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Spanish colonies in the 16th and 17th century
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Literature can convey a great deal of information about life and society. This is both as it questions and as it reflects the society in which it is created. This is as true of literature produced today as it is of literature produced in the Middle Ages. In many cases, literature is the only means by which today’s society can discern the finer points of earlier societies, such as that found in Spain during the sixteenth century. Plays such as Tirso de Molina’s The Trickster of Seville reveal a great deal about the various nuances of Spanish society during this period of time. The play essentially tells the story of a young aristocrat who spends his time chasing through the various places he’s sent and seducing women at every opportunity. It …show more content…
This is made clear in almost every case, including the cases of the peasant women. In that moment there is even a hint that these women have been touched by an ‘unauthorized’ man, they are deemed destroyed regardless of the nature of their downfall. When Isabella is seduced by Don Juan in the guise of her fiancé Octavio, it doesn’t matter that she has lost her virginity to the man she thought was her betrothed, she is still sent to the convent for a year. In addition, she is never given a chance to even defend herself and let others know how she was deceived. “A woman, yes! That was my wrong, born to this privilege of debasement, ordered to keep a civil tongue locked in its civil ivory casement. When you are pious, she’s a wife, and, when appropriate, a whore. Now that you’ve simplified my life to silence, I will speak …show more content…
As Don Juan seduces other women he encounters, it becomes clear that even peasant women were largely considered to be the property of their men as well. This is revealed during the second act when Juan is completing his mischief with Aminta and Batricio. After having convinced Aminta that she will be a duchess if she goes with Juan, he sleeps with her and then runs off to her bridegroom to tell him of the deed. Batricio’s response indicates that marriage even in the country was viewed as something more akin to ownership than to partnership. “Read these papers: my license, here! Read! I bought her! She cost a fortune.”2 Although women seemed to have somewhat more flexibility than women in other parts of Europe at that time, evidenced in the way that Tisbea and Isabella are able to travel relatively unencumbered, it remains true that Isabella was traveling on instructions from her male ‘owners’ and Tisbea has few options available for her now that her suicide attempt has been thwarted and her previous fiancé murdered by the man who made her think she could have something
Men and women were held under drastically different expectations in Spain and the Spanish colonies in the late sixteenth and early seventeenth centuries. These set gender roles are effectively demonstrated through the life of Catalina de Erauso, who experienced the entire spectrum through her adventures as a transvestite in this time period. Opportunities and freedom in culture, politics and economy, and religion varied greatly between men and women. Men were capable of living out their lives independently and ambitiously. Women, on the other hand, were taught to be reliant and mild-mannered characters in the background. De Erauso shatters this idea of a woman’s role by fulfilling a life of adventure and power. In doing so, she briefly dispels the obligations of gender roles, if only for herself. Catalina de Erauso was a nun, a lieutenant, and a history-maker.
the play. It looks at the person he is and the person he becomes. It
The play also highlights the position of women in Elizabethan times. At the beginning of Act One we are introduced to Sampson and Gregory who are servants of the Capulet's and they are in the market place of Verona. They are messing around joking to each other and in the process puns are used such as collier, choler and collar. In the time this play was shown, this would have being considered very funny to the audience.
shall firstly do a summery of the play and give a basic image of what
The play is about a young woman, Catherine who had been taking care of her father during his last years of life. Anne Heche plays Catherine. Prior to this play, I have never seen Anne Heche in any acting performance. I have to say she did an outstanding job in her portrayal of Catherine. She did a fantastic job of immediately drawing you into Catherine’s world. She aptly portrays the characteristics of a girl who never got a chance to grow up and the slight madness of the genius she inherited from her father. One can easily feel sad for her because after all she gave up all her dreams to take care of her ailing father. Anne Heche plays Catherine so well that it easy for you to fall in love with Catherine and desire only good things for her.
The women in the play are observant. For example when the men are looking for
meanings along with what is going on in the plot of the play, it is
Rather than preventing the emergence of Cervantes's hauntological ingenium, in forcing Cervantes to circumvent its tight surveillance, the Inquisition actually facilitated his writing of Don Quixote I-II as we know it. For it forced Cervantes to sharpen his wits and develop his style by tapping into the full luster of his rhetorical palette. As a corollary, were it not for the influence of the Inquisition, Don Quixote I-II could have never been written as we know it. The result is a work much in the vein of Strauss’s “art of exoteric communication” (1952): exoteric enough to be noted, yet ingeniously crafted so as not to be (significantly) censored6 by the Inquisition while all the same exposing the latter’s failure as part of the State-enforced lawfare towards ensuring ontological
Throughout the plays, the reader can visualize how men dismiss women as trivial and treat them like property, even though the lifestyles they are living in are very much in contrast. The playwrights, each in their own way, are addressing the issues that have negatively impacted the identity of women in society.
changing attitudes toward life and the other characters in the play, particularly the women; and his reflection on the
The theme of the play has to do with the way that life is an endless cycle. You're born, you have some happy times, you have some bad times, and then you die. As the years pass by, everything seems to change. But all in all there is little change. The sun always rises in the early morning, and sets in the evening. The seasons always rotate like they always have. The birds are always chirping. And there is always somebody that has life a little bit worse than your own.
Spanish life, thought, and feeling at the end of chivalry. Don Quixote has been called
... a dishonorable quality. While the rest of the village women were expected to remain quiet, secretive, and refined, Maria Cervantes was allowed to be quite the opposite. She was not born and bred to become a wife as her fellow generation of women were.
Miguel de Cervantes' greatest literary work, Don Quixote, maintains an enduring, if somewhat stereotypical image in the popular culture: the tale of the obsessed knight and his clownish squire who embark on a faith-driven, adventure-seeking quest. However, although this simple premise has survived since the novel's inception, and spawned such universally known concepts or images as quixotic idealism and charging headlong at a group of "giants" which are actually windmills, Cervantes' motivation for writing Don Quixote remains an untold story. Looking at late fifteenth- and early sixteenth-century Spain from the viewpoint of a Renaissance man, Cervantes came to dislike many aspects of the age in which he lived, and decided to satirize what he saw as its failings; however, throughout the writing of what would become his most famous work, Cervantes was torn by a philosophical conflict which pervaded the Renaissance and its intellectuals--the clash of faith and reason.
story and lasting throughout the play with the constant themes of deception and doing evil in the