The Kiss of Deception
‘The Kiss of Decption’ is a profound novel that was written by Mary E. Pearson, published in 2014. The book tells the story of a princess, named Lia, who fled on her wedding day, to the village of Terravin. When two handsome strangers arrive in the village, she is unaware that one is the jilted prince, while the other is an assassin set to kill her. Betrayal is shown through the difficult relationship between Lia and her parents. Betrayal and deceptions is illustaited through the unrequited love of Pauline and Mikael. The book further shows a tragic romance, between Lia and Rafe, that was based on facades. One of the book’s setting is the repudiated kingdom of Vanda, abandoned by her sisters, killed by her husband, which contributes to Pearson’s theme of
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In the time of the remnant’s ancestors, there were two sisters Venda, Gaudrel, who had a niece named Morrighan. ‘Three women who were torn apart. Three women who were family.’ Morrighan was kid appeared and taken by Harik, the theif, and sold to a scavenger named Aldrid, for a sack of grain. Her aunt, Venda, was one of the person who gave her away, betraying Morrighan and Gaudrel. In result, she fled to a kingdom, and married the king and become queen. ‘She was killed by her own husband.’ After Venda married the king. They say she started going mad, singing on a six hundred feet wall. It was say she sung of dragons and destruction, something the king didn’t want his subjects to her. Venda fell off the wall to her death, pushed by her husband to hush the insanity. In the end, these three women raised kingdoms and clans, that were powerful each with there own story of how the events played out. Because of these women’s betrayal, their kingdoms are mortal enemies. ‘The Kiss of Deception’s’ presentation of family ties, ultimately leads to the betrayal and deceit between the remnant
The book The Wreath by Kristin Laransdatter is about a loving and religious family who lives in a rural area in Norway. The book revolves around the character Kristin who has a fairly close relationship with her father Lavrans who is a respected master. Ragnfrid is the wife of Lavrans who is going through depression after losing three sons and her youngest daughter being crippled because of an accident. A attempted rape tragedy that ruined her reputation makes Kristin be sent to a convent which turns her life around. Her parents had already betrothed her to a landowner’s son since childhood whose name is Simon Darre. She ends up disobeying her parents, friend and brother, breaking church rules and being untruthful. When she goes to the convent she ends up falling for Erlend Nikulausson and begin a hidden romance because to the church and the state is a sin. Lavrans does not approve the relationship at first because Erlend is seen as impulsive and immature but he realizes that he cannot stop the relationship so he allows them get married. When Erland and Kristen are finall...
The form of the novel’s initiatory journey’s corresponds to the three-stage progression in the anthropological studies of rites of passage. The novel begins with alienation from a close-knit and securely placed niche as Naomi Nakane lives in her warm and joyful family within Vancouver. Then, the passage proceeds to isolation in a deathlike state in which Naomi is stripped of everything. Her family is removed from its previous social niche and exiled into concentration camps. Naomi is forced to separate with parents and sent to live with aunt Obasan. Finally, the journey concludes with reintegration accompanied by an elevated status as the result of the second stage. Naomi accepts the surrogate family and develops a recognition of her past. When she gets her family’s documents and letters, Naomi finally shatters the personal and cultural veils of reticence and secrecy that have clouded her past, and reconciles herself with the facts. The three-stage initiatory journey helps to transform the protagonist from a victim of the society to a hero. The protagonist transformation illuminates the values such as redemption of sins, willing forgiveness of offenses, and so forth. Along with its motifs and symbols that allude to Christian rituals, thus, the heroic figure, Naomi, serves as a role model and gives meaning and guidance to the lives of readers thereby
Galchen creates the character of her narrator to be very similar to that of the young narrator in “Araby” in a modern setting. In their youth, each narrator becomes infatuated and obsessed with someone who does not realize. The narrator of “Araby” falls in love with his friend Mangan’s sister, as seen in that he states that “when she came out on the doorstep [his] heart leaped” (123). He forms an obsession with her, as evidenced by the fact that he “had never spoken to her . . . and yet her name was like a summons to all [his] foolish blood” and in that “her image accompanied [him] even in places the most hostile to romance” (123).
