Compare And Contrast Sancho Panza And Don Quixote

Soto is known for his constant use of spanish within all his literature. For example, Soto quotes “Not one day would pass without the butcher or barber…or ambitious children with dollar signs in their eyes waving to El Millonario.” (Soto 28) El Millonario is spanish for the millionaire. Soto uses spanish to emphasize a connection towards poverty and how people of wealth were mostly looked upon when in the barrios. Another example is shown when Soto quotes “They shook hands, raza-style, and jerked their heads at one another in a saludo de vato.” (Soto 53) Saludo de vato is spanish for any type of greeting like wassup or whats hanging. Soto tries to connect to the hispanic culture within his hometown, Fresno, California. Soto also quotes “His father,who was puro Mexicano.”(Soto 2) Puro Mexicano is spanish for pure Mexican. In this quote, Soto uses spanish to accentuate and connect to how hispanic his father was. Overall, Soto foregrounds his hispanic culture and wants people to know that he is

     Finally, imagery is used throughout the story such as the “proximity of God howling beneath the house” which seems to convey a dark image of God. Another example of imagery occurs when Soto burps to “perfume the air.” It gives one a sense that Soto is burping not just let out gas but to give him a sense of relief and

In the Medieval Period, knights dedicated their lives to following the code of chivalry. In Sir Thomas Malory’s Le Morte d’Arthur, a number of characters performed chivalrous acts to achieve the status of an ideal knight. Their characteristics of respect for women and courtesy for all, helpfulness to the weak, honor, and skill in battle made the characters King Arthur, King Pellinore, and Sir Gryfflette examples of a what knights strove to be like in Medieval society. Because of the examples ofchivalry, Le Morte d’Arthur showed what a knight desired to be, so he could improve theworld in which he lived.

In the film created by Salvador Carrasco, he tells us the story of the oppressed Aztecs by the Spanish conquistadors. The film leads to a social and religious understanding by two of the main characters Topiltzin (a native Aztec) and Fray Diego, (a friar in Catholicism). Together, both characters form a bond and that lets for the two different cultures to get together for the viewers to understand that these cultures are more in tune than what they seem. Carrasco, divides his movie into two parts, setting the tone for the mirroring of scenes, duality, and parallelism that takes place during the course of the movie. The director intends for his viewers to draw important connections from these elements that bring them to a greater understanding of social culture, religion, and faith. In one of the final scenes leading up the end of the movie, Fray Diego confronts Topiltzin at the church. At this point that the viewer sees a behavior change in Fray Diego's eyes. Fray Diego knows Topiltzin's feelings toward religion, indicating the large strides that he has made over the years in

The story of “Like Mexicans” has several moments of irony, such as when Soto states that he was certainly going to fall in love with a Mexican girl, but he ends up falling in love with a Japanese girl. He makes a statement of his irony by saying “but the woman I married was not Mexican but Japanese” (Soto 167). Another example of irony found in the passage is when Soto’s grandmother told him not to marry a person of different descent from them, but yet Soto’s best friend is of different descent (Soto 166). The final example of irony found in the passage is when Soto’s family turns worried about him marrying someone who is not Mexican because they don’t want Soto to marry someone who is richer than they are, but it turns out that the Japanese girl’s family is in the same economic stance. The author makes a statement of his ironic discovery by stating “these people are just like Mexicans, I thought. Poor people (Soto 168). The use of irony in the passage helped the author keep the audience captivated in the story creating a sense of excitement.

In Geoffrey Chaucer’s poem, The Knight’s Tale, the author encapsulates chivalrous characteristics in his telling of a battle for love. In its fundamental form, chivalry idealizes a knight’s conduct, both on and off the battlefield (Gregory-Abbott). Chaucer employs this “heroic code [of] bravery, loyalty, and service to one's lord” to illustrate the idillic knight throughout the narrative (Rossignol). Chaucer’s poem, The Knight’s Tale, exhibits the ideals of chivalry in the form of two knights, desperately in love with the same woman, and a wise Duke who embodies the voice of reason. Each knight upholds honor through compassion, troths, and heroism on the battlefield, despite their afflictions with each other.

Macias is clearly not interested in the comforts of material riches and physical safety as Cervantes is. While Cervantes later decides to escape abroad, Demetrio, pursuing his own interest in proving himself as an intrepid man and warrior, decides to continue to fight for the revolution despite knowing that there appears to be no end in sight and at the same time sensing the initial purpose of the revolution slowly turning vague.

