Damrosch, David; Jane Tylus; Pauline Yu; Sheldon Pollock;
The Longman Anthology of World Literature volume C : The Early Modern Period
Pearson Longman, 2004, 902 pages
ISBN 0321169794
topics: | literature | poetry | fiction | drama | anthology | world | 16th-c | 17th-c
Even in India, vernacular writing - Tukaram, or Basavanna - is little known. I discovered entire genres of Indian poetry and writing - much of it amazingly good, in this wonderful series.
p.12 Like a monkey on a tree it leaps from branch to branch : how can I believe or trust this burning thing, this heart ? it will not let me go to my Father, my lord of the meeting rivers. [tr. A.K. Ramanujan]
p.12 You can make them talk if the serpent has stung them. You can make them talk if they’re struck by an evil planet. But you can’t make them talk if they’re struck dumb by riches. Yet when Poverty the magician Enters, they’ll speak at once, O lord of the meeting rivers. [Basavanna 132; tr. from Kannada by A.K. Ramanujan. "lord of the meeting rivers" is AKR's inspired rendering of Basavanna's signature (aMkita), his personal deity, "kudalasangamadeva". kudalasangama is the confluence or sangam of the Krishna and Malaprabha rivers at Kalyan in Karnataka, and the deva is the deity (Shiva) in the temple here. AKR describes Basavanna as the "incandescent" voice of Virashaivism, a sect that rejected entrenched casteism in religion in 11th c. India. His tenets, which found nearly two lakh followers during his lifetime, rejected inequality of every kind, ritualism and taboo, and glorified work (kAyaka) and bhakti to the Lord. - from Speaking of Siva p.64
I don't know anything like time-beats and metre nor the arithmetic of strings and drums; I don't know the count of iamb or dactyl. My lord of the meeting rivers as nothing will hurt you I'll sing as I love. [Basavanna 494; tr. A.K. Ramanujan]
p.13 The rich will make temples for Siva What shall I, a poor man, do? My legs are pillars, the body the shrine, the head a cupola of gold. Listen, O lord of the meeting rivers, things standing shall fall, but the moving ever shall stay. [tr. A.K. Ramanujan] [the low-caste man has no temple, but he knows that god lives not in the perishable stone but in his heart. The metaphor of the temple and the body is deeply entrenched; see the elegant analysis by translator A.K. Ramanujan in Speaking of Siva ) original poem in kannada: ಉಳ್ಳವರು ಶಿವಾಲಯ ಮಾಡುವರು ನಾನೇನು ಮಾಡಲಿ ಬಡವನಯ್ಯಾ ಎನ್ನ ಕಾಲೇ ಕಂಬ, ದೇಹವೇ ದೇಗುಲ, ಶಿರವೇ ಹೊನ್ನ ಕಳಸವಯ್ಯಾ ಕೂಡಲಸಂಗಮದೇವಾ ಕೇಳಯ್ಯಾ, ಸ್ಥಾವರಕ್ಕಳಿವುಂಟು ಜಂಗಮಕ್ಕಳಿವಿಲ್ಲ, uLLavaru shiválaya máduvaru nánénu mádali badavanayyá enna kále kambha dehavé degula shiravé honna kaLashavayyá kúdala sangama devá keLayya sthavarakkaLivunTu jangamakaLivilla the song is sung by S.P. Balasubramainiam in the movie _Kranthiyogi Basavanna_ (1983), based on Basava's life. Here is the song from youtube
p.17 Who cares who strips a tree of leaf once the fruit is plucked? Who cares who lies with the woman you have left? Who cares who ploughs the land you have abandoned? After this body has known my lord who cares if it feeds a dog or soaks up water? (tr. A.K. Ramanujan) Mahadevi (akka = elder sister) left home and wandered the streets naked, seeking union with Shiva. She joined the Virashaivas at kalyANa, but eventually found Shiva in the Shri Shaila hills of Andhra.
