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In Choderlos de Laclos epistolary novel, Dangerous Liaisons, there are several prominent themes that reoccur throughout the novel, two being seduction and manipulation. While those themes play a large role, one theme that has significant influence in character development is religion. The relationship between the Vicomte de Valmont and the Présidente de Tourvel develops throughout the novel based upon the evolving importance that religion and faith have in the decision making of the two characters.
One of the main plot lines in this novel is based upon a bet between the Vicomte de Valmont and the Marquise de Merteuil; in short, Valmont wagers that if he is able to seduce the very religious woman, Tourvel, Merteuil will agree to be with him again when he visits Paris. Valmont being both a womanizer and promiscuous takes on this bet and begins his manipulation of Tourvel. At this initial stage, it is important to take into account the values of both
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She emphasizes her happiness in her current life and she does not want to mess it up for an uncertain love-affair. Tourvel writes, “Beloved and esteemed by a husband, who I love and respect, my duty and pleasure are united in the same object; I am happy; I ought be so. If there are more lively pleasures existing, I wish them not; I will not be acquainted with them” (Letter LVI). In this letter, Tourvel seems to have realized Valmont’s true intentions, and chooses her faith and husband at this specific time over Valmont. It seems that Tourvel has not strayed as far from her religion as Valmont had wished and Valmont has not yet proven his change of heart and commitment to religion in a manner that Tourvel believes that he is truly trying to grow in his “faith.” Valmont responds to her silence by stating that he cannot transfer his love for her to friendship as she implied in her
The “beautiful young woman” began to show her stubborn ways early. According to the reading, Bertrande was concerned more about putting aside her wifely duties than to ruin her reputation and independence (27-28). When Martin abandoned Bertrande, she was left without a defined position in the village social structure. Being the honest women that Coras said she was, Bertrande would not separate from Martin, and under Catholic law she could not remarry unless there was strong proof of death. The values that Bertrande grew up with showed that she never saw herself leaving village customs (32). Though the devastating experience of Martin leaving left her weak and yearning for a husband, she lived “virtuously and honorably” through her “stiff-necked sense of herself and her reputation” (34).
In conclusion, Marie de France try to reflect the four value of chivalry which are military prowess, courage, loyalty and generosity. We can say that he was loyal because he shows his loyalty for the king. The above story revels his Honesty, courage, loyalty and generosity .The writer ended this story happy ending but it is suspense where they went and who was his beloved.
Rather than only with a man, Emma has illicit relationships with several men. When Rodolphe, one of her sweethearts, first begins the affair with her, Emma is filled with contentment and satisfaction, and “at last she was going to know the joys of love, the fever of the happiness she had desperate of” (Flaubert 190). For Emma, the romance is a break from the miserable marriage life. Before the appearing of Rodolphe, she can only swallow her dissatisfaction while still acting as a dutiful wife taking cares the household. The amorous connection between the lovers ignites her heart to reveal the enduring desire and hope for dramatic love; because Rodolphe’s flamboyance disparages Monsieur Bovary’s seriousness and reticence, Emma is blind with the superficial pleasant, does not penetrate one’s true character, and fools with the novelty. She has been tired of herself as a mother and wife, sacrificing all the time and energy to the family; inside of her, she always wish to be a free woman who can experience different kinds of men and love stories, but the cultural conventions bury her unorthodox wishes. Emma chooses commit adultery for the sake of declaring she hates to be the “perfect” housewife and craves to be
Hence, the woman gets the final say in the matter, forcing her lover to stay constant so she can be At first, Beauplaisir has to use his own stratagem to ‘persuade’ the Widow: “He did not, however, offer, as he had done to Fantomina and Celia, to urge his passion directly to her, but by a thousand little softning artifices, which he well knew how to use, gave her leave to guess he was enamour'd.” That is, she creates a fake chase by pretending to be disinterested in order to give him a sense of agency as he actively ‘chose’ to pursue her. Conversely, the heroine really controls the narrative- he is attracted to the same woman again, albeit unknowingly thanks to her acting. In fact, the heroine directly acknowledges the acting she is doing as Bloomer to keep her control hidden.
...s a lesson to be learned from the poem and the characters at the end: love is between a man and a woman; anything else and be damned by God. As the Pope was not swayed by Damian’s book, neither would most of those who read or heard this tale. Helen’s argument, although compelling and logical, supported by Reason, is in place to persuade and convince the Ganymedes of the medieval world to marry a woman they do not love, or fear God’s wrath.
