The man in this story is quite reminiscent of the emperor in the fable "The Emperor's New Clothes". In both stories foolishness leads to the main character being tricked into thinking something is different than it really is. In E.N.C., the emperor is tricked into thinking he has splendid new clothes, when in reality he has no clothes at all. In this story the main character is tricked into believing that he is invisible, when he really is not.
The largest difference between these two stories are their outcomes. In the story about the emperor, the story concludes with the emperor learning from his mistakes and becoming less gullible. In the story from the Decameron, the main character learns nothing from his mistake, and he continues a life of ignorance. I believe that this holds true to the motif of plausibility thazt is so prevalent throughout the text. It is much more likely for a foolish person not to change after one event than it is for them to have some great epiphany.
How does Rinaldo trick Madonna Agnesa's husband into trusting him with Agnesa? What Classical structure does Madonna Agnesa and her child become?
The trickery in this story focuses on Brother Rinaldo using Madonna Agnesa to trick her husband into trusting him . To do so, Brother Rinaldo becomes the godfather to their child. This gives him a plausible excuse for spending time with Madonna Agnesa. Throughout the stories in the Decameron there are two types of tricksters, cautious ones and incautious ones. The cautious ones, such as Rinaldo and the woman who used the monk to convey messages to her lover, always seem to succeed in their goal. In this case, Rinaldo comes close to being discovered, but the precautions he took earlier saved him from his demise. The incautious ones, however, always get caught. For example, the woman with the gay husband was caught because she took few precautions to hide her relationships with the young men.
In using Madonna Agnesa and her child as a means to infiltrate her household, Brother Rinaldo essentially turns her and her child into a Trojan Horse. He uses the pregnant woman as an excuse to spend time in their house, and spend time with her. This would be valid if he truly wanted to be the child's godfather, but in this case he merely wants to have an affair with Madonna Agnesa without getting caught.
8.3
What fable does this story remind you of? How does the trickery involved differ.
The man in this story is quite reminiscent of the emperor in the fable "The Emperor's New Clothes". In both stories foolishness leads to the main character being tricked into thinking something is different than it really is. In E.N.C., the emperor is tricked into thinking he has splendid new clothes, when in reality he has no clothes at all. In this story the main character is tricked into believing that he is invisible, when he really is not.
The largest difference between these two stories are their outcomes. In the story about the emperor, the story concludes with the emperor learning from his mistakes and becoming less gullible. In the story from the Decameron, the main character learns nothing from his mistake, and he continues a life of ignorance. I believe that this holds true to the motif of plausibility thazt is so prevalent throughout the text. It is much more likely for a foolish person not to change after one event than it is for them to have some great epiphany.
Monday, October 19, 2009
Decameron- Day 4
5.8-
What myth does Boccaccio use as a plot device in this story?
In the eighth story of day five Boccaccio uses the myth of Prometheus as a plot device to advance the story. In this myth Prometheus is punished for stealing fire from the gods and giving it to man. The punishment that he must endure is to have his liver eaten by an eagle every day for the rest of eternity. Boccaccio takes this story and modifies it for his purposes. In his version there are two people being punished, a suicidal knight, and the maiden who he loved. The knight is doomed to hunt the woman that he loved as punishment for him commiting suicide, and she is being hunted as punishment for her scorn. Ultimately, the girl ends up being slayed by the knight and her organs are fed to a pair of dogs. This process goes on every day.
This modification of the Prometheus myth is used by Boccaccio as a way to show the implications of love. In the story, the knights love is like the fire that Prometheus stole. In this case, however, the girl stole the knight's love. That is why her punishment is the same as Prometheus'. The modification to the myth really shows when the knight is being punished as well. I believe that his punishment stems from the fact that he foolishly gave his love. Because of this, Boccaccio is using him as an example to show the dangers of loving too readily.
What myth does Boccaccio use as a plot device in this story?
In the eighth story of day five Boccaccio uses the myth of Prometheus as a plot device to advance the story. In this myth Prometheus is punished for stealing fire from the gods and giving it to man. The punishment that he must endure is to have his liver eaten by an eagle every day for the rest of eternity. Boccaccio takes this story and modifies it for his purposes. In his version there are two people being punished, a suicidal knight, and the maiden who he loved. The knight is doomed to hunt the woman that he loved as punishment for him commiting suicide, and she is being hunted as punishment for her scorn. Ultimately, the girl ends up being slayed by the knight and her organs are fed to a pair of dogs. This process goes on every day.
