Dulcinea can be loosely translated to 'sweet' in Latin. This name is telling of who Don Quixote wants as his lover - someone who is idealized and overall matches his traits of an ideal romantic partner. In essence, Don Quixote's ideal lover is " a distant, idealized construction couched in fictional terms", possibly due to the fact that Quixote would be "less able to deal with a female character who speaks and acts independently" (Zanzana 1). Quixote's creation of Dulcinea coupled with the fact that she only exists in his mind and has no physical/textual presence reflects "the aesthetic traditions of the Spanish Golden Age [which] often stress[es] beauty rather than a woman’s participation in the public discourse and present texts in which female characters function as objects of men’s desires" (Zanzana 1).

Zanzana, El-Habib K. H. "Don Quijote" and the construction of Dulcinea, Indiana University, Ann Arbor, 1997. ProQuest, https://www.proquest.com/dissertations-theses/don-quijote-construction-dulcinea/docview/304342481/se-2?accountid=10003.

Immediately in Chapter 1 we are faced with Cervantes taking a dual role as both author and narrator. It is important to examine that the reader is viewing the story and adventures of Don Quixote through what Susan Lanser calls an "public author" who "“generally defines for the reader the story world in which s/he will function as creator and authority”" (Mancing 11). However, unlike traditional storytelling practices, there is no break between Cervantes' public author and narrator role. In a way, Cervantes' is establishing himself as a boundary crosser, mirroring his own character, Quixote. Both author and main character alike are making it so that readers cannot tell where reality begins and fantasy ends- Quixote, through his intense delusions, Cervantes through presenting himself in this highly unique dual role, presenting Quixote's life as fact through his own matter-of-fact storytelling as both narrator and author.

Mancing, Howard. “Cervantes as Narrator of Don Quijote.” h-Net.org, The Cervantes Society of America, 2003, https://www.h-net.org/~cervant/csa/artics03/mancing.pdf.

In this context, 'Almain' likely refers to Parisian theologist Jacques Almain from the early 16th century. His beliefs and stances surrounded what the church could and could not do, essentially believing 'the church was able to act in its own defense, even against its visible head, the pope' (Izbicki). Whether or not Rabeleis agreed with any of Almain's beliefs, Rabeleis makes it known that this 'comb' is actually one's hand- taking a dig at Almain.

Izbicki T.M. (2020) Jacques Almain. In: Lagerlund H. (eds) Encyclopedia of Medieval Philosophy. Springer, Dordrecht. https://doi.org/10.1007/978-94-024-1665-7_252

The mention of these apothecaries' boxes could be a metaphor for Rabelais entire work and message. According to Mary Farrell, these apothecaries' boxes are "containers whose exterior is unappealing, though [...] have unsuspected riches at their heart" (Potter 4). This is perhaps a metaphor for the recurring theme of attempting to find meaning in everything (which can lead to pretentiousness)- just because something unassuming may offer you a new world of insight, it does not necessarily mean you NEED to look for meaning in everything that is unassuming. This does not mean that Rabelais is shunning analysis or indulging of texts, but rather he "'completes and informs them, saving the reader from becoming pretentious or morose'". (Potter 4)

Potter, Caroline. “Adventures in Gastromusicology.” Historical Interplay in French Music and Culture, 1860–1960, 2017, pp. 81–97., https://doi.org/10.4324/9781315586847-5.

As previous annotations mentioned, the color green for the Green Knight is intentional and used to define his characteristics, and by extension, his intentions. On the contrary, Sir Gawain is represented by the colors red and gold throughout SGGK. Laurel McCormick suggests that the color gold is utilized for Sir Gawain because it represents "purity and wealth", both of which Sir Gawain possesses; wealth in terms of heroic wealth- Gawain "[has] a heart of gold" (McCormick 1). In addition, it should be noted that Gawain eventually ends up wearing a green girdle, the color which is associated with the Green Knight. Meanwhile, the Green Knight's "armor is laced with gold", showing that "the two opposing characters can also be seen in each other"(McCormick 1). Essentially, although these two characters can be seen as opposites, they are also very similar- Gawain acts in a trickster way by hiding the Green girdle for his own use, despite being seen as a very honest and chivalric knight. So, it seems intentional that Sir Gawain and the Green Knight's colors were intertwined as the story progressed.

