10 Matching Annotations
  1. Apr 2022
  2. pressbooks.online.ucf.edu pressbooks.online.ucf.edu
    From Don Quixote de la Manacha, Miguel de Cervantes Saavedra
    2
    1. Sundiata 15 Apr 2022
      The landlord eyed him over but did not find him as good as Don Quixote said, nor even half as good

      While in his madness Don Quixote imagines his horse Rocinante to be a fine and powerful specimen, there are other saner references like this one, to the horse being less than so. Those of us who are diehard fans of the (insanely canceled) Amazon Prime Video series “The Expanse” will recognize “Rocinante,” as the name of the powerful warship that is at the center of the action in the sci-fi thriller. On the website “Screen Rant” Craig Elvy recalls “Rocinante” as the name the crew adopts to make the Martian warship, they commandeered, their own. (Elvy) The following clip https://youtu.be/XIKQVow3Mmo shows to moment when, the crew finally claims ownership of the vessel and names it Rocinante meaning “work horse.”

      Work Cited

      Elvy, Craig. “The Expanse: What The Rocinante's Name Reveals About Holden & Miller” Screen Rant. Published 02 May 2020. retrieved 09 April 2022 https://screenrant.com/expanse-rocinante-name-miller-holden-don-quixote/

      McDonough, Terry. “Back To The Butcher.” The Expanse” Season 1, Episode 5. December 15, 2020. YouTube video.< https://youtu.be/XIKQVow3Mmo> retrieved 12 April 2022.

    2. Sundiata 15 Apr 2022
      Why should I go looking for three feet on a cat, to please another man

      It is easy to simply view Sancho as a fool, equal in his foolishness to Alonso Quixano madness. However, could it be that Sancho is swayed into following Don Quixote, a man with all the appearance of a crazed adventurer, and his wife Teresa Panza’s easy compliance, believing that her husband will indeed become a governor or gain an island, out their sense of idealism born of their station in life? To Sancho “the idea of stepping over class boundaries seems unreal.” (Moore 73) Alonso Quixano’s (Don Quixote’s) madness we can blame on his obsession with the chivalric literature of gallant knights. But what of Sancho’s readiness to follow an apparent madman? For we see in the many discourses between Don Quixote and Sancho, where Sancho speaks, Don Quixote criticizes his poor language and Sancho brushes off his criticism, that Sancho (who admits he cannot read or write) is no fool. It is only until his soliloquy with himself that he admits to himself that he is mixed up in something foolish and ill-fated. Here however, he blames the devil and not the madness of Alonso Quixano. “Why should I go looking for three feet on a cat, to please another man.” (Cato X) Is not this the heart of the story?

      Works Cited

      Farrah Cato. “Wherein Is Related The Crafty Device Sancho Adopted To Enchant The Lady Dulcinea, And Other Incidents As Ludicrous As The Are True.” Don Quixote. Adapted from Introduction to World Literature Anthology by Christian Beck under a Creative Commons 4.0 Attribution license. UCF Pressbooks 2022.

      Moore, John A. "The Idealism of Sancho Panza." Hispania,1958

      Works Consulted

      Close, A. J. “Sancho Panza: Wise Fool.” The Modern Language Review, vol. 68, no. 2, 1973, pp. 344–57, < https://doi.org/10.2307/3725864 > Accessed 9 Apr. 2022.

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  3. pressbooks.online.ucf.edu pressbooks.online.ucf.edu
    Gargantua and Pantagruel, François Rabelais
    3
    1. Sundiata 03 Apr 2022
      “I also remember,” continued he, “that Aristotle affirms Homer’s words to be flying, moving, and consequently animated. Besides, Antiphanes said that Plato’s philosophy was like words which, being spoken in some country during a hard winter, are immediately congealed, frozen up, and not heard; for what Plato taught young lads could hardly be understood by them when they were grown old. Now,” continued he, “we should philosophize and search whether this be not the place where those words are thawed.”

      Clearly, the church is not the center of Rabelais cannon of Renaissance humanism. His most humanist expression comes with his ideas on language, such as the concept of frozen and thawed words. The complexity of this allegory is a statement on the power and liquidity of language. (Raffini 79). It reaffirms his belief in universal access to the philosophers of old. It is the idea that words (concepts and ideas) may be frozen for a time, but they can come back fortified over time or simply denounced as poppycock. Your own words can come back to haunt you as well.