The students of the Centre are conformists. They are typical example of Spanish citizens to live under Franco’s Rule during the 1950’s. They accept what they are thought by Don Pablo and Doña Pablo and do not question it. In contrast to the students Ignacio is an independent character who does not conform to the society of the Centre. He challenges what the students have been thought. ‘Ciegos! Ciegos y no invidentes, imbéciles.’ Ignacio keeps on emphasising how there is a division in life between ‘los invidentes’ and ‘los videntes’ and tries to spread his darkness to the people of the centre. ‘La Guerra que me consume os consumirá.’

The character of Demetrio Macias proves to be quite ironic. One facet of his character reveals his determination to find Pancho Villa’s army,

“At the heart of Don Quixote is the discrepancy between external appearance and internal perception.” says Wirfs-Brock (2). In that respect, Don Quixote is depicted as a character who is guided merely by his internal perceptions, disregarding external appearances. Most of the time, he is deluded, depended on his faculty of imagination, stuck in his make-believe world through the guidance of chivalric books he is obsessed with and “everything he read in his books took possession of his imagination” (1/1 p.27). He takes everything he reads in those books for real as if they were parts of history and decides to join this glorious history by making a knight errant of him. In order to put all he has read into practice, he puts on a rusty armor, devises a heroic name for himself which is ‘Don Quixote de la Mancha’ and for his horse which is ‘Rocinante’. Additionally, since “a knight errant without a lady-love is a tree without leaves or fruit, a body without a soul” (1/1 p.29) he finds “a good-looking peasant girl” called Aldonza Lorenzo and decides to call her ‘Dulcinea del Toboso’. So this peasant girl becomes a princess, the most beautiful lady in the world for him to whom he may serve “as if he really were in love” (1/1 p.31).

Other character is the novel represent those who were faithful follower of these great leaders. These characters include: Manteca, Quail, Pancracio, Meco, Serapio, Antonio, and Venacio. These are all characters who fought and died along side Demetrio and showed faith in their commander in chief. Azuela shows the readers how some followers lost sight of what they were fighting for as the revolution drug on. Furthermore, he also shows how some of the rebels could be ruthless and would subject innocent citizens to mistreatment, as the reader clearly sees through Blondie when he shoots bear bottles off the head of a waiter. The reader is also forced to question the goals of some of the followers as they seem to still where ever they go.

Miguel Cervantes’ Don Quixote is a masterpiece in many senses of the word: at the time of its conception, it was hailed as a revolutionary work of literature that defined a genre, in later centuries regarded as an acerbic social commentary, a slightly misshapen romantic tragedy, and even as a synthesis of existentialist and post-modernist features. At the centre of this Spanish satirical chronicle is the perplexing character Don Quixote. Don Quixote’s personality and perspective is rapidly established fromsince the beginning of the novel, revealing unabashedly to readers that he is mad. The source of his madness lies in the extent to which Don Quixote acts on his delusions and projections unto reality as he saunters through Cervantes’ Andalusia. Don Quixote’s delusions have two primary functions in the novel: demonstrating the reality and tragedy of Cervantes’ manifestation of idyllic themes of love and chivalry, and revealing certain characteristics about narration.

Demetrio Macias as the main character is a peaceful Indian which is considered a symbol of the Mexican peasants. He represents the rural masses, poverty and ignorance of the lower classes in the economic and social sense, for that reason they are called “the underdog”. Moreover, they fights towards democracy and equality of the few elite land owner, for which they had been unfairly suffered injustice and have been excluded from the gains benefits of Porfirio Diaz (president of Mexico at the time). “Demetrio in fact explaining to Cervantes that he become a

While reading Don Quixote, I am sure that many people wonder whether or not Sancho Panza will get his island to govern. The main reason that Sancho agrees to be the squire of Don Quixote is because he is promised riches and an isle to govern. As the book progresses it appears that Sancho's dream will not come true and he will not become a governor. Many times in the book, Sancho asks his master if he was really going to get his isle and Don Quixote always promises him that he will. Eventually Sancho does become governor, although it is all because of a trick played on him by the Duke and Duchess. He shocks everyone by his wisdom and skill that he shows while he is governor.

Growth is inevitable and the most anticipated quest of man. It is a never-ending quest to evolve, fuelled by the constant hope for survival. Once natural growth halts, man’s focus shifts to the growth within. The coming of age, associates itself with this transformation from child to man, the step of letting go of childish ways and moving on to more mature things. The need for such a dramatic transformation is questioned by Miguel de Cervantes and Lewis Carroll in their texts, Don Quixote and Alice’s Adventures in Wonderland. While the texts follow two contrasting characters, they are brought together by the theme of fantasy. Cervantes’ Don Quixote is an old gentleman of noble lineage who becomes tired of the monotony and the lack of