Upon analyzing these two quotes on can see their connection. The first quote can mean a glorification of self or to raise yourself higher than you were before. In some cases this can simply be bettering oneself yet here in, in this context, it is self-indulgent egotism and a quest only rooted in greed and avarice. Yet at the same time it can be one searching for the good in them, or searching for that answer or question to make it all seem right. Interpretation is a tricky thing.
The second quote deals with the question of whether one is doing something out of pure selfishness or for the greater good. We have to ask ourselves this whenever our desires grasp at our minds. It is also an allusion to the manner the knight sought after the grail simply to raise their own reputation and glorify themselves. Overall it seems these quotes point out that we all have to ask ourselves the questions that determine what type of grail quest we are on and even what we can learn from it all.
The simple cup without unnecessary exaltation and pleasantries prevails. Self-glorification, duty, honors, and maybe even for the greater good. Out of all the cups the simple one and the one that made sense prevailed, just as the simple lesson should be what prevails in the end of a grail quest. I believe all these quests stem from the single idea of self-improvement and understanding your own being.
Perceval needed to learn the knighthood he idolized rooted itself in wickedness, Persse needed to understand the truth about love, and Indy needed to understand his own desires and his relationship with those around him, especially his father.
There are several conclusions one can make as to why the Grail is “unattainable” and lost. One could say the sheer power of the Grail is too much for our minds, while another can say it isn’t the object that matters but the emotions and lessons. I would agree with the latter of the two. The Grail acts as a catalyst for the self. Each character learned from their respective quest and each character came out of their troubles a new person. So in the end the Grail is the divine in all of us. If we find it is up to our own devices and our own wits. In truth it is very much about the means, or the journey. It is there that we learn our lesson or our great truth, in which in most cases we will utilize and amplify for the ends. To sip from the holy cup of Christ is, in truth, to sip into ones own damaged soul and to correct the frayed edges of said spirit.
To conclude I would just say I will truthfully miss this class. I have thoroughly enjoyed the stories and adored the opportunity to blog and have my opinions and thoughts read. Thank you for a wonderful experience.
Wednesday, December 9, 2009
Sunday, December 6, 2009
Small World Part Four
I’m sure we could all discuss the outcomes of each characters ends for pages but I’ll be brief. I enjoyed the ending of Arthur Kingfisher’s story. He regains his creative thinking and therefore sheds his impotency in the same way the Fisher King would have if Perceval asked those questions; Persse asked the question, the original thought Kingfisher yearned for to inspire his mind and restore his role as “king” of academia. I guess I don’t really have a question but rather would just like to have a discussion, a traditional blog post.
The whole ending, for most, as a reaction to Persse’s question was brilliant and excellent filled that gap left by Chrétien’s story; at least in my mind. The way the rejuvenated breeze blowing through New York City brought peace and ease to the mind of the “knights” we have read about and Arthur Kingfisher looked out over this new “kingdom” and simply states “Hey, how d’you like this? The air is like wine. Come over here and breath” to Song-Mi; these talented breezes sweep away the “knights” and it liberates them.
Another fascinating quality of Kingfisher’s end is the way Lodge introduces more of this theme of connected bloodlines. The way relatives seem to be spontaneously rejoined. We saw it in the maternal side of Perceval’s family and we see it here with Kingfisher and Mrs. Maiden being the biological parents of Lily and Angelica.
The whole ending, for most, as a reaction to Persse’s question was brilliant and excellent filled that gap left by Chrétien’s story; at least in my mind. The way the rejuvenated breeze blowing through New York City brought peace and ease to the mind of the “knights” we have read about and Arthur Kingfisher looked out over this new “kingdom” and simply states “Hey, how d’you like this? The air is like wine. Come over here and breath” to Song-Mi; these talented breezes sweep away the “knights” and it liberates them.
Another fascinating quality of Kingfisher’s end is the way Lodge introduces more of this theme of connected bloodlines. The way relatives seem to be spontaneously rejoined. We saw it in the maternal side of Perceval’s family and we see it here with Kingfisher and Mrs. Maiden being the biological parents of Lily and Angelica.
Wednesday, December 2, 2009
Small World Part Three (p 149-227)
Where can we find a parallel to Persse’s ventures to find Angela? How can we interpret these ventures?
The first parallel I concluded from my reading was to Perceval’s years in search of the grail and the bleeding lance in response to the old hag’s speech. We see Persse in search of something seemingly impossible; to find one person with little to no information. At this point in the text I find myself labeling every desire a character has as the Grail of the story. Almost as if the reader is meant to be searching for an invisible grail. Angelica. The UNESCO chair. Joy. A happy marriage. Whatever it is to whomever, it seems the grail can be translated into several entities of life. To me it seems evident that Angelica embodies Persse’s Grail.
She wanders through the streets of the world as elusively as she slinks through his mind. She carries the same mystery and elegance as the Grail as well as evasiveness. Perhaps Persse isn’t asking the right questions or pursuing the wrong actions. By the end he discovers she is a stripper and evidently a prostitute or some kind of showgirl. All the while he seemingly becomes less and less agitated, or more concealed in his unsettlement over the sin that engulfs his environment. We can see small yet still immature advancements in Persse’s character. All of which leads him to discovering her imaged as a prostitute and ultimately not what he envisions her.
This idea of the object we desire being unsettling upon arrival resonates in Medieval works such as Celestina and even Chrétien’s Grail Quest in which Perceval’s image of knighthood becomes contorted and almost sinful. Ultimately it seems Persse’s venture represent his desire for Angelica, but only in the light he wishes to see her; the innocent and almost helpless. Upon finding he cannot achieve this, instead of approaching her he decides to retire into isolation away form his most basic and primal desire. Yet before embarking on this new journey he states to the stewardess, “You gave me back my appetite for life” (p 208). A peculiar endnote reflecting the manner in which Philip Swallow spoke earlier with Morris Zapp. At this point, having not read ahead I feel like I am at the end of Perceval.
How are we to interpret these side-quests? Particularly Philip Swallows predicament.
These side-quests seem, to me, to represent each professor (or knights) search for their idea of the “holy grail” of the literary, or even their own, world. For example Zapp and the other professor yearning to fill the UNESCO seat represents their vision of this beyond real amazing ideal. It represents their desires and what culminates their achievements. It resembles the ultimate renown the knights yearn for by achieving this Grail quest, in the end it is ultimately masturbatory and a selfish act. Yet we see Philip Swallow diverge from this academic world of knighthood to a place of lust or perhaps love.
Swallow finds his life dull it seems, and at these points in the story he seems to simply settle for his life with Hilary; fueled only by the fire of memory and separate passion. He only begins to question it all upon his hollow visit to Turkey. This peak of his despair and mundane lifestyle burns and cinders to the ground by the fire of his’ discovery that Joy is alive. Then he sets forth on a venture of lust and one could conclude love with Joy. He discovers the child born from his loins and still his heart explodes with desire for a life with only Joy and their child. I find this entire scene although brilliantly written and just as interesting, odd in comparison to Phillip Swallows characterization in the beginning. This love affair is drenched in an aura of utter passion and lust for life. Yet the further I wrap my mind around this idea the more perfect it fits Swallow and his insatiable “appetite for life.” Although one can assume he would eventually grow just as bored with Joy as he did with Hilary, yet I find myself hoping against that conclusion. It is a strange and interesting situation.
At the end he chooses to not tell Hilary, although he clearly had intentions of expelling the situation to her and ultimately divorcing her. Perhaps time will tell the conclusion of their marriage or for the adventurous minded we can perhaps think that he is sparing her emotions form some deep-seated love he still feels for her. Of course, at this point and perhaps further, it is all speculation and interpretation, which is something different to each of us.
The first parallel I concluded from my reading was to Perceval’s years in search of the grail and the bleeding lance in response to the old hag’s speech. We see Persse in search of something seemingly impossible; to find one person with little to no information. At this point in the text I find myself labeling every desire a character has as the Grail of the story. Almost as if the reader is meant to be searching for an invisible grail. Angelica. The UNESCO chair. Joy. A happy marriage. Whatever it is to whomever, it seems the grail can be translated into several entities of life. To me it seems evident that Angelica embodies Persse’s Grail.
She wanders through the streets of the world as elusively as she slinks through his mind. She carries the same mystery and elegance as the Grail as well as evasiveness. Perhaps Persse isn’t asking the right questions or pursuing the wrong actions. By the end he discovers she is a stripper and evidently a prostitute or some kind of showgirl. All the while he seemingly becomes less and less agitated, or more concealed in his unsettlement over the sin that engulfs his environment. We can see small yet still immature advancements in Persse’s character. All of which leads him to discovering her imaged as a prostitute and ultimately not what he envisions her.
This idea of the object we desire being unsettling upon arrival resonates in Medieval works such as Celestina and even Chrétien’s Grail Quest in which Perceval’s image of knighthood becomes contorted and almost sinful. Ultimately it seems Persse’s venture represent his desire for Angelica, but only in the light he wishes to see her; the innocent and almost helpless. Upon finding he cannot achieve this, instead of approaching her he decides to retire into isolation away form his most basic and primal desire. Yet before embarking on this new journey he states to the stewardess, “You gave me back my appetite for life” (p 208). A peculiar endnote reflecting the manner in which Philip Swallow spoke earlier with Morris Zapp. At this point, having not read ahead I feel like I am at the end of Perceval.
How are we to interpret these side-quests? Particularly Philip Swallows predicament.
These side-quests seem, to me, to represent each professor (or knights) search for their idea of the “holy grail” of the literary, or even their own, world. For example Zapp and the other professor yearning to fill the UNESCO seat represents their vision of this beyond real amazing ideal. It represents their desires and what culminates their achievements. It resembles the ultimate renown the knights yearn for by achieving this Grail quest, in the end it is ultimately masturbatory and a selfish act. Yet we see Philip Swallow diverge from this academic world of knighthood to a place of lust or perhaps love.