This modification of the Prometheus myth is used by Boccaccio as a way to show the implications of love. In the story, the knights love is like the fire that Prometheus stole. In this case, however, the girl stole the knight's love. That is why her punishment is the same as Prometheus'. The modification to the myth really shows when the knight is being punished as well. I believe that his punishment stems from the fact that he foolishly gave his love. Because of this, Boccaccio is using him as an example to show the dangers of loving too readily.
Thursday, October 15, 2009
Decameron- Day 3
3.3-
In this story the lady, who is unnamed, uses a friar to communicate with the man she is in love with. I find it interesting to note that the lady's name is hidden from the viewer. This presents the lady in the story with a level of anonymity that allows her to act as more than an individual. In a sense, she becomes representative of all women, and of the ways that women were forced to get what they wanted at the time. She also serves to show the intellect of women in a time period where that fact was often overlooked.
The way in which the lady used the friar as a means of communication was quite amusing. This way reminds me of the concept of self fulfilling prophesies in psychology. A self fulfilling prophesy is when the results of a test are false because they are expected, and therefore, unbeknownst to the researcher or not, actions are taken to create them. In this case the lady knew what she was doing and she fabricated stories about how she would like her lover to act. Once relayed to the friar, he unknowingly informed the man of what he should do to please the woman.This trickery is one that is designed to show the ignorance of the clergy at the time. This goal is one that Boccaccio might have taken due to the clergy's arrogance. I think that another reason for this is the rigid school of thought known as Scholasticism. During the Italian Renaissance this school was opposed by a school called Humanism. As a humanist, Boccaccio would have enjoyed portraying the clergy, who were Scholastics,as ignorant and clueless.
In this story the lady, who is unnamed, uses a friar to communicate with the man she is in love with. I find it interesting to note that the lady's name is hidden from the viewer. This presents the lady in the story with a level of anonymity that allows her to act as more than an individual. In a sense, she becomes representative of all women, and of the ways that women were forced to get what they wanted at the time. She also serves to show the intellect of women in a time period where that fact was often overlooked.
The way in which the lady used the friar as a means of communication was quite amusing. This way reminds me of the concept of self fulfilling prophesies in psychology. A self fulfilling prophesy is when the results of a test are false because they are expected, and therefore, unbeknownst to the researcher or not, actions are taken to create them. In this case the lady knew what she was doing and she fabricated stories about how she would like her lover to act. Once relayed to the friar, he unknowingly informed the man of what he should do to please the woman.This trickery is one that is designed to show the ignorance of the clergy at the time. This goal is one that Boccaccio might have taken due to the clergy's arrogance. I think that another reason for this is the rigid school of thought known as Scholasticism. During the Italian Renaissance this school was opposed by a school called Humanism. As a humanist, Boccaccio would have enjoyed portraying the clergy, who were Scholastics,as ignorant and clueless.
Tuesday, October 13, 2009
Decameron- Day 2
The story told by Fiametta on the second day is one that focuses on learning. This goal is accomplished through the use of a character named Andreuccio and his trials and tribulations. First, I think it is worth noting that Andreuccio is not completely innocent at the outset of the story. While he was in Naples to legitimately buy a horse, he wanted to do so in a way that wouldn't benefit the seller of the horse. Because of his arrogance and ignorance, he lets it be known that he has a large sum of money on him, which gets him into the first dilemma of the story. In this case he trusts a treacherous prostitute, and because of it, he loses all of his money. Next, Andreuccio's meets two thieves, who he also places his trust in. This time he is betrayed twice, first when they leave him in the well, and the second time when they enclose him in the tomb.
This story is very repetitive in the sense that Andreuccio is constantly trusting untrustworthy people. This is a manifestation of his ignorance and lack of understanding. First off, all the people that he trusted were complete strangers to him. In addition to this he was in a strange town where he had few allies. This makes him like a girl who goes to a club all alone and then leaves with some guy. Besides this, the characters in question had disreputable traits. The first was a prostitute that lived in a very poor area of Naples, and the second pair were thieves, people who must be dishonest by nature.
The positive thing about these situations is that Andreuccio learns from them. This can be seen when he is in the bishop's tomb and he keeps the discovery of the ring a secret. Also, his naivety teaches him about the naivety of others, like when he tricks the priest and scares him away. In this case Andreuccio's lesson can be adapted to all audiences by warning them to think before they act, and not to trust everyone who comes down the pike.