      Raffini, Christine. “Rabelais’s Thawed and Frozen Words: ‘Voltigeantes, Volantes, Moventes et Par Consequent Animees’ (‘Quart Livre’, 55-56). Romance Notes, vol. 35. 1, University of North Carolina at Chapel Hill for its Department of Romance Studies, 1994, p 77-85, http://www.jstor.org/stable/43802264

    2. Sundiata 03 Apr 2022
      Still he wallowed and rolled up and down himself in the mire and dirt—he blurred and sullied his nose with filth—he blotted and smutched his face with any kind of scurvy stuff—he trod down his shoes in the heel—at the flies he did oftentimes yawn, and ran very heartily after the butterflies, the empire whereof belonged to his father. He pissed in his shoes, shit in his shirt, and wiped his nose on his sleeve—he did let his snot and snivel fall in his pottage, and dabbled, paddled, and slobbered everywhere—he would drink in his slipper, and ordinarily rub his belly against a pannier. He sharpened his teeth with a top, washed his hands with his broth, and combed his head with a bowl. He would sit down betwixt two stools, and his arse to the ground —would cover himself with a wet sack, and drink in eating of his soup. He did eat his cake sometimes without bread, would bite in laughing, and laugh in biting. Oftentimes did he spit in the basin, and fart for fatness, piss against the sun, and hide himself in the water for fear of rain. He would strike out of the cold iron, be often in the dumps, and frig and wriggle it. He would flay the fox, say the ape’s paternoster, return to his sheep, and turn the hogs to the hay. He would beat the dogs before the lion, put the plough before the oxen, and claw where it did not itch. He would pump one to draw somewhat out of him, by griping all would hold fast nothing, and always eat his white bread first. He shoed the geese, kept a self-tickling to make himself laugh, and was very steadable in the kitchen: made a mock at the gods, would cause sing Magnificat at matins, and found it very convenient so to do. He would eat cabbage, and shite beets,—knew flies in a dish of milk, and would make them lose their feet. He would scrape paper, blur parchment, then run away as hard as he could. He would pull at the kid’s leather, or vomit up his dinner, then reckon without his host. He would beat the bushes without catching the birds, thought the moon was made of green cheese, and that bladders are lanterns. Out of one sack he would take two moultures or fees for grinding; would act the ass’s part to get some bran, and of his fist would make a mallet. He took the cranes at the first leap, and would have the mail-coats to be made link after link. He always looked a given horse in the mouth, leaped from the cock to the ass, and put one ripe between two green. By robbing Peter he paid Paul, he kept the moon from the wolves, and hoped to catch larks if ever the heavens should fall. He did make of necessity virtue, of such bread such pottage, and cared as little for the peeled as for the shaven. Every morning he did cast up his gorge, and his father’s little dogs eat out of the dish with him, and he with them. He would bite their ears, and they would scratch his nose—he would blow in their arses, and they would lick his chaps.

      A devout satirist, language and humor are the primary mechanisms by which Rabelais reckons the world. Standing at the cultural intersection, he is an innovator, a virtuoso, a trickster, who is here to tear up the page (formalities) and start all over again. Marie-Luce Demonet makes it plain: “When he published his first novel, Pantagruel, Rabelais offered multiple visions of human language in all its potential” (Demonet 402). His attitude towards life is illuminated in displays that are at once extraordinarily vulgar, like the scene in “How Gargantua paid his welcome to the Parisians, and how he took away the great bells of Our Lady’s Church” where the giant pisses a river that drowns 260,418 people, not counting the women and little children of course. And here, with this exasperating however humorous list of little boy Gargantua’s youthful offences. Rabelais’ constant use of vulgarity, and his extended musing on philosophic issues are evocative of his desire to dismiss all ridged formalities in literature, and create a freer expression that puts everything on the table. In Trickster Makes This World Lewis Hyde writes: “He took this world seriously; then he disrupted it; then he gave it a new form” (p 13).

      Works Cited Demonet, Marie-Luce. "Rabelais and Language." A Companion to François Rabelais. Brill, 2021. 402-428. Hyde, Lewis. Trickster Makes This World. Farrar, Straus and Giroux. Kindle Edition. Works Consulted Gray, Hanna H. “Renaissance Humanism: The Pursuit of Eloquence.” Journal of the History of Ideas, vol. 24, no. 4, University of Pennsylvania Press, 1963, pp. 497–514, https://doi.org/10.2307/2707980. This is shown it one of its most vulgar displays in Smith, W. F. “Rabelais on Language by Signs.” The Modern Language Review, vol. 8, no. 2, Modern Humanities Research Association, 1913, pp. 193–98, https://doi.org/10.2307/3713107https://doi.org/10.2307/3713107.