Swallow finds his life dull it seems, and at these points in the story he seems to simply settle for his life with Hilary; fueled only by the fire of memory and separate passion. He only begins to question it all upon his hollow visit to Turkey. This peak of his despair and mundane lifestyle burns and cinders to the ground by the fire of his’ discovery that Joy is alive. Then he sets forth on a venture of lust and one could conclude love with Joy. He discovers the child born from his loins and still his heart explodes with desire for a life with only Joy and their child. I find this entire scene although brilliantly written and just as interesting, odd in comparison to Phillip Swallows characterization in the beginning. This love affair is drenched in an aura of utter passion and lust for life. Yet the further I wrap my mind around this idea the more perfect it fits Swallow and his insatiable “appetite for life.” Although one can assume he would eventually grow just as bored with Joy as he did with Hilary, yet I find myself hoping against that conclusion. It is a strange and interesting situation.
At the end he chooses to not tell Hilary, although he clearly had intentions of expelling the situation to her and ultimately divorcing her. Perhaps time will tell the conclusion of their marriage or for the adventurous minded we can perhaps think that he is sparing her emotions form some deep-seated love he still feels for her. Of course, at this point and perhaps further, it is all speculation and interpretation, which is something different to each of us.
Monday, November 30, 2009
Small World Part Two p. 80-113
1. Why does Lodge introduce so many characters and what might they represent?
He introduces all these characters to illustrate a point. It solidifies the comparison between the knights of Chrétien’s stories and the professors of Lodge’s story. Each person he mentions evidently quests for something. The majority are looking for a name for themselves and a higher position in the academic world of literature. This is much like the quests and feats the knights embark upon to attain renown and praise. Each character illustrates a knight on their own adventure for their own glorification. Through these acts it embodies the corruptness tagged to the knights of Chrétien. To further this acclamation we see Lodge point out the flaws and weaknesses of each character; may it be sexual frustration, desire, or even aging impotence. Each character presents their quest and each character embodies the idea of a knight in Chrétien’s tale.
2. Compare Arthur Kingfisher to Chrétien’s Fisher King.
At first glance we see a man seemingly far from the noble picture of the Fisher King. As lodge divulges we see a man teeming with great success in the literary world of academics. Someone much like the Fisher King had great success and control over his life in his heyday. As lodge divulges we learn of Arthur’s impotence and inability to form a new original idea. Of course he believes them both to be connected. We see a man crippled by stress and age; a man whose mind is barren much like the country or kingdom the Fisher King ruled over.
He introduces all these characters to illustrate a point. It solidifies the comparison between the knights of Chrétien’s stories and the professors of Lodge’s story. Each person he mentions evidently quests for something. The majority are looking for a name for themselves and a higher position in the academic world of literature. This is much like the quests and feats the knights embark upon to attain renown and praise. Each character illustrates a knight on their own adventure for their own glorification. Through these acts it embodies the corruptness tagged to the knights of Chrétien. To further this acclamation we see Lodge point out the flaws and weaknesses of each character; may it be sexual frustration, desire, or even aging impotence. Each character presents their quest and each character embodies the idea of a knight in Chrétien’s tale.
2. Compare Arthur Kingfisher to Chrétien’s Fisher King.
At first glance we see a man seemingly far from the noble picture of the Fisher King. As lodge divulges we see a man teeming with great success in the literary world of academics. Someone much like the Fisher King had great success and control over his life in his heyday. As lodge divulges we learn of Arthur’s impotence and inability to form a new original idea. Of course he believes them both to be connected. We see a man crippled by stress and age; a man whose mind is barren much like the country or kingdom the Fisher King ruled over.
Wednesday, November 18, 2009
"Small World" David Lodge p. 1-79
Morris Zapp champions my favoritism in the text thus far, although Persse's in the cloud romanticism and Philip’s “appetite for life” combat as well. A sprightly and experienced American filled to the rim with charisma and layered thoughts. I simply adore his rhetoric and, not jaded, but hardened view on life. The manner in which he addresses his paper’s theory paints an image of an eager professor attempting to spirit away the minds of his students, and searching for the one who will understand and hit every target. It’s just the image I find, and for some odd reason I see Philip Seymour Hoffman as his appearance; cigar in tooth and a retort for every argument. I see a classic knight who has seen it all and warrants respect from his peers; a Gawain-esque character with a twinge of the American hero and, of course, a taste for woman.
I also find myself agreeing with his lecture. The search for understanding and this desire for a certain truth or outcome we find in reading; it is quite “masturbatory.” It translates so smoothly into sexual desire as well as any facet of desire or pleasure. We yearn for the ends and expect it to fully justify the means when in truth the excitement and joy flourish from these “means.” A new desired idea swiftly replaces the accomplished goal or desired outcome by the end. One naturally parallels this concept with the adventures for the grail. The knights ride here, there and everywhere to attain this knowledge, this holy transcendence that to them can only be achieved through the grail. Their desire compels them to risk everything and nothing for this renaissance bound to the concept of a holy grail just as we read each line fed to us by teasing authors to the ends of our very minds or at least the book.
I feel compelled to speak of Philip Swallows and his “appetite for life.” At first I shared little to no love for his character; a loud-mouthed opponent to our, or at least my, heroes of choice; Persse and Morris. Yet I find myself not necessarily admiring, but intrigued by his character as he develops. This scene, this morally absent yet earthy and slightly bestial scene in which he meets and subsequently sleeps with Joy. I found it beautifully written and these illustrated words perhaps are the reason his character has stolen bits of admiration. This anecdotal scene simply captivated me, although anyone could tell where the story led; I found myself as enthralled as Morris. Despite the fact that laying before me on the pages, sat the same skirt-chasing man; his thoughts brewed in a more fascinating and elemental light, yet void of morals and still unsettling. Philip represents the fallen knights we see in the Grail quests, for he embodies something more corrupt.
He enforces these ideas we commonly call immoral, for he stretches away from the academic pursuits and common proper life of an Englishman to sate his “appetite for life.” Yet I find it interesting because it trails into Morris’ argument that we should partake and enjoy the simply teasing of our desires. Although I’m sure Morris’ kept in mind the boundaries of human ethics where Philip’s lines turn to grey or even, as we see, a darker place.
Thus far I can say that Small World captivates my attention and provokes my thoughts, but what the point of it all as Philip boldly states in his retort with Morris. I’ll simply quote Morris, or Lodge truthfully, “The text unveils itself before us, but never allows itself to be possessed; and instead of striving to possess it we should take pleasure in its teasing.”
I also find myself agreeing with his lecture. The search for understanding and this desire for a certain truth or outcome we find in reading; it is quite “masturbatory.” It translates so smoothly into sexual desire as well as any facet of desire or pleasure. We yearn for the ends and expect it to fully justify the means when in truth the excitement and joy flourish from these “means.” A new desired idea swiftly replaces the accomplished goal or desired outcome by the end. One naturally parallels this concept with the adventures for the grail. The knights ride here, there and everywhere to attain this knowledge, this holy transcendence that to them can only be achieved through the grail. Their desire compels them to risk everything and nothing for this renaissance bound to the concept of a holy grail just as we read each line fed to us by teasing authors to the ends of our very minds or at least the book.
I feel compelled to speak of Philip Swallows and his “appetite for life.” At first I shared little to no love for his character; a loud-mouthed opponent to our, or at least my, heroes of choice; Persse and Morris. Yet I find myself not necessarily admiring, but intrigued by his character as he develops. This scene, this morally absent yet earthy and slightly bestial scene in which he meets and subsequently sleeps with Joy. I found it beautifully written and these illustrated words perhaps are the reason his character has stolen bits of admiration. This anecdotal scene simply captivated me, although anyone could tell where the story led; I found myself as enthralled as Morris. Despite the fact that laying before me on the pages, sat the same skirt-chasing man; his thoughts brewed in a more fascinating and elemental light, yet void of morals and still unsettling. Philip represents the fallen knights we see in the Grail quests, for he embodies something more corrupt.
He enforces these ideas we commonly call immoral, for he stretches away from the academic pursuits and common proper life of an Englishman to sate his “appetite for life.” Yet I find it interesting because it trails into Morris’ argument that we should partake and enjoy the simply teasing of our desires. Although I’m sure Morris’ kept in mind the boundaries of human ethics where Philip’s lines turn to grey or even, as we see, a darker place.
Thus far I can say that Small World captivates my attention and provokes my thoughts, but what the point of it all as Philip boldly states in his retort with Morris. I’ll simply quote Morris, or Lodge truthfully, “The text unveils itself before us, but never allows itself to be possessed; and instead of striving to possess it we should take pleasure in its teasing.”
Friday, November 13, 2009
Chrétien de Troyes "The Story of the Grail (Perceval) P. 419-460
Blancheflor’s name means “White Flower.” As most people conclude, this represents a delicate purity. The imagery of a white flower definitely paints her in a light of purity. Chrétien’s description of her dazzling beauty contributes to this theory. He states clearly her construction and birth by design mean to inspire awe in the hearts of men. He further illustrates her utilizing images of scintillating light and comparing her features to precious items of our world such as gold and ivory. Chrétien sweetens her with his words to further emphasize her delicacy and wholesome nature. Despite her grandeur description and inspiring appearance she exists in a scarred and tattered world. Her environment provides a heavy and clear contrast to her purity just as Perceval’s red armor and violent origin contrasts her innocence.
Although she represents purity she is succumbed and enveloped in violence and the results of violence. Perceval represents rashness and the violence that pushed through directly into her world. However he brings salvation to her through this prevalent violent nature and stains her immaculate snow with drops of ruby blood. Although we do see her manipulating Perceval on the night their temptation borders impurity. She weeps for him to refrain from battle when in truth she wants him to engage the enemy. Her intentions may have stemmed from a pure place but they evidently were stained with droplets of blood already.
Beyond any accusations of wickedness or manners in which her honor or purity have been stained, I see her representing a peace of mind or wholesome state Perceval seeks although does not know it yet. She, to him, represents virtue in a world succumbing him in violence; although he may not see it now she is a redeeming factor for him as he strives forward into a deeper world of violence and tainted knighthood. She represents this just as Gornemont expressed the proper or true knight. I find her character to be extremely interesting as well as my favorite scene so far; the droplets of blood in the snow.
The three crimson droplets of blood staining the still white snow represent Blancheflor and Perceval’s intermingling. The snow clearly represents her and the blood him seeping into her life and perhaps her fate. The pristine and noble nature of the color white and the immaculate first snow clearly read as an image of Blancheflor. The foreign blood framed beautifully in the pale white of the snow reads boldly as Perceval in her life.
