Don Qujo’S Polite Love

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Don Qujo’s polite love

The concept of Cortès love next to the cultured lirica, arrive at the Iberian Peninsula and settle in the first place in Catalonia, where poets write in the Provencal language that they will later abandon through the Catalan language. We know that this poetry was cultivated from the beginning of the 12th century. Not in vain the counts of Barcelona – from Ramón Berenguer III, married to Doña Dulce, the heiress of Provence – “had exercised a feudal domain over Gaul of noon, as J. Rubio Balaguer; And on the other hand, linguistic proximity turned that Catalonia in a field conducive to the expansion of the troubadour lyric. Thus, throughout the twelfth century several poets flourished in Rosellón and Catalonia lands that cultivated that way of trovar.

Through the routes of the Camino de Santiago, this notion reaches the western zone, where it is written in Galaicoportugués, a language that will expand towards Castilla where it will be used when composing cultured lyric. "In addition to the noble and lords, pilgrims, of the minstrels, merchants, adventurers and emigrants for various reasons, came and settled in Galicia a wide number of troubadours, who cultivated and spread their literary modes". 

In chivalrous literature the concept of courteous love looks slightly modified, since it is a mixture of carnal love and spiritual love. Spiritual love distinguished the nobility against the peasants, since it was said that they loved more with the body and the nobility with the spirit. In the fifteenth century in Castile, the topic of polite love is devalued and becomes language, a simple way to hide and cover up sex.

Cortes Quijotosco love.

In the 16th century in Spain, the books of cavalries are read with enthusiasm, they are booming and are welcomed with great acceptance by all audiences. It is known that Cervantes was an avid reader. Already in his youth he gave the reading of chivalry books. All this can be seen in the episode of the burning of books ‘The books of cavalries and chivalrous novels had undoubtedly been their favorite readings» 

These were known in depth as it is demonstrated in the episode of the burning of books. It is said about the Amadís of Gaula: «His prose of him became a model of the good and decisively influenced the subsequent Spanish writers, including Cervates himself

Cervantes makes a parody of courteous love through Don Quijote and Dulcinea. Create comic situations and give a touch of humor to certain situations in which the gentleman is and that, in the books of cavalries, they would be taken as a courageous act: «All that night did not sleep Don Quixote, thinking about his Mrs. Dulcinea , for accommodating what he had read in his books, when the gentlemen spent sleeplessly many nights in the forests and depopulated, entertaining with the memories of their ladies ».

From the act of loving penance, Cervantes also makes a parody, because he tries to imitate the feats of the Amadís de Gaula. "Amadís was the north, the star, the sun of the brave and in love gentlemen, to whom we must imitate all those that under the flag of love and the cavalry we militated".

Don Quijote is then ventured in Sierra Morena, where he laments and cries for the indifference and coldness of his beloved. This is how Cervantes tells us in chapter XXV of the first part:

Oh Dulcinea del Toboso, day of my night, glory of my grief, north of my roads, star of my ventura: thus the sky of the good as soon as you will ask, that you consider the place and the state in which your absence It has led me, and that with good term correspond to that my faith is owed!.

When making a parody of the books of cavalry, Cervantes ridicules at the same time the court. This is not a novelty, because it appears thus reflected in other works such as Celestina. It is known that Cervantes read Boscán and Garcilaso, among others and the end of love appears in other of his works, therefore, it should be considered that not only ridiculed him, but that he discredits him showing the illogical of this.

So much more strange must be that a writer educated in the sixteenth, admirer of Garcilaso, Boscán, Castillejo, Figueroa, Aldana or Acuña, of which we retain poems of both songbook and petrarchists and who even wrote a pastoral novel, discredits love Cortés in Don Quixote, because later we will see that not only makes fun of him but shows the absurd that contains this concept. For all this it is worth asking what reasons Cervantes had to carry out a criticism of this love vision and why it became fortunate than the previous ones. 

Love is presented by Don Quixote as a requirement and not as a true feeling unexpectedly arising. With such an image, it already helps to degrade the value of this, seen as artificial and falsified. As Mirrigo Madrigal says:

‘In this way, it is not strange that Sancho, in the elegy he makes to his lord when he believes him dead by the disciplinary, calls him’ in love without cause, "because even a mind as simple as his, credula for other things. To the follies of his master, he perceives that lack of livelihood and basis for his love.

