Patrick Süskind’s novel, Perfume, presents two major themes: the corruptive nature of power and the inherent flaws of humanity. These two themes are explored throughout the novel in the lives of the characters. Süskind shows the effects of power on Giuseppe Baldini, the marquis de La Taillade-Espinasse, and Jean-Baptiste Grenouille. The author explores the flawed nature of humanity by pointing out the greed and deception experienced by Monsieur Grimal, Giuseppe Baldini, the marquis Taillade-Espinasse, and the citizens of Grasse. Süskind convinces the reader, at least while he or she is reading Perfume, that these two major themes are present and active both in the novel and in the real world.
While Grenouille serves as the epitome of the corruptive results of excessive power, Baldini the perfumer and the marquis from Montpellier also display how the attainment of power can so often be destructive. When Baldini is first introduced, his perfume shop is failing, and “the Persian chimes at the door of [his] shop [ring] and the silver herons [spew] less and less frequently” (47). Because of his slowing business, Baldini plans to sell his home and shop, move away to Messina in order to live in a way that is “more honorable and pleasing to God than to perish in splendor in Paris,” and make a pilgrimage to Notre-Dame (65, 66). Grenouille enters the perfumer’s life, however, and completely transforms Baldini’s business and his desires to grow old living a life of piety and modesty. When Grenouille, equipped with his journeyman’s papers, leaves for Grasse, Baldini begins to feel guilty for saying “if only it turns out all right” as his “continual anxious prayer” during the time Grenouille was with him (109). Baldini plans to atone for h...
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..., Grenouille does not allow anyone to suspect that he is someone other than an eager journeyman. Süskind successfully uses Jean-Baptiste Grenouille, among other characters, to make his reader believe that humans are deceptive creatures led mostly by their greedy desires.
Patrick Süskind truly attempts to persuade the reader of his novel, Perfume, that power corrupts people and that humans are flawed in that they are greedy and deceptive. Süskind develops these themes through many characters in the novel – including Madame Gaillard, Monsieur Grimal, Giuseppe Baldini, and the marquis de La Taillade-Espinasse – but most importantly through Jean-Baptiste Grenouille. By showcasing the corruption brought about by power and the flaws present in the characters of Perfume, the author does in fact persuade the reader that power is corruptive and humans are inherently flawed.
However, what really frames Francine du Plessix Gray’s biography is not so much the “fin du dix huitième siècle” but the “fin du vingtième siècle” and the “reality” material from Sade’s life that made it possible to represent the Marquis, his sons, his wife, mother-in-law, father-in-law, and uncle as so many of the people who populate the running narrative of criminals, deadbeat dads, incestuous relatives, date-raping playboys, and battered women that fill soap operas, day-time talk, women’s magazines, talk radio, and the tabloids. This paper, then, explores Sade’s biography not as a narrative of (the Marquis de Sade’s) his life, but as a narrative that pleases today’s reader because it serves up a voyeur’s view of (in) his “dysfunctional” family life “at home” that we are all too familiar with. This becomes abundantly apparent when du Plessix-Gray’s rendering of the Marquis and the Marquise’s lives are superimposed over the récit of lives that we read about all the time in the popular press and observe in television soaps and other series. Ultimately, we are interested in what such a reading, writing and representation of Sade’s life does to Sade’s persona and status, both in the world of letters, but more importantly, in the world at large.
Although the ‘Legend’ of the Wicked Italian Queen is limited by its personal malicious nature, it is credible in its demonstration of Catherine’s ambition f...
