|Saint Isidore, courtesy|
- In many ways, the treatment of Isidora is very similar to that of Diomira. The city is highly idealized. We enter on the move and, though it wasn't mentioned by word in Diomira, full of desire. What is the connection between memory--even nostalgia, that most subjective form of memory--and desire?
- There are also among these similarities, of course, differences. Instead of the cock's crow signaling the morning, there are cockfights; instead of the women pleasantly crying out from terraces, they solicitously crowd travelers on the street. What is the potential that Isidora is (and to a degree even phonetically--just an "m" off, after all) a mirror reversal of Diomira?
- But Isidora--Gift of the Powerful Goddess--is not a real city, but just the desire for a city by a traveler too long away from civilization. What does this powerful desire do to the essence of the city--whichever city--he finally reaches at the end or interim of his journey? Similarly, how subjective upon human perspective is the nature and identity of a city? Do we see what we want to see, hear what we want to hear, find what we want to find, regardless of what really is or isn't there and available?
- What do you make of all the spirals? How do they, too, connect to memory and desire?
- Finally, define the ending sentence in context of what we've gone over above.