don quixote and sancho panza

Since Don Quixote de la Mancha is a crazy fool and a madman, and since Sancho Panza, his squire, knows it, yet, for all that, serves and follows him, and hangs on these empty promises of his, there can be no doubt that he is more of a madman and a fool than his master.
— 

Miguel de Cervantes, Don Quixote.

im just

“The number of times I have followed you blindly, backed you with the men blindly, put men in the fucking ground good men, friends because you said, “I know the way. Don’t ask me how. Just do as I say.” I may not have understood it, I may not have supported it, but I did it.

Don Quixote’s Soliloquy

I daren’t tarry too much longer 
no more windmills shall I chase 
having stared into the darkness
of kindness I find not one trace

I’ve tasted life so many years 
now nothing much do I desire
even beloved Sancho passed
and every dragon lost its fire 

Alone in my cups reminiscing
longing for those days of old 
when everyone loved a hero
who stood tall, true and bold

Penning words upon the wind 
speaking for no one save me
I raise my goblet to ever after    
sharing this my last soliloquy 

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Brienne of Tarth and Don Quixote + parallels
(requested by @valiantnedspreciouslittlegirl)

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Strauss - Don Quixote, Fantastic Variations on a Theme of Knightly Character

Cervantes’ masterpiece in its entirety is just shy of a thousand pages. So when Strauss decided to set the work to music, instead of trying to tell the entire story, he opted for a tone poem in variation form to represent famous scenes from the book. The more I listen to Strauss’ tone poems, the more I feel that he would have been a great film music composer. I can hear his influence in a lot of popular action, sci fi, and fantasy movies. His scores are always animated and have a natural flow. It’s fun to follow along and “hear” all of the different characters and situations while listening to this piece [which you can easily enjoy without reading the program]. And in the usual Strauss style, it’s full of creative orchestral writing and unexpected harmonic turns. Also, this work is famous for having a solo cello which plays the “part” of Don Quixote, and the viola [for the most part] playing the role of Sancho Panza, making this piece a combination of a  tone poem, orchestral variations, and double concerto.

Movements:

  1. Introduction: Mäßiges Zeitmaß. Thema mäßig. “Don Quichotte verliert über der Lektüre der Ritterromane seinen Verstand und beschließt, selbst fahrender Ritter zu werden” (“Don Quixote loses his sanity after reading novels about knights, and decides to become a knight-errant”)
  2. Theme: Mäßig. “Don Quichotte, der Ritter von der traurigen Gestalt” (“Don Quixote, knight of the sorrowful countenance”)
  3. Maggiore: “Sancho Panza”
  4. Variation I: Gemächlich. “Abenteuer an den Windmühlen” (“Adventure at the Windmills”)
  5. Variation II: Kriegerisch. “Der siegreiche Kampf gegen das Heer des großen Kaisers Alifanfaron” (“The victorious struggle against the army of the great emperor Alifanfaron”) [actually a flock of sheep]
  6. Variation III: Mäßiges Zeitmaß. “Gespräch zwischen Ritter und Knappen” (“Dialogue between Knight and Squire”)
  7. Variation IV: Etwas breiter. “Unglückliches Abenteuer mit einer Prozession von Büßern” (“Unhappy adventure with a procession of pilgrims”)
  8. Variation V: Sehr langsam. “Die Waffenwache” (“The knight’s vigil”)
  9. Variation VI: Schnell. “Begegnung mit Dulzinea” (“The Meeting with Dulcinea”)
  10. Variation VII: Ein wenig ruhiger als vorher. “Der Ritt durch die Luft” (“The Ride through the Air”)
  11. Variation VIII: Gemächlich. “Die unglückliche Fahrt auf dem venezianischen Nachen” (“The unhappy voyage in the enchanted boat”)
  12. Variation IX: Schnell und stürmisch. “Kampf gegen vermeintliche Zauberer” (“Battle with the magicians”)
  13. Variation X: Viel breiter. “Zweikampf mit dem Ritter vom blanken Mond” (“Duel with the knight of the bright moon”)
  14. Finale: Sehr ruhig. “Wieder zur Besinnung gekommen” (“Coming to his senses again” – Death of Don Quixote)
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Mad Max: Fury Road (2015) vs. Honoré Daumier (1808-1879, French printmaker, caricaturist, painter, sculptor)