Better than meeting And mating all the time Is the pleasure of mating once After being far apart. When he’s away I cannot wait To get a glimpse of him. Friend, when will I have it Both ways, Be with Him, Yet not with Him, My lord white as jasmine? (tr. A.K. Ramanujan)
like basavaNNa, tukArAm is a poet-saint in the bhakti tradition. he was born into a lower-caste family at the village Dehu near Pune. these were harsh times, with famine running over two years in a row, and a plague epidemic as well. in his early years, he saw many near ones die - his parents, his first wife, and a son. for some years, he tried to manage his fields, and to run a shop, but gradually lost interest in worldly affairs and ran up enormous debts. at age 20, he left trying to manage the household, and went off to a forest where he is said to have meditated for 15 days until Vithoba (a form of Krishna) came to him. subsequently he re-built an old temple and started living there, spending his time in bhajan and kirtan. he started composing songs as well. one day, he had a dream where Pandurang (Vitthal), the form of Vishnu worshipped in the in the pilgrimage town of pandharpur, came to him along with the saint-poet Namdev (Namdeo). What Namdeo and Vitthal told him in the dream is recounted in this poem (p. 21): I was only dreaming Namdeo and Vitthal Stepped into my dream "Your job is to make poems," Said Namdeo. "Stop fooling around." [while Vitthal says]: "The grand total Of the poems Namdeo vowed to write Was one billion." "All the unwritten ones, Tuka, Are your dues." so Tukaram started composing poems with vigour. much of his poetry is offered to the deity from the pandharpur temple, viTThala, or to Pandurang - both forms of the krishNa incarnation of Vishnu. like basavanna, his poetry has an intimacy with his god, and an irreverence towards established religion. in one of his poems, he talks of Narayan (Vishnu) having incurred debts, in terms that clearly reflect his own experience with debts: Narayan is insolvent He has borrowed Right and left. Pay up, pay up, Clamour the creditors. He dare not stir In his own house. He hides Under the bed. Maya declares He isn't in. (tr. Arun Kolatkar). arvind mehrotra, while discussing why the modern marathi-english poet arun kolatkar liked the blues, suggests that there is an affinity of spirit between many blues lyrics and Tukaram; each speaks in the idiom of the street. For instance It's a long old road, but I'm gonna find the end. It's a long old road, but I'm gonna find the end. And when I get there I'm going to shake hands with a friend. "could just as well have been Tukaram, though it is Bessie Smith". Kolatkar: Collected poems, p. 30, even in his lifetime, Tukaram became widely venerated as a saint. at one point, some brahmins opposed his work, and a manuscript with his poems was thrown into the nearby indrayAni river. however, after some days, the manuscript floated up intact. the maratha ruler Shivaji visited him. In the following centuries, Tukaram has exerted an enormous influence on the indian bhakti tradition; some of his disciples, along with others from madurai joined the followers of sri chaitanya in reviving the cult of mathura and vrindavan. his songs remain widely popular and his village of dehu with the river indrayAni has become an important pilgrimage spot. these translations by the noted marathi poet dilip chitre are from his "says Tuka". a number of other translations also exist - see a close analysis by Ashok R. Kelkar in Tender ironies (p.244-249) Kelkar concludes that In the balance, both Kolatkar and Chitre have similar goals but Kolatkar brings it off more successfully than Chitre, [who] overdoes things somewhat.
tr. Dilip Chitre, p.21 I was only dreaming Namdeo and Vitthal Stepped into my dream “Your job is to make poems,” Said Namdeo. “Stop fooling around.” Vitthal gave me the measure And slapped me gently To arouse me From my dream Within a dream “The grand total Of the poems Namdeo vowed to write Was one billion.” He said, “All the unwritten ones, Tuka, Are your dues.”
tr. Dilip Chitre, p.22 Have I utterly lost my hold on reality To imagine myself writing poetry? I am sure your illustrious devotees, All famous poets, will laugh at me. Today, I face the toughest test of life: Whereof I have no experience, Thereof I have been asked to sing. I am the innocent one asked to sin, Without any foretaste of what I must commit. I am just a beginner, untutored in the art, My master himself is unrevealed to me. Illuminate, and inspire me, O Lord. Says Tuka, my time is running out.
p. 23 Where does one begin with you? O Lord, you have no opening line It’s so hard to get you started. Everything I tried went wrong. You’ve used up all my faculties. What I just said vanished in the sky And I’ve fallen on the ground again. Says Tuka my mind is stunned: I can’t find a word to say.
p.23 Some of you may say I am the author Of these poems But Believe me This voice Is not my own. I have no Personal skill. It is The cosmic one Making me speak. What does a poor fellow like me Know of the subtleties of meaning? I speak what Govind Makes me say. He has appointed me To measure it out. The authority rests With the Master; Not me. Says Tuka, I’m only the servant. See? All this bears The seal of his Name.
