Do Quijote III

I'm going to steal a little from sparknotes on Don Quijote just because I feel like sometime when they explain quotations they do it so very well.

“For what I want of Dulcinea del Toboso she is as good as the greatest princess in the land. For not all those poets who praise ladies under names which they choose so freely, really have such mistresses. . . .I am quite satisfied. . . to imagine and believe that the good Aldonza Lorenzo is so lovely and virtuous...”

In this quotation from Chapter XXV of the First Part, Don Quixote explains to Sancho that the actual behavior of the farmer’s daughter, Aldonza Lorenzo, does not matter as long as he can imagine her perfectly as his princess, Dulcinea del Toboso. This idea of Dulcinea figures prominently in the novel, since we never actually meet Dulcinea, and she likely does not even know about Don Quixote’s patronage. Don Quixote’s imagination compensates for many holes in the novel’s narration, providing explanations for inexplicable phenomena and turning apparently mundane events into great adventures. Dulcinea gains renown through Don Quixote’s praise, and regardless of whether she is even real, she exists in fame and in the imaginations of all the characters who read about her. In this way, Don Quixote’s imaginings take on the force of reality and he becomes, effectively, the narrator of his own fate.

Here we see this idea of chivalry again as well as the “level” of Don Quijote's insanity. He has created this alternate view of reality that allows him to give his life some meaning and purpose. He has this women, who may or may not be real and whom we never meet, and yet he does all things in her name and honor. He has “devoted his knighthood to her and she may not exist but in his mind. In this we can see that Don Quijote has created his version of reality and his truth so that his life both has meaning and direction. The existence or lack there of of this Dulcinea drives him and raises praise to her through him. Even the name he has given her tells something about her. (Dulcinea...dulce...sweet and innocent, that maiden that needed protection of the knights). He's created his “ultimate woman” and around this a world in which he does everything for her and in her honor.

Don Quijote II

In Chapter 11 Don Quijote talks about the “golden ages” and the creation of knights to protect the purity of the virgins. This both relates to the overarching theme of chivalry and myth. On one hand we have this notion that knights were created for the protection of these virgins, a chivalrous act, and other the other hand the the “myth” that that's what knights actually do. This “truth” that Don Quijote sees in knighthood is perhaps a reflection of what he feels knights are supposed to do and how they are supposed to act when in reality we know this isn't true. Maybe he thinks he can restore knighthood somehow, kind of like Perceval?

This same sort of “false impression” of knighthood is seen when he speaks to Vivaldi in Chapter 13. While Don Quijote insists that knights “execute the will of God.” While it's probably more truthful to say that knights execute the will of Kings or perhaps even their own wills. Again we see this myth of what knighthood is supposed to be versus what it actually is. The idea that Don Quijote refuses to believe that knights are “bad” is part of his “insanity.” He's created this image, or this myth of knighthood and refuses to see it any other way. Perhaps we should say his principles of knighthood are far more moral that the actual actions of most knights and since he knows his principles are good and moral he tries to insist “knights like him” are the same.

Don Quijote I

Well I have to say that there are a lot of “radical” moments to chose when it come to Don Quijote. I guess we should start at the beginning where he decided that he now going to be a knight and set off on this little adventure. Most people don't wake up at 50 and decide “oh hey I think I'll be a knight today.” Maybe it was some sort of mid-life (ok near-end-of life) crisis. Kind of like he woke up one day and realized that he hadn't done anything important or significant with his life so he better get to it before he dies. He chooses the name Don Quijote de la Mancha. Interestingly enough his name means “foolishly impractical especially in the pursuit of ideals; especially : marked by rash lofty romantic ideas or extravagantly chivalrous action” (according to Merriam Webster). Interestingly enough we see this “crazed chivalrous romantic old man” decide he's going to set off on this adventure and do so in the name of the farm girl he once had a crush on.
We later have Don Quijote “mistake” windmills for giants (yes because that's a common error) and then blames it on the fact that there is an enemy chanter that changes the giants to windmills when he charges. It not only shows that Don Quijote has an “active imagination” to say the least but that he's basically content with his new reality. I know most people don't like to call him crazy—but he's crazy—at least to the outside viewer. Don Quijote thinks that what he was doing is fine, perfect, and totally normal. He's created his own world and lives in it alone (pretty much the definition of insane).