Here I am, a whole year later, finally figuring out which artist this brilliant movie reminds me of.

anonymous asked:

Story of Don Quixote please? (I just love the way you write them out)

don quixote usually starts with our title character, hereafter referred to as don q, and his trusty sidekick sancho panza.

don q has lived life a lot, being sort of an old fart, and decides that he must live a life now of chivalry and knighthood because fuck it, PEOPLE NEED TO KNOW HIS NAME. he follows the spectral image of dulcinea, who is sometimes his long lost love who he can’t fucking get over, and who is sometimes just his dream lady, because idealized femininity is rad as fuck yo. often times, don q is portrayed as a little touched in the head, because whoever wrote this damn ballet decided that mental illness was a fun punchline

next we run into the town of barcelona, where a lot of fun stuff is happening, mainly this bitch kitri

she’s basically the hottest slice of ass in town and she fucking knows it. she waltzes in and everyone is like “damn our girl is back again hallelujah.” she’s got a hot boyfriend, basilio, who is a barber  and also possibly one of the hottest humans to grace this godforsaken swatch of spain. only problem is that homegirl has an overbearing dad. usual patriarchal bull shit where the dad decides that HE should be the one who decides whom his daughter marries even though you know, her fucking life, her fucking choice.

despite the fact that this guy basilio

is a hot piece of ass, lorenzo, our dad bro, thinks he is poor shit. plus, basilio likes to dick around and play his eensy weensy guitar a lot, which makes lorenzo thinks that he isn’t serious enough to support his precious angel daughter forever. instead he wants to marry kitri off to this absolute turkeyfuck gamache, who is the richest guy in town and an absolute idiot.

kitri’s fucking around with gamache, oftentimes literally knocking him to the floor, when in wanders don quixote and sancho panza on their magical mystical quest. don q gets a little confused, thinking that kitri is dulcinea, because all beautiful ladies look the same when you are elderly and probably need an old timey glasses prescription. he gets friendly with kitri and so of course, when she and basilio book it the fuck out of town, he follows them, taking not only the very frustrated sancho panza, who has just been literally tossed around by a bunch of smack happy villagers, but also gamache and lorenzo, who want to stop this shady business once and for fucking all!

so kitri and basilio flee to the closest place outside of town a ~g*psy~ camp because ballet is a big fan of appropriating oppressed cultures, where they hope to hide and dick around for a bit. not for fucking long though because SURPRISE don q has followed them. their frolicking and canoodling and makin out is seriously interrupted when don comes in. not only can they no longer make out, but in the confusion of it being too damn dark, and him being old as balls, and the aforementioned other shit going on, he mistakes a windmill for a giant, and attacks it with his lance. because immovable structures generally stand up pretty well to attack by human, don q loses and ends up knocked out on the ground.

while he’s out, he has a twisted fucking dream. not only does he see the vision of kitri, who now starts to symbolize dulcinea, he also sees a big ass flock of dryads, who are basically tree spirits, their beautiful bomb as hell queen, and cupid, the spirit of love.

in this whacked out wild dream, he starts to realize that no, kitri and dulcinea are not the same bitches, and that he wants to help out our precious baby to get hitched to her tasty man. when he wakes up, he follows k and b to a bar where they want to party and live it up. unfortunately, as they are drinking and living largeee, in comes kitris dad and her pompous dicksauce fiance gamache. and what a surprise mister I KNOW WHATS BEST FOR MY DAUGHTER BECAUSE SHE OBVIOUSLY DOESNT dad i  pissed as all hell. he starts demanding that this bitch come home with this idiot, who is falling all over himself, not being used to being around pretty girls and also being trapped int he motherfucking friendzone (not just friendzone but basically endzone, as this bitch has literally thrown him on the ground. dude. take a hint).