To arrange words In some order Is not the same thing As the inner poise That’s poetry. The truth of poetry Is the truth Of being. It’s an experience Of truth. No ornaments Survive A crucible. Fire reveals Only molten Gold. Says Tuka We are here To reveal. We do not waste Words.
tr. Dilip Chitre, p.24 When my father died I was too young to understand; I had not to worry About the family then. Vithuf, this kingdom is Yours and mine. It’s not the business of anyone else. My wife died: May she rest in peace. The Lord has removed My attachment. My children died: So much the better. The Lord has removed The last illusion. My mother died In front of my eyes My worries are all over Says Tuka. links: * find all the Tukaram poems from this book listed at http://www.tukaram.com/english/anthology.htm * a clear biography at by Swami Sivananda at sivanandaonline.org
p.27 Those women, they deceived me. They told me he was a woman, and now my heart is troubled by what he did. First I thought she was my aunt and uncle's daughter, so I bow to her, and she blesses me: "You'll get married soon, don't be bashful. I will bring you the man of your heart." "Those firm little breasts of yours will soon grow round and full," she says. And she fondles them and scratches them with the edge of her nail. "Come eat with me," she says, as she holds me close and feeds me as at a wedding. Those women, they told me he was a woman! Then she announces: "My husband is not in town. Come home with me." So I go and sleep in her bed. After a while she says, "I'm bored. Let's play a kissing game, shall we? Too bad we're both women." Then, as she sees me falling asleep, off my guard, she tries some strange things on me. Those women, they told me he was a woman! She says, "I can't sleep. Let's do what men do." Thinking "she" was a woman, I get on top of him. Then he doesn't let go: he holds me so tight he loses himself in me. Wicked as ever, he declares: "I am your Muvva Gopala!" And he touches me expertly and makes love to me. Those women, they told me he was a woman!
Ksetrayya was most likely a court poet in mid-17th c. Andhra. His deity is Muvva Gopala (a form of Krishna) is most likely from a temple in present day village of Muvva (the place Muvvapuri appears in his work). Ksetrayya's work shows the rise of eroticism in the bhakti tradition (e.g. Jayadeva (13th c), see Kangra Paintings of the Gita Govinda) The uninhibited eroticism in these poems invoked considerable anguish in post-victorian india. Ksetrayya's poems were not available in printed form, and were first collected and printed under the aegis of scholars such as Vissa Apparavu or patrons like the "the Maharaja of Pithapuram (who had long family associations with courtesans)". The maharaja sponsored G.V. Sitapati's volume of Ksetrayya's songs. However, they tended to dilute the eroticism and present it as a mere allegory for the union of jiva and isvara, the yearning human soul and god. For the 1952 edition of G. V. Sitapati's Ksetrayya padams, E. Krishna Iyer wrote in his English introduction: Is it proper or safe to encourage present day family girls to go in for Ksetraya padas and are they likely to handle them with understanding of their true devotional spirit? At any rate can a pada like 'Oka Sarike' ["if you are so tired after making love just once"] be ever touched by our girls?