Inferno V

Canto 28 Lines 37-42.
While these lines may not address the entire work in a “conventional manner” they do address the idea that the end is near. In a sense while Dante's ultimate goal in this entire Comedy is to get to Heaven, his main mission right now is to get out of Hell. These lines speak of Satan and the end of his journey through Hell. It also hints towards the idea that the devil is not truly in charge of Hell and that Dane will be able to pass him. In a sense the idea that Hell is not the “end” for Dante both allows him to pass the Devil as well as allows him to begin to understand God's power.

Canto 32 Lines 70-75
These lines both allude to the “anamalistic” qualities of Hell. This is not the first time we were introduced to the “animals” of Hell. It may be an attempt to remind us that the creatures of Hell are now “sub-human” It also speaks of the eternal chill of Hell which I;m sure Dante felt throughout his journey. It brings back the idea that although Hell is controlled by God, it is still terrifying and horrible and reminds Dante that this is not where he wants to end up.

Inferno IV

Dante's decent into Hell can be seen in several ways. The Bible teaches us that the path to salvation is following the ways and teachings of Christ. Dante is literally (well in terms of the book) following in Christ's footsteps by taking the same journey. The journey is also happening during the most hold time of the Christian calendar which has significance. Good Friday is the say we re-enact the stations of the cross and the suffering and crucifixion of Jesus. We in a sense try to relive Christ's experiences on Good Friday. Dante relives Christ's experiences in the same manner, he just chooses to re-enact a different experience on this day. In many ways all Christians strive to live the way Christ lived and Dante walking in the path of Christ shows his devotion to Christianity.

Inferno III

While I find the idea the Dante puts many Popes in Hell since he is a devote Christian, I don't find it as odd as you may think. In the title of the canto it specifically states that we will find corrupt clergy which was not exactly uncommon in Dante's time. We have to remember that the Church has not always played the same role as it does today. Of course we all know that at one point there was no separation between Church and State and in some cases the Church was the State, but we must also remember that the Church was an institution and functioned much like institutions we see today. Therefore of course there was corruption. One source lists the corruptions of the Church as follows “Moral laxity, at all levels of Church hierarchy, became an obvious source of criticism of the Church. Clergy members were supposed to be an educated elite, but many parish priests were illiterate and hardly know how to perform ordinary religious services. Many priests and nuns publicly flaunted their vows of chastity by taking lovers. During this time, “illegitimate” children could be made legitimate by purchasing a document from the Church; out of 614 grants of legitimacy in the year 1342-43, 484 were to members of the clergy. In some areas, bishops chose not to enforce rules regarding celibacy because it would decrease the income gained from fines imposed on concubinage. Several popes raised illegitimate children, including Innocent VIII and Alexander VI, who conferred upon their sons important Church offices. Numerous bishops and abbots used their positions to lead lives of luxury and leisure, living more like princes than humble men of God. Cardinals lived in palaces in Rome, sporting jewel-encrusted gold robes and feasting on sumptuous meals. During the Babylonian Captivity, one Cardinal in Avignon required 10 stables for his horses, and another housed his servants in 51 houses. When Giovanni de Medici was elected Pope Leo X in 1513, he said, “God has given us the papacy; now let us enjoy it.”The Church developed several corrupt practices to pay for these extravagant lifestyles. Christian tradition taught that pilgrimages to sites of relics or holy places were acceptable forms of penance that were necessary to return to God’s grace after one had sinned. During the late medieval period, some clergy took advantage of this tradition to create a thriving industry by bringing relics to the people and charging repentant Christians to see the holy remains and objects. Frederick I, prince of Saxony in northern Germany, kept a collection of over 17,000 relics that included a piece of Moses’ burning bush, 33 fragments of Jesus’ cross, some straw from Jesus’ manger, and even a vial of milk from the Virgin Mary’s breasts. Proceeds from pilgrimages to this museum of relics paid for Saxony’s cathedral, castle, and university. Simony was another practice that created revenue for the hierarchy in Rome. It allowed Church offices to go to the highest bidder, regardless of the buyer’s background or training. By the fifteenth century, some Christians even considered traditional Church taxes, levied in the form of tithes on all Christian subjects of the pope, to be unjust.”
As we can see it is no surprise that Dante a devote Christian condemns such actions and sends those who “supervise the Church” and are supposed to be the icons of the Church in one of the lowest circles of Hell. It is almost as though Dante cannot put the Church the institution in Hell so he must put the “governors” of the institution there to pay for the sin of steering such a great force in such a terrible path.
The interesting part of this canto for me is that the Church is only inverted on a superficial level. While on the surface we see the Church as a representation of “all things holy” but in fact there is nothing holy about what the Church is doing and Dante knows this. We can see a parallel in a sense. God cast Lucifer and his band on angles out of heaven after trying to take God's place as all-mighty. The Popes in Hell were cast there after trying to manipulate the Church and its followers to become “all-mighty” In a way God cast all those who followed in the ways of Lucifer into the same eternal damnation. Guess we should all be glad Dante didn't cast all of those who liked these Popes into hell right along with them.