This story is very repetitive in the sense that Andreuccio is constantly trusting untrustworthy people. This is a manifestation of his ignorance and lack of understanding. First off, all the people that he trusted were complete strangers to him. In addition to this he was in a strange town where he had few allies. This makes him like a girl who goes to a club all alone and then leaves with some guy. Besides this, the characters in question had disreputable traits. The first was a prostitute that lived in a very poor area of Naples, and the second pair were thieves, people who must be dishonest by nature.
The positive thing about these situations is that Andreuccio learns from them. This can be seen when he is in the bishop's tomb and he keeps the discovery of the ring a secret. Also, his naivety teaches him about the naivety of others, like when he tricks the priest and scares him away. In this case Andreuccio's lesson can be adapted to all audiences by warning them to think before they act, and not to trust everyone who comes down the pike.
Wednesday, October 7, 2009
Decameron- 1.1, 1.2, 1.3, 1.4, 2.3
1.1- One quote from this story that strikes me is:
"Ciappelletto was, by profession, a notary; he was very much ashamed when any of his legal documents (of which he drew up many) were discovered to be anything but fraudulent. He would have drawn up, free of charge, as many false ones as were requested of him, and more willingly than another man might have done for a large sum of money."
I think that this quote expresses Boccaccio's frustration with the corruption of the times. At the time Boccaccio was drafting this work, the church was a very corrupt institution. As seen in some of his other stories, clergymen were not faithful to their vows, the Pope was not an inspirational leader, and greed motivated many of the church's decisions. In fact, many would argue that similar conditions exist today.
I find this particular quote interesting because in it Boccaccio not only criticizes the church, but does so quite hyperbolically. He implies that the church acts like it does not for any particular purpose, but just for the simple fact that it is evil. As a matter of fact, later in the story he says that Cappelletto is probably the most evil man that ever lived. This opinion of the church is echoed in Boccaccio's other story about the Jew who converted to a Christian.
1.4- " Well, now! Why shouldn't I have a little fun when I can get it? Troubles and worries I can get every day!"
I chose this quote because it is reminiscent of a behavior displayed during the period of the plague. When the plague swept through Europe it destroyed 1/3 of the European population. One factor that contributed to this was the fact that Europeans didn't understand how the disease was transmitted and, once it was contracted, most died from it within a couple of weeks. This tragedy and sense of doom lead to two patterns of behavior. The first was the penitents. These were people who tried to use mortification of the flesh and prayer as a way to appeal to God and stop the plague. The other pattern of behavior was one that involved senseless debauchary. The mentality behind this was that seeing as doctors couldn't cure the disease, people should have as much fun as possible before they die. It is this behavior that Boccaccio is mirroring in this quote. Furthermore, he is likening the church to a terrible plague, and suggesting that a breaking of vows is the best way to suffer the church's policy.
"Ciappelletto was, by profession, a notary; he was very much ashamed when any of his legal documents (of which he drew up many) were discovered to be anything but fraudulent. He would have drawn up, free of charge, as many false ones as were requested of him, and more willingly than another man might have done for a large sum of money."
I think that this quote expresses Boccaccio's frustration with the corruption of the times. At the time Boccaccio was drafting this work, the church was a very corrupt institution. As seen in some of his other stories, clergymen were not faithful to their vows, the Pope was not an inspirational leader, and greed motivated many of the church's decisions. In fact, many would argue that similar conditions exist today.
I find this particular quote interesting because in it Boccaccio not only criticizes the church, but does so quite hyperbolically. He implies that the church acts like it does not for any particular purpose, but just for the simple fact that it is evil. As a matter of fact, later in the story he says that Cappelletto is probably the most evil man that ever lived. This opinion of the church is echoed in Boccaccio's other story about the Jew who converted to a Christian.
1.4- " Well, now! Why shouldn't I have a little fun when I can get it? Troubles and worries I can get every day!"
I chose this quote because it is reminiscent of a behavior displayed during the period of the plague. When the plague swept through Europe it destroyed 1/3 of the European population. One factor that contributed to this was the fact that Europeans didn't understand how the disease was transmitted and, once it was contracted, most died from it within a couple of weeks. This tragedy and sense of doom lead to two patterns of behavior. The first was the penitents. These were people who tried to use mortification of the flesh and prayer as a way to appeal to God and stop the plague. The other pattern of behavior was one that involved senseless debauchary. The mentality behind this was that seeing as doctors couldn't cure the disease, people should have as much fun as possible before they die. It is this behavior that Boccaccio is mirroring in this quote. Furthermore, he is likening the church to a terrible plague, and suggesting that a breaking of vows is the best way to suffer the church's policy.
