Extra Credit Time!

Here is a chance for you to get some extra credit for FYS 100. It will make up for two missed blogs, or if you've done them all, this will count as extra credit toward your blog grade.

This is what you should do: Come to the Hartt Dances performance at Millard Theater (in the Hartt School building) on Friday, December 4 or Saturday, December 5 at 7:30 PM, or on Sunday December 6th at 3 PM. Since you are all students at the university, you get 1 free ticket with your student ID. To get a ticket, you can go to the Lincoln Box Office at Lincoln Theater during their business hours, or just get to the theater an hour (or less) before the show to get a ticket.

Once you have seen the show, write a paragraph or two about the medieval themes or values that you saw in the different dances. You can pick one dance to write about, or a few of them. Some medieval themes that you might see are chivalry (especially prevalent in partnering between a man and a woman), court life, and magic. However, I'd love to see what YOU can come up with!

Email your responses to me at fastow@hartford.edu by December 12. I'll email you back to let you know that I got your extra credit.

Perceval Begins

2. Describe the first scene concerning Perceval’s encounter with the knights in the Waste Forest. How does Chrétien portray Perceval? And the knights? What image of knighthood does the text portray? And what is Perceval’s perception of knighthood? How do these portrayals conflict with one another? Why do you think Chrétien does this?

Before Perceval sees the knights, he thinks that they are "devils [that are] more frightening than anything in the world" (382). His foolhardy decision to strike the "devils" rather than cross himself shows how his character is impulsive and rash - aspects that sometimes prove beneficial, sometimes negative. When he finally sees the knights, however, the "glittering hauberks and the bright, shining helmets, the lances and the shields - which he had never seen before - and when he beheld the green and vermilion glistening in the sunshine, the blue and silver," he was "captivated and astonished" (382). Basically, Perceval is a child, because shiny toys are enough to convince him that devils are angels.

Perceval's perception of knighthood is that knights are superhuman - that they are holy, Godlike, and perhaps even better than God (definitely blasphemous). To Perceval, they are the manifestation of idealized beauty. But the knights themselves are self-centered and mean. They seem to be entirely caught up in pursing their quarry of knights and ladies, and they make fun of Perceval in his ignorance, rather than treating him with chivalrous kindness. The knight who is the head honcho is certainly having a good time talking to Perceval and making fun of what a "dolt" and "Welshman" he is. So while the knights certainly look the part, they don't act it.

Chretien creates this dichotomy to show that things are not what they seem - a life lesson that the naive Perceval is bound to learn soon. For instance, it is not enough to take advice at face value - because however well-meant, Perceval totally bungles his encounter with the lady in the tent. (Maybe he's never seen a lady before?) Perceval, like a toddler, follows the literal words of his mother's advice without understanding the intention behind them. Perceval seems to not know or care the difference between taking and giving, stealing and receiving. He comes out from the tent with the lady's ring, which he somehow sees as a token of her esteem. But of course it's not, because he took it from her, it wasn't given to him (which is what a token is, of course). In this unrealistically complete absence of a morally-based, common-sensical internal compass, Perceval displays an almost Machiavellan manner: it doesn't matter to him what means he uses to achieve the end he wishes. To Perceval, a ring taken is as good as a ring given.

Celestina Caboose

Question 1: Melibea and Calisto must meet in the dead of night, in the darkness. What does this reveal about the nature of their desire for one another, especially when you consider their references to images of light (i.e. stars, the moon, bright beams radiating form Melibea, etc).

I think that this shows that their love - or lust, really - is based on foul values. The fact that they have to sneak around to consummate their affections for each other, and the way that their relationship is hidden, shows that their love is not virtuous or strong enough to withstand the scrutiny of daylight. If Melibea and Calisto's love was really as powerful as they say it is (not, of course, as powerful as they imply with their actions - their actions are much weaker than their words), then they would be emboldened to break society's taboos and declare publicly their love for each other. If Calisto is really as fine a gentleman as Melibea says he is before she kills himself, there would be no logical reason why they couldn't be married and live happily together. However, because Melibea and Calisto are really in this big stew because they wanted physical gratification and a fun distraction, the foundation of real love - a selflessness that makes you want to provide for the other person and keep them happy and safe - is absent.

Question 2: Melibea calls what she and Calisto have“love” – do you think either of them really loved each other, or does Melibea’s suicide have more to do with her shame than anything else? Do any of the characters exhibit actual love? If not, why is love referred to so often?

Lust is what this really is, and love is the sugarcoated version of it. When these characters say they're lovesick, they really mean that they are super horny and can't wait to jump in bed with each other. But out of respect for society's rules and their own selfish desires to stay in the comfortable and respected statuses that they already inhabit, Melibea and Calisto call their lust by a sweeter name. Even a man with money can't acceptably go around making dangerous schemes just for the sake of a good lay (not even Hugh Hefner). It would be irresponsible and downright stupid. Do these characters ever praise the other in anything but looks? Rarely. I think this proves that their relationship is not built on deep appreciation for the other's entire being and personality, but on a much shallower physical attraction. However, by bringing emotion into the picture - even fake emotion - Calisto and Melibea get to scheme away with the support of society's infrastructure (namely, their servants and the local old whore) - and it's OK then, because it's all in the name of "love."

Question 5: Who do you see as the victim(s) in this story? Are there any real victims? Is everyone to blame? Are some characters more to blame than others?

I would have felt bad for Parmeo - but when he crossed over to the dark side, he lost my vote. I think that Celestina does an excellent job of showing the human flaws that everyone has - magnified by the drama of fiction and the rules of society. There is no faultless character in this tale. Calisto and Melibea are blinded by lust; Celestina, Parmeo, and Sempronio by greed; Alisa and Pleberio by a desire to maintain their status. Even the servants who are supposed to have their masters' best interests at heart don't have the guts to follow through on any protective motives. Even Lucrecia, who senses that things will not turn out well, silences her inner alarm clock and just goes along with Melibea's plotting. I think that all the characters are to blame, and the absence of any "faultless" character makes me less eager to point fingers and name some characters that are more blameworthy.

In the end, I think that the system is to blame. If everyone in this tale could just have their sexual fun without having to worry about what others would say about them or how it would affect their futures, then all the negative implications that come with their hookups would be neutralized, and no one would have to die! However, with medieval taboos being what they were, and what with the lack of contraceptive devices, the importance of religion, and the value placed on a bride's virginity, this kind of ideal solution is a fairy tale.