In this novel, the society is centered around dichotomies; “youth and dotage” (Balzac 67), “the young man who has possessions and the young man that has nothing” and “the young man who thinks and the young man who spends” (87). Any person who falls outside of either box is called a “[child] who learn[s]… too late” or can “never appear in polite society” (87), essentially meaning they are undesirable in a formal society because they cannot follow expectations. The titular character, Paquita, is an “oriental” foreigner, from Havana, domesticated in Paris when she was sold to a wealthy woman who desired her. She fits into no culture entirely, as she is “part Asian houri on her mother’s side, part European through education, and part tropical by birth” (122). She is bisexual, choosing neither men nor women over the other. She is controlling, dressing Henri in women’s clothing (119), but controlled as she is reduced to a possession. However, there are ways in which a person can still be desired even if they are not easily pigeonholed. With her golden eyes and sensuality, Paquita fulfills both of the main pursuits of this society, “gold and pleasure” (68). Consequently, unlike the Marquis and his irrelevance in society, Paquita is highly sought after, thus making her a valuable commodity. Her desirability is not because of who she is as a human, but instead what
The play "Tartuffe", by Moliere, is a work that was created to show people a flaw in their human nature. There are two characters who portray the main flaw presented in the play. Both Madame Pernelle and Orgon are blinded to the farces of Tartuffe and must be coaxed into believing the truth. The fact that Orgon and Madame Pernelle are too weak to see the truth is an important theme of the play.
Machiavelli, Niccolo. The Prince. Trans. Luigi Ricci, revised by E.R.P. Vincent. New York: Signet Classic, 1999
As the era of literature slowly declines, the expert critiques and praise for literature are lost. Previously, novels were bursting at the seams with metaphors, symbolism, and themes. In current times, “novels” are simply short stories that have been elaborated on with basic plot elements that attempt to make the story more interesting. Instead of having expert critical analysis written about them, they will, most likely, never see that, as recent novels have nothing to analyze. Even books are beginning to collect dust, hidden away and forgotten, attributing to the rise of companies such as Spark Notes. An author deserves to have his work praised, no matter how meager and the masses should have the right to embrace it or to reject it. As much of this has already been considered, concerning Les Misérables, the purpose of this paper is to compare, contrast, and evaluate Victor Hugo’s use of themes and characterization in his novel, Les Misérables.
Despite it's age, I believe that Machiavelli's writing about individualism in The Prince is relevant to people who are not princes because Machiavelli's main themes are applicable to people of all types. To prove this I have organized my paper into four main sections. Section one- Machiavelli's History, will move toward the thesis by showing that Machiavelli's life experience was not that of royalty. Section two- Individualism, will show how Machiavelli's writing was individualistic, and how that relates to modern people. Section three- The Prince, will explore the main themes of Machiavelli's chief written work, creating the basis of comparison between Machiavelli's writing and modern life. Section four- Machiavelli in Business, relates the themes of section three to modern business.
It is believed by many that it is human nature to deem themselves to be a tantamount to God. Such is the case when one decides to take revenge against those who wrong him. Though vengeance seems like the perfect way to achieve justice, a sense of equity, in actuality it is merely an unsatisfactory hypocritical action. This is the definitive realization of the protagonist, Edmond Dantès in Alexandre Dumas’ “The Count of Monte Cristo”. The protagonist comes to understand that after a lifetime of searching for justice, he really only yearns justice from himself. Akin to many of Alexandre Dumas’ other masterpieces, “The Count of Monte Cristo” is a dramatic tale of mystery and intrigue that paints a dazzling, dueling, exuberant vision of the Napoleonic era in France. In this thrilling adventure, Edmond Dantès is toiling with the endeavor of attaining ultimate revenge, after being punished by his enemies and thrown into a secret dungeon in the Chateau d’If. He reluctantly learns that his long intolerable years in captivity, miraculous escape and carefully wrought revenge are all merely vital parts in his journey of awakening to the notion that there is no such thing as happiness or unhappiness, there is merely the comparison between the two. Ultimately, the irony that Dumas is presenting through this novel suggests that the inability to attain happiness through the hypocrisy that is revenge is because one is really avenging their own self. This becomes evident through his dramatic transformations from a naïve, young sailor, to a cold, cynical mastermind of vengeance, and finally to a remorseful, humble man who is simply content.