Sunday, October 4, 2009
Tristan and Isolde Movie
The director and producers of the film "Tristan and Isolde" took many liberties in changing the plot and story line of the original work. One such change was in the fact that there was no magic/love potion in the film, whereas Beroul's story had a love potion.
While this is a deviation from the original story, I do not think that it drastically changed the way the characters were viewed or how the story progressed. In the original the love potion served as a scapegoat for the couples illicit love. In the movie there is another scapegoat proposed. In this case the lovers meet and fall in love before Isolde is married to Mark. Just like the potion made the reader sympathize with the couple in the written work, the fact that they were in love pre-Mark creates a feeling of pathos for their situation.
Even though the two methods of justifying the relationship between Tristan and Isolde are similar, there is one prime difference. In the book, the reader's sympathy can only extend until the point that the love potion wears off. After that it becomes apparent that their love supersedes the potion and that the potion might not have been as powerful as it was once suspected. The movie, however, allows the viewer to side with Tristan and Isolde until the end, seeing as their love began innocently enough and the subsequent events were largely out of their control.
While this is a deviation from the original story, I do not think that it drastically changed the way the characters were viewed or how the story progressed. In the original the love potion served as a scapegoat for the couples illicit love. In the movie there is another scapegoat proposed. In this case the lovers meet and fall in love before Isolde is married to Mark. Just like the potion made the reader sympathize with the couple in the written work, the fact that they were in love pre-Mark creates a feeling of pathos for their situation.
Even though the two methods of justifying the relationship between Tristan and Isolde are similar, there is one prime difference. In the book, the reader's sympathy can only extend until the point that the love potion wears off. After that it becomes apparent that their love supersedes the potion and that the potion might not have been as powerful as it was once suspected. The movie, however, allows the viewer to side with Tristan and Isolde until the end, seeing as their love began innocently enough and the subsequent events were largely out of their control.
Sunday, September 27, 2009
Yvain- Part 3
Question 1-
After the scene involving the fight between the dragon and the lion, it is possible to see some change in Yvain. To explore this change, and why it caused Yvain to take a new name, I think it is prudent to look into the significance of the dragon and the lion's fight. In popular myth dragons and snakes usually signify treachery, deceit, and evil. Paradoxically, they also symbolize knowledge and learning. The very word 'dragon" stems from the Greek verb "to see" and the serpent in the Garden of Eden was offering Eve the opportunity to learn. Lions, on the other hand, represent loyalty and honor. Because of this, by Yvain taking the side of the lion, he is symbolically giving up the adventurous and precocious attitude that he had throughout his life, and instead he is taking up the mantel of honor, and by way of chivalry, ignorance.
I think that in this scene Chretien is expressing a withering criticism of chivalry and knighthood. While the story reads that Yvain is wrongfully seeking adventure in both his avenging of Calegrenant and after he marries Laudine, I would argue that a different conclusion could be drawn from this.
Arthur's world was one that was fraught with odd views of morality. Examples include Arthur being lauded, despite the fact that he murdered all of the infants in England in an attempt to save himself, and Merlin being viewed as a wise and venerable sage, even though he is a liar, deceiver, and a lecher. Hand in hand with these is a lack of rationality that is prevalent throughout the whole Arthurian canon. An example is the willingness of Arthur's knights to die upholding the Pentecostal Oath, while the oath is only a meager way for Arthur to repent for his
misdeeds.
When viewed through this lens it is easy to see how knighthood and chivalry are representative of ignorance. Because of Yvain's conscious choice to forgo learning and knowledge and be chivalric, it was necessary for him to change his name. The name Yvain is a form of the name "Owain", which means youth. This change can then be interpreted as a sign of maturation for Yvain, or as a further loss of his curiosity, an attribute that is present most profusely in childhood. By taking on the name "The Knight With The Lion" we can say that Yvain is now thoroughly adopting a close minded and chivalric attitude.
After the scene involving the fight between the dragon and the lion, it is possible to see some change in Yvain. To explore this change, and why it caused Yvain to take a new name, I think it is prudent to look into the significance of the dragon and the lion's fight. In popular myth dragons and snakes usually signify treachery, deceit, and evil. Paradoxically, they also symbolize knowledge and learning. The very word 'dragon" stems from the Greek verb "to see" and the serpent in the Garden of Eden was offering Eve the opportunity to learn. Lions, on the other hand, represent loyalty and honor. Because of this, by Yvain taking the side of the lion, he is symbolically giving up the adventurous and precocious attitude that he had throughout his life, and instead he is taking up the mantel of honor, and by way of chivalry, ignorance.
