All this seems true to Cervantes's aim of exposing the absurdity of knight errantry, while conveying the holy madness of his hero.
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Sancho, as Kafka remarked, is a free man, but Don Quixote is metaphysically and psychologically bound by his dedication to knight errantry.
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In the first place, it was a furtive, underhand blow at this nonsense of knight errantry, though nobody suspected that but me.
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The film is intriguing as Chandler's attempt to move beyond the romantic knight errantry of Philip Marlowe novels and into more social realist territory.
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Remember how reluctantly Cervantes says farewell to his Don Quixote, who has been on his deathbed, and who has, at the last moment, renounced his knight errantry.
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Sir Gawain arrives at the castle of Sir Bercilak de Haudesert after long journeys, and Sir Bercilak goes to welcome the "knygt erraunt." The Maven's Word of the Day: Knight Errant Knight-errantry tales remained popular with courtly audiences throughout the Late Middle Ages. They were written in Middle French, Middle English, and Middle German. In the 16th century, the genre became highly popular in the Iberian Peninsula; Amadis de Gaula was one of the most successful knight-errantry tales of this period.
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In Don Quixote (1605), Miguel de Cervantes burlesqued the romances and their popularity. Tales of knight- errantry then fell out of fashion for two centuries, until they re-emerged in the form of the historical novel in Romanticism.
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The books show a complete idealization and simplification of knight-errantry. Even servants are hardly heard of, but there are many princesses, ladies and kings. Knights and damsels in distress are found everywhere. The book's style is reasonably modern, but lacks dialogue and the character's impressions, mostly describing the action.
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The function of knight-errantry alludes to civic values (wen) and marital conducts (wu) in the discourse, arising reflections of experiences and justice beyond dichotomies between wen and wu, good and evil. The director Hu develops an individual perspective of what nation is and transcends the limited dialectics of a totalitarian regime versus a more benevolent government.
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Monk, Nicholas, editor. Intertextual and Interdisciplinary Approaches to Cormac McCarthy: Borders and Crossings. Routledge, 2012. p. 24. In medieval Europe, knight- errantry existed in literature, though fictional works from this time often were presented as non-fiction.Daniel Eisenberg, "The Pseudo-Historicity of the Romances of Chivalry", Quaderni Ibero-Americani, 45–46, 1974–75, pp. 253–259.
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In Jean Giraudoux's play Ondine, which starred Audrey Hepburn on Broadway in 1954, a knight-errant appears, during a storm, at the humble home of a fisherman and his wife.Jean Giraudoux Four Plays. Hill and Wang. 1958. p. 175 A depiction of knight- errantry in the modern historical novel is found in Sir Nigel by Arthur Conan Doyle (1906).
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35 Marx also believed that the same ideas could not grow out of just any economic system:'Don Quixote long ago paid the penalty for wrongly imagining that knight-errantry was compatible with all economical forms of society.'Marx, Capital, Footnote 2, p. 36 The young Marx hence criticized man's alienation. "Vulgar Marxism" has considered that the relation between the economical infrastructure and the ideological superstructure was a unicausal one, and thus believed in economic determinism.
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Yvain, the Knight of the Lion () is an Arthurian romance by French poet Chrétien de Troyes. It was written c. 1180 simultaneously with Lancelot, the Knight of the Cart, and includes several references to the narrative of that poem. It is a story of knight-errantry, in which the protagonist Yvain is first rejected by his lady for breaking a very important promise, and subsequently performs a number of heroic deeds in order to regain her favor.
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Renditions Magazine According to Dr. James J.Y. Liu (1926–1986), a professor of Chinese and comparative literature, Jia's poem "The Swordsman" () "seems...to sum up the spirit of knight errantry in four lines."Liu, James J.Y. The Chinese Knight Errant. London: Routledge and Kegan Paul, 1967 ()MEMORIAL RESOLUTION "The Swordsman" reads in Liu's translation as follows: :For ten years I have been polishing this sword; :Its frosty edgeExtremely sharp. has never been put to the test.
