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.

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.

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.

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.

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.

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.

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.

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.

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.