I think that in this scene Chretien is expressing a withering criticism of chivalry and knighthood. While the story reads that Yvain is wrongfully seeking adventure in both his avenging of Calegrenant and after he marries Laudine, I would argue that a different conclusion could be drawn from this.
Arthur's world was one that was fraught with odd views of morality. Examples include Arthur being lauded, despite the fact that he murdered all of the infants in England in an attempt to save himself, and Merlin being viewed as a wise and venerable sage, even though he is a liar, deceiver, and a lecher. Hand in hand with these is a lack of rationality that is prevalent throughout the whole Arthurian canon. An example is the willingness of Arthur's knights to die upholding the Pentecostal Oath, while the oath is only a meager way for Arthur to repent for his
misdeeds.
When viewed through this lens it is easy to see how knighthood and chivalry are representative of ignorance. Because of Yvain's conscious choice to forgo learning and knowledge and be chivalric, it was necessary for him to change his name. The name Yvain is a form of the name "Owain", which means youth. This change can then be interpreted as a sign of maturation for Yvain, or as a further loss of his curiosity, an attribute that is present most profusely in childhood. By taking on the name "The Knight With The Lion" we can say that Yvain is now thoroughly adopting a close minded and chivalric attitude.
Thursday, September 24, 2009
Yvain- Part 2
When Yvain shames himself Chretien does much to foreshadow and lead up to this. The first technique that was used was Yvain's dissatisfaction in his relationship with Laudine. We can see that he was not happy because he asked leave to frequent the tournaments. I liken this to modern day cases of marital dysfunction where the husband stereotypically spends little time around the house and goes out with his friends frequently. Next, the fact that Yvain must ask permission to leave and is assigned a date to return also bodes ill. If the couple truly had a solid relationship, there wouldn't be such a disparity in power. At the very least, the person with the power in the relationship would be Yvain, in accordance with the customs of the time. I think that Yvain's lack of control in the relationship was the largest factor that contributed to his shame. The whole history of the couple was based on his lack of control. He fell in love with Laudine totally by chance, and then next thing he knows he is married and required to guard the fountain. Because of this I can see why Yvain would want to leave and neglect to return.
Tuesday, September 22, 2009
Yvain- Part 1
In Erec and Enide Chretien presented the reader with a brief, but telling prologue. In this paragraph he outlined the remainder of the story, from the couple's rocky start to their ultimate "conjoining" into a cohesive partnership. At the beginning of Yvain we aren't granted an advantage of this sort. Rather, Chretien jumps directly into the story, providing little more than the time of year. This provides more information than some might think though. First, we are informed that the story is starting on Pentecost. Pentecost is a holiday that is usually associated with adventure and quests, at least in the Arthurian world. Seeing as the story begins on this date, we can assume that an adventure of some sort will be nigh. It is also feasible to say that the adventure will not be successful. I say this because King Arthur's Pentecostal Oath, whose name derives from the date of it's origin, ultimately leads the knights who follow it to misfortune.
Wednesday, September 16, 2009
Erec and Enide- Part 2
Question 1:
The emergence of Enide's character is one that does not take place until the second part of the story. Before this part Enide's character is very one dimensional and based solely on her physical attributes. The changing point in which she gains personality is the event of her marriage to Erec. Fittingly, this is when we also learn her name.
The revealing of Enide's character is done through the media of speech. Through her words we learn that she is very perceptive, much more so than Erec. When Erec's subjects are criticizing him for spending too much time "with" her, she is the one that notices it, not him. We are informed of this fact in the scene where she is agonizing over the amount of time he spends with her. Besides her perception, we also learn that Enide is very practical. Even when Erec forbids her to speak to him multiple times, she still warns him of dangers that are approaching. Ironically, this also shows her loyalty, because even though she is disobeying Erec, she cares more about his safety than his opinion of her.
Question 3
When Erec takes Enide on the adventure I think he had several motives in doing so. The first was to regain the respect he had lost through his inaction at court. He accomplished this by fighting many battles, but never stopping his journey for rest or to let his wounds heal. Even when King Arthur bade him to stop for two weeks and be cured, he refused.
