The Confesion de los Moriscos is a surprisingly remarkable text. It was composed during the first years of the seventeenth century, around the time, 1609, when the Moriscos were expelled from Spain. It is found in one extant Manuscript copy, dating from the second decade of the century, in a volume of Quevedo’s works that once belonged to Salazar y Castro. Astrana believed that the manuscript is autograph, thus positively attributing the Confesion to Quevedo. Crosby, on his part, questioned the paleographic ascription, consequently doubting Quevedo’s paternity of the short work. In Crosby’s words “[estas obras] son tan cortas y tan difíciles de clasificar según criterios literarios, que resulta casi imposible fundar la atribución en dichos criterios.” It is not my intent to authenticate or refute the authority of this text. Nonetheless, I hope in the next 20 minutes to show you that Confesion de los Moriscos, in spite of its brevity, is a complex text whose multi-layered readings amply make up for such conciseness. Here –an in your handouts-- it is:
Yo picador, macho errado, macho galopeado, me con¬fieso a Dios bardadero y a soneta María tampoco, y al bien trobado san Miguelelajo y al bien trobado san Sán¬chez Batista, y a los sonetos apóstatas san Perro y san Palo, y a vos padre espertual, daca la culpa, toma la culpa. Vuélvome a confesiar a todos estos que quedan aquí de¬trás y a vos padre espertual, que estás en lugar de Dios, me deis pestilencia de mis pescados y sorbáis dellos, amén Jesús
I, face worker, wronged male, kicked male, confess to God the fencer and neither to sonnet Mary, and to the well found Saint Michael garlic and to the well found saint Sanchez fine fabric, and to the apostate sonnets Saint Dog and Saint Club, and to you father of experience, give me guilt, take guilt. I confess again to all those that remain behind, and to you father of experience, who are in place of God. Give pestilence of my fishes and suck from them, amen Jesus.
At first glance, this short fragment is just a boutade, a silly parody permitted by clever alliterative transposition. Too short to be catalogued or to deserve literary analysis, as Crosby implies in his edition. My English translation, necessarily barren of all the metaphorical punning, underscores the apparent triviality of the joke. A keener look at both form and content of the paragraph, however, brings forth unexpected construes.
Dia de los reyes magos is on Jan. 5 - Feb. 2 and the day is about the 3 wisemen, But January the 6th is the special day in Mexico….. this day represents the height of the Christmas season. This celebration is where it is stated that the kings, Melchor, Gaspar, and Balthasar, traveled by night all the way from the farthest confines of the Earth to bring gifts to Jesus, whom they recognized as the Son of God. As well as regal, the Three Kings are depicted as wise men, whose very wisdom is proved by their acknowledgement of Christ's divine status. Arrived from three different directions, the kings followed the light provided by the star of Bethlehem, which reportedly lingered over the manger where the Virgin Mary gave birth for many days. In
One question posed by the authors is “How did Columbus’s relationship with the Spanish crown change over time, and why?” In simple terms, Columbus’s relationship with the
Díaz del Castillo, Bernal. "The True History of the Conquest of New Spain." In Sources of Making of the West, by Katarine J. Lualdi, 269-273. Boston: Bedford/St. Martin's, 2009.