The manner the blood intrudes upon the still snow illustrates part of Perceval; it represents the trials, or rather the actions he underwent to claim his knighthood. The hawk strikes down the goose in a violent scene and leaves the wounded goose. The violence is senseless in this scene expressing the way Perceval simply did what he wanted or what benefited him early in the text without regards for the consequences stemming from his violent apprehensions.
This image of blood staining something so pure could easily yield several interpretations. I feel as though it foreshadows a dooming fate for the two who are now intertwined. The illustrated means the blood melts away into and with the cold snow gives way to several thoughts; a lovers death, a happy ending together drifting into each other’s old age or even an unhappy fate involving blame and ill-pointed fingers. I could also infer the blood represents Perceval’s knighthood tarnishing Blancheflor in some way.
We can see a connection clearly from the blood drops to the bleeding lance in the story. I see the bleeding lance so far as representing the violence and ill-fate seeping from the knighthood lifestyle in the times, which strengthens Chrétien’s attitude toward the whole idea of knighthood in the text. The connection between the two could be the violent origin or a foreshadowing of some ill-fate for those involved. Perhaps here we see Chrétien indicating the desecration of purity at the hands of the violence and overall brutality surrounding its precious and delicate state.
I’d like to further praise Chrétien’s excellent writing skill here in the scene with the three blood droplets. Throughout our studies I have always found his works to be my favorites, but this scene I found to be perfectly crafted. The manner Perceval defends his contemplative lingering, the description of the piercing red rubies intruding the whiteness of the still snow; the scene is simply remarkable and one of my most memorable favorites.
Although she represents purity she is succumbed and enveloped in violence and the results of violence. Perceval represents rashness and the violence that pushed through directly into her world. However he brings salvation to her through this prevalent violent nature and stains her immaculate snow with drops of ruby blood. Although we do see her manipulating Perceval on the night their temptation borders impurity. She weeps for him to refrain from battle when in truth she wants him to engage the enemy. Her intentions may have stemmed from a pure place but they evidently were stained with droplets of blood already.
Beyond any accusations of wickedness or manners in which her honor or purity have been stained, I see her representing a peace of mind or wholesome state Perceval seeks although does not know it yet. She, to him, represents virtue in a world succumbing him in violence; although he may not see it now she is a redeeming factor for him as he strives forward into a deeper world of violence and tainted knighthood. She represents this just as Gornemont expressed the proper or true knight. I find her character to be extremely interesting as well as my favorite scene so far; the droplets of blood in the snow.
The three crimson droplets of blood staining the still white snow represent Blancheflor and Perceval’s intermingling. The snow clearly represents her and the blood him seeping into her life and perhaps her fate. The pristine and noble nature of the color white and the immaculate first snow clearly read as an image of Blancheflor. The foreign blood framed beautifully in the pale white of the snow reads boldly as Perceval in her life.
The manner the blood intrudes upon the still snow illustrates part of Perceval; it represents the trials, or rather the actions he underwent to claim his knighthood. The hawk strikes down the goose in a violent scene and leaves the wounded goose. The violence is senseless in this scene expressing the way Perceval simply did what he wanted or what benefited him early in the text without regards for the consequences stemming from his violent apprehensions.
This image of blood staining something so pure could easily yield several interpretations. I feel as though it foreshadows a dooming fate for the two who are now intertwined. The illustrated means the blood melts away into and with the cold snow gives way to several thoughts; a lovers death, a happy ending together drifting into each other’s old age or even an unhappy fate involving blame and ill-pointed fingers. I could also infer the blood represents Perceval’s knighthood tarnishing Blancheflor in some way.
We can see a connection clearly from the blood drops to the bleeding lance in the story. I see the bleeding lance so far as representing the violence and ill-fate seeping from the knighthood lifestyle in the times, which strengthens Chrétien’s attitude toward the whole idea of knighthood in the text. The connection between the two could be the violent origin or a foreshadowing of some ill-fate for those involved. Perhaps here we see Chrétien indicating the desecration of purity at the hands of the violence and overall brutality surrounding its precious and delicate state.
I’d like to further praise Chrétien’s excellent writing skill here in the scene with the three blood droplets. Throughout our studies I have always found his works to be my favorites, but this scene I found to be perfectly crafted. The manner Perceval defends his contemplative lingering, the description of the piercing red rubies intruding the whiteness of the still snow; the scene is simply remarkable and one of my most memorable favorites.
Wednesday, November 11, 2009
The Story of the Grail (Perceval) P. 381-419
Chrétien already established Perceval as a character in need of growth and development. We see a child-like character amazed by a world foreign to him. These heralds of a far away place strike awe in him and cause him to seek a place amongst them. Therefore Perceval sets off to find King Arthur and coldly ignoring the grief-stricken heart of his mother.
Perceval encounters several peoples and events as any “knight” would on his travels. He decides to ignore any manners or custom and demands everything he wants. His lack of training in any sense other than religion cause him to be brash and an unkindly sort of person, and a personality not befitting a knight. First he forces a maiden to kiss him and steals her ring believing it to be the “proper” ways of a knight. At this point he basically twists his mother’s words to do what he wants or what he believes is right. His mannerism and actions exhibit a bestial and impotent mind. For example the manner he marched in Arthur’s court and demanded knighthood and undeserved respect.
Despite his rough start and evident amateurism we see Perceval begin to learn and grow upon his meeting Gornemant of Gohort. We see Perceval receive a fatherly and quick training in proper knight etiquette and battle. Several of the lessons from Gornemant parallel the messages of Perceval’s mother. It seems he needs this repetition for anything to stick in his mind at this point, or he needed to hear it from a knight.
He needed this advice to come from the world he yearns to be a part of and what better voice than that of a knight, and a hardened knight as well. Nothing matters in his mind other than being the best knight he can at this point. Gornemant represents everything he wants in life now and he will give anything to achieve this position. At this point and further on we see quite a bit of development in Perceval’s personality and overall etiquette. Although I have picked preferred text before, I have found this story to be my favorite.
Perceval encounters several peoples and events as any “knight” would on his travels. He decides to ignore any manners or custom and demands everything he wants. His lack of training in any sense other than religion cause him to be brash and an unkindly sort of person, and a personality not befitting a knight. First he forces a maiden to kiss him and steals her ring believing it to be the “proper” ways of a knight. At this point he basically twists his mother’s words to do what he wants or what he believes is right. His mannerism and actions exhibit a bestial and impotent mind. For example the manner he marched in Arthur’s court and demanded knighthood and undeserved respect.
Despite his rough start and evident amateurism we see Perceval begin to learn and grow upon his meeting Gornemant of Gohort. We see Perceval receive a fatherly and quick training in proper knight etiquette and battle. Several of the lessons from Gornemant parallel the messages of Perceval’s mother. It seems he needs this repetition for anything to stick in his mind at this point, or he needed to hear it from a knight.
He needed this advice to come from the world he yearns to be a part of and what better voice than that of a knight, and a hardened knight as well. Nothing matters in his mind other than being the best knight he can at this point. Gornemant represents everything he wants in life now and he will give anything to achieve this position. At this point and further on we see quite a bit of development in Perceval’s personality and overall etiquette. Although I have picked preferred text before, I have found this story to be my favorite.
Monday, November 9, 2009
That Obscure Object of Desire
The film exists in a world engulfed in utter chaos. What emotion do we see existing in such a pandemonium, in both lust and anguish, in such a bipolar display? Nothing brings more sadism and masochism than the cruel chase and anarchic desire. Such a place of chaos brings along a sense of obscurity, for one cannot discern the outcome or even the general here and now of desire at times. Although desire itself is obscure, in the story the object of this longing is Conchita. She represents such a key and central source of chaos and emotional destruction. Why not drench her existence in obscurity?
In several scenes she expresses undying love for Mateo, yet in other’s she rebukes him for seeking the fruits of that love. She vanishes and reappears throughout the movie and expresses such a mercurial mood that it is amazing that Buñuel even understands her psyche, if he even does at all.
This disorder and entropy paint characters perfect for the world of this movie, the constant stream of terrorism and conflict fit Conchita’s intentions and actions. What is she committing if not emotional terrorism? She manipulates Mateo’s mind into a cluster of stress and volatile emotion to extract what she needs from him and creates a constant cycle of self-deficient emotional terrorism.
Buñuel utilizes two actresses to portray the role of Conchita. I believe he does so to illustrate the muddled and at time bipolar mind of Conchita. An overtone of chaos always seems to follow her emotions. Deeper so we can also see this representing more sexual and warm side of Conchita and the perhaps colder yet more in control Conchita. The Spanish woman represents the wilder and sexual part of Conchita in which m\Mateo lives to possess. The French woman represents the reserved yet gentler Conchita, obscured more so by he quiet seduction; the first Conchita that sparked his attraction.
We can clearly find evident influence from Celestina in the scenes of the movie. For example the general idea of a man who lusts for a woman’s sexuality and the “decency” they have to label it love. The world generated by constant chaos parallels the underground world supporting Celestina’s environment.
The final moments of the film, the concluding scene express beautifully the overall doomed relationship of the “lovers.” The radio spewing news of the “far-left” and “far-right,” most likely expressing the two volatile sides of Conchita, while the couple watch diligently the seamstress mend a bloodied and torn cloth. The rending and bloodied aspect of this item can represent the undeniable outcome of the hapless relationship while the seamstress constantly attempts to keep the breaking seams together. Naturally the scene erupts into Conchita rebuking Mateo’s attitude, and the chaos and disorder of this world finds a fitting end in nothing else but a terrorist driven explosion; ringing loudly the dooming fate of desire and the relationship of Mateo and Conchita to nothing but destruction and suffering.
In several scenes she expresses undying love for Mateo, yet in other’s she rebukes him for seeking the fruits of that love. She vanishes and reappears throughout the movie and expresses such a mercurial mood that it is amazing that Buñuel even understands her psyche, if he even does at all.
This disorder and entropy paint characters perfect for the world of this movie, the constant stream of terrorism and conflict fit Conchita’s intentions and actions. What is she committing if not emotional terrorism? She manipulates Mateo’s mind into a cluster of stress and volatile emotion to extract what she needs from him and creates a constant cycle of self-deficient emotional terrorism.
Buñuel utilizes two actresses to portray the role of Conchita. I believe he does so to illustrate the muddled and at time bipolar mind of Conchita. An overtone of chaos always seems to follow her emotions. Deeper so we can also see this representing more sexual and warm side of Conchita and the perhaps colder yet more in control Conchita. The Spanish woman represents the wilder and sexual part of Conchita in which m\Mateo lives to possess. The French woman represents the reserved yet gentler Conchita, obscured more so by he quiet seduction; the first Conchita that sparked his attraction.