so they come in and kitris like noooooo when BOOM SHIT HAPPENS. basilio comes in and he’s like “imma kill myself right now” and everyone is like nooooo. basilio fakes his suicide, because as we know, S u I cI De is KeW l rather than terrible and not something to make light of.

realizing that this is all a bunch of fucking malarkey, don q persuades lorenzo to marry kitri to the dead basilio because another important fact, necrophilia is also cool and somehow lorenzo is more likely to allow her daughter to marry a fucking dead guy than a live and sexy one. so kitris all “pls dad its his final dying wish dad why you gotta do this to a ded man” and so dad bro agrees.  JOKES ON YOU OLD DAD when the marriage to the dead guy is over THE FUCKER JUMPS UP because he aint dead and surprise haha you married your daughter off and now this bitch ass punk is alive.

act three opens on their wedding and these fucking cuties get to get all married and shit, and don q and sancho wander off into the sunset, much to sanchos continued dismay, and for once, they all live HAPPILY FUCKING AFTAH

(ballerinas wear tutus on their wedding days because SCREW COMFORT)

*closes storybook* and that is the ballet of don quixote

Once Upon a Time: Dissecting those finale Easter eggs

Once Upon a Time opened up a new avenue for storytelling in the season 5 finale by introducing the Land of Untold Stories.

Whose untold stories are they exactly? Aside from the obvious Jekyll (Hank Harris) and Hyde (Sam Witwer), the powers that be at OUAT dropped a few hints during the two-hour finale. We try to dissect them below:

Don Quixote
While flipping through the storybooks discovered in the New York Public Library, Henry comes across a photo of a rider on a horse, with a windmill in the background. The text on the opposite page hails from The Ingenious Gentleman Don Quixote of La Mancha, the story of the hidalgo Don Quixote, who sets out to revive chivalry with his squire Sancho Panza.

The Water-Babies
Also in the new storybook is a page of text pulled from The Water-Babies, A Fairy Tale for a Land Baby, a mainstay of British children’s literature. The story of morality follows a young chimney sweep transformed into a water baby as he embarks on a journey of repentance in order to become human again.

Gulliver’s Travels
Depicted in Henry’s new storybook, Gulliver’s Travels tells the story of a surgeon who, after getting caught in a storm, washes up on an island filled with tiny people roughly six inches tall, making him a giant among men.

Twenty Thousand Leagues Under the Sea
Captain Nemo makes an appearance in the storybook, seemingly outside his creature-like submarine, the Nautilus, which he uses in the novel to roam the world in search of scientific discovery during his self-imposed exile from humanity.

Paul Bunyan
The giant folk hero and lumberjack of American lore is recognizable in Henry’s storybook by his companion, Babe the Blue Ox.

The Three Musketeers
Easy to spot in the Land of Untold Stories, the trio of swordsmen are among the elite French guard depicted in Alexander Dumas’ historical novel.

Knight of the Holy Grail
Briefly spotted in the Land of Untold Stories, the Grail Knight may have gone unnoticed if not for the fact that the Holy Grail was used to destroy magic in the finale.

Cowboys?
Blink and you’ll miss them in the Land of Untold Stories. Cowboys appear on either side of Dr. Jekyll, begging the question: What story did they come from?

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Joan Watson: NOT a Sidekick

I wrote a post about how Jonny Lee Miller’s portrayal of Sherlock Holmes in Elementary is subverting the asshole genius trope, and in it I said that people should stop referring to Joan Watson as his sidekick, as Sherlock and Joan are clearly equals. This remark earned a comment on one of the reblogs:

Obviously, I disagree. a-spoon-is-born​ wrote that Joan is so much more than a foil for Sherlock here, but I’d like to discuss it further. For the record, this is not an attack on the blogger who made the comment; I’m just taking the opportunity to articulate my thoughts on this.

[Press J if you want to skip this on your dash.]

Okay, so let’s talk this through:

1. “John/Joan is Sherlock Holmes Sidekick though.”

She’s not. I’ll elaborate below.