Erec brings Enide with him on this journey, and I believe he does so quite selfishly. Instead of leaving Enide at the court where she would be able to live comfortably, he makes her live in the woods and endure multiple torments, such as when the evil count wanted to marry her. In these scenes we also see how haughty Erec is, and we must wonder why. He repetitively see him scolding Enide for warning him of danger, yet he himself does not see it coming. I believe it is safe to say that without Enide's help, Erec's adventure would not have ended so well. This is seen clearly in the scene where the count wants to kill Erec, but he thinks that the count has his best interests in mind. Without Enide to warn him, Erec would have probably died at hands of the count's men.
The emergence of Enide's character is one that does not take place until the second part of the story. Before this part Enide's character is very one dimensional and based solely on her physical attributes. The changing point in which she gains personality is the event of her marriage to Erec. Fittingly, this is when we also learn her name.
The revealing of Enide's character is done through the media of speech. Through her words we learn that she is very perceptive, much more so than Erec. When Erec's subjects are criticizing him for spending too much time "with" her, she is the one that notices it, not him. We are informed of this fact in the scene where she is agonizing over the amount of time he spends with her. Besides her perception, we also learn that Enide is very practical. Even when Erec forbids her to speak to him multiple times, she still warns him of dangers that are approaching. Ironically, this also shows her loyalty, because even though she is disobeying Erec, she cares more about his safety than his opinion of her.
Question 3
When Erec takes Enide on the adventure I think he had several motives in doing so. The first was to regain the respect he had lost through his inaction at court. He accomplished this by fighting many battles, but never stopping his journey for rest or to let his wounds heal. Even when King Arthur bade him to stop for two weeks and be cured, he refused.
Erec brings Enide with him on this journey, and I believe he does so quite selfishly. Instead of leaving Enide at the court where she would be able to live comfortably, he makes her live in the woods and endure multiple torments, such as when the evil count wanted to marry her. In these scenes we also see how haughty Erec is, and we must wonder why. He repetitively see him scolding Enide for warning him of danger, yet he himself does not see it coming. I believe it is safe to say that without Enide's help, Erec's adventure would not have ended so well. This is seen clearly in the scene where the count wants to kill Erec, but he thinks that the count has his best interests in mind. Without Enide to warn him, Erec would have probably died at hands of the count's men.
Tuesday, September 15, 2009
Erec and Enide- Part 1
Question 2:
The opening scene of this story is one that is fraught with contradictions. Chretien mentions that the story is taking place on Easter and in the springtime. These are two times that are generally associated with life and new beginnings, things that are positive in nature. I find it interesting that he stresses the springtime, even though it is commonly known that Easter falls in the spring. The adjectives used to describe Arthur's court also emanate a positive attitude. Then the mood changes. This change started with Arthur suggesting a hunt for the white stag, a violent act, and one that is incongruous with the previous sentences. Not only does the story change because of the suggestion for a hunt, but Gawain makes a potentially prophetic statement of warning to Arthur. He warns Arthur that the hunt will not end well because Arthur would need to chose one maiden as the most beautiful, and that would cause unrest in the court.
This implies that Arthur's court is not as great as Chretein makes it out to be. Besides the dual imagery, the fact that Arthur's choice might cause problems in court brings up the question of his knight's loyalty to him. Arthur himself says that the kings word must not be contravened, and he truly believes that it won't. Gawain's lack of confidence in this matter leads the reader to believe that a different outcome will result. This could be a case similar to that of King Mark, where the king is blind to what is really going on at court, but the subjects know the truth. It is also a statement that is reflective of the male's pride for their "property", ie women. Because of this, by Arthur choosing the maiden that he finds to be the most fair, he is in effect choosing the knight that has the most valuable "asset". When viewed through this lens it becomes easy to see Gawain's doubts as to the security of the court.
The opening scene of this story is one that is fraught with contradictions. Chretien mentions that the story is taking place on Easter and in the springtime. These are two times that are generally associated with life and new beginnings, things that are positive in nature. I find it interesting that he stresses the springtime, even though it is commonly known that Easter falls in the spring. The adjectives used to describe Arthur's court also emanate a positive attitude. Then the mood changes. This change started with Arthur suggesting a hunt for the white stag, a violent act, and one that is incongruous with the previous sentences. Not only does the story change because of the suggestion for a hunt, but Gawain makes a potentially prophetic statement of warning to Arthur. He warns Arthur that the hunt will not end well because Arthur would need to chose one maiden as the most beautiful, and that would cause unrest in the court.