We can clearly find evident influence from Celestina in the scenes of the movie. For example the general idea of a man who lusts for a woman’s sexuality and the “decency” they have to label it love. The world generated by constant chaos parallels the underground world supporting Celestina’s environment.
The final moments of the film, the concluding scene express beautifully the overall doomed relationship of the “lovers.” The radio spewing news of the “far-left” and “far-right,” most likely expressing the two volatile sides of Conchita, while the couple watch diligently the seamstress mend a bloodied and torn cloth. The rending and bloodied aspect of this item can represent the undeniable outcome of the hapless relationship while the seamstress constantly attempts to keep the breaking seams together. Naturally the scene erupts into Conchita rebuking Mateo’s attitude, and the chaos and disorder of this world finds a fitting end in nothing else but a terrorist driven explosion; ringing loudly the dooming fate of desire and the relationship of Mateo and Conchita to nothing but destruction and suffering.
Wednesday, November 4, 2009
Celestina End
Pleberio’s soliloquy reveals the fact that he possesses no particularly evident love for his own daughter. The “mourning” taking places truly only expresses his sorrow over how the suicide of his only daughter will affect him. He reveals no grief over the fact that his daughter leapt to her death but rather the fact that he will suffer shame for the terrible tragedy. Throughout the story not a single character truly expresses grief for the death of another character, but rather concern for their own existence and at times even blame placed on the deceased. There is no legitimate anguish over the ending of life in the text but simply a selfish weeping based only in a self-centered perspective.
Throughout the story many characters exhibit qualities of a victim. It is hard to discern whether certain characters can be called “victims.” The demise of nearly every character resulted either from a bad choice or systems devised by their own actions. These shades of grey blind our judgment. Certainly some characters hold a significant amount of blame and deserved the punishment for their actions. Some characters such as Melibea are harder to consider scoundrels and it is easier to express a concern over her fate. Other character such as Celestina we can simply say she had it coming for sure. Discerning the position of victim always yields deeper and deeper shades of grey.
Throughout the story many characters exhibit qualities of a victim. It is hard to discern whether certain characters can be called “victims.” The demise of nearly every character resulted either from a bad choice or systems devised by their own actions. These shades of grey blind our judgment. Certainly some characters hold a significant amount of blame and deserved the punishment for their actions. Some characters such as Melibea are harder to consider scoundrels and it is easier to express a concern over her fate. Other character such as Celestina we can simply say she had it coming for sure. Discerning the position of victim always yields deeper and deeper shades of grey.
Monday, November 2, 2009
The Celestina Act XII-XVII
“They became furious because they were not only in great need – and necessity knows no friends – but angry and tired as well, which added fuel to their quarrel. What’s more they saw all their hopes destroyed by her breaking her word.” (p 207)
I chose this quote because as I searched the pages it caught my eye and got me thinking. The lives of such a vast number of people flourish or crumble by the simple words of this old woman. The lack of religion and morality seem to be replaced with an underground buried worship of Celestina herself. Upon her death the characters, and most likely the people of the town, feel the floor beneath them torn and pulled out. For many, this will ruin them, yet as we see others stand back up and realize they don’t need the old crone. They may even finally understand the volatile world they supported for so long; the utter chaos they enforced. The words of Celestina weathered the hearts and minds of her followers until finally the fork of her tongue stabbed the very heart she separated from her action for so long, her own.
Calisto’s speech embodies several essential aspects of desire and what stirs our spirits to endure the wild chase. Upon satisfying his “greatest” desires he feels that sinking emotion because suddenly he doesn’t know where to go. The road forward hides behind the veil. As his fire wanes, he loses the excitement of the chase. The wild road to love, although harsh and full of danger, prevails more exciting and than the complacent and inert existence of settled love.
This overall expresses the idea of how our desires create an image of a destination far grander than the reality. We come to believe once we achieve these goals our every desire becomes fulfilled and we will be able to live in a manner, truthfully, humans are not meant to live. It is impossible to live without some form of desire. It’s as foreign as a world without the sweet touch of the endearing sun or the iron brand of hatred and avarice; it is both spiritual and biological.
I chose this quote because as I searched the pages it caught my eye and got me thinking. The lives of such a vast number of people flourish or crumble by the simple words of this old woman. The lack of religion and morality seem to be replaced with an underground buried worship of Celestina herself. Upon her death the characters, and most likely the people of the town, feel the floor beneath them torn and pulled out. For many, this will ruin them, yet as we see others stand back up and realize they don’t need the old crone. They may even finally understand the volatile world they supported for so long; the utter chaos they enforced. The words of Celestina weathered the hearts and minds of her followers until finally the fork of her tongue stabbed the very heart she separated from her action for so long, her own.
Calisto’s speech embodies several essential aspects of desire and what stirs our spirits to endure the wild chase. Upon satisfying his “greatest” desires he feels that sinking emotion because suddenly he doesn’t know where to go. The road forward hides behind the veil. As his fire wanes, he loses the excitement of the chase. The wild road to love, although harsh and full of danger, prevails more exciting and than the complacent and inert existence of settled love.
This overall expresses the idea of how our desires create an image of a destination far grander than the reality. We come to believe once we achieve these goals our every desire becomes fulfilled and we will be able to live in a manner, truthfully, humans are not meant to live. It is impossible to live without some form of desire. It’s as foreign as a world without the sweet touch of the endearing sun or the iron brand of hatred and avarice; it is both spiritual and biological.
Wednesday, October 28, 2009
The Celestina Act III-V
I found the scene in which Celestina prepares this potion for the thread to not represent her lack of confidence but rather express how she relishes in the joy and theatrics of her profession. She immerses herself in the euphoria of the tricks and the mystical auras, which she herself implores into her work with a devilish grin of pleasure.
It contributes to the overall occult image she strives to uphold and preserve amongst the town’s people. Along with bringing joy and shrouding her work in the occult it uplifts her spirits and opens the stage for her apparent over-confidence at this point. Celestina utilizes her mystical presence to propel her work and drench it in a curious tone.
Despite my opinions on the importance of this potion we do eventually see Celestina’s spirits decline into an apparent uncertainty. This insecurity surprised me, for all the old whore’s theatrics and bragging she was finally human again. It shows in her inner thoughts, and our first look inward into Celestina.
Finally this tricky crone takes landing and her inflated head touches ground, as she realizes the dire consequences of her possible failure. I find it simply surprising; I never thought she would ever doubt her abilities. To me, this display simply finally brings the mystical Celestina to the level of human; before she screamed the role of a superhuman figure, yet now she expresses an array of human-oriented weakness.
It contributes to the overall occult image she strives to uphold and preserve amongst the town’s people. Along with bringing joy and shrouding her work in the occult it uplifts her spirits and opens the stage for her apparent over-confidence at this point. Celestina utilizes her mystical presence to propel her work and drench it in a curious tone.
Despite my opinions on the importance of this potion we do eventually see Celestina’s spirits decline into an apparent uncertainty. This insecurity surprised me, for all the old whore’s theatrics and bragging she was finally human again. It shows in her inner thoughts, and our first look inward into Celestina.
Finally this tricky crone takes landing and her inflated head touches ground, as she realizes the dire consequences of her possible failure. I find it simply surprising; I never thought she would ever doubt her abilities. To me, this display simply finally brings the mystical Celestina to the level of human; before she screamed the role of a superhuman figure, yet now she expresses an array of human-oriented weakness.
Monday, October 26, 2009
The Celestina Act I & II
The opening scene in Celestina, although brief, can enlighten us to several ideas. The scene takes place in a garden, which naturally implies the most famous garden, the Garden of Eden. Several aspects of this part of the story allude to the story of Adam and Eve. For example the treachery placed upon Melibea, as a woman, later on in the story. She is to blame for Calisto’s illness and bringing so much woe to this man’s life. Although we can extract several contrasts as well, for example in this scene we only see the man banished from the beautiful garden and the woman remains.
The speech of each character implies many facets of their depiction. Calisto, clearly awestruck by this majestic woman’s beauty, yearns for her love. Melibea finds his forwardness and rashness almost insulting, claiming his advances “has come to naught against my virtue!” (p. 2). Calisto speaks of her as if he deserves her; that she remains his just reward for his servitude to God. Melibea, insulted, rebukes his advances and clearly thinks contrary to Calisto’s thought.
Melibea reacts in this manner because it seems she does not respect this awkward forwardness. She also seems to believe that Calisto himself does not deserve her love. At this point in the progression for the story I believe these words hold some genuineness, yet as the tale unfolds I have a feeling that Melibea may either be playing games or reacted rather rashly herself. These tales often have ways of contorting the speech of their characters and lifting the foundation up from under the readers footing.
The speech of each character implies many facets of their depiction. Calisto, clearly awestruck by this majestic woman’s beauty, yearns for her love. Melibea finds his forwardness and rashness almost insulting, claiming his advances “has come to naught against my virtue!” (p. 2). Calisto speaks of her as if he deserves her; that she remains his just reward for his servitude to God. Melibea, insulted, rebukes his advances and clearly thinks contrary to Calisto’s thought.
Melibea reacts in this manner because it seems she does not respect this awkward forwardness. She also seems to believe that Calisto himself does not deserve her love. At this point in the progression for the story I believe these words hold some genuineness, yet as the tale unfolds I have a feeling that Melibea may either be playing games or reacted rather rashly herself. These tales often have ways of contorting the speech of their characters and lifting the foundation up from under the readers footing.
Friday, October 23, 2009
Decameron 9.2 9.3 9.5 9.6 10.10
9.2 – The Abbess in this story seems to represent the hypocrisy of the Church during these times. It addresses the manner in which the Church preaches abstinence, temperance and overall reserved behavior, yet we find several clergy members partaking in the pleasures of indulgence and exploitation of faith. The Abbess decision to permit the nuns to join in the sins of the flesh only because she was caught with her head in somebody else’s pants illustrates the general hypocrisy common amongst church official throughout those times.
It definitely makes sin out to be relative; it is only a sin when it’s somebody else committing the act. It’s not a sin once you have been discovered and when it is convenient. The new standpoint of the Abbess is quite simply: hide the things you love. The Abbess’ choices and overall reactions illustrates the apparent hypocrisy and unstable foundation amongst clergy and even more so in Church leadership.
