Film Blog

The film acts as a fairytale in the sense that it has no real ending. Throughout the film, three different scenarios occurred which involved Lola and her boyfriend, Manni. It is through these scenarios that we were given different outcomes, not once was one suggesting that an actual event had occurred. The fairytale aspect comes into play at this point. Lola, before her death, views ways in which she could have prevented herself or her loved ones from getting hurt. In the first scenario, which may or may not have been fictional, Lola was killed, while in the second scenario, her boyfriend, Manni, was killed. Finally, the perfect scenario end up being the glamorous ending which the movie wanted to project using them of love in between death sequences, showing the two protagonists lying in bed after having had intercourse previously, and asking one another whether or not they truly loved each other and what would happen if the other were to die. In reality, there is no ending to this story, as we are not able to ever understand what actually happened. However, it is implied that the entire story was a dream, or at least, a daydream in Lola’s head, displaying her desires.

Yvain Day 3

Yvain's true colors are revealed in the third part of the romance, as Yvain becomes more courageous than he had previously been throughout the story. The symbol of the lion is a huge part of this section of the reading, as Yvain always has the lion with him, showing the prevalence of his courage in all of his tasks and undertakings. Yvain ventures to find the maiden of his wife, and by doing so, exceeds the amount of time which Laudine had set for him to return to their abode, showing a lack of good judgment on the part of Yvain. Yvain is still immature at this point, promoting chivalry, rather than making love the focal point of his life. Yvain would rather be out helping his cousin or helping his wife than actually being with them or trying to fulfill promises which he set with them in the past. However, Yvain is still successful in these tasks, showing that his chivalry is still maintained to an extent, even though his pride may not necessarily be at the same level. Yvain is a multidimensional character as opposed to Erec, due to the changes that he makes throughout the romance.

Yvain 2

1. Gawain's speech proples initiative into Yvain to regain his knighthood, as Gawain believes that Yvain's status as a knight has become diminished through Yvain spending most of his time with Laudine. Laudine takes the central role within the scene, professing to Yvain that he has a year to be back and nothing more. From the point of chivalry, it can be inferred that both Laudine and Yvain believe that his knighthood has been affected by their marriage, but also that Laudine finds this to be more true than Yvain, and thus, sets a time and date for Yvain to return after he has regained his chivalry. Yvain accepts the offered placed Laudine, as he does not think he will be able to return in such a time, but is still willing to try to return at such a point, in the name of love, though after this, Laudine will cease to love Yvain. I would agree to such an agreement on the basis that I would become a better man by doing such tasks, characteristically.

2. Within the romance, the lion represents Yvain's willingness to go to reclaim his chivalry on the words of another, and thus, his courage as a man, and as a knight. Meanwhile, the snake represents the exact opposite, with Yvain not wanting to go back and displeasing his wife, and thus, the snake is viewed as being evil and tempting. Yvain cannot decide whether or not he will return to Laudine on time, but eventually, his decision is made apparent by the text as the snake is vanquished.

Yvain Response

1.
 

While Chrétien formally addresses a prologue which he wrote at the beginning of Erec and Enide, there seems to be the lack of such a distinct piece of writing at the beginning of Yvain. However, Chrétien adds more depth to the store by not declaring any sort of connection with a proverb or any other sort of material which one would derive ideas from, ideas which could affect his or her judgment on the store and the knowledge of the plot in advance. By not writing a proverb and instead meshing the "prologue" within the confines of the opening scene of the romance, Chrétien is shows that Yvain is the exact opposite romance than Erec and Enide. The romance has less purpose and is more based upon spontaneity and adventurism, whereas Erec and Enide was a formulaic text in which one could predict almost every seen and could describe the symbolism with the ease. Having nothing to relate the romance to during its opening, the reader can become more engaged in the romance and have less predictability on their mind when reading. The lack of prologue suggest that Yvain is a more fun-loving guy that like likes to look for adventure and could care less about chivalry and everything that is tied into it, including women. It adds an extra layer to the protagonist, which we didn't see in Erec and Enide, as Erec was the stereotypical hero, or "meathead," for lack of a better term.

Erec & Enide Response 3

In the final third of the romance, the inner turmoil between both the character of Enide and the character of Erec seems to have dwindled itself down to the core. Erec, having doubting has ideals, has, by action, reclaimed his chivalry, and in doing so, accepted the fact that he is once again a knight of great lineage. Meanwhile, the inner conflict of Enide, who doubted herself, concludes with the actions of her lover Erec, not by her own accord. Thus, chivalry can be attained by the many, as opposed to a single person. No longer does Enide thinks she is to blame for the sorrow in their relationship. The fact that Erec takes her on the quest, shows that he is determined to renew his chivalry for the both of them; so Enide can see his renewal on the frontline. The proverb stated at the beginning of the romance comes into play when Erec is proclaimed as dead by Enide, and the count picks the two of them up, moving the couple to his castle. Silently and swiftly, Erec kills the count and without saying a word, takes Enide to venture away from the castle. Chivalry is multi-dimensional in the fact that it affects Enide, as opposed to just Erec, despite chivalry being primarily linked to men. Enide recaptures her chivalry by standing up for her man in the face of peril. Without chivalry, the couple would have most likely deteriorated from the trust between the two, as Enide made it clear the she believed she was to blame for his timidity, while Erec become enraged at this accusation, while taking it into account.

