Chapter 18: lots of dialogue, majority of the chapter is spoken by character, with brief interruptions by the narrator. Take note of the entire paragraphs spoken in dialogue, and how most of the action narrated comes through their interactions. Whole chapter is basically dialogue: broken up small sections where the narrator narrates and notes that time passes. What’s the effect of this? Realistic? –if all dialogue, the story would be in “real time”
Lots of action happening as spoken by character on pg. 146 “Oh, unhappy me! . . .”
When DQ sees clouds of dust: he thinks they are armies clashing
When Sancho see the could, he doesn’t see armies, but rather livestock, yet he still allows DQ to go fight the armies he sees.
Sancho: complains about getting beat up so much, he seems regretful for all these sorry adventures
pg. 142: “With this he rode into the army [. . . ]: when narrator takes over, time seems to move faster: because there’s more action, because during the dialogue there’s not much action happening.
–there’s a lot of dialogues and also monologues in the book; reads like a play, bigger action sequences because he’s not confined to the stage; giving voice to the character’s thoughts
Flat characters: one-dimensional, don’t develop, can be a stereotype; they don’t evolve much; typecast
Jahn: flat character/static character A one-dimensional figure characterized by a very restricted range of speech and action patterns. A flat character does not develop in the course of the action and can often be reduced to a type or even a caricature (e.g., “a typical Cockney housewife”, “a bureaucrat” etc.). Flat characters are often used for comic effect.– Mrs. Micawber in Dickens’s David Copperfield is characterized by keeping on saying “I never will desert Mr. Micawber”.
Round characters: three-dimensional; they have conflicting characteristics; not a stereotype; create identification with audience; they have the possibility to evolve or change; they can surprise one; HAVE PSYCHOLOGICAL DEPTH
thinking deep thoughts
Jahn round character/dynamic character A three-dimensional figure characterized by many, often conflicting, properties. A round character tends to develop in the course of the action and is not reducible to a type. Forster (1976 ); Rimmon-Kenan (1983: 40-42); Pfister (1988: 177-179). Rimmon-Kenan (1983: 41) identifies Stephen in Joyce’s A Portrait of the Artist as a Young Man and Strether in James’s The Ambassadors as round characters.
Conflicts: each deals with EXTERNAL and INTERNAL. “Round” characters have more internal conflicts than “flat” ones.
1600s Don Quixote:
1850: psychology “born”
Don Quixote: could be flat: we see him a certain way, and think he doesn’t change; when he talks about knight romances;
DQ could be round: when he corrects other characters, or when he speaks like he’s not insane
Sancho: could be round: doesn’t speak up; doesn’t change in the story, but how much can he change?
Sancho could be flat
“stock” characters: same character used over and over; becomes a cliché; typecast as a sidekick
Sancho telling story—he’s a bad storyteller
Pg. 160: discourse time is longer than story time
Sancho has to go to the bathroom, narrated quickly that Sancho was “holding it” and then he finally passes “it” quickly.
Scatological humor: processes of the body and societal propriety for dealing with the processes. A “code of convention” instituted by either states, religions, or social groupings in general. A daily detail of existence, and humor in disruption of the code.
Mentioning something simple, “low brow” in a book considered “high art.” Why are poop jokes funny?
159: Don Quixote critiquing Sancho’s story, but it could also be the novel’s critique of itself as narrative through the voice of the main protagonist
155: “When Sancho heard his master’s words he began to weep tears of infinite tenderness [. . .]” Possible free-indirect discourse? If “infinite tenderness” sounds like the character of Don Quixote, then maybe.
AN EXAMPLE of free-indirect discourse (I added to it during class break—Bill speaks a variety of non-standard English, we’ll say English of the working-class southeast United States. He doesn’t pronounce “running” as such, but as “a-runnin” instead for example). The narrator writes in standard English and would pronounce the word as “running”:
Bill went to the store to buy some biscuits, because he loved biscuits, by gad. He was in the mood for something of sticks-to-the-ribs quality. Bacon, maybe some eggs. Yes, two eggs, that would be something fine.
He knew he would encounter the old timers at the store. They always sat out front drinking coffee and spitting tobacco. When they spoke, they had a way of putting things that confused him. The old timers were intensely competitive in their storytelling, but, after all, a good story’s a good story, and sure enough, that’s what makes horse racing.
This afternoon they didn’t even looked at him as he passed by.
He entered the grocery, walked down the aisle, straight to the Apple Jacks. Yes, Apple Jacks, nice Apple Jacks. He picked up the box, shook it, and remembered he had a coupon at home.
“Dang,” he said to himself.
He decided it best to save his coupon for later, because in a couple of days he would need more Apple Jacks. He picked up the box and walked toward the register.
He thought better, then, when he touched his wallet. The expiration date on the coupon! Well, he might could go home, get that dang coupon, and head on back. Long way back home. And he’d have to pass by the Old Timers yet again, and he might not be as lucky as last time.
He decided to go home, get his coupon, and save some money. One can’t live in a pickle barrel without getting pickled, right?
One effect: makes it seem like the narrator “enters” Bill’s consciousness then leaves
One effect: the narrator takes on Bill’s voice, so the narrator and Bill become “one” or they collide in vision, arguably in focalization the POV collapses into a single one—but only very briefly.
subjective constructions and expressions
Free-indirect discourse: narrator is supposed to be unbiased, not jumping in to the story; here there seems to be DQ’s voice entering the narrator position
–research essays social studies or English
5 paragraph essay model
intro: states thesis
three body paragraphs
conclusion: re-states thesis
- start with a subject: thesis: what you want to prove
- Or start with questions to develop and arrive at answers at the end
- define the terms you plan on using in the thesis or understand those questions in number 2
- map the essay out: “map”: outline of the body sections
- find evidence (sources) to support thesis or question
introduction: introduces topic/theme/thesis
body paragraphs: break down topic into different aspects and explain to reader: could have further arguments, depending sources, has outside sources.
Conclusion: wrap it all up: re-state the argument and the connections or how you proved your point within the body