This implies that Arthur's court is not as great as Chretein makes it out to be. Besides the dual imagery, the fact that Arthur's choice might cause problems in court brings up the question of his knight's loyalty to him. Arthur himself says that the kings word must not be contravened, and he truly believes that it won't. Gawain's lack of confidence in this matter leads the reader to believe that a different outcome will result. This could be a case similar to that of King Mark, where the king is blind to what is really going on at court, but the subjects know the truth. It is also a statement that is reflective of the male's pride for their "property", ie women. Because of this, by Arthur choosing the maiden that he finds to be the most fair, he is in effect choosing the knight that has the most valuable "asset". When viewed through this lens it becomes easy to see Gawain's doubts as to the security of the court.
Saturday, September 12, 2009
Romance of Tristan- Parts 14-19
Question 3
In the part entitled "Tristan's Madness" we see yet another one of Tristan's disguises. In this piece of the story the author says that Tristan realized that he couldn't enter Cornwall undisguised because Mark would kill him. To remedy this he disguised himself as a mad man by cropping his hair and acting the part of a fool. I find this type of disguise common in medieval literature. In "Le Morte D'Arthur" Merlin is initially introduced as a crazy beggar. It is only when he is able to tell Sir Ulfius information that nobody should know that he was recognized for who he was. Tolkein also uses a similar disguise for Gandalf the wizard, a character no doubt inspired by medieval works such as these.
Question 4
While the antics of Tristan and Yseut are entertaining throughout the first 15 parts or so, the story soon loses it's novelty. In this fact lies the reason for the lover's deaths.
After the love potion "wears off" it becomes apparent that it was not the only cause for their relationship. Even after they repent, they still scheme against Mark, and they are still deeply in love. If they were allowed to live, the story would languish and become tiresome. By having them die, Beroul creates an ending that is as dramatic as the preceding parts, which in effect moves the story on while providing its resolution. Tristan and Yseut's deaths also serve to rouse a last burst of pathos from the reader, which seems to be Beroul's mission throughout the entire work.
In the part entitled "Tristan's Madness" we see yet another one of Tristan's disguises. In this piece of the story the author says that Tristan realized that he couldn't enter Cornwall undisguised because Mark would kill him. To remedy this he disguised himself as a mad man by cropping his hair and acting the part of a fool. I find this type of disguise common in medieval literature. In "Le Morte D'Arthur" Merlin is initially introduced as a crazy beggar. It is only when he is able to tell Sir Ulfius information that nobody should know that he was recognized for who he was. Tolkein also uses a similar disguise for Gandalf the wizard, a character no doubt inspired by medieval works such as these.
Question 4
While the antics of Tristan and Yseut are entertaining throughout the first 15 parts or so, the story soon loses it's novelty. In this fact lies the reason for the lover's deaths.
After the love potion "wears off" it becomes apparent that it was not the only cause for their relationship. Even after they repent, they still scheme against Mark, and they are still deeply in love. If they were allowed to live, the story would languish and become tiresome. By having them die, Beroul creates an ending that is as dramatic as the preceding parts, which in effect moves the story on while providing its resolution. Tristan and Yseut's deaths also serve to rouse a last burst of pathos from the reader, which seems to be Beroul's mission throughout the entire work.
Friday, September 11, 2009
The Romance of Tristan- Parts 7-14
Question 2
While both Tristan and Yseut were affected similarly by the potion, their reactions when it wore off were quite different. When Tristan realizes that the effects of the potion are no longer active he becomes repentant and he mourns the hardship that he has caused Yseut. He also is upset about the situation that he is in, but this issue is of less importance to him than that of Yseut's suffering. He also resolves to reconcile Mark and Yseut so that she can live a life that befits a queen.
Ysuet's reaction to the potion wearing off shows much more self sympathy. Her prime concern was that she wasn't being treated like a queen. She does mention the fact that much of Tristan's life has been wasted, but the majority of her monologue is self pitying.
I believe that the reason for this disparity in reactions is due to a difference in the couples feelings for each other. I think that Tristan is more in love with Yseut than she is with him. My reasoning for this lies in a scene later on in the book. Towards the end there is a part called "Tristan's Madness". In this scene Tristan goes mad from his love for Yseut and he cuts his hair and looks like a vagabond. When he goes to Yseut she refused to believe it is him and cites the fact that Tristan was hansom and the new Tristan is not. She continues to cling to this logic, even when Tristan tells her numerous facts that only he could know. I find that this shows that Yseut's love for Tristan is based more in his good looks than in his actual personality, whereas Tristan's love is more accepting.