p. 27 Pour gold as high as I stand, I still won't sleep with you. Why be stubborn, Muvva Gopala? Why all these tricks? You set women afloat on your words, break into their secret places, deceive them with affectionate lies, excite them in love play, get together the whole crowd one day, and then you steal away like a spinach thief. Pour gold as high as I stand You coax women's affections, make them amorous and faint, do things you shouldn't be doing, confuse them, lie in bed with them, and then you leave without a sound, shaking your dust all over them. Pour gold as high as I stand You opportunist, you excite them from moment to moment, make mouths water, show them love to make them surrender, drown them in a sea of passion, and by the time the morning star appears — you get up and vanish. Pour gold as high as I stand. [Ksetrayya pada #216, tr. AK Ramanujan and VN Rao] title in telugu: niluvuna nilivedu , sung to raga kalyANi
List of Illustrations xv Preface xvii Acknowledgments xxii About the Editors xxiv The Early Modern Period 1 The Early Modern Period : Illustrations Don Cristobal Colon, Admiral of Ships Bound for the Indies xxx Map. The World in 1500 2 Color Plate 1. Albrecht Darer, Self-Portrait Color Plate 2. Agnolo Bronzino, Allegory (Venus, Cupid, Folly, and Time) Color Plate 3. Leonardo da Vinci, Muscles of the Neck and Shoulders Color Plate 4. Sophonisba Anguissola, The Chess Game Color Plate 5. Pieter Brueghel the Elder, Landscape with the Fall of Icarus Color Plate 6. Frontispiece to the Codex Fejérváry-Mayer Color Plate 7. Malinche and Devil masks Color Plate 8. Miguel Cabrera Portrait of Sor Juana Inés de la Cruz Timeline 6
Basavanna (1106-c. 1167) (tr. A. K. Ramanujan) 12 Like a monkey on a tree 12 You can make them talk 12 The crookedness of the serpent 12 Before the grey reaches the cheek 12 I don't know anything like time-beats and meter 13 The rich will make temples for Siva 13 Resonance: Palkuriki Somanatha: from The Legend of Basavanna (tr. Rao) 14 (3) Mahadeviyakka (c. 1200) (tr. A. K. Ramanujan) 17 Other men are thorn 17 Who cares 18 Better than meeting 18 Kabir (early 1400s) (tr. Linda Hess and Shukdev Sinha) 18 Saints, I see the world is mad 18 Brother, where did your two gods come from? 19 Pandit, look in your heart for knowledge 20 When you die, what do you do with your body? 20 It's a heavy confusion 21 The road the pandits took 21 Tukaram (1608-1649) (tr. Dilip Chitre) 21 I was only dreaming 21 If only you would 22 Have I utterly lost my hold on reality 22 I scribble and cancel it again 23 Where does one begin with you? 23 Some of you may say 23 To arrange words 23 When my father died 24 Born a Shudra, I have been a trader 25 Kshetrayya (mid-17th century) (tr. A. K. Ramanujan) 25 A Woman to Her Lover 25 A Young Woman to a Friend 26 A Courtesan to her lover 27 A Married Woman Speaks to Her Lover 28 A Married Woman to Her Lover (1) 29 A Married Woman to Her Lover (2) 29 Resonance: Wu Cheng' En (c. 1500-1582) 30 from Journey to the West (tr. Anthony C. Yu) 33 Resonance: from The Ramayana of Valmiki: [Hanuman searches for Sita] (tr. Goldman and Goldman) 108
Biblical Translations 115 Comparative Versions of Psalm 23 (``The Lord Is My Shepherd'') 116 from The Vulgate (with English rendering) 116 Clement Marot: from Psalms (tr. Jane Tylus) 117 Jan Kochanowski: from Psalterz Dawidow (tr. Clare Cavanagh) 118 The Bay Psalm Book 119 The Gospel of Luke 1:26--39 120 Lucrezia Tornabuoni de' Medici: from The Life of Saint John the Baptist (tr. Jane Tylus) 120 Martin Luther: from The Bible (tr. James A. Parente, Jr.) 121 William Tyndale: from The New Testament 122 New World Psalms 122 Bernardino de Sahagun: from Psalmodia Christiana (tr. Arthur J. O. Anderson) 122 John Eliot: from Up-Biblum God 126