    3. Sundiata 03 Apr 2022
      Still he wallowed and rolled up and down himself in the mire and dirt—he blurred and sullied his nose with filth—he blotted and smutched his face with any kind of scurvy stuff—he trod down his shoes in the heel—at the flies he did oftentimes yawn, and ran very heartily after the butterflies, the empire whereof belonged to his father. He pissed in his shoes, shit in his shirt, and wiped his nose on his sleeve—he did let his snot and snivel fall in his pottage, and dabbled, paddled, and slobbered everywhere—he would drink in his slipper, and ordinarily rub his belly against a pannier. He sharpened his teeth with a top, washed his hands with his broth, and combed his head with a bowl. He would sit down betwixt two stools, and his arse to the ground —would cover himself with a wet sack, and drink in eating of his soup. He did eat his cake sometimes without bread, would bite in laughing, and laugh in biting. Oftentimes did he spit in the basin, and fart for fatness, piss against the sun, and hide himself in the water for fear of rain. He would strike out of the cold iron, be often in the dumps, and frig and wriggle it. He would flay the fox, say the ape’s paternoster, return to his sheep, and turn the hogs to the hay. He would beat the dogs before the lion, put the plough before the oxen, and claw where it did not itch. He would pump one to draw somewhat out of him, by griping all would hold fast nothing, and always eat his white bread first. He shoed the geese, kept a self-tickling to make himself laugh, and was very steadable in the kitchen: made a mock at the gods, would cause sing Magnificat at matins, and found it very convenient so to do. He would eat cabbage, and shite beets,—knew flies in a dish of milk, and would make them lose their feet. He would scrape paper, blur parchment, then run away as hard as he could. He would pull at the kid’s leather, or vomit up his dinner, then reckon without his host. He would beat the bushes without catching the birds, thought the moon was made of green cheese, and that bladders are lanterns. Out of one sack he would take two moultures or fees for grinding; would act the ass’s part to get some bran, and of his fist would make a mallet. He took the cranes at the first leap, and would have the mail-coats to be made link after link. He always looked a given horse in the mouth, leaped from the cock to the ass, and put one ripe between two green. By robbing Peter he paid Paul, he kept the moon from the wolves, and hoped to catch larks if ever the heavens should fall. He did make of necessity virtue, of such bread such pottage, and cared as little for the peeled as for the shaven. Every morning he did cast up his gorge, and his father’s little dogs eat out of the dish with him, and he with them. He would bite their ears, and they would scratch his nose—he would blow in their arses, and they would lick his chaps.

      A devout satirist, language and humor are the primary mechanisms by which Rabelais reckons the world. Standing at the cultural intersection, he is an innovator, a virtuoso, a trickster, who is here to tear up the page (formalities) and start all over again. Marie-Luce Demonet makes it plain: “When he published his first novel, Pantagruel, Rabelais offered multiple visions of human language in all its potential” (Demonet 402). His attitude towards life is illuminated in displays that are at once extraordinarily vulgar, like the scene in “How Gargantua paid his welcome to the Parisians, and how he took away the great bells of Our Lady’s Church” where the giant pisses a river that drowns 260,418 people, not counting the women and little children of course. And here, with this exasperating however humorous list of little boy Gargantua’s youthful offences. Rabelais’ constant use of vulgarity, and his extended musing on philosophic issues are evocative of his desire to dismiss all ridged formalities in literature, and create a freer expression that puts everything on the table. In Trickster Makes This World Lewis Hyde writes: “He took this world seriously; then he disrupted it; then he gave it a new form” (p 13).

      Works Cited

      Demonet, Marie-Luce. "Rabelais and Language." A Companion to François Rabelais. Brill, 2021. 402-428.

      Hyde, Lewis. Trickster Makes This World. Farrar, Straus and Giroux. Kindle Edition.

      Works Consulted

      Gray, Hanna H. “Renaissance Humanism: The Pursuit of Eloquence.” Journal of the History of Ideas, vol. 24, no. 4, University of Pennsylvania Press, 1963, pp. 497–514, https://doi.org/10.2307/2707980. This is shown it one of its most vulgar displays in

      Smith, W. F. “Rabelais on Language by Signs.” The Modern Language Review, vol. 8, no. 2, Modern Humanities Research Association, 1913, pp. 193–98, https://doi.org/10.2307/3713107https://doi.org/10.2307/3713107.

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  4. Mar 2022
  5. pressbooks.online.ucf.edu pressbooks.online.ucf.edu
    Sir Gawain and the Green Knight
    2
    1. Sundiata 19 Mar 2022
      For whatever knight is girded with this green lace, while he bears it knotted about him there is no man under heaven can overcome him, for he may not be slain for any magic on earth.”