While both Tristan and Yseut were affected similarly by the potion, their reactions when it wore off were quite different. When Tristan realizes that the effects of the potion are no longer active he becomes repentant and he mourns the hardship that he has caused Yseut. He also is upset about the situation that he is in, but this issue is of less importance to him than that of Yseut's suffering. He also resolves to reconcile Mark and Yseut so that she can live a life that befits a queen.
Ysuet's reaction to the potion wearing off shows much more self sympathy. Her prime concern was that she wasn't being treated like a queen. She does mention the fact that much of Tristan's life has been wasted, but the majority of her monologue is self pitying.
I believe that the reason for this disparity in reactions is due to a difference in the couples feelings for each other. I think that Tristan is more in love with Yseut than she is with him. My reasoning for this lies in a scene later on in the book. Towards the end there is a part called "Tristan's Madness". In this scene Tristan goes mad from his love for Yseut and he cuts his hair and looks like a vagabond. When he goes to Yseut she refused to believe it is him and cites the fact that Tristan was hansom and the new Tristan is not. She continues to cling to this logic, even when Tristan tells her numerous facts that only he could know. I find that this shows that Yseut's love for Tristan is based more in his good looks than in his actual personality, whereas Tristan's love is more accepting.
Tuesday, September 8, 2009
Romance of Tristan Parts 1-6
Question 1:
I find that the characterization of Tristan is one that gives the reader much insight as to the culture and beliefs of Beroul's time. From the outset of the novel Tristan is seemingly incapable of determining his own fate. This idea is proposed in several fashions. The first is at the end of the introductory paragraph, when the narrator speaks about Tristan being born in sorrow. This statement is a way to foreshadow the rest of the story, which is plagued by sorrow and misfortune. It seems like Beroul is implying that because Tristan was born to unfavorable circumstances, he will forever be subject to bad luck.
Besides this, the very event that caused Tristan to fall in love with Ysuet was beyond his control. He was striving to act nobly by finding a wife for his uncle, but his poor luck caused him to take the love potion. As a matter of fact, the potion seems to have drastically altered Tristan's whole attitude. Before he took the potion Tristan used his prowess and abilities to benefit the king and do chivalric things. After he was exposed to the potion Tristan's attitude changed and he then used his talents to trick King Mark and find time to spend with Yseut.
This concept of helplessness is one that is reflective of the medieval mindset. I am currently reading a book called "The Forge of Christendom" that addresses the lack of control felt by the medieval man. A large part of this helplessness was a result of the medieval obsession with the date of the apocalypse, and what many felt was it's imminent arrival. In response to this concern the church taught that the date of the event should not be speculated, and that humanity should just wait for the anti-Christ to arrive. As one could imagine, this tension would encourage many to believe that destiny is beyond the individual's control. In addition to this the government of 12th century England was very unstable and in a state of civil war, which also contributed to the feelings of the day. In characterizing Tristan as a benevolent, but helpless character, Beroul effectively expressed a feeling common in his society.
I find that the characterization of Tristan is one that gives the reader much insight as to the culture and beliefs of Beroul's time. From the outset of the novel Tristan is seemingly incapable of determining his own fate. This idea is proposed in several fashions. The first is at the end of the introductory paragraph, when the narrator speaks about Tristan being born in sorrow. This statement is a way to foreshadow the rest of the story, which is plagued by sorrow and misfortune. It seems like Beroul is implying that because Tristan was born to unfavorable circumstances, he will forever be subject to bad luck.
Besides this, the very event that caused Tristan to fall in love with Ysuet was beyond his control. He was striving to act nobly by finding a wife for his uncle, but his poor luck caused him to take the love potion. As a matter of fact, the potion seems to have drastically altered Tristan's whole attitude. Before he took the potion Tristan used his prowess and abilities to benefit the king and do chivalric things. After he was exposed to the potion Tristan's attitude changed and he then used his talents to trick King Mark and find time to spend with Yseut.
This concept of helplessness is one that is reflective of the medieval mindset. I am currently reading a book called "The Forge of Christendom" that addresses the lack of control felt by the medieval man. A large part of this helplessness was a result of the medieval obsession with the date of the apocalypse, and what many felt was it's imminent arrival. In response to this concern the church taught that the date of the event should not be speculated, and that humanity should just wait for the anti-Christ to arrive. As one could imagine, this tension would encourage many to believe that destiny is beyond the individual's control. In addition to this the government of 12th century England was very unstable and in a state of civil war, which also contributed to the feelings of the day. In characterizing Tristan as a benevolent, but helpless character, Beroul effectively expressed a feeling common in his society.
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