Henry Knighton: from Chronicle (tr. Anne Hudson) 128 Martin Luther: from On Translating (tr. Michael and Bachmann) 128 The King James Bible: from The Translators to the Reader 130 Women and the Vernacular 132 Dante Alighieri: from Letter to Can Grande Della Scala (trans. Robert S. Haller) 118 Desiderius Erasmus: from The Abbot and the Learned Lady (trans. Craig Thompson) 119 Catherine of Siena: from A Letter to Raymond of Capua (trans. Suzanne Noffke) 122 Sor Juana Inés de la Cruz: from Response to "Sor Filotea" (trans. Margaret Sayers Peden) 138
GIOVANNI BOCCACCIO (1313-1375) 162 Decameron (tr. G.H. Mc William) 164 Introduction 164 First Day, Third Story [The Three Rings] 171 Third Day, Tenth Story [Locking the Devil Up in Hell] 172 Seventh Day, Fourth Story [The Woman Who Locked Her Husband Out] 176 Tenth Day, Tenth Story [The Patient Griselda] 179 MARGUERITE DE NAVARRE (1492-1549) 188 Heptameron (trans. P.A. Chilton) First Day, Story 5 [The Two Friars and a Shrewd Ferrywoman] Fourth Day, Story 32 [The Woman Who Drank from Her Lover's Skull] Fourth Day, Story 36 [The Husband Who Punished His Faithless Wife by Means of a Salad] Eighth Day, Prologue Eighth Day, Story 71 [The Wife Who Came Back from the Dead] FRANCIS PETRARCH (1304-1374) 199 Letters on Familiar Matters (trans. Aldo S. Bernardo) To Dionigi da Borgo San Sepolcro [On Climbing Mt. Ventoux] from To Boccaccio [On imitation] RESONANCE Laura Cereta: To Sister Deodata di Leno (trans. Diana Robin) Canzoniere (trans. Mark Musa) During the Life of My Lady Laura 1 ("O you who hear within these scattered verses") 3 ("It was the day the sun's ray had turned pale") 16 ("The old man takes his leave, white-haired and pale") 35 ("Alone and deep in thought I measure out") 90 ("She'd let her gold hair flow free in the breeze") 126 ("Clear, cool, sweet running waters") 195 ("From day to day my face and hair are changing") After the Death of My Lady Laura 267 ("O God! that lovely face, that gentle look") 277 ("If Love does not give me some new advice") 291 ("When I see coming down the sky Aurora") 311 ("That nightingale so tenderly lamenting") Resonance : Virgil: from Fourth Georgic (trans. H.R. Fairclough) 353 ("O lovely little bird singing away") 365 ("I go my way lamenting those past times") from 366 ("Virgin, so lovely, clothed in the sun's light") RESONANCES: Petrarch and his translators 222 Petrarch: Canzoniere 190 (trans. Robert Durling) Thomas Wyatt: Whoso List to Hunt 223 Petrarch: Canzoniere 209 (trans. Robert Durling) Chiara Matraini: Fera son io di questo ombroso loco 225 Chiara Matraini: I am a wild deer in this shady wood 225
LOUISE LABÉ (c. 1520-1566) 226 When I behold you (trans. Frank J. Warnke) Lute, companion of my wretched state Kiss me again Alas, what boots it that not long ago Do not reproach me, Ladies MICHELANGELO BUONARROTI (1475-1564) Illustration. Michelangelo, Tomb of Giuliano de' Medici (see Eisenstein) This comes of dangling from the ceiling (trans. Peter Porter and George Bull) 231 My Lord, in your most gracious face I wish to want, Lord No block of marble How chances it, my Lady VITTORIA COLONNA (1492-1547) Between harsh rocks and violent wind (trans. Laura Anna Stortoni and Mary Prentice Lillie) Whatever life I once had WILLIAM SHAKESPEARE (1564-1616) 234 Sonnets 1 ("From fairest creatures we desire increase") 3 ("Look in thy glass, and tell the face thou viewest") 17 ("Who will believe my verse in time to come") 55 ("Not marble nor the gilded monuments") 73 ("That time of year thou mayst in me behold") 87 ("Farewell: thou art too dear for my possessing") 116 ("Let me not to the marriage of true minds") 126 ("O thou, my lovely boy, who in thy power") 127 ("In the old age black was not counted fair") 130 ("My mistress' eyes are nothing like the sun") JAN KOCHANOWSKI (1530-1584) 239 Laments (trans. D.P. Raclin et al.) 1 ("Come, Heraclitus and Simonides") 6 ("Dear little Slavic Sappho, we had thought") 10 ("My dear delight, my Ursula and where") 14 ("Where are those gates through which so long ago") SOR JUANA INÉS DE LA CRUZ (c. 1651-1695) (trans. Alan S. Trueblood) She disavows the flattery visible in a portrait of herself, which she calls bias She complains of her lot, suggesting her aversion to vice and justifying her resort to the Muses She shows distress at being abused for the applause her talent brings In which she visits moral censure on a rose She answers suspicions in the rhetoric of tears (trans. Margaret Sayers Peden) On the death of that most excellent lady, the Marquise de Mancera
