Don Quixote Satire

Tartuffe Satire is used by many authors to convey different ideas, beliefs, or lessons. There are two different types of satire. The first type of satire is conveys through light hearted mockery with an underlying tone of respect, this is referred to as Horatian satire. Another type is Juvenalian satire and that is portrayed through more serious tone, it is a call to action and is generally driven by a sense of moral outrage. Tartuffe is a Horatian satire, rather than a Juvenalian satire.

Lazarillo de Tormes is a famous work of Spanish literature published anonymously. The novel is written in the first person. Lazarillo de Tormes is known as a picaresque novel in that the novel is written about a character of the lower-class instead of a hero or upper-class character. The novel has several themes, but the theme that is constant throughout the novel is appearance versus reality. A rhetorical device is a use of language that is intended to have an effect on its audience. The author utilizes several rhetorical devices in the novel which add emphasis to the story. For the purposes of this paper, the following rhetorical devices are analyzed: satire, simile, hyperbole, double entendre and parody. The novel, which was banned by the Spanish Crown during the time of the Spanish inquisition, is the story of the birth and life Lazarillo as he serves various masters and his struggle for survival. His struggle is real. Many of the rhetorical devices serve to add humor to the novel as well.

Based on Cisneros’ works of literature, gender roles in a Hispanic culture revolves around patriarchal rule. The repercussions of a patriarchal rule includes the limitations of female liberation and development. Cleofilas’ abusive situation exemplifies the limitations of her independence and development as she can not make her own decisions and has to solely depend on her husband. This situation is illustrated when Cleofilas explains that the towns are “built so that you have to depend on husbands... You can drive only if you’re rich enough to own and drive an own car. There is no place to go” (Cisneros 628). Cleofilas reveals that men are the dominant gender and have more authority, and that women are compelled to depend on them in her society. It is an exceptionally rare case that a woman can afford her own car, for the men usually control the finances in a household. Additionally, Cleofilas has nowhere to seek refuge from her husband. Although she yearns to return to her father’s home, she decides not to due to the social standards imposed on her. In her society, the act of returning home after marriage is socially unacceptable. She understands that her family will be viewed in a negative light if she were to return home, as seen when Cleofilas refers to her town as a “town of gossips” (627). Similar to other men in the society, Juan Pedro’s authority is shown through his abuse. Cleofilas recalls, “He slapped her once, and then again, and again; until the lip split and bled an orchid of blood” (626).

Martirio once had a man interested in her but that opportunity was snatched away from her by Bernarda. On page 191 Poncia says, “Martirio is lovesick, I don't care what you say. Why didn't you let her marry enrique Humanas? Why, on the very day he was coming to her window did you send him a message not to come? And Bernarda responded, “... My blood won’t mingle with the Humanas’ while I live!” This is an example of how different Martirio’s circumstances were from Adela and Angustias. Martirio was repressed from her desire for freedom from her mother and became jealous when her sister’s were not denied in the same way. These two themes lead the characters to believe that escaping one prison will make them free, only to be confined to another. This is the situation the women in the play recognize as a inner conflict. An example of this is on page 169 when Amelia says, “These days a girl doesn't know whether to have a beau or not.” Additionally, On page 208 Adela says, “ I can't stand this horrible house after the taste of his mouth. I’ll be what he wants me to be.” This quote shows how the girls view men as an escape from their sheltered home. Men represent freedom as well as repression. For Example, On page 169 it says “... Her sweetheart doesn't let her go out even to the front doorstep.” This shows us that Bernarda’s daughters realize if they stay at home forever, they will be controlled by their mother,

“I dreamed that a woman was coming into the room with a little girl in her arms, and that the child was chewing without stopping to take a breath, and that half-chewed kernels of corn were falling into the woman’s brassiere. The woman said to me: ‘She crunches like a nutty nuthatch, kind of sloppy, kind of slurpy.’ Suddenly I felt the anxious fingers that were undoing the buttons of my shirt, and I caught the dangerous smell of the beast of love lying on my back, and I felt myself sinking into the delights of quicksand of her tenderness.” (89-90).

“Beautiful and Cruel” marks the beginning of Esperanza’s “own quiet war” against machismo (Hispanic culture powered by men). She refuses to neither tame herself nor wait for a husband, and this rebellion is reflected in her leaving the “table like a man, without putting back the chair or picking up the plate (Cisneros 89).” Cisneros gives Esperanza a self-empowered voice and a desire for personal possessions, thing that she can call her own: Esperanza’s “power is her own (Cisneros 89).” Cisneros discusses two important themes: maintaining one’s own power and challenging the cultural and social expectations one is supposed to fulfill. Esperanza’s mission to create her own identity is manifest by her decision to not “lay (her) neck on the threshold waiting for the ball and chain (Cisneros 88).” Cisneros’ rough language and violent images of self-bondage reveal the contempt with which Esperanza views many of her peers whose only goal is to become a wife. To learn how to guard her power

“How to poison the earth” by Linnea Saukko can be seen in two different aspects. The first one would be by looking at it in a literal way, in which it will make it a very harsh, inhumane and cold text. On the other hand, it could be seen as a satire, sarcastic and ironic text in which Saukko expects to catch the reader’s attention. Saukko exaggerates the sarcasm, and satire in her writing in order to make the readers realize and understand the main purpose of her essay, which is to warn readers about threats to the future of our planet.