Characterization of the Knight Don Quixote

Physically, Don Quixote is described as a man in his 50s, of thin complexion and sharp face.

After an avid reading of the novels of cavalries Don Quijote realizes that there are diverse features that all the walking knights share. The ability in the practice of weapons, together with courage to face the dangers, run the most daring adventures, impart justice or sacrifice for his lady are some characteristics that Hidalgo wants to imitate to consider himself a real real knight.

Therefore, the ideal lady creates, which becomes a need comparable to the candle of weapons or possessing a horse.

"I say that it cannot be that there is a walking gentleman without a lady, because as natural and as natural it is to be in love as to heaven to have stars, and surely no story has been seen where he finds a walking gentleman without loves." It would not be had a legitimate gentleman, but by bastard ".

Here we can see the importance that Don Quixote gives to the subject of love, which has been present in all the books of cavalries and where appropriate, it could not be less «because the walking knight without love was tree without leaf and without fruit and without fruit and Body without a soul » 

For Don Quijote, who becomes obsessed with the chivalrous fantasy to the point of ending going crazy, Caballero’s ideal was Amadís, so, he tells his squire: «I want, Sancho, who knows that the famous Amadís de Gaula was one Of the most perfect walking knights ». In the latter he finds perfection as Guerrero and Hero, embodying the ideal of Knight that he himself aspires to achieve.

Don Quixote and adultery

This characteristic point of Cortes love will be the only one that does not correspond to the love of Don Quijote and Dulcinea. Don Quijote dispenses with the love act with Dulcinea. He says "I am not one of the vicious lovers, but of the Platonic continents". The love of Don Quixote, is a purely chaste and faithful love. Nor is there talk of intention of marrying.

“Hízolo like this, and all the most of the night happened to him in memoirs of his Mrs. Dulcinea, to imitation of Marcela’s lovers."

Characterization of Lady Dulcinea

The lady Dulcinea is, in fact, a fantasy created by Don Quijote: an idealized figure conceived from a manchega peasant named Aldonza Lorenzo, whose qualities are far from those traditionally attributed to the ladies (beauty without equal, virtue, sweetness, refinement ). In fact, when Aldonza Lorenzo’s own features are described, we find characteristics totally opposed to the ideal: a rough, embruced woman, tanned by work in the field, with a serious voice and a manly air.

But this same love ideal so necessary for the walking knights cloudy Don Quixote’s mind and does not allow him to see reality. With this illusion we can see how Cervantes tries to criticize the classic features of beauty attributed to the Ladies of Cortes love.

Here arises the theme of the Neoplatonic loves of the Man of La Mancha who transforms reality in such a way that where there was a rustic villager -aldonza Lorenzo- allows the birth of her ideal -dulcinea del Toboso-. And a common denominator defines both terms of analysis: the failure in the context of reality, and the sublimation of the facts within the framework of their crazy imaginations. 

In addition to the physical features of idealized beauty and exquisite refinement, a noble origin is also attributed to Dulcinea. The appeal, accompanied by an illustrious lineage, are the perfect combination that identifies the lady and both are requirements to fall in love with a gentleman. "And in what I doubted something was to believe that of the beautiful Dulcinea del Tobos. 

The name itself attributed to the lady already refers to the character of her that is expected to possess. Referring to the adjective "sweet" Don Quijote adds some letters and makes it "Dulcinea". Goodness and sweetness are outstanding attributes and it is assumed that these characteristics are intrinsic in it, it is not something debatable, but must necessarily be fulfilled.

Aldonza Lorenzo called, and this seemed to be good to give him a title of her thoughts; And, looking for a name that does not disdain much of his and to throw and headed with the princess and great lady, he came to call her "Dulcinea del Toboso" because he was a native of the Toboso: name, in his opinion, musician and pilgrim and significant, as all the others that he and his things had put.

The lady in the eyes of the gentleman is the most beautiful. The faith in the beauty of the beloved that is seen as a god must be highlighted in this case. This is evidenced by Don Quixote in the adventure presented to him with the merchants. This says our gentleman: «-All the world is had, if everyone does not confess that there is no more beautiful maiden than the Empress of La Mancha, the spin

   

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