McCormick, Laurel. “Engl 361: Medieval Natures.” ENGL 361 Medieval Natures, 12 Apr. 2017, http://blogs.cofc.edu/seamanm-engl360-s17/2017/04/12/paper-proposal-symbolic-color-in-sir-gawain-and-the-green-knight/.

In a way, the Green Knight's provocation and taunting of the men of the dais is an attempt to "disturb the social and personal order" not only amongst Lord Arthur's knights, but amongst Lord Arthur himself (Bogar 5). The Green Knight disrupts social order in the name of entertainment and fun- but he also knows that for King Arthur, disrupting the social order means that there is a chance King Arthur may act in a way which defies one or more of the tenets of the Knight's Code of Chivalry, including "Honour, Honesty, Valour and Loyalty" (SCASD 1). Essentially, the Green Knight's taunting of King Arthur's knights and King Arthur's power as a ruler is a surefire way to ensure that King Arthur will accept his request of the beheading game he wishes to play. If Arthur did not react, he may be seen as lacking courage, or 'valour'; if Arthur reacted too brash, he could be seen as disrupting the tenet of "honor". Essentially, the Green Knight holds Arthur right in the palm of his hand, knowing his actions will warrant a certain response from King Arthur.

Bogar, Michael. “The Green Knight as a Trickster.” Academia.edu, Academia, https://www.academia.edu/40706877/THE_GREEN_KNIGHT_AS_TRICKSTER_Acade_ed_version.

Knight’s Code of Chivalry - State College Area School District. SCASD, https://www.scasd.org/cms/lib/PA01000006/Centricity/Domain/1487/Knights%20Code%20of%20Chivalry.pdf.

The Magistrate is referring to the group of women condescendingly as "The Sabazian Mysteries". According to researcher Susanna Ersoz, the Sabazios were a cult associated with the deity of the Phrygians and Thracians (ancient peoples related to the Greeks)- Sabazius. Sabazius' true identity is still debated, as Ersoz states "the ancient literary sources often identified him as Dionysos, while in the epi-graphic evidence he is usually identified as Zeus" (Ersoz 1). Often associated with Sabazius is hand sculptures with perforated bases whose meaning and intention are unknown to this day. In addition, Sabazius had a religious cult following. Essentially, the Magistrate is making fun of the women by referring to them as the "Sabazian Mysteries", implying that they are just as 'fanatical' as Sabazios Cult.

Berndt Ersöz, Susanne. (2018). The hand gesture and symbols of Sabazios. Opuscula. Annual of the Swedish Institutes at Athens and Rome. 11. 151-168. 10.30549/opathrom-11-08.

In this line, Krishna is essentially telling Arjuna that Knowledge, or at least knowing the 'truth' Krishna speaks of, is what will take away from the seeming 'bore' or meaninglessness of action. According to author Suresh Basrur, in the Hindu Upanishad scriptures, there are two types of knowledge- "the “lower” knowledge, which is the understanding of the phenomenal world, and the “higher” or spiritual knowledge, which is knowledge of the “Supreme Self” (atman) beyond duality" (Basrur). In this instance, it can be inferred that Krishna is urging Arjun to understand that this 'higher' knowledge will help him to realize that his actions are necessary in the grand scheme of the universe, and will do so by making the 'dross' of some action seem insignificant as a result.

Basrur, S. (2018, November 17). Exploring the path to wisdom in Hinduism. Victoria Times Colonist. Retrieved February 3, 2022, from https://www.timescolonist.com/blogs/spiritually-speaking/exploring-the-path-to-wisdom-in-hinduism-4667617#:~:text=The%20Hindu%20scriptures%20called%20Upanishads,acquire%20both%20types%20of%20knowledge.