The Prince (trans. Mark Musa) Dedicatory Letter Chapter 6. On New Principalities Acquired by Means of One's Own Arms and Ingenuity Chapter 18. How a Prince Should Keep His Word Chapter 25. How Much Fortune Can Do in Human Affairs and How to Contend with It Chapter 26. Exhortation to Take Hold of Italy and Liberate Her from the Barbarians Resonance: Baldesar Castiglione: from The Book of the Courtier (trans. Charles S. Singleton)
from Utopia (tr. C. G. Richards) 264
Desiderius Erasmus (c. 1466-1536) 292 from Praise of Folly (tr. Betty Radice) 293 Martin Luther (1483-1546) 307 from To the Christian Nobility of the German Nation (tr. Jacobs and Ackerman) 308 from The Enslaved Will (tr. Ernst F. Winter) 308 Thomas Muntzer (c. 1489-1525) 312 from Sermon to the Princes (tr. Robert A. Fowkes) 313 Saint Teresa of Avila (1515-1582) 315 from The Interior Castle (tr. E. Allison Peers) 316 Saint John of the Cross (1542-1591 (tr. John Frederick Nims)) 324 Domenico Scandella (1532-1599) 326 from His Trials Before the Inquisition (tr. John and Anne C. Tedeschi) 327 FRANÇOIS RABELAIS (c. 1494-1553) Gargantua and Pantagruel (trans. J.M. Cohen) Book 1 The Author's Prologue Chapter 3. How Gargantua Was Carried Eleven Months in His Mother's Belly Chapter 4. How Gargamelle, When Great with Gargantua, Ate Great Quantities of Tripe Chapter 6. The Very Strange Manner of Gargantua's Birth Chapter 7. How Gargantua Received His Name Chapter 11. Concerning Gargantua's Childhood Chapter 16. How Gargantua Was Sent to Paris Chapter 17. How Gargantua Repaid the Parisians for Their Welcome Chapter 21. Gargantua's Studies Chapter 23. How Gargantua Was So Disciplined by Ponocrates Chapter 25. How a Great Quarrel Arose Between the Cake-bakers of Lem& and the People of Grandgousier's Country, Which Led to Great Wars Chapter 26. How the Inhabitants of Lerne, at the Command of Their King Picrochole, Made an Unexpected Attack on Grandgousier's Shepherds Chapter 27. How a Monk of Seuilly Saved the Abbey-close Chapter 38. How Gargantua Ate Six Pilgrims in a Salad from Chapter 39. How the Monk Was Feasted by Gargantua Chapter 40. Why Monks Are Shunned by the World Chapter 41. How the Monk Made Gargantua Sleep Chapter 42. How the Monk Encouraged His Companions Chapter 52. How Gargantua Had the Abbey of Theleme Built for the Monk from Chapter 53. How the Thelemites' Abbey Was Built and Endowed Chapter 57. The Rules According to Which the Thelemites Lived Book 2 Chapter 8. How Pantagruel, When at Paris, Received a Letter from His Father from Chapter 9. How Pantagruel Found Panurge Book 4 Chapter 55. Pantagruel, on the High Seas, Hears Various Words That Have Been Thawed Chapter 56. Pantagruel Hears Some Gay Words
Map. De Gama's Voyage, 1497-1498 374 The Lusiads (trans. Landeg White) Canto 1 [Invocation] Canto 4 [King Manuel's dream] Canto 5 [The curse of Adamastor] Canto 6 [The storm; the voyagers reach India] Canto 7 [Courage, heroes!] Resonance from The Journal of the First Voyage of Vasco da Gama (1497-1499) (trans. E.G. Ravenstein)
Essays (trans. Donald Frame) Of Idleness Of the Power of the Imagination Of Cannibals RESONANCE Jean de Léry: from History of a Voyage to the Land of Brazil, Otherwise Called America (trans. Janet Whatley) Illustration. Mourning Tupi, from History of a Voyage to the Land of Brazil Of Repentance