Voltaire’s most classic work, Candide, is a satiric assault on most everything that was prevalent in society during the author’s lifetime. The entire novel can be regarded as a bleak story where every character compares life stories to see whose life is worse. Just when the novel cannot get anymore morbid or depressing, it does, to a much greater degree. While Candide is generally considered a universal denunciation, it is optimism that Voltaire is attacking to the greatest degree. However, there are numerous other satirical themes throughout the novel worth discussing. These other areas of mockery include aristocratic snobbery, religious bigotry, militarism, and human nature.
In conclusion, the human ambition for increased amount of power and influence causes the degradation of morality. This is proven through Macbeth’s new found untrustworthiness, his transformation into a deceitful tyrant and his loss of meaning for his life, and the lives of others. It is clear that power can transform all those who seek to gain and/or control it drastically.
Virtue manifests itself differently within Christine de Pizan’s novel The Book of the City of Ladies and Niccolo Machiavelli’s novels The Prince and The Discourses Letter to Vettori. Pizan describes virtue in a moralistic sense, one closer to Aristotle and Plato’s traditional view. On the contrary, Machiavelli has a warped sense of morality and his view of virtue is one without a moral tone; he argues that a prince must adapt himself to whichever situation he finds himself in. Despite their disagreement of the materialization of virtue, they both attribute it to powerful people. Glory is attained through establishing a good political community; it can be marked in preserving the rule, stability, freedom and military power. Although their expressions of virtue differ, their ideas are similar regarding the relationship between virtue and glory; virtue should indefinitely leads to glory.
After five hundred years, Niccolo Machiavelli the man has ceased to exist. In his place is merely an entity, one that is human, but also something that is far above one. The debate over his political ideologies and theories has elevated him to a mythical status summed up in one word: Machiavelli. His family name has evolved into an adjective in the English language in its various forms. Writers and pundit’s bandy about this new adjective in such ways as, “He is a Machiavelli,” “They are Machiavelli’s,” “This is suitable for a Machiavelli.” These phrases are almost always the words of a person that understands more about Niccolo’s reputation than the man himself. Forgotten is that Machiavelli is not an adequate example of the ruler he is credited with describing; a more accurate statement would be to call someone a “Borgia” or a “Valentino.” Most of the time they are grossly mistaken in their references. All these words accomplish is to add to the legend, and the misinterpretation, of the true nature of Niccolo Machiavelli.
“The Prince”, by Niccolo Machiavelli, is a series of letters written to the current ruler of Italy, Lorenzo de’ Medici. These letters are a “how-to” guide on what to do and what not to do. He uses examples to further express his views on the subject. The main purpose was to inform the reader how to effectively rule and be an acceptable Prince. Any ruler who wishes to keep absolute control of his principality must use not only wisdom and skill, but cunning and cruelness through fear rather than love. Machiavelli writes this book as his summary of all the deeds of great men.
This passage in Honorè de Balzac’s novel Père Goriot describes the ultimatum Rastignac gives to himself after experiencing a harsh transition of luxury to filth, as he sees it. Before Rastignac enters his meek lodgings he has a life altering discussion with Madame de Beausèant. They talked about the price he would have to pay to gain acceptance into Parisian high society. The contrast he experiences ultimately fuels his greed and reckless behavior. This drives him further on to his mission of making his fortune. In a close reading of this passage the narrator takes turns of telling Rastignac’s point of view and his own. The adjectives used to describe Rastignac’s actions and thoughts add to the sense of urgency he feels. The sharp contrast between the elegant and the common is made more prevalent in Rastignac’s eyes.
The narrator in Suskind’s Perfume has many different personas, similar to a kaleidoscopic view. The narrator transforms from a friend, to gossiper, to reader’s friend, to historian, journalist, an accomplice and eventually the reader learns that the narrator fundamentally is Grenouille. These changes are made progressively throughout the novel, which causes the reader to be too distracted with the storyline to realize that the narrator in Perfume is very untrustworthy.