Reading Notes: Robin Hood, Part A

· I love that this is a ballad. You can tell that it must be old, and far more true to the original.

· He’s so young. 15 is tiny.

· Wow, the forresters were obnoxious, but this is quite the dark start nonetheless. Was he by rights an outlaw, and not just because Prince John was corrupt?

· I like that the ballad directly addresses the audience. I can just picture a minstrel singing it.

· Guys are weird.

· I really enjoy that Robin isn’t a sore loser.

· So, do they steal from the rich and give to the poor because the rich steal first from the poor, or do they start by just stealing from the rich for the heck of it, and then later it becomes a justice thing?

· Oooh I like the bible reference. Also, why on earth is Robin trying to be a butcher?

· Ahh now I understand. Dang it! I never wanted to favor the Sheriff of Nottingham, but in this case I feel sorry for him. He may be horrid, though…

· I feel like he’s corrupting people… L.

· This is making me really want to go for a hike in a green wood.

· “Gamble Gold of the gay green woods”… I love that.

· Does Robin ever win fights?

· I love this Shepherd. There’s so much bravery in all of these stories, and so much refusing to yield. (Which maybe is dumb, but makes for a good story).

· The shepherd-swain is my favorite so far for sure. He was only defending his lunch and his honor, but he fought for hours, and I’m glad that he didn’t join them (or at least hasn’t yet).

· I want it to get to stealing from the rich and giving to the poor.

· It seems to be a common refrain, “We will fight before we will fly.”

(Nottingham Castle Statue)

Bibliography:  The English and Scottish Popular Ballads, collected by Francis James Child

Reading Notes: Dante's Inferno, Part B

· I could write about the tale of Theseus and the Minotaur, and have it continue telling of the minotaur’s descent into hell. That sounds horrid, though. I’m not sure I want to write anything about hell, actually, so perhaps this was a poor choice of reading.

· I want to know why Chiron had his head bowed to his chest. Could I write a backstory about that?

· I didn’t know the thing about Alexander and his troops encountering raining fire.

· It stands out to me that Capaneus is proud and spiteful even in death, so that I doubt he would accept paradise were he offered it.

· He talks about spirits purifying themselves by absolving their guilt with penance. What if there was a world where that was accurate, and you really had to be penitent enough to be absolved of guilt? What a horrifying thought. What if I wrote about that? Any mess up would have to be paid for, and there would be no grace.

· I love that thought: shame that makes the servant brave in the presence of a worthy master.

· I want to know why it’s called Malebolge.

· I could write about Jason. I feel like him abandoning Medea is well known, but I know next to nothing about Hypsipyle, and I could invent.

· Ouch Alessio was a contemporary of his? So, was he alive when Dante wrote this? Cause if so, that’s rough, man.

· Wow, I want to weep for evil.

· I don’t even really know how to talk about what stands out to me, because the things that stand out to me are not things I want to write about. Caiaphas stood out to me.

· Oooh it could be really cool to write about the last journey of Ulysses, and when they sailed through the strait of Hercules.

(Illustration by di Fruosino)

Bibliography:  Dante's Inferno, by Dante Alighieri, translated by Tony Kline.

Reading Notes: Dante's Inferno, Part A

· So is the narrator dead, or is there some other weird thing going on? It’s really interesting how he’s mixing Christian themes with Greek mythology. I like how Virgil described the paradise, “the origin and cause of all joy.” It’s compelling, isn’t it? Also, I wonder what or whom the she-wolf is meant to be.

· So he’s “a living spirit.” I wonder how he got there.

· I just realized how depressing this is going to be. It’s interesting that those in the in-between are said to have lived without blame (in addition to being without praise), but they are clearly guilty and treated as such.

· The language is intense: “the weeping earth gave vent”

· This misunderstanding of guilt, innocence, and justice makes me sad.

· It seems to me that an eternity of hopelessness and nothing would be hell enough, even if there was no explicit torment.

· That’s so backwards. They have heaven’s grace because they were famous in life? Uhh, no.

· I wonder which famous people of our age would have been chosen for this favored section of Hell? Perhaps it would surprise us. It seems to me that history picks different heroes than those we exalt in the moment, and that sometimes great evil is overlooked when it is far removed from the present.

· Why are some sins considered worse than others? How would it be if it was flipped, and I was to write of a Hell where cold indifference to God was the worst crime of all?

· Wow, it’s strange how polite all of the people in Hell are. I wouldn’t be gracious for very long in there.

· The place with angry men sounds horrible.

· I could write about the conversation between Virgil and the fallen angels, when he tries to get them to let Dante enter deeper into hell.

· Wow, that would be scary. “If you see her, you’re stuck in this deep pit of Hell.”

(Illustration by William Blake)

Bibliography:  Dante's Divine Comedy, by Dante Alighieri, translated by Tony Kline.