9.3 – At first glance I consider the friends to be the guilty party. I say this simply because they clearly express no love for Calandrino and remain friendly with him to trick him for their own amusement. Yet at a certain point one must distinguish between a gullible jester and a blatant fool. The tricks perplexing Calandrino’s life hold no foundation in simple common sense and logic, yet day in and day out he falls for them and Fortune simply frowns upon this hapless soul. This theme of characters being so foolish that they deserve to be left to the fates of their own Fortune is becoming just as common of a theme as the depravity of the Church. The story also displays a negative portrayal of women in general.
It expresses how the role of a woman is a place nobody would want to reside. The storyteller also seems to illustrate the idea that a woman is the result of all evils. The “illness,” as it is treated, befallen upon innocent Calandrino according to the storyteller, originates in the intentions of his wife. His wife brewed the idea of exchanging positions in their intercourse, as Calandrino puts it for her own “lust.” Calandrino’s foolishness reaches a degree in which his choices are his own and his fate deserving, as even the doctor “guffaws” at his utter thoughtlessness.
It definitely makes sin out to be relative; it is only a sin when it’s somebody else committing the act. It’s not a sin once you have been discovered and when it is convenient. The new standpoint of the Abbess is quite simply: hide the things you love. The Abbess’ choices and overall reactions illustrates the apparent hypocrisy and unstable foundation amongst clergy and even more so in Church leadership.
9.3 – At first glance I consider the friends to be the guilty party. I say this simply because they clearly express no love for Calandrino and remain friendly with him to trick him for their own amusement. Yet at a certain point one must distinguish between a gullible jester and a blatant fool. The tricks perplexing Calandrino’s life hold no foundation in simple common sense and logic, yet day in and day out he falls for them and Fortune simply frowns upon this hapless soul. This theme of characters being so foolish that they deserve to be left to the fates of their own Fortune is becoming just as common of a theme as the depravity of the Church. The story also displays a negative portrayal of women in general.
It expresses how the role of a woman is a place nobody would want to reside. The storyteller also seems to illustrate the idea that a woman is the result of all evils. The “illness,” as it is treated, befallen upon innocent Calandrino according to the storyteller, originates in the intentions of his wife. His wife brewed the idea of exchanging positions in their intercourse, as Calandrino puts it for her own “lust.” Calandrino’s foolishness reaches a degree in which his choices are his own and his fate deserving, as even the doctor “guffaws” at his utter thoughtlessness.
Wednesday, October 21, 2009
The Decameron (Day Five / 7.3, 7.4, 8.3, 8.7, 8.8)
How do you feel about these tricksters succeeding in their trickery to the point of even getting rewarded with little to no consequence?
Throughout these stories a theme almost as common as the tricksters himself is the rewards or freedom he is granted. In day seventh: story three we see Brother Rinaldo trick his godson’s father into believing he was healing his son while he was really sleeping with the father’s wife. He succeeds and the end of the story shows no consequence. In day eight: story eight we see the tricksters in this case being almost every character expresses a form of trickery. In the end the ultimate or alpha trickster, Zeppa, is rewarded as the two husbands come to an accord to share there wives. It is almost as if Spinelloccio is saying “well, you got me there, we might as well keep doing it.”
This social depravity or more so social acceptance of trickery seems common in the stories and a frequent theme of the time. Success through trickery has become a desirable result within these stories. I find it is odd and displeasing simply from a moralistic standpoint, as anyone naturally would feel inclined to avoid trickery. When we strive to be good people we tell ourselves deception spoils our clean virtue and to avoid these low roads.
The stories seem to either mock that ideal or just simply make comedy or entertainment out of the situation. I find it strange on a moral-driven viewpoint yet from a worldly perspective it is not strange and rather a truth of life, that at times a trickster will receive his or her reward. Although dishonesty at time receives praise and honor, one must take a closer look at a lifestyle driven by deception; these trickster live on the edge and know in the back of their minds that it can catch up to them. This is why we naturally find it best to avoid these low roads; they become estranged and twisted; leading into uncharted places where no soul strives to exist.
Throughout these stories a theme almost as common as the tricksters himself is the rewards or freedom he is granted. In day seventh: story three we see Brother Rinaldo trick his godson’s father into believing he was healing his son while he was really sleeping with the father’s wife. He succeeds and the end of the story shows no consequence. In day eight: story eight we see the tricksters in this case being almost every character expresses a form of trickery. In the end the ultimate or alpha trickster, Zeppa, is rewarded as the two husbands come to an accord to share there wives. It is almost as if Spinelloccio is saying “well, you got me there, we might as well keep doing it.”
This social depravity or more so social acceptance of trickery seems common in the stories and a frequent theme of the time. Success through trickery has become a desirable result within these stories. I find it is odd and displeasing simply from a moralistic standpoint, as anyone naturally would feel inclined to avoid trickery. When we strive to be good people we tell ourselves deception spoils our clean virtue and to avoid these low roads.
The stories seem to either mock that ideal or just simply make comedy or entertainment out of the situation. I find it strange on a moral-driven viewpoint yet from a worldly perspective it is not strange and rather a truth of life, that at times a trickster will receive his or her reward. Although dishonesty at time receives praise and honor, one must take a closer look at a lifestyle driven by deception; these trickster live on the edge and know in the back of their minds that it can catch up to them. This is why we naturally find it best to avoid these low roads; they become estranged and twisted; leading into uncharted places where no soul strives to exist.
Monday, October 19, 2009
The Decameron (Day Four / 5.8, 5.9, 5.10, 6.7, 6.10)
5.8 - Where do Nostagio’s intentions originate, out of fear, love, or even simply trickery and deceit?
Nostagio chooses to reveal the fates of the woman and the knight to the one he adores. Clearly he held some amount of fear for his own salvation after seeing the fate of the lonesome knight; a fate Nostagio thought of prior to seeing such apparitions. He had a fear in his heart that one day, without his interference, he would suffer a similar fate. Therefore he took into his own hands to device this trick to seal his and his love’s fate in happiness. Through observation his intentions were shrouded in deceit yet originated in love. He had this intense love for her that would eventually drive them both to a painful and bitter end. In a manner he saved both their souls and through his deceit, fear, and love sowed a path to a righteous end for them both.
5.10 - Do you support the decisions of Pietro's wife? How do you feel about the ending?
Although morally we are inclined to support Pietro in this situation, the manner in which the story is told forces our sympathies upon his wife. She simply receives no gratitude or love from him thus she is forced to find these other lovers. I don’t necessarily support the decisions yet sympathize with her position. I found the ending to be odd though appropriate for the Decameron. The man and his wife shared the lover. It emphasized the overall depravity and care-free attitude of the people of the Decameron. Sin is commonplace and sex is the reward.
Nostagio chooses to reveal the fates of the woman and the knight to the one he adores. Clearly he held some amount of fear for his own salvation after seeing the fate of the lonesome knight; a fate Nostagio thought of prior to seeing such apparitions. He had a fear in his heart that one day, without his interference, he would suffer a similar fate. Therefore he took into his own hands to device this trick to seal his and his love’s fate in happiness. Through observation his intentions were shrouded in deceit yet originated in love. He had this intense love for her that would eventually drive them both to a painful and bitter end. In a manner he saved both their souls and through his deceit, fear, and love sowed a path to a righteous end for them both.
5.10 - Do you support the decisions of Pietro's wife? How do you feel about the ending?
Although morally we are inclined to support Pietro in this situation, the manner in which the story is told forces our sympathies upon his wife. She simply receives no gratitude or love from him thus she is forced to find these other lovers. I don’t necessarily support the decisions yet sympathize with her position. I found the ending to be odd though appropriate for the Decameron. The man and his wife shared the lover. It emphasized the overall depravity and care-free attitude of the people of the Decameron. Sin is commonplace and sex is the reward.
Friday, October 16, 2009
Decameron Part III
1. The maiden communicates through manipulating the friar’s concern and her own words. The friar brings word to the gentleman and he interprets them, as the lady hopes, the way she means them. This trickery depicts the friar as a gullible man. Although he falls for this deceit every time, there really is no way for him to suspect anything. The gentleman admits to stalking the woman every time accordingly to the woman’s story. In the end the lovers abuse and utilize the friar’s commitment to ensuring harmony for the sake of their love. The friar is simply a tool unaware that it is being used.
2. Ricciardo fools Catella into believing her husband planned to commit adultery. To watch his master plan unfold, he utilized her hot-headedness and apparent jealousy. Eventually he convinced her that her husband was meeting Ricciardo’s wife to commit said adultery. He had Catella go in place of his wife, while he went and hid in place of her husband. He tricked her into lying with him and blackmailed her to continue loving him. I personally feel the manner he convinces her to keep silent and love him eventually originates out of selfish and jealous emotions. It is clearly from wicked thoughts with only an influence of love. Perhaps the plan unfolds due to a wicked love or a love so madly ferocious and out of control it had no other option.
2. Ricciardo fools Catella into believing her husband planned to commit adultery. To watch his master plan unfold, he utilized her hot-headedness and apparent jealousy. Eventually he convinced her that her husband was meeting Ricciardo’s wife to commit said adultery. He had Catella go in place of his wife, while he went and hid in place of her husband. He tricked her into lying with him and blackmailed her to continue loving him. I personally feel the manner he convinces her to keep silent and love him eventually originates out of selfish and jealous emotions. It is clearly from wicked thoughts with only an influence of love. Perhaps the plan unfolds due to a wicked love or a love so madly ferocious and out of control it had no other option.
Wednesday, October 14, 2009
The Decameron Part II
In the text for day two: story six the author expresses humanity as something easily torn or broken. This essence of our life although resilient at times, can often be fragile. In the actual story we see several character’s humanity shattered or depraved by tragedy and ill fortune. The mother, Beritola, loses her entire family and becomes stranded on an island. Her humanity becomes so diminished and broken that soon her grips on her own self slip, and she becomes this ‘wild-woman’ feeding with the animals. We see a woman so devoid of human contact and a self of sense that she demotes her life to the wilderness and the will of fate even so far as to reject a lord’s offer to rescue her. The story conveys the effects of when our humanity is deprived and/or destroyed; we become empty shells of our former selves, lessened to primitive and primeval instinct.