Coco Fusco and Gomez-Pena’s satirical piece was designed to exhibit “[the] Western concept of the exotic, primitive Other[s]” and even implicitly demean how Westerners view the “Others”(143) . While Fusco’s live performance was the actual reactions of the audience, but Fusco’s video “The Couple in the Cage” had other factors that gave the watchers a different view of the satirical piece. But, Fusco does not examine the role of her editorial decisions which leading the watchers into her own bias views. Fusco could have used different editorial methods or even forgo any edits of her live performance avoiding any biases when viewers watch “The Couple in the Cage.”

Lazarillo de Tormes is a famous work of Spanish literature published anonymously. The novel is written in the first person. Lazarillo de Tormes is known as a picaresque novel in that the novel is written about a character of the lower-class instead of a hero or upper-class character. The novel has several themes, but the theme that is constant throughout the novel is appearance versus reality. The author utilizes several rhetorical devices in the novel which add emphasis to the story. The novel, which was banned by the Spanish Crown during the time of the Spanish inquisition, is the story of the birth and life Lazarillo de Tormes as he serves various masters and his struggle for survival. His struggles are real. Many of the rhetorical devices serve to add humor to the novel as well.

Lope de Vega’s play touches upon several key components and ideas that were brought up in many of the other stories read throughout the semester. This included the role of gender and how men and women are viewed differently in the Spaniard town of Fuenteovejuna. Another topic included the importance of family, love, and relationships and their connection on loyalty, trust, and personal beliefs. The last major influence found in other literature and in Fuenteovejuna, were the political and religious references made throughout the play. Even though Lope de Vega didn’t make these views obvious, the reader could still pick up on their connotation and the references made towards these specific ideas. With all of this in mind, each of these

Horacio Quiroga and Edgar Allan Poe are two of the most influential writers in history. They both wrote disturbing stories that are based upon their similarly rough lives. In fact, Quiroga has been referred to as “The Poe of Latin America” (Niece 1). However, it is important to note that although these authors have many similarities, they also have several significant differences, both in their writing and in their personal life stories.

A Clean, Well-Lighted Place is my favorite Hemingway story, so I wrote a parody mocking Hemingway’s masterful dialogue in the piece and other Hemingway characteristics. I took a careful look at the story and remembered a quote by Hemingway describing his writing process at a café in France. The quote reads “It was a pleasant cafe, warm and clean and friendly, and I hung up my old water-proof on the coat rack to dry and put my worn and weathered felt hat on the rack above the bench and ordered a cafe au lait. The waiter brought it and I took out a notebook from the pocket of the coat and a pencil and started to write”. This quote inspired the old man in my parody to be Hemingway at his favorite café engaged in his writing process. The story of my parody is essentially a story of an elderly Hemingway seated late in his favorite cafe writing while the two waiters gather the courage to ask him to leave.

Satire is a specific classification of writing that occasionally makes utilization of realistic and performing expressions with the aim of scorning society into self-change. With social criticism being its fundamental objective, it uses dark sarcasm as its primary device to get the point across. Satire impacts people to reconsider themselves so as to alter senseless thoughts and behaviors. Different techniques are utilized in delivering the satirical impact, those of which use wit as their primary weapon. These methodologies mix the acing of matching unimportant and authentic matters as one joke, demonstrating compliment yet meaning the contrary to show ambiguity, and asking rhetorical questions. Moreover, the creator may downplay an issue keeping in mind the end goal to move the group of audience towards the genuine significance of the theme, antagonistically; distortion is utilized to bring down the effect of an issue to its lesser quality. Aggregately, these procedures are practiced to draw out the human follies and vices in society. In Molière 's Tartuffe and Jonathan Swift 's article A Modest Proposal, both diagonally condemn and criticize human conduct and the discernment we have towards others. Through a comedian conveyance, these creators offer an understanding past the apparently self-evident, and expect to enhance this flawed custom of one sidedness as opposed to disposing of it.

“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).

La Dolce Vita shows us the downward spiral of Marcello. He seeks meaning, truth and love in the empty lives of the upper class. The disgusting lifestyle instead leads to his denial of emotion, his collapse and finally his complete lack of emotional and spiritual hope. Cabiria is eventually able to look beyond the façade of the rich, while Marcello becomes a victim of his own illusions. It is for this reason that Cabiria can be seen as a stronger character than Marcello. If it can be said that the film follows the emotional, spiritual, and mental growth of Cabiria, it then follows that La Dolce Vita follows the emotional, spiritual, and mental collapse of Marcello.