In his wickedly clever debut mystery, Alan Bradley introduces the one and only Flavia de Luce: a refreshingly precocious, sharp, and impertinent 11-year old heroine who goes through a bizarre maze of mystery and deception. Bradley designs Bishop’s Lacey, a 1950s village, Buckshaw, the de Luce’s crumbling Gothic mansion, and reproduces the hedges, gently rolling hills, and battered lanes of the countryside with explicit detail. Suspense mounts up as Flavia digs up long-buried secrets after the corpse of an ominous stranger emerges in the cucumber patch of her country estate. Sweetness at the Bottom of the Pie features a plethora of unforeseen twists and turns; it is surely a rich literary delight.
In Aphra Behn’s Oroonko, and Voltaire’s Candide, love is a subject of prominence; it serves as a starting point for both of these characters. For example, if Candide hadn’t fallen in love with his insatiable beauty, Cunegonde, he would not have been thrown from his home, castle Thunder-Ten-Tronckh, and sent on his dreadful journey across Europe. “The Baron of Thunder-Ten-Tronckh passed by the screen and, talking note of this cause and this effect, drove Candide out of the castle by kicking him vigorously in the backside (Voltaire 356). Throughout the entire story, Voltaire discusses Candide’s impalpable feelings for Cunegonde; he even commits twice to be with his fair maiden. Throughout the entire story, Candid, discusses his impalpable feelings for Cunegonde; he even commits twice to be with his fair maiden. “It was a quick, clear chain of reasoning; without giving the inquisitor time to recover from surprise, he ran him through and laid him beside the Jew” (Voltaire 367). Candid will even leave the “best of all worlds”, Eldorado, to retrieve Cunegonde, from the Governor of Buenos Aires, whom Cunegonde willing accepted a proposal from, thinking only about her own wellbeing. “We have enough to pay off the governor of Buenos Aires-if indeed; a price is placed on Miss Cunegonde” (Voltaire 385). Likewise, Oroonko’s’ love for his beautiful, Imoinda marks the starting point of his unfortunate journey. For example, Oroonko’s lover Imoinda is sent a veil, from his grandfather, the king; the veil signified that Imoinda was now his wife, therefor, she and Oroonoko, were no longer able to pursue marriage. “He sent the royal veil to Imoinda; that is the Ceremony of Invitation: he sends the lady, he has mind to honour with his bed, a vei...
What the reader understands of the infidelity of Milan Kundera’s characters in The Unbearable Lightness of Being is a mere distraction from the real substance of the story and of the character’s real purpose. Kundera offers the reader a red herring and only through close examination can one dissect and abstract the true essence of each character’s thread that links them to one another in this story. For it is not clearly seen: in fact, it can not be seen at all. It is the fierce absence of the word commitment that is so blatantly seen in each individual, yet the word itself is buried so deeply inside of Tomas and Tereza that it takes an animal’s steadfast and unconditional love to make the meaning and understanding of commitment penetrate the surface.
The issue of betrayed expectations in love from is confronted in both The Prince’s Progress and Goblin Market. In both stories the topic of the power of temptation to entice man from the worthy and earnest work of life is common. In Goblin Market the temptations are both resisted and overcome; in The Prince’s Progress they succeed over the main characters. Also, in the case of Goblin Market the main temptations taking over Laura were sensory and in the end were equated with sexual pleasures. She allowed the goblin men to ravage and soil her with the juices of their fruits with the end objective as Lizzie breaking away from her spell. Only one of the two central temptations, lust, in The Prince's Progress prevents the understanding of the implied ideal that married bliss is not only...