Critics of the period were hesitant to praise ‘Choise’. However, contemporary critic, J.B Steane, claimed the poem ‘seems worth reprinting both as a curiosity, and for what one can see as a certain charm and freshness. In its (not unimportant) way, it even does Nashe’s century some credit.’ The idea of ‘freshness’ in regards to the text is evident in the use emotive language to depict Tomalin’s amazement towards Francis, in the description ‘sweeping she coms, as she would brush the ground, / Hir ratling silke 's my sences doe confound.’ (Nashe, 65) The language here is more akin with love poetry than other sections of the text, and it is in part the fluctuation in language which situates ‘Choise’ as something oppositional to the expected. As Brown explains, Nashes ‘was the epitome of verbal facility and quick wit, who came to be identified with a particular kind of literary value.’ (Brown, 59) The originality of Nashe’s poetry, coupled with his lustful subject matter is reflected throughout the poem, such as: ‘first bare hir leggs, then creepe up to hir kneese. / From thence ascend unto hir mannely thigh.’ (Nashe, 65) ‘Choise’ therefore belongs to a segment of literature which presents lust ‘in a salacious,
A Guatemalan native, a male graduate student that I work with in my research group at the University told this story. He came from the countryside, living in a small village back home. According to him, the story of La Llorona, involving a weeping woman, arose sometime in the 1700s and became well known both at school and home. Some claimed to have actually seen the weeping woman. Some disregard it as unscientific and implausible. No one is sure of the exact origin of this urban legend. This story was told to me and another graduate student in our research group while sitting in lab waiting for the experiment results. The story began as we started sharing our own background and the culture of our own countries when the storyteller decided to make a little shift and started to tell a story told to him by his older cousin--the story of La Llorona:
A satirical point that the author talked about briefly was Weaver's choice to not read the short, original novel, but the even shorter novel summary. The satire is effective because of how the authors describes the book. By including small lines such as "the most skillful example of American naturalism under 110 pages" and "Weaver's choice to read the Cliffs Notes instead of the pocket-sized novel", the brevity and literary relevance of this book is emphasized greatly. To include how short this novel is makes Weaver look positiv...
Based on the relacion by Las Casas, a short account of the destruction of the Indies: discuss the arguments presented by the author on behalf of the native population. Evaluate the arguments, what evidence did Las Casas omit from his account? Be specific and provide examples and references.
This piece is about Jonathan Smith saying things like "It is a melancholy object to those who walk through this great town or travel in the country, when they see the streets, the roads, and cabin doors, crowded with beggars of the female sex, followed by three, four, or six children, all in rags and importuning every passenger for an alms" (Smith, 1729). He says these things to make situations seem worse; this is called exaggeration. He uses hyperbole in his paper to get his point
This can be seen in the fourth line, “very prickly, a penalty” as if words were a “black art” of mystery. In setting a secretive tone, the speaker makes it sound as if one needs to be careful with what they say. Another example of alliteration can be seen in the tenth line, where the speaker states, “strengths or squinched,” identifying those words as “peculiar.” Not only that, but the speaker would “squeeze, squinch open, and splurge well” in the “silent, startled” September. In the love for blackberries, the speaker also is displaying their love for learning and life with the use of the
Microcosm and allusion are both exceedingly important in writing even today, and Nathaniel Hawthorne was able to execute this greatly in many of his short stories. In this essay we will be focussing on two of Nathaniel Hawthorne’s short stories, “Rappaccini’s Daughter” and “The Birth-Mark”, in which there is a multitude of examples of both microcosm and allusions.
de la Cruz, Juana Ines. "Hombres Necios." A Sor Juana Anthology. Ed.Alan S. Trueblood. Cambridge, Mass.: Harvard UP, 1988.
Wilson, M. & Clark, R. (n.d.). Analyzing the Short Story. [online] Retrieved from: https://www.limcollege.edu/Analyzing_the_Short_Story.pdf [Accessed: 12 Apr 2014].
Like the well thumbed and dog-eared Answer Book of a hoary and hackneyed English Lit professor, his preferred method of instruction incorporated the copious use of confusing quotes, parables, poetry, and as always, arduous amounts of alluring alliteration! So similar to a coordinating conjunction, we were joined together to toss, tumble, and turn through the tiny tributaries of his perilously pedantic punctuation, all the while serving scoured salmon seed caviar to corpses drifting down bumpy baptismal stream beds, before the final funeral feast.
Let us pray, poor sinner: let us fall on our knees again, and pray to the God of all mercy.
The woman, if only reading stanza one, would think her and the speaker are in total agreement. This idea, however, is fleeting as stanza two acts not only as a refutation for stanza one, but also as evidence for stanza three.... ... middle of paper ... ... The satire exists in the expectation that love has to occur before sex.