Question: In what other ways is chivalry seen is being multi-dimensional?

Erec & Enide (Pages 60-90) Response #2

1. Enide becomes a more central figure within the romance as she becomes the focal point of Erec after the two are wed. From the point at which the two travel to Erec's castle, Erec’s values change. Erec holds Enide above all of his accomplishments and his prestige, throwing away his own morals and beliefs, and even his friends for the woman. Enide's name is revealed to us through the marriage of her and Erec, as the court revealed Enide's name as the name she received through her baptism when she is given to Erec, which is a rather strange way of learning the name. According to the romance "unless a woman is called by her proper name, she is not married," describes the society to not only be objectifying and male-dominant, but also cruel in the fact that women are not called by their birth names until they have reached the point of marriage (pg. 62). To me, this is nonsensical, as most people would have to be called something more-or-less symbolic of a human being. Enide, at one point, states that he has become un-chivalrous in his doings, which is really peculiar if most of what he does in centered around her.

2."Wretch. Unhappy me," are the first words spoken by Enide during the course of the story (pg. 68). Enide draws conclusion from random accusations and rumors that she is the cause of renouncement of Erec's decline in popularity and as necessity for his kingdom. Rather, the decline in Erec's actions, such as tournament and other forms of melees, implicates to his peers that he has become nothing more than a shell of what he once was. Erec does not take much of what he hears into thought, nor does he care. Enide, on the other hand, allows herself to become consumed by the thoughts of what their peers have said. Enide is introspective, and as so, she becomes easily conflicted and lets these thoughts brew into an overwhelming feeling of guilt. Enide immediately takes responsibility for being the cause of Erec's condescension, and in doing so, allows herself to speak for the first time, only to rave about how she is the root of all of their problems. Enide feels as if she's belittled Erec with her presence. "Previously everyone used to say that there was no better or more valiant knight known in all the world; your equal was nowhere to be found," is the claim Enide makes before quickly saying that the current reality is the opposite (pg. 68). Erec finds comfort in Enide's words, taking into account her wisdom and agrees. Erec's speaks from a rather altruistic viewpoint, thinking it foolish to disagree, since much of what he had done since marriage had revolved around Enide, thus forcing him to change his life completely.

Erec & Enide (Pages 37-60) Response #1

2. How would you describe the opening scene in King Arthur’s court? What evidence in the text brings you to your ideas? We have the idea of a contest and the outcome it will bring. What might the possible ramifications of this contest imply (about gender, the court, society, etc.)?

The opening scene in King Arthur's court is one of cheerfulness and enjoyment, at least, to Arthur. All of Arthur's court had gathered at Cardigan and "one was never seen, for there were many good knights, brave and combative and fierce, and rich ladies and maidens, noble and beautiful daughters of kings" (pg. 37). Arthur summoning his court for such an announcement would only hope to aid in the provoking of remerging of such an old tradition. The announcement is derived from egotism, as Arthur rejects the deterrence advised from Gawain, which only aids Arthur's pride and happiness. "This I know well, but I will not give up my plan for all that, for the word of a king must not be contravened. Tomorrow morning with great pleasure we shall go to hunt the white stag in the forest of adventures: this will be a most wondrous hunt" (pg. 38). The court, as a whole, could possibly implode from such a contest, as every member of the court, like the king, is highly narcissistic, believing each maiden to be the fairest. If anything, the result of the contest could possibly lead to the thought that men are possessive and fairly un-chivalrous, essentially destroying any previous notion of the values thought to be held by such men. 

4. What do you make of the second contest in the text (the sparrow-hawk)? What is at stake here? What are the implications of this concerning gender, power, masculinity, etc.?

The second contest in the text is as much about the dominance of the male gender within society at the time as was the first contest. The first contest is based upon the prize of a female's kiss, whereas the second contest requires a maiden of sheer beauty to obtain such a prize, held in such high esteem by the town. A stake in the second contest is, not only the sparrow-hawk, but the future of Erec's maiden, whether she continue to live in poverty or be granted riches which she could not previously have, despite being offered the riches by nearly anyone that she knew prior to meeting Erec. The contests display a feeling of controlled environment to the point at which it seems as if women are treated more like rag dolls, rather than human beings who are swept of their feet by men, or so the term 'chivalry,' implies. Women have no say in anything, except when they have a wish, which can often be rejected or accepted by the men whom they oblige. In fact, only the Queen Guinevere seems to possess any form of power equal to or lower than that of Arthur’s court at Cardigan.