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All of the soloists sang with flawless enunciation; they also made "a very fair shot at the unfamiliar technique of French baroque ornamentation". The chorus sang as though from the heart. Conducting, Leppard imparted "his characteristically alert rhythmicality" to the orchestra, making the opera "tingle with life right from the outset". Salter acknowledged that Dardanus was obscure, and that its libretto was a fanciful one - a tale of ill-starred lovers, sorcery, knight-errantry and divine intervention.
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In January 1829, in his "General Preface" to the Waverley Novels, Sir Walter Scott included Arthur's Seat among the "solitary and romantic environs" he roamed in the 1780s as a schoolboy with "a chosen friend." telling each other "interminable tales of knight-errantry and battles and enchantments."Sir Walter Scott, Waverley; or, 'Tis Sixty Years Since (New York: Hurst & Co., n.d.), p. 4. Arthur's Seat has a passing mention as one of the sights of Edinburgh in the novel Frankenstein by Mary Shelley.
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Amadis de Gaule, or Amadis des Gaules (Amadis of Gaul), is a French opera in three acts by the German composer Johann Christian Bach. The libretto is a revision by Alphonse de Vismes of Amadis by Philippe Quinault, originally set by Jean-Baptiste Lully in 1684, which in turn, was based on the knight- errantry romance Amadis de Gaula (1508). Bach's opera was first performed at the Académie Royale de Musique, Paris on 14 December 1779. It followed the contemporary French fashion for resetting libretti by Quinault (Armide by Gluck and Roland by Piccinni are other examples of this trend).
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The term is most likely derived from an actual character name, "Patagón", a savage creature confronted by Primaleón of Greece, the hero in the homonymous Spanish chivalry novel (or knight-errantry tale) by Francisco Vázquez. This book, published in 1512, was the sequel of the romance Palmerín de Oliva;it was much in vogue at the time, and a favorite reading of Magellan. Magellan's perception of the natives, dressed in skins, and eating raw meat, clearly recalled the uncivilized Patagón in Vázquez's book. Novelist and travel writer Bruce Chatwin suggests etymological roots of both Patagon and Patagonia in his book, In Patagonia,Chatwin, Bruce.
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Elements of courtly love were introduced into the poems; in the Roman de Thèbes, a romantic relationship absent from the Greek sources is introduced into the tale of Parthenopæus and Antigone. Military episodes in these tales were also multiplied, and used to introduce scenes of knight-errantry and tournaments. Another example of French medieval poetry in this genre is the Eneas, a treatment of the Aeneid that comes across as being a sort of burlesque of Virgil's poem. Sentimental and fantasy elements in the source material were multiplied, and incidents from Ovid, the most popular Latin poet of the Middle Ages, were mixed into the pastiche.
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From the 11th century onwards indulgences were granted: In 1064 Pope Alexander II promised the participants of an expedition against Barbastro a collective indulgence of 30 years, before Pope Urban II called the First Crusade. Not until 1095 and the Council of Clermont did the Reconquista amalgamate the conflicting concepts of a peaceful pilgrimage and armed knight-errantry. But the papacy left no doubt about the heavenly reward for knights fighting for Christ (militia Christi): in a letter, Urban II tried to persuade the reconquistadores fighting at Tarragona to stay in the Peninsula and not to join the armed pilgrimage to conquer Jerusalem since their contribution for Christianity was equally important. The pope promised them the same rewarding indulgence that awaited the first crusaders.
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"Yvain rescues the lion", from Garrett MS 125, an illustrated manuscript of Chrétien de Troyes' Yvain, le Chevalier au Lion, dated to ca. 1295. A knight-errant typically performed all his deeds in the name of a lady, and invoked her name before performing an exploit. In more sublimated forms of knight-errantry, pure moralist idealism rather than romantic inspiration motivated the knight- errant (as in the case of Sir Galahad). Such a knight might well be outside the structure of feudalism, wandering solely to perform noble exploits (and perhaps to find a lord to give his service to), but might also be in service to a king or lord, traveling either in pursuit of a specific duty that his overlord charged him with, or to put down evildoers in general.