Abelard risks his place in society as a well respected teacher and Heloise risks her image as a woman. When Heloise becomes pregnant, they decide to have a secret marriage arranged by Heloise’s Uncle Fulbert. However, Fulbert plots against them to expose their affair and ruin Abelard’s life. “But Fulbert and his household, seeking satisfaction for the dishonor done to him, began to spread the news of the and break the promise of secrecy they had given me.” This act of disloyalty ruins both Heloise and Abelard’s lives and forces them to join separate monasteries. Heloise becomes a nun and Abelard becomes a monk. Fulbert’s disloyalty even forces them to give up their child. However, even though they were separated, Heloise and Abelard remained loyal and faithful to each other by writing letters. They knew they could never see each other again, but they still loved each other. “No one, I think, could read or hear it dry-eyed; my own sorrows are renewed by the detail in which you have told it, and redoubled because you say your perils are still increasing.” While they did not believe that they would ever see each other again, Abelard and Heloise still expressed their love to one another. Their ability to remain loyal to allowed them to overcome all of the obstacles they face in their
If Geoffrey Chaucer for some unforeseen reason was unable to published The Canterbury Tales, then perhaps, his version of Troilus and Criseyde would be widely acknowledged as one of his most epic tragic poems. However, Chaucer’s poem, though adapted widely into various modern translations, for the sake of this paper the translation by Barry Windeatt will be used, the tale’s influential go-between is still a character trope used today. In fact, the romantic entanglements that the main characters find themselves in are the results of the power structure established by the go-between Pandarus. From the first instance where Pandarus witnesses his friend Troilus’s love-struck grief, the convincing speeches given to yield beneficial results for the Prince Troilus, and the letter trope established in Pandarus’s role as the go-between, which establishes the patriarchal power structure that Pandarus identifies with. Occupying the power structure as defined by theorist Michel Foucault, which upholds that power is the mechanism that establishes the autonomy or de-individualization of a person (Felluga). Therefore, Foucauldian discourse attributed to bodies and power is upheld by the mediator status of Pandarus as the go-between, manipulative rhetor, and plot device in the tale Troilus and Criseyde is used to establish the notions of courtly love.
Toni Morrison’s novel, Beloved, explores the physical, emotional, and spiritual suffering that was brought on by slavery. Several critical works recognize that Morrison incorporates aspects of traditional African religions and to Christianity to depict the anguish slavery placed not only on her characters, but other enslaved African Americans. This review of literature will explore three different scholarly articles that exemplifies how Morrison successfully uses African religions and Christianity to depict the story of how slavery affected the characters’ lives in the novel, even after their emancipation from slavery.
I'm not a tremendously religious person. I don't attend religious services, I don't say prayers before bedtime (or much of any other time), I don't read a section of my holy book on a regular schedule... you get the picture. The closest I'd come to claiming a personal faith is to call myself a sort of armchair Daoist.
Gallant’s use of “The Other Paris” as the title sets the tone for the short story. It is a commonly told tale of the romance
Lope de Vega’s play touches upon several key components and ideas that were brought up in many of the other stories read throughout the semester. This included the role of gender and how men and women are viewed differently in the Spaniard town of Fuenteovejuna. Another topic included the importance of family, love, and relationships and their connection on loyalty, trust, and personal beliefs. The last major influence found in other literature and in Fuenteovejuna, were the political and religious references made throughout the play. Even though Lope de Vega didn’t make these views obvious, the reader could still pick up on their connotation and the references made towards these specific ideas. With all of this in mind, each of these components played an important role in each civilization read, and even over 1,000 years later it continues to be a social topic as well as a large part of the culture. The only difference a reader or scholar could make for this particular piece of literature is its authenticity and how it was based on a true event. Regardless, new views on power and how one obtain it become apparent through the dialogue between characters like Laurencia and the Commander.
Imagine the Paris home of Orgon, who meets Tartuffe at church and is completely taken in by him...so much so, that he foolishly not only invites this relative stranger, Tartuffe, to live in his home, but also promises his daughter (Mariane) in marriage to the man, though she has promised her heart to Valère.
With the love of Lanval's mistress, Marie puts forward to her readers the prospect of love freely given, as part ...
He explains this to his wife who feels so strongly for her husband that she demands to accompany him on his journey. Because of the inevitable devotion layered within her being, she tells him that his "gracious solicitude for [her] happiness only makes [her] love for [him] more ardent, and [her] determination to follow [him] more firm ' " (Valmiki 698). Similar to the scene of the reading, in the modern times of the world, a person will adhere to his or her partner because of the thick and unbreakable bond that has formed between the two beings. A wife could not fathom the thought of losing her husband, so she would most likely demand to join
Lantin was not only ubiquitous behavior among women of her time period, but it was also crucial to the stability of her home. “There were on two points upon which he ever found fault with her—her love of the theatre, and her passion for false jewelry”(P.90). It is interesting to see how the author wants the reader to focus on the details. M. Lantin put his wife on a very high pedestal and yet he was able to find fault in her. The author’s use of the words ‘love’ and ‘passion’ are a subtle way of implying that these gifts and performances meant more to her than she let on. They symbolized the existence of her extra-marital affairs. ‘’Secrecy was thus both deemed necessary to bourgeois notions of privacy and viewed as potentially dangerous to public order’’.(P. 47)