(I’m not going to discuss John Watson, because there are so many John Watsons, we’d be here until next week. If you’re referring to Martin Freeman’s John Watson, I’ll let the BBC Sherlock fans speak for him if they wish, since I’ve never seen the show.)

2. “It’s actually a pretty usual thing that the sidekick is equal to the hero…”

By its very definition, the sidekick character is secondary to the hero. It can be anyone from Robinson Crusoe’s loyal man Friday to Cinderella’s anthropomorphic little mice. They can be helpers, observers, comic relief, or audience stand-ins. They’re the ones who ask the questions that allow the hero to explain the plot or his motivations (so that the audience can understand), or they fall into danger, giving the hero a chance to perform a daring rescue. On the occasion that their own motivations are even given attention, these motivations are shown to always be in line with or in support of the hero’s own agenda. Robin believes in Batman’s fight against injustice. Mushu needs to bring Mulan safely through the war to prove that he’s a good guardian. Sancho Panza follows Don Quixote around for the promised reward.

Joan Watson doesn’t fit into this definition. She has her own arc that is distinct from Sherlock’s, whether it involves a romantic relationship, familial obligations, longtime friends, independent detective work, or her mental well being. Sherlock occasionally gets involved, and Joan sometimes welcomes this, but she doesn’t hesitate to set boundaries when necessary. The episode I quoted in the original post, 3x19, has her telling Sherlock,  "I am finding my way through my situation. Whether or not that works for you is irrelevant. This is where I am right now and this is how I need to be.“ Joan knowing when to accommodate Sherlock’s needs and when to prioritize her own has been a consistent character trait all throughout the show. IMPORTANT NOTE: Sherlock Holmes is written as being in the process of learning how to respect and uphold these boundaries and even encourage Joan to live her own life. The narrative never paints Joan as being selfish or wrong for not dedicating her entire focus on Sherlock and his work.

Joan Watson isn’t there to be saved. She has been in danger, but never for the purpose of giving Sherlock a heroic rescue moment. In fact, she’s done a fair amount of rescuing Sherlock. There was that time when Sherlock was kidnapped and she alerted the police, and when she figured out how to outsmart Moriarty, and most recently when Sherlock was arrested for murder and she cracked the case to find the real killer.

Joan Watson may have played the role of listener and question asker as Sherlock provided exposition, but the reverse is also true. The show is a crime procedural. The two of them, plus whoever else is working the case, have to relay information to one another, with the nifty benefit of also letting the audience catch up.

But actually, the most undeniable sign that Watson isn’t Sherlock’s sidekick? It’s that sidekicks are never put in a position of authority over the hero. And in the case of Sherlock and Joan, the power dynamics between them have been constantly in flux. In their past relationship as addict/sober companion, Joan was in charge. In their past relationship as seasoned detective/protégé, Sherlock took the lead. As they moved from those boundaries into a partnership, their roles have become much more equal. Not counting the occasions when Sherlock willingly and happily performed acts of service as gestures of affection, the last time the distribution of power between them was so sharply unbalanced was in the beginning of Season 3 when Capt. Gregson gave Joan the authority to decide whether Sherlock could return to consulting for the precinct or not.

3. ”…that doesn’t make him the main main character though.“

If by "main main character” you mean the central protagonist, I never said that. What I meant was that she is one of the protagonists, or, if you want to get technical, my friend nicolauda suggested the term deuteragonist: the second most important character that the show revolves around. Joan’s importance is even more emphasized this season, because while we still have the theme of Sherlock’s recovery from addiction as a running thread in the show, there’s also a lot of focus given to how Joan is moving forward from the tragedy of Andrew’s death. It’s actually quite lovely that while Joan continues to be Sherlock’s supportive friend, Sherlock is also shown to be playing that role for Joan much more than in the previous seasons (though he has already been doing that from season one). The two of them are in a continuing process of learning to love, help, and work with each other, but they already have a working definition for themselves: partners.

So no, I don’t think Joan Watson is Sherlock’s sidekick. More importantly, neither do Sherlock Holmes, the cops at the NYPD, and Joan Watson herself.