      SGGK is rich in symbolism. Notably, the color green, evocative of prosperity, success, and the new harvest (or new birth). The Christmas season itself, about which the poem is situated. The pentangle representing five virtues that form the endless knot of chivalric duty, and the knotted girdle which has been related to the Christian fall of man. These last two symbols (the pentangle and girdle) compose the moral axis of SGGK. However, such a brief commentary does not do service to the rich symbolism in Sir Gawain and the Green Knight. In Green Things: Reading the Green Girdle as the Governing Object of Sir Gawain and the Green Knight, Matthew Forster provides a surprisingly extensive and inciteful analysis of various symbols in the poem.

      Works Cited

      Forster, Matthew. Green Things: Reading the Green Girdle as the Governing Object of Sir Gawain and the Green Knight. Diss. 2013.

    2. Sundiata 19 Mar 2022
      But ’tis no marvel if one be made a fool and brought to sorrow by women’s wiles, for so was Adam beguiled by one, and Solomon by many, and Samson all too soon, for Delilah dealt him his doom; and David thereafter was wedded with Bathsheba, which brought him much sorrow–if one might love a woman and believe her not, ’twere great gain! And since all they were beguiled by women, methinks ’tis the less blame to me that I was misled!

      Although Gawain resisted temptation, he is still made to feel fragile. And as we so often find, here again is the imputation of “woman” as the cause of the mythological “fall of man.” Of course, we see this most famously in the Christian Bible (Gen.3.6). Methinks the disavowal of several sexist passages within ancient texts and many notable religious texts is the viga rega or main avenue to the destruction of institution of patriarchal control and the renewal of human civilization.

      Works Consulted

      Various. Holy Bible (American Standard Version): Old & New Testaments. Pandora's Box. Kindle Edition.

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  6. Feb 2022
  7. pressbooks.online.ucf.edu pressbooks.online.ucf.edu
    Bhagavad Gita
    2
    1. Sundiata 04 Feb 2022
      When Righteousness Declines, O Bharata! when Wickedness Is strong, I rise, from age to age, and take Visible shape, and move a man with men, Succouring the good, thrusting the evil back, And setting Virtue on her seat again.

      And so now we have even more evidence. I am not one plagued by an inability to admit a mistake. The truth, as I now see it, is that Medea and Aristophanes were “Renegades” (they cannot be considered amoral), and they should not be considered tricksters, by any definition we have thus far been offered. It is only now that we encounter Krishna, one of the most famous and beloved tricksters known to the world. His chariot is parked “between” two armies. He is on the “boundary.” Lewis Hide makes it plain: “The road that trickster travels is a spirit road as well as a road in fact. He is the adept who can move between heaven and earth, and between the living and the dead. As such, he is sometimes the messenger of the gods and sometimes the guide of souls, carrying the dead into the underworld (see Anubis) or opening the tomb to release them when they must walk among us.” (Hyde, p 6). Rosier Smith speaks to the love the people have for Krishna and his purpose in the world. “In virtually all cultures, tricksters are both folk heroes and wanderers [on the edges] of the community, at once marginal and central to the culture. Tricksters challenge the status quo and disrupt perceived boundaries.” (Smith, p2).

      Hyde, Lewis. Trickster Makes This World. Farrar, Straus and Giroux. Kindle Edition.

      Smith, Jeanne Rosier. "The Trickster Aesthetic" Writing Tricksters, Mythic Gambols In American Ethnic Literature. University of California Press. Berkeley and Los Angles California. 1997.

    2. Sundiata 03 Feb 2022
      Find full reward Of doing right in right! Let right deeds be Thy motive, not the fruit which comes from them. And live in action! Labour! Make thine acts Thy piety, casting all self aside,

      Gandhi often talked about right action. He talked about honor in doing good deeds. King wanted to see the Beloved Community. He believed that the greatest of all love was what the Greeks called agape, or love for all people. As i read on, I find myself contemplating which passages may have influenced Gandhi’s ”Seven Sins” or “Blunders”, or Dr. King’s desire to create the Beloved Community, and even the Universal Declaration of Human Rights. Gandhi may have been influenced by the passage above to contemplate the Seven Sins:

      Wealth Without Work, Pleasure Without Conscience, Knowledge Without Character, Commerce Without Morality, Science Without Humanity, Worship Without Sacrifice, Politics Without Principles,

      Heyrman, Hugo. “Seven Blunders of the World” Dr.Hugo.org https://www.doctorhugo.org/gandhi.html accessed 02 February 2022

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  8. Jan 2022
  9. pressbooks.online.ucf.edu pressbooks.online.ucf.edu
    Bhagavad Gita
    1
    1. Sundiata 31 Jan 2022 
       Notice Arjuna’s concern about the war causing a disruption of the system of subjugation of women and ethnic cast in one of the oldest systems of apartheid in the world.
                            Works Consulted
 Human Rights Watch “India: ‘Hidden Apartheid’ of Discrimination Against Dalits. 13 February 2007.
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