During day two: story seven the story cultivates a stereotypical idea of woman and beauty. The seventh story introduced us to a woman trapped in golden bindings from none other than her God-given beauty and the inability to speak. The text describes how the beauty of Alatiel to be both a curse and a blessing. Although this grand attractiveness provides her with a means to survive after nearly dying at sea and further, she still lives a life imprisoned almost amongst these admiring men. These men lust for her on a daily basis it seems and she utilizes this for not only her own pleasures but to obtain what she desires.
The text portrays lust as something dangerously volatile and cause for destruction. This lust goes hand in hand with desire, which leads many men to their deaths in the text. The beauty of Alatiel plays the role of Death and misfortune in this story as it leads brother against brother and even nations against nation. These events might imply to a wider audience the evils generated from woman or more specifically the woe drawn from the sins of lust and desire.
During day two: story seven the story cultivates a stereotypical idea of woman and beauty. The seventh story introduced us to a woman trapped in golden bindings from none other than her God-given beauty and the inability to speak. The text describes how the beauty of Alatiel to be both a curse and a blessing. Although this grand attractiveness provides her with a means to survive after nearly dying at sea and further, she still lives a life imprisoned almost amongst these admiring men. These men lust for her on a daily basis it seems and she utilizes this for not only her own pleasures but to obtain what she desires.
The text portrays lust as something dangerously volatile and cause for destruction. This lust goes hand in hand with desire, which leads many men to their deaths in the text. The beauty of Alatiel plays the role of Death and misfortune in this story as it leads brother against brother and even nations against nation. These events might imply to a wider audience the evils generated from woman or more specifically the woe drawn from the sins of lust and desire.
Wednesday, October 7, 2009
The Decameron
First Day; Third Story: “each believes itself to be the true heir, to possess the true Law, and to follow the true commandments, but whoever is right, just as in the case of the rings, is still undecided.” P. 45
This quote draws my interest because it poses a very interesting question and with it a simple answer. We all struggle with the concept of which religion is right or if any are even right. This quote expresses the animosity between the three different religions despite their similar if not the same origin. Although, beyond this, it also expresses the fundamental thought that we all know nothing. I find the answer to the question, although simple, to be quite the thought-provoking idea. We simply cannot know who is right. Our knowledge as mortals or whatever you believe is too limited to foresee the culmination of everything we are. This idea truly provokes, intimidates and fascinates me endlessly.
First Day; Fourth Story: “No one will ever know, and a sin that is hidden, is half forgiven.” P. 48
This quote drew my interest because I found it oddly humorous that such a dirty rhyme scheme was present. After the undying love and purity of the first stories, it was unexpected to find such a quote. Although it easily portrays the corruption of the Church at the time and the secrecy veiled around it. I’d say it represents the hypocrisy of the Church in those days as well, proclaiming the world should abstain from indulgence as they delve into the finer sins. It expresses the general theme of dishonesty, hypocrisy and overall sleaze of the clergy and people of the time.
First Day; First Story: “It is clear that since earthly things are all transitory and mortal, they are in themselves full of worries, anguish, and toil, and are subject to countless dangers which we, who live with them are part of them, could neither endure nor defend ourselves from if strength and foresight were not granted to us through God’s special grace.” P. 25
This quote sparked my interest immediately upon reading it. I find it interesting because it states how without God humanity could not sustain the worry and woe driven upon us from life’s hardships. This seems like a constant and evident worry of the medieval man and the overall reliance on the Church in the medieval times, despite the debauchery behind the curtain. I find it interesting as well because it is one sided, in which it states that all things “earthly” are in turn “full of worries, anguish, and toil…” I find it odd because there is so much beauty in “earthly” things even if they are mortal. It casts the start of the story in an ominous tone, which seemingly well represents the wickedness of its characters. I found it appropriate for the story, yet peculiar for our overall existence beyond the stories. Truly beauty lies deep within each aspect of our earthly world; perhaps the people of the Medieval Ages should have been searching for God in these earthly aspects of life to inspire a more pleasing outlook.
Monday, October 5, 2009
Tristan and Isolde, Movie Blog
We often see film adaptations of certain classic tales spurring uproar and anger in the audience. A fixed pair of lens seems to be plastered on our eyes when we have read a story prior to seeing the movie version. I pried mine off for this film, although I still held a bit of bias. We have to remember that, like Chrétien with the Arthurian canon, these films use these stories as canvases almost, to paint their image of the adventure and the heroes. The writers and directors do so perhaps to make the content more appeasing to audiences or even just to make the adaptation their own, to imprint their mark.
Personally, without my fixed glasses I enjoyed the movie. Perhaps the film didn’t hold the same air of eloquence as the works of Chrétien, for we can clearly see cinematography bears different images at times than the flamboyant adjective. For example many people did not like the macabre attitude held by Tristan throughout the movie. I, on the other hand, found this seemingly shallow film character quite interesting. The look of disdain as he crept through the bazaar, stalking his beloved who clasps gently to only his uncles old hand; I found Tristan to be much more damaged by the love in the movie. He seems much more perplexed by the way this love stains his honor; he seems more knightly almost but at the same time weaker when he gives in to the deceit. Which can be attributed to the lack of magic, more specifically the love potion. I find myself at a crossroad on whether or not I like the story without the love potion. The book’s concoction delivers the love into a more complex light with side effects; while the film’s love, although evidently more simple, is far more elemental and pure.
Despite my interest in the characterization of Tristan, I find my sympathies lay with King Mark’s film portrayal. Throughout the story, he expresses the most noble and deepest love for his family, in which he includes Tristan. He depicts a king far more mature than the baffling idiot seen portrayed in the story. His rule and overall demeanor seems void of wickedness, as seen when he simply sets Tristan and Isolde free after they betray him. His conduct seems far more appropriate of a king than the easily tricked Mark of Chrétien. Yet at the same time, we see these two same characters in different situations. The Mark of the film needs to be more stable and virtuosity to lead such a shattered nation; he needs to set his priorities on the good of his people. Mark of Chrétien lives in a more lavish lifestyle with less urgency and more time to allow malicious whispers to curse his ears.
I enjoyed the film because it was represented in a more realistic light. The characters seemed much more affected by their situations, they seemed to have real desires rather than empty plot driving intentions and these desires hold much deeper implications on the situation. The general theme of turmoil between Britain and Ireland seems to create a place for these authentic intentions and depth. The world is less lavish, the stars less bright; this film’s world is scarred deeper and hardened while the book represents a place much more lavish yet duller and even at times comedic.
How we judge these films is personal, almost as if the manifestation the writer took was meant to insult us or please us. I took the film for what it was, an adaptation. I permitted myself to enjoy it, although it may have been unpleasant to someone who took the very same approach. Upon my first and most elemental and paramount emotions, I can simply say…I was entertained; for what else are these tales recounted.
Personally, without my fixed glasses I enjoyed the movie. Perhaps the film didn’t hold the same air of eloquence as the works of Chrétien, for we can clearly see cinematography bears different images at times than the flamboyant adjective. For example many people did not like the macabre attitude held by Tristan throughout the movie. I, on the other hand, found this seemingly shallow film character quite interesting. The look of disdain as he crept through the bazaar, stalking his beloved who clasps gently to only his uncles old hand; I found Tristan to be much more damaged by the love in the movie. He seems much more perplexed by the way this love stains his honor; he seems more knightly almost but at the same time weaker when he gives in to the deceit. Which can be attributed to the lack of magic, more specifically the love potion. I find myself at a crossroad on whether or not I like the story without the love potion. The book’s concoction delivers the love into a more complex light with side effects; while the film’s love, although evidently more simple, is far more elemental and pure.
Despite my interest in the characterization of Tristan, I find my sympathies lay with King Mark’s film portrayal. Throughout the story, he expresses the most noble and deepest love for his family, in which he includes Tristan. He depicts a king far more mature than the baffling idiot seen portrayed in the story. His rule and overall demeanor seems void of wickedness, as seen when he simply sets Tristan and Isolde free after they betray him. His conduct seems far more appropriate of a king than the easily tricked Mark of Chrétien. Yet at the same time, we see these two same characters in different situations. The Mark of the film needs to be more stable and virtuosity to lead such a shattered nation; he needs to set his priorities on the good of his people. Mark of Chrétien lives in a more lavish lifestyle with less urgency and more time to allow malicious whispers to curse his ears.
I enjoyed the film because it was represented in a more realistic light. The characters seemed much more affected by their situations, they seemed to have real desires rather than empty plot driving intentions and these desires hold much deeper implications on the situation. The general theme of turmoil between Britain and Ireland seems to create a place for these authentic intentions and depth. The world is less lavish, the stars less bright; this film’s world is scarred deeper and hardened while the book represents a place much more lavish yet duller and even at times comedic.
How we judge these films is personal, almost as if the manifestation the writer took was meant to insult us or please us. I took the film for what it was, an adaptation. I permitted myself to enjoy it, although it may have been unpleasant to someone who took the very same approach. Upon my first and most elemental and paramount emotions, I can simply say…I was entertained; for what else are these tales recounted.
Monday, September 28, 2009
The Knight with the Lion (Yvain) p. 353-380
Our names are the titles of our stories, the representative of our achievements and the exemplar of our choices. Yvain’s personal struggle drives him to shed his own name and thus purging himself of the reputation and perhaps even the detailed memory of his ill choices of the past. His ultimate ambition for this new name is not only to cleanse himself but also to represent his transformation – his rebirth; Yvain’s choice to seek a life driven by benevolence and justice rather than his previous selfish feelings of hubris and adventure. We see this choice made real and true when he decided to slay the dragon and rescue the lion. This metamorphosis directs him through extensive trials to bear him into a future void of any and all the old wickedness, which clung to his heart.
I found the concluding reconciliation of Yvain and Laudine interesting to say the least. They are brought together by another transaction of deceit; we see Lunete’s manipulation once more bringing the two together. Despite the evident trickery employed to get them together once more, I can’t help but feel some sort of genuineness emanating from the concluding state of the two, after Yvain declares the hardship in which he suffered since the moment of his madness.