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Near the end, Don Quixote reluctantly sways towards sanity. The lengthy untold "history" of Don Quixote's adventures in knight-errantry comes to a close after his battle with the Knight of the White Moon (a young man from Don Quixote's hometown who had previously posed as the Knight of Mirrors) on the beach in Barcelona, in which the reader finds him conquered. Bound by the rules of chivalry, Don Quixote submits to prearranged terms that the vanquished is to obey the will of the conqueror: here, it is that Don Quixote is to lay down his arms and cease his acts of chivalry for the period of one year (in which he may be cured of his madness). He and Sancho undergo one more prank by the Duke and Duchess before setting off.
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Handel The identity of the librettist is not known for certain.Dean, Winton, "Handel's Amadigi", The Musical Times, April 1968, 109 (1502): pp. 324–327.Crow, Todd, Review of "Hallische Händel Ausgabe. Ser. II: Opern; Band 8: Amadigi, opera seria in tre atti" (edition prepared by J. Merrill Knapp) (June 1973). Notes (2nd Ser.), 29 (4): pp. 793–794. Previous consensus had been that John Jacob Heidegger, who signed the dedication to Richard Boyle, 3rd Earl of Burlington was the author, but more recent research has indicated that the librettist was more likely to be Giacomo Rossi, with Nicola Francesco Haym as a more probable candidate.Dean & Knapp, p. 274. This libretto is an adaptation of a medieval Spanish knight- errantry epic Amadis de Gaula in which the King of Gaul, educated in Scotland, falls in love with and eventually marries Oriana, daughter of the King of England.
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Many scholars interpret Ruiz de Burton's rewriting Cervantes' novel, Don Quixote de la Mancha, as an effort to reclaim her cultural heritage on California lands. Ruiz de Burton spent roughly the last twenty years of her life fighting legal battles to assert her right to her family's land in California, but her efforts proved to be futile in the face of the American concept of Manifest Destiny which gave legitimacy to the squatters who had settled on her lands and the racism towards non-white residents in the US. In the novel, Don Quixote pursues a life of knight errantry, roaming the land seeking chivalrous adventures in an attempt to maintain the culture of his nostalgia. Many scholars read Quixote's character in Ruiz de Burton's play as being the author herself, a California Hidalgo out to defend the fading culture of the Hacienda life. The play concludes with Quixote defeated and shamed, conquered by jokesters who profess aristocratic lineage.
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Amadis of Greece (Amadís de Grecia) is a tale of knight-errantry written by Feliciano de Silva, a “sequel-specialist” who continued the adventures of Amadis de Gaula in this ninth installment. Its full title is Noveno libro de Amadís de Gaula, crónica del muy valiente y esforzado príncipe y caballero de la Ardiente Espada Amadís de Grecia, hijo de Lisuarte de Grecia, emperador de Constantinopla y de Trapisonda, y rey de Rodas. Published in 1530, the book is divided into two parts which deal with the adventures of Amadis of Greece, Knight of the Burning Sword, son of Lisuarte of Greece and Onoloria of Trabizond (Trapisonda), as well as his love for both Princess Lucela of France and Princess Niquea of Thebes, whom he subsequently marries. Silva followed this work with another - Don Florisel de Niquea (Sir Florisel of Nicaea) (1532) - which deals with the knightly adventures and loves of first-born son of Amadís de Grecia and Princess Niquea, and with the later Don Rogel de Grecia (Sir Rogel of Greece) (1535).
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They discredited the idealism by suggesting the people were deliberately misled by propaganda and sensationalist yellow journalism. Political scientist Robert Osgood, writing in 1953, led the attack on the American decision process as a confused mix of "self-righteousness and genuine moral fervor," in the form of a "crusade" and a combination of "knight-errantry and national self- assertiveness."Perez (1998) pp 46–47. Osgood argued: :A war to free Cuba from Spanish despotism, corruption, and cruelty, from the filth and disease and barbarity of General 'Butcher' Weyler's reconcentration camps, from the devastation of haciendas, the extermination of families, and the outraging of women; that would be a blow for humanity and democracy.... No one could doubt it if he believed – and skepticism was not popular – the exaggerations of the Cuban Junta’s propaganda and the lurid distortions and imaginative lies pervade by the “yellow sheets” of Hearst and Pulitzer at the combined rate of 2 million [newspaper copies] a day.Robert Endicott Osgood, Ideals and self-interest in America's foreign relations: The great transformation of the twentieth century (1953) p 43.
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