Inferno II

The first quote I chose is in Canto 9, lines 52-57 when Dante the pilgrim meets Medusa. Once again Dante is bringing up this idea of ancient Greek mythology by using a popular figure such as Medusa. In the stories I have read about Medusa after she was beheaded by Perseus her head was used as a weapon until it was given to Athena and put on her shield. I found the use of Medusa interesting in two ways. The first is that even in hell she has power to turn people into concrete and as Virgil tells Dante, could even prevent him (Dante) from returning to the world if he doesn't close his eyes. Basically that Dante should close his eyes before he's turned into stone. The second is that much like the Gates of Hell warn Dante about what lies ahead so Furies warn Dante and Virgil about the arrival of Medusa. It seems as though this idea of “warning” repeats itself in many circumstances. It is as though we are constantly advised about what's ahead.

The second quote that interested me is from the opening of Canto 11, line 1-12. Here Dante (the author) sets us up with yet another 'warning.” We are about to descend into the deepest circles of hell and he paints a picture while drawing our senses in by talking about the stench of hell. Interestingly enough there is an inscription on the tomb of Pope Anastasius who was also drawn from the “straight way” much like Dante stated he was in the opening lines of Canto 1. Perhaps it is here that Dante sees where he may end up should he not choose to get back on this “straight path.” We are not only warned about the consequences of straying off the path, but about the sheer torture hell is going to be for those who stray. We could say that in these opening lines we are warned that hell is going to get really REALLY bad from here on (not that is was great before, but there weren't any rivers of blood boiling people and it didn't smell).

Inferno Part I

I particularly like the third Canto of this book, mostly because I love the inscription on the gates of hell. I think that this truly sets the stage for the journey we are about to take (or Virgil is about to take) through hell. It is as though hell warns us what to expect before we actually start our journey through it. We are warned that through these doors is the epitome of human suffering and sheer terror. This inscription tells us to abandon all hope before entering these gates. It is as though the words on these gates speak t o Virgil and challenge him to both enter the gates and prepare for what is ahead. I particularly like how the canto starts off with this inscription because even though we are two cantos in, this is truly where the journey begins. Not only does the journey really begin here, but it begins with a warning and sets the stage for what is to come. It is as though no matter what happens in the rest of the story hell gets to say “well hey I warned you.” I'm curious to see if Virgil actually “abandons all hope” or if he simply puts hope on the back burner while on this journey.