Love is a powerful emotion, capable of turning reasonable people into fools. Out of love, ridiculous emotions arise, like jealousy and desperation. Love can shield us from the truth, narrowing a perspective to solely what the lover wants to see. Though beautiful and inspiring when requited, a love unreturned can be devastating and maddening. In his play, A Midsummer Night’s Dream, William Shakespeare comically explores the flaws and suffering of lovers. Four young Athenians: Demetrius, Lysander, Hermia, and Helena, are confronted by love’s challenge, one that becomes increasingly difficult with the interference of the fairy world. Through specific word choice and word order, a struggle between lovers is revealed throughout the play. In A Midsummer Night’s Dream, Shakespeare uses descriptive diction to emphasize the impact love has on reality and one’s own rationality, and how society’s desperate pursuit to find love can turn even strong individuals into fools.
Romantic gestures have been seen as a useful motive to win hearts of women for centuries. However, as society constantly changes, the effectiveness of these chivalrous acts has diminished. In James Joyce’s “Araby” and John Updike’s “A&P”, this theory is explored, both telling the story of a boy whose efforts to impress the girl of their desires fail. As said by Well’s in his critical analysis of these stories, “Both the protagonists have come to realize that romantic gestures—in fact, that the whole chivalric view [sic] --- are, in modern times, counterproductive”. These stories, despite the differences between the two characters, clearly show that the character’s world is changing, with chivalry becoming more obsolete.
The tales of King Arthur and many of their numerous characters are well known in literature. The Arthurian world is one of the great myths of modern times. Those great pieces of literature have many common themes, one of them being courtly love “L’amour Courtois”. This paper talks of courtly love as seen in King Arthur’s world especially examining “Yvain or the Knight with the Lion” and “Lancelot: or the Knight of the Cart”. Furthermore, one of the goals is to show how that courtly love could be seen in today in our world.
The book is about a guy, also known as Johannes, the seducer, who falls in love with a girl then breaks up with her expecting her to be in love with him still, she ends up getting married to someone else. Johannes has his mind set
The story begins with the Marquise de Merteuil corresponding with Vicomte de Valmont regarding a luscious new act of ‘revenge’, as she describes it, against the Comte de Gercourt. The young Cecile de Volanges has just come home from the convent and her marriage to Gercourt has been arranged. However, before he can wed the innocent child, Merteuil proposes Valmont ‘educate’ her, thus spoiling Gercourt’s fancy for untarnished convent girls. Valmont is uninterested in such an easy seduction and is far more aroused by the thought of lulling The Presidente’ de Tourvel, the very epitome of virtue, into submission. And so the tale unfolds.
In literature, both new and old, one of the most popular themes is love. Many novels, poems, and short stories explore this theme in every imaginable way. Henry James’s Washington Square and Steve Martin’s Shopgirl are worthy additions to this timeless tradition. The twist for these two novels is that both heroine’s, Catherine in Washington Square and Mirabelle in Shopgirl, fall for men that do not love them in return. At least the ladies’ love is not returned in the manner they expect. The novels were written more than a century apart. Thus the dialogue, settings, and characters are different, but the central theme of unrequited love is present in both novels.
Malory's Le Morte D’Arthur isn't known to be classic just because of Arthur-but rather the themes of family, love, revenge, identity, loyalty and betrayal. As King, Arthur is put in many situations that test the people he surrounds himself with. Therefore, betrayal has become a reoccurring theme. Throughout the novel, people are seen betraying each other. Betrayal has become familiar in a way to the members of the round table, ultimately leading to it's demise. The acts of betrayal occur in various forms, whether it be through adultery or just going behind the other person's back. Regardless of how it happens it brings about serious disorder for all involved.
“The Wife of Bath’s Tale” is written in an entertaining and adventurous spirit, but serves a higher purpose by illustrating the century’s view of courtly love. Hundreds, if not thousands, of other pieces of literature written in the same century prevail to commemorate the coupling of breathtaking princesses with lionhearted knights after going through unimaginable adventures, but only a slight few examine the viability of such courtly love and the related dilemmas that always succeed. “The Wife of Bath’s Tale” shows that women desire most their husband’s love, Overall, “The Wife of Bath’s Tale” shows that the meaning of true love does not stay consistent, whether between singular or separate communities and remains timeless as the depictions of love from this 14th century tale still hold true today.