I also find it interesting that Yvain seems to take back his old name, perhaps to bring himself back to the time when he and Laudine were in peace. I believe perhaps even it is a final transformation he undergoes. Almost a concluding tranquility, he has succeeded in balancing and bringing harmony to his formerly chaotic and rambunctious existence. Perhaps this can connect to why Chrétien can finally give his name to the work, for he delivered Yvain through his troubles and can now peacefully receive recognition for his achievement. The turbulent storms shift and a serene light can shine on the kingdom now ruled under him and his ladies soothing accord; I personally find the ending to be satisfying and quite peaceful.
I found the concluding reconciliation of Yvain and Laudine interesting to say the least. They are brought together by another transaction of deceit; we see Lunete’s manipulation once more bringing the two together. Despite the evident trickery employed to get them together once more, I can’t help but feel some sort of genuineness emanating from the concluding state of the two, after Yvain declares the hardship in which he suffered since the moment of his madness.
I also find it interesting that Yvain seems to take back his old name, perhaps to bring himself back to the time when he and Laudine were in peace. I believe perhaps even it is a final transformation he undergoes. Almost a concluding tranquility, he has succeeded in balancing and bringing harmony to his formerly chaotic and rambunctious existence. Perhaps this can connect to why Chrétien can finally give his name to the work, for he delivered Yvain through his troubles and can now peacefully receive recognition for his achievement. The turbulent storms shift and a serene light can shine on the kingdom now ruled under him and his ladies soothing accord; I personally find the ending to be satisfying and quite peaceful.
Friday, September 25, 2009
The Knight with the Lion (Yvain) p. 325-352
As I drift and wisp through the light pages of Chretien’s story, I have found this particular tale much more grasping and subduing. I find myself yearning to delve deeper into the minds of each characters, this painting he creates with their interlocking fates as his brush truly clings to your mind and locks you in.
Throughout the story, to me, it appears Yvain receives a plethora of influence from Gawain and often is seen as the second choice after him, to rescue Lunette, to slay the giant, etc. Gawain relays his speech to Yvain to drag him away from his wife and land to pursue knightly games and fame. Through his tongue, he successfully convinces Yvain into requesting a leave of absence from his lovely wife, Laudine.
Yvain now must seek approval from his wife, although it seems both grieve over separating they come to an agreement for the sake of his renown. The agreement brewed from these happenings seems strange and destined to fail from the start. I personally would not like to be in such a restricting and seemingly dangerous contract. I would almost see it as her trying to shadow and place an air of negativity and chance of failure upon the entire marriage; it would leave me downtrodden and convinced darker days were to come.
Further into the text, this accord causes a bit of destruction amongst the two hearts separated and the very mind of Yvain. He obviously does not return on the chosen date, and seemed to have little intentions of returning, possibly out of fear of his lover’s scorn. Laudine sends a message, ridiculing and disrespecting Yvain, which propels him into a bestial madness to the point where he hunts and devours the raw flesh of his game.
In my opinion, Laudine still possesses his heart and this open contempt she emits for his very existence has driven his heartless body into a both primitive and elemental lifestyle. He has lost his humanity; he has left it in the grasp of his lover. The knowledge that this precious instrument so dear to him, left in the protection of his lover, now is looked upon in hatred and woe destroys his sense; it releases every worry and painful thought over his decision to leave her. This overall procedure grinds his spirit into this new archaic creature only influenced by insanity. It’s a sad sight to see one so hindered and fettered by love, left to be a prisoner to madness. As each heartstring is pluck by each insult his vexed mind sinks deeper until it slips and cracks.
A cure eventually rids fair Yvain of the chains that shackled his broken mind. The cure comes from an ointment delivered by a ladies’ servant. The cure rids any sickness stressing his mind. This, I believe, fortifies his mind and his spirit. He no longer seems to seek only glory and honor for himself, he rather seems to be looking forward and seeking what truly matters to him – the heart of the one who clutches his own.
Wednesday, September 23, 2009
"The Knight and the Lion (Yvain) p. 295-324
The overall lack of a prologue in the story can indicate several details about Chrétien and Yvain. The story seems to develop around the perspective and emotional state of Yvain. Chretien seems to no longer be narrating necessarily in his own voice but rather from the mind of a character, whether in the background or Yvain himself. Beyond his grasp on the narration, his prologue instead of jesting or introducing the characters and their epic tragedy, he rather discusses love as a character itself. He even goes so far as referring to it as a proper noun, Love, later in the text.
He personifies love as a woman scorned and abused, separated from the chivalry and honor she once held. It could foreshadow the mistreatment of love in the text or the unorthodox and violent manner Yvain claims his love for the woman. One can even go so far as to say it represents the personal feelings Chretien hold tightly to his own heart on the subject of romance. I find it interesting the entire manner he characterizes and crafts the persona of Love. The rattled and disrespected woman reduced vastly to an everyday happening, deserving no honor or praise beyond simple pleasantries and false owners. The endlessly beautiful and intrinsic emotion of Love in all her glory is diminished to cunning farce accepted and abused by every good and malicious soul around her.
He personifies love as a woman scorned and abused, separated from the chivalry and honor she once held. It could foreshadow the mistreatment of love in the text or the unorthodox and violent manner Yvain claims his love for the woman. One can even go so far as to say it represents the personal feelings Chretien hold tightly to his own heart on the subject of romance. I find it interesting the entire manner he characterizes and crafts the persona of Love. The rattled and disrespected woman reduced vastly to an everyday happening, deserving no honor or praise beyond simple pleasantries and false owners. The endlessly beautiful and intrinsic emotion of Love in all her glory is diminished to cunning farce accepted and abused by every good and malicious soul around her.
Sunday, September 20, 2009
Erec and Enide 90-122 Conclusion
Erec and Enide’s reinforced and embedded love for one another strengthens and securely facets itself within their hearts within the fruition and heart-warming conclusion to this epic romance. Despite his word, I still believe Erec held little view on the outcome or bearings of this grand journey. His obsession with proving himself to his peers and the judging eyes and tongue of his gabbing wife – despite her obvious well-intentioned words and overall concerned manner – drove him to these lavish achievements and dangerous feats.
I see this near-death coma his wounds seal him into as a revelation and a realization of the overall purpose and outcome of their quest. As he awakes to the cries and pleas of his beloved Enide, he leaps to protect her and yield relief to her grief-stricken heart. This rebirth seemingly rends Erec clean of his more selfish and deplorable attributes. The text even seems to claim he is more handsome, evident by the admiration and expression of the villagers of Brandigan (104-5). Beyond his spiritual and physical renewal, Erec seems to have reinvigorated the fire and passion he previously touted for the sweet and beautiful Enide. This passing through life and death and back into the grasp of Enide evidently clears Erec’s plagued mind and soul of his vices this journey so excellently conveyed; through this cleansing fire he is capable of replenishing the relentless adoration and commitment he once immersed around himself.
He claims the journey’s origin as a “test” to measure Enide’s trust and love for him, perhaps this is so – but my perspective leads me to belief this result to be an enlightenment gifted to Erec through his trials. The pursuit of Erec’s journey originated in his ego and his overall yearning to prove his strength and might as a chivalrous knight, yet through these troubles a beautiful happening captivated both Enide and his hearts – they were able to see the extent and justification of each other’s devotion and admirations for the other. Through this renaissance of each other’s love and fidelity, the two joyful spirits entwined blissfully into a more flawless foundation to support their people, friends, kingdom and finally each other.
Friday, September 18, 2009
We at last receive the sacred name we have chased gallantly through the pages of the story; the very name of the most beautiful woman in the kingdom, and this graced title is Enide. We finally reach this answer through the ceremony of Enide and Erec’s wedding. I am perplexed by the timing of this revelation; it could be an awakening of her character as a prevalent member of the story or an expression of her role as property of Erec, whose name can only be uttered in connection to her lover or master.
We see her character’s entry into the story as the infatuation of Erec, going so far as to drive him from knighthood and deeper into her arms. Her presence deeply affects the life and role of Erec, unlike Yseut of our previous story; Enide shows genuine concern for her actions upon the lives of those she holds dear.
Beyond the simple uttering of this innocent beauties blessed name, we hear her first words of the story spoken. Our first experience with the voice and reflection of Enide occurs when she is lying tenderly and close to her beloved Erec, consumed in her own deepest thoughts. She speaks of the manner the kingdom speaks of Erec as well as the consequences of his devotion to their new marriage. These words are released as if only her ears were to have heard, yet they spark response in Erec’s mind as well.
At first Erec conveys a genuine concern for Enide’s weeping and evident anguish; although as she denies her own words his distress slips to frustration and he threatens her. After Erec expresses such harsh language Enide recounts her feelings of guilt and sorrow. Erec reacts by planning a journey to, at the moment, we cannot tell. The origin and purpose of said venture can only be speculated upon. I believe the journey is of a spiritual or redeeming quality. Erec wants to prove his valiancy and prestige as a knight and uphold his love and commitment to his wife.
We see her character’s entry into the story as the infatuation of Erec, going so far as to drive him from knighthood and deeper into her arms. Her presence deeply affects the life and role of Erec, unlike Yseut of our previous story; Enide shows genuine concern for her actions upon the lives of those she holds dear.
Beyond the simple uttering of this innocent beauties blessed name, we hear her first words of the story spoken. Our first experience with the voice and reflection of Enide occurs when she is lying tenderly and close to her beloved Erec, consumed in her own deepest thoughts. She speaks of the manner the kingdom speaks of Erec as well as the consequences of his devotion to their new marriage. These words are released as if only her ears were to have heard, yet they spark response in Erec’s mind as well.
At first Erec conveys a genuine concern for Enide’s weeping and evident anguish; although as she denies her own words his distress slips to frustration and he threatens her. After Erec expresses such harsh language Enide recounts her feelings of guilt and sorrow. Erec reacts by planning a journey to, at the moment, we cannot tell. The origin and purpose of said venture can only be speculated upon. I believe the journey is of a spiritual or redeeming quality. Erec wants to prove his valiancy and prestige as a knight and uphold his love and commitment to his wife.
Wednesday, September 16, 2009
Chétien De Troyes - Arthurian Romances 37-60
At this point in the given text the characters, Erec and Enide, represent a well-established stereotype of medieval literature and times. Erec stands tall as a courtly and honorable knight, without blemish and beauty to match; Enide bashfully conceals her thoughts as a gorgeous damsel, reserved and noble, waiting patiently for her righteous lord. At first glance the two seem to be a perfect fit, the text goes on to embellish upon this fact in a nature suggesting the two belong together in the fates. Although it seems that this perfect match results purely from a status-driven and shallow point of view. Erec took Enide as his maiden for competitive motives, to champion her as a trophy and challenge Yder. Enide’s union with Erec would result in her climbing the social hierarchy; perhaps this was the motive of her father. I’d like to see his purposes to result from love and a yearning for a safe haven and an elegant life for his daughter.
