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.
Monday, November 30, 2009
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.
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