Don Quixote (trans. John Rutherford) Illustration. Gustave Dore, engraving for Cervantes' Don Quixote Book 1 Chapter 1. The character of the knight Chapter 2. His first expedition Chapter 3. He attains knighthood Chapter 4. An adventure on leaving the inn Chapter 5. The knight's misfortunes continue from Chapter 6. The inquisition in the library Chapter 7. His second expedition Chapter 8. The adventure of the windmills Chapter 9. The battle with the gallant Basque Chapter 10. A conversation with Sancho from Chapter 11. His meeting with the goatherds Chapter 12. The goatherd's story from Chapter 13. The conclusion of the story from Chapter 14. The dead shepherd's verses from Chapter 15. The meeting with the Yanguesans from Chapter 18. A second conversation with Sancho Chapter 20. A tremendous exploit achieved Chapter 22. The liberation of the galley slaves from Chapter 25. The knight's penitence from Chapter 52. The last adventure Book 2 Chapter 3. The knight, the squire and the bachelor Chapter 4. Sancho provides answers Chapter 10. Dulcinea enchanted from Chapter 25. Master Pedro the puppeteer Chapter 26. The puppet show Chapter 59. An extraordinary adventure at an inn Chapter 72. Knight and squire return to their village Chapter 73. A discussion about omens Chapter 74. The death of Don Quixote Resonance Jorge Luis Borges: Pierre Menard, Author of the "Quixote" (trans. Andrew Hurley)
Fuenteovejuna (trans. Jill Booty)
The Tempest RESONANCE Aimé Césaire: from A Tempest (trans. Emile Snyder and Sanford Upson)
The Sun Rising Elegy 19: To His Mistress Going to Bed Air and Angels A Valediction: Forbidding Mourning The Relic The Computation Holy Sonnets Oh my black soul! now thou art summoned Death be not proud, though some have called thee Batter my heart, three-person'd God I am a little world made cunningly Oh, to vex me, contraries meet in one Devotions Upon Emergent Occasions 10: "They find the disease to steal on insensibly" from 17: "Now, this bell tolling softly for another, says to me: Thou must die." Sermons from The Second Prebend Sermon, on Psalm 63:7 ("Because thou hast been my help, therefore in the shadow of thy wings will I rejoice")
The Author to Her Book To My Dear and Loving Husband A Letter to Her Husband, Absent upon Public Employment Before the Birth of One of Her Children Upon the Burning of Our House, July 10th, 1666 On My Dear Grand-child Simon Bradstreet To My Dear Children
On the Late Massacre in Piedmont When I Consider How My Light Is Spent Paradise Lost from Book 1 from Book 4 Book 9 from Book 12
Illustration. Mayan relief of Lady Xoc Map. Mesoamerica in 1492 Map. Tenochtitlan Illustration. Aztec screenfold book Illustration. Mayan ballplayers Illustration. The Virgin of Guadalupe on a cactus from POPOL VUH: THE MAYAN COUNCIL BOOK (recorded mid-1550's) (trans. Dennis Tedlock) [Creation] [Hunahpu and Xbalanque in the Underworld] [The Final Creation of Humans] [Migration and the Division of Languages] [The Death of the Quiche Forefathers] [Retrieving Writings from the East] [Conclusion] SONGS OF THE AZTEC NOBILITY (15th-16th centuries) Burnishing them as sunshot jades (trans. John Bierhorst) Flowers are our only adornment I cry, I grieve, knowing we're to go away Your hearts are shaken down as paintings, O Moctezuma I strike it up — here!—I, the singer from Fish Song: It was composed when we were conquered from Water-Pouring Song In the flower house of sapodilla you remain a flower Moctezuma, you creature of heaven, you sing in Mexico
Illustration. Cortés accepting the Aztec's surrender CHRISTOPHER COLUMBUS (1451-1506) from Letter to Ferdinand and Isabella (7 July 1503) (trans. R.H. Major) BERNAL DIAZ DEL CASTILLO (1492-1584) from The True History of the Conquest of New Spain (trans. A.P. Maudslay) from THE AZTEC-SPANISH DIALOGUES OF 1524 (trans. Jorge Klor de Alva) HERNANDO RUIZ DE ALARCÓN (c. 1587-c. 1645) from Treatise on the Superstitions of the Natives of this New Spain (trans. Michael D. Coe and Gordon Whittaker) RESONANCE Julio Cortdzar: Axolotl (trans. Paul Blackburn) BARTOLOMÉ DE LAS CASAS (1474-1566) from Apologetic History (trans. George Sanderlin) SOR JUANA INÉZ DE LA CRUZ (c. 1651-1695) 879 from The Loa for the Auto Sacramental of the Divine Narcissus (trans. Patricia A. Peters and Renee Domeier) 880 Bibliography 889 Credits 895 Index 899 Map: World in 1500
link: instructors' manual