The text portrays these likely lovers as a harmonious match fit and refined by nature herself. The text, at this point, never reveals Enide’s name; perhaps this is to emphasize her unparalleled beauty. The utter awe she inspires leads her to bear little to no use of passing her name, leaving those who envelope themselves in her looks without a title to apply; although this detail may imply a role of submissive or inferior importance as well.
One gazes into a mirror to be transfixed by the image. We usually see ourselves as we gape into a mirror, we see ourselves differently though. We see what the people and world around us see, we see every blemish and imperfection or every highlight and perk. We are either engrossed and fascinated or afraid and filled with rage, for we don’t often glance upon this almost unfamiliar face and when we do it intrigues us. One can spend ours hours gazing into a mirror. In mythology mirrors represent the truth or even a physical depiction of what we desire. Sinking into the painted illustration or even deceptive illusions inside a mirror dangerously clasps ruthlessly to the soul, and even more so, tangles with the mind.
The text portrays these likely lovers as a harmonious match fit and refined by nature herself. The text, at this point, never reveals Enide’s name; perhaps this is to emphasize her unparalleled beauty. The utter awe she inspires leads her to bear little to no use of passing her name, leaving those who envelope themselves in her looks without a title to apply; although this detail may imply a role of submissive or inferior importance as well.
One gazes into a mirror to be transfixed by the image. We usually see ourselves as we gape into a mirror, we see ourselves differently though. We see what the people and world around us see, we see every blemish and imperfection or every highlight and perk. We are either engrossed and fascinated or afraid and filled with rage, for we don’t often glance upon this almost unfamiliar face and when we do it intrigues us. One can spend ours hours gazing into a mirror. In mythology mirrors represent the truth or even a physical depiction of what we desire. Sinking into the painted illustration or even deceptive illusions inside a mirror dangerously clasps ruthlessly to the soul, and even more so, tangles with the mind.
Sunday, September 13, 2009
The Romance of Tristan part 14-19
The madness of Tristan directly results from being split from Yseut for such an extended period of time. The very thought of her seems to send his mind crawling into a terrible psychosis. This plague on his scarred mind drives him to whisper and speak plainly to the ring she gifted him. As he does so he expects a response and when none arrives it digs him deeper into this “ill-starred” fate. Eventually the insanity rending his soul shatters his restraint and he sets off to confront his beloved. I do not think his reaction results from trickery nor do I think it is far-fetched after all the turmoil the two struggled through together. This wounded heart and insane love fuels his excessive drive to seek his bounty from Yseut. This over the top madness fired by the sting of love today would be perceived as a mental breakdown do to the extensive anguish. The burning touch of pure love steers many a soul to the point where their physical and mental existence becomes tarnished beyond recognition by the one they professed to love most.
The extreme desire and fortitude present in the hearts of the two lovers can clearly not exist in the world they belong to. This evident fact creates foundation for why the death of the two is appropriate. They must pass on because only in death; only in another existence can this impossible love survive. The death of Tristan is a result of his wounds and a loss of hope do to the wickedness of Yseut of the White Hand. Yseut passing results from pure dismay over the death of her truest love. The text present a love bound so tightly that each become reliant on the other; almost as if their souls entwine and drag the other through this harsh passing. It is presented this way to reflect the overall attitude of their relationship throughout the story; two “star-crossed” lovers fettered by one another’s spirits struggling and grasping for life as their affection and isolating love claws against a world exiling them to the fates and eventual death.
The extreme desire and fortitude present in the hearts of the two lovers can clearly not exist in the world they belong to. This evident fact creates foundation for why the death of the two is appropriate. They must pass on because only in death; only in another existence can this impossible love survive. The death of Tristan is a result of his wounds and a loss of hope do to the wickedness of Yseut of the White Hand. Yseut passing results from pure dismay over the death of her truest love. The text present a love bound so tightly that each become reliant on the other; almost as if their souls entwine and drag the other through this harsh passing. It is presented this way to reflect the overall attitude of their relationship throughout the story; two “star-crossed” lovers fettered by one another’s spirits struggling and grasping for life as their affection and isolating love claws against a world exiling them to the fates and eventual death.
Friday, September 11, 2009
The Romance of Tristan Part 7-13
As the lovers dream in the peaceful light of the forest bower their position and relation to one another holds a dire significance. The two face one another with little space and only the blade of a sword between their bodies. Their lips lay gently but still apart with only their arms entangled amongst their fully garbed bodies. The placement and relation to one another evident within the cene significantly changes the outcome of the events to occur.
Each element of the picture can imply some insight into the situation. The position of the blade between them represents a physical and metaphorical guard, to protect them from the dangerous love that entwines their souls and creates such catastrophic events. The wedding ring slipping upon her shriveled finger to me represents the general sorrow befallen upon her on its accord, the overall shadow consuming her grief-stricken presence within the story. A amicable gesture exchanged into a cruel intention planting woe into the lives of its distributors.
The space between Tristan and Yseut and the manner their arms grasp each other’s resting presence, I believe, represents the pure origin of their love. The carefully placed lips close but never caressing one another, almost as if whispering to one another in each own dream. Their bodies in no way tangle together other than the subtle and gentle placement of each arm expressing a yearning for the warmth and touch of the other yet a simple level of restraint in the dire times. Lovers locked and sealed from one another’s linking spirits, incapable of intertwining for fear of scorn and violent retribution.
I see the glimmer of sunlight, the simple pillar of grace, dripping upon her glassy face to be the finishing touch. Although it can represent the presence of a watching Father, an evident God gracing them with protection and a weapon to soothe the livid mood of King Mark.
Whatever the meaning and evident influence the placement possess’, the scene aesthetically and emotionally carries a pristine beauty I truthfully grasped. I personally believe that in the moment of rage King Mark shared my feelings toward these star-crossed lovers. He saw the beauty and grace in their love, or perhaps he saw a guardian protecting the wronged maiden, or even just a loyal pair of friends clasping one another in fear of what awaits them. Overall he saw a love, perhaps not sexual in his eyes, but a love void of wickedness.
Each element of the picture can imply some insight into the situation. The position of the blade between them represents a physical and metaphorical guard, to protect them from the dangerous love that entwines their souls and creates such catastrophic events. The wedding ring slipping upon her shriveled finger to me represents the general sorrow befallen upon her on its accord, the overall shadow consuming her grief-stricken presence within the story. A amicable gesture exchanged into a cruel intention planting woe into the lives of its distributors.
The space between Tristan and Yseut and the manner their arms grasp each other’s resting presence, I believe, represents the pure origin of their love. The carefully placed lips close but never caressing one another, almost as if whispering to one another in each own dream. Their bodies in no way tangle together other than the subtle and gentle placement of each arm expressing a yearning for the warmth and touch of the other yet a simple level of restraint in the dire times. Lovers locked and sealed from one another’s linking spirits, incapable of intertwining for fear of scorn and violent retribution.
I see the glimmer of sunlight, the simple pillar of grace, dripping upon her glassy face to be the finishing touch. Although it can represent the presence of a watching Father, an evident God gracing them with protection and a weapon to soothe the livid mood of King Mark.
Whatever the meaning and evident influence the placement possess’, the scene aesthetically and emotionally carries a pristine beauty I truthfully grasped. I personally believe that in the moment of rage King Mark shared my feelings toward these star-crossed lovers. He saw the beauty and grace in their love, or perhaps he saw a guardian protecting the wronged maiden, or even just a loyal pair of friends clasping one another in fear of what awaits them. Overall he saw a love, perhaps not sexual in his eyes, but a love void of wickedness.
Tuesday, September 8, 2009
The Romance of Tristan Part 1-6
I find Beroul’s characterization of the main characters to hold a taste of bias and selective glorification. Throughout the story Tristan and Yseut are displayed in a light of pure love, despite its accidental and artificial origins. While Beroul celebrates the star-crossed lovers he shrouds King Mark in a shadow of idiocy and suspicion. This pattern seems common throughout the first six parts.
Tristan and Yseut deceitful actions are glorified through their undeniable yet synthetic love. For example Yseut plan to murder Brangain, despite the servant’s evident loyalty to her queen. This clearly displays less than virtuous qualities that one might ignore do to the sickness of their “eternal” love. Whilst this occurs King Mark is brandished as a fool incapable of making a decision for himself. Throughout the story he constantly relies on his baron’s or the mystic dwarf to determine his decisions and in the end he is usually tricked by a touch of pretty words or swift knowledge from both Tristan and his enemies. The characteristics developed for these “tragic” heroes is an exaltation for deceiving the King while he is portrayed as the fool, befuddled and full of angst.
The portrayal of each main character in the story grasps a different light and stereotype of the medieval times, although clearly with its own shades of gray. Despite the evident bias within the story I find myself curiously still supporting the unfortunate lovers, perhaps it’s do to a human nature to support the “eternal” or destiny driven love. To support the amicable two meant to be; yet cursed with evils and hatred no one wants bestowed upon them, or perhaps Beroul is getting to me.
Tristan and Yseut deceitful actions are glorified through their undeniable yet synthetic love. For example Yseut plan to murder Brangain, despite the servant’s evident loyalty to her queen. This clearly displays less than virtuous qualities that one might ignore do to the sickness of their “eternal” love. Whilst this occurs King Mark is brandished as a fool incapable of making a decision for himself. Throughout the story he constantly relies on his baron’s or the mystic dwarf to determine his decisions and in the end he is usually tricked by a touch of pretty words or swift knowledge from both Tristan and his enemies. The characteristics developed for these “tragic” heroes is an exaltation for deceiving the King while he is portrayed as the fool, befuddled and full of angst.
The portrayal of each main character in the story grasps a different light and stereotype of the medieval times, although clearly with its own shades of gray. Despite the evident bias within the story I find myself curiously still supporting the unfortunate lovers, perhaps it’s do to a human nature to support the “eternal” or destiny driven love. To support the amicable two meant to be; yet cursed with evils and hatred no one wants bestowed upon them, or perhaps Beroul is getting to me.
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