Review of Don Quixote by Miguel de Cervantes

Review of Don Quixote by Miguel de Cervantes With the exceptions of Dorotea and Zoraida, the women in the First Part of Don Quixote are weak-willed, subservient creatures who rely on their husbands as masters. However, even Dorotea ingratiates and humiliates herself in order to win back Fernandos affection. Zoraida, on the other hand, at first stands out as the one seeming exception to this model, since she has the will to steal from her father in order to run away from home with the captive. Zoraida, or Maria if you prefer, is a female figure who is half Moor (the body) and half Christian (the soul) and enters into self-imposed exile from her home culture in order to actualize a hidden and purportedly European self (Garrett 141). Zoraida abandons her father on a deserted island in the process of actualizing her quest for the Christian world (Garrett 141). As a Moor, she can step outside the bounds of the conventional roles governing the lives of Cervantess women. However, Zoraida speaks only once, and then it is in animated revision of her name: No, Zoraida no: Maria, Maria! (Cervantes 353). Renamed Maria, Zoraidas Moorish identity would be replaced by a Christian ideal of feminine chastity, but her muteness symbolizes her lack of power. Therefore, even though her ethnicity and religious passion make her unusual and suggest that she might serve as the model for a new kind of woman in the novel, she remains as much an object as the other female characters. The Captives Tale highlights a womans role in modern Spain. From the first, Zoraida is represented as an object unable to demonstrate a sense of self. In contrast to the captive, who actively interacts with the inns guests and defines himself as part of their community, Zoraida is passive and mute and distanced. She becomes visible to her new companions only after the captive translates for her for a specifically Christian audience. The success of Zoraidas cross-cultural journey depends on the captive. (Garrett 142) Zoraida enters Cervantes text as a literal representation of a romantic damsel-in-distress. Her arrival follows Doroteas impersonation of Princess Micomicona, an imaginary construct devised by the priest and the barber to put an end to Don Quixotes misadventures (Garrett 142). A once great lady, the princess is said to require a knights service to restore her and her family from the tyrannous hold of an overgrown giant (Cervantes 274). In an interesting parallel, Zoraida, having become herself a reduced and vulnerable woman, provides a real-life mirror to the princess. A willing expatriate from her home culture, Zoraida enters the story after having been relieved by pirates of her bangles, pearls, and rubies, and appearing a materially impoverished Christian convert (Garrett 142). Her freedom depended on betrayal, and after that betrayal she lost her economic and discursive power. In the end, all that she retains is her allure as a Muslim woman seeking a new homeland. Where the imaginary Micomicona is protected by the madly romantic Don Quixote, Zoraida is protected by the Christian captive. Together, Zoraida and the captive arrive at the inn as realistic figures of a modern Christian knight and his chastely silent lady. Zoraida represents the potential for womens centrality at the same time she reveals the limits of womens access to power. Both in terms of economics and discourse, she is contained after offering herself up for exchange. In Cervantes and the Material World, Carroll Johnson suggests that Zoraida journeys from linguistic and economic empowerment in protocapitalistic Algiers to voicelessness and poverty in feudo-agrarian Spain, where the old order triumphs and Zoraida is promised, at best, a position as a second-class morisca citizen (126). Cervantes used masculinist literary models to shape his novel, but he engaged in an entirely new kind of literary activity that reached out to a growing reading population by positioning Zoraida at the center of the discussion of race, class, and difference in early modern Spain (Vollendorf 322). Zoraida cannot upset any genre, for hers is the quintessential historical narrative of conversion, displacement, and silence.

Polk’s Declaration of War with Mexico Essay

Many believe that James K. Polk’s declaration of War with Mexico was a justifiable action. On the contrary, a more sound argument can be made using Lincoln’s â€Å"Spot Resolutions† and Thoreau’s â€Å"Civil Disobedience†; stating that Polk deliberately proclaimed war in order to expand United States’ territory and slavery. Abraham Lincoln used his â€Å"Spot Resolutions† to persuade the House of Representatives to present Polk with queries about the veracity of his statements, particularly in regard to the actual â€Å"spot† where blood was initially shed. Lincoln’s questions were never answered but his resolutions convinced much of the public that Polk was not being straightforward about his motives for war. In fact, Polk had a draft written to Congress asking to declare war on Mexico prior to having gained knowledge of U.S. casualties. Polk’s original justifications for war include Mexico’s failure to pay U.S. damage claims and their refusal to meet with Slidell, yet later he stated that the war was a â€Å"defensive measure.† Other oppositions to the war came from those who defended civil liberties, most prominently from Henry David Thoreau. Through Thoreau’s eyes, the government was engaged in an unjust war with the sole objective to promote the westward expansion of slavery. As a protest, Thoreau refused to pay his poll tax to support an imperialistic war, resulting in a night in jail. Thoreau condoned breaking the law if the law was perceived unethical. Thoreau believed that people have the duty to answer to a higher law than of our government, their own set of morals. Polk seemed to change his reasons for war depending on what the public hoped to hear, but he never wavered in his decision for the declaration of War on Mexico. This suggests that he was determined to reap the rewards from a war that he declared over the opposition from both the public and the legislature. The analysis of Lincoln’s â€Å"Spot Resolutions† infer that James K. Polk declared war to gain western lands, especially California, despite the repercussions of warfare. Thoreau’s â€Å"Civil Disobedience† also gives evidence that Polk orchestrated the War with Mexico to reach slavery out west.

The Chronicles of Personal Narrative Essay Samples Free

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Mary Shelleys Frankenstein And The Exploration Of This...

What does it truly mean to have human consciousness? In Mary Shelley’s Frankenstein, the exploration of this question, acts as an overarching theme throughout the novel. Starting from the creation of Dr. Frankenstein’s monster in chapter V of the story, Frankenstein himself has to come to terms with the fact that he truly believes he has created a monster, and the creature itself has to begin to understand why he has this label of a monster, even after he begins to see the humanity within himself. Though the assumption throughout the entire novel remains that this creation does not have any sort of humanity, that fact cannot be argued as easily, as his morality, ethics, intelligence and emotions come to light in chapters XV and XVI; all very traditionally human characteristics. Soon the only truly unhuman traits about the monster is his unorthodox entrance into the world in a lab and his discomforting physical features. Whether or not this creation is truly a monster ca n no longer be easily discernable and what truly characterizes a human soon comes into question. In our world today we must address the same conundrum. As artificial intelligence becomes more advanced and continues to progress into thinking and feeling on their own, what should their treatment involve in our world? If advanced artificial intelligence fits the criteria of human consciousness, why should they not have the rights we do as human beings? My essay will first explore the criteria for human