Christine was breaking every last rule of being a proper lady in this period of time-at least, that was the thought that came into her mind as she hoisted up the hem of her skirt. She hadn't been on the streets of Paris for months as Raoul hadn't allowed it. Ever since the incident with the Opera Ghost, he had tried to keep her as far away from the opulent opera house as he could.
This was where she began to feel somewhat scandalous. She had run away from her home aided by a housemaid when Raoul had been called away on business matters. Now, as a married woman, she was wandering the streets of Paris under the dim light of the moon without a trustworthy chaperone.
She felt there was a great chance that some drunken man would stumble out of a bar and believe her to be a harlot, a fille de joie. Christine was deathly terrified of being assaulted by someone in this way. She had been through many trials in her past, but she still felt defenseless. In her heart, she was still just a young Swedish girl trying to find her way in the world.
These thoughts pushed her feet to patter against the streets faster. She knew she was close to her destination; she had memorized the way there years ago. Even though she had only left Paris for a months, it felt like years had gone by. Nevertheless, the memory of her path stayed in her mind as if it were burned there.
Finally, her gaze rose up to see the majestic Palais Garnier bathed in moonlight. Every detail was precisely as she remembered it, which managed to surprise her. After much of her life had been altered, it seemed like the opera house should have changed as well.
All at once the memories of what had happened in the past came back to her, making her heart begin to boom as if it were an en...
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...ce becoming weaker and more broken with every word.
"No," Christine responded. "It is not the face of a monster. It is a face of a man, the face of an angel fallen from Heaven."
No one had ever laid their fingers upon Erik's skin willingly throughout his entire life. It was like every part of his was plagued and would cause disease at the smallest contact. But Christine had broken through this barrier several times in the past-her fingers had caressed his defiled face, her soft lips had been pressed against his, her dainty hand laced into his own.
"Erik," she murmured, running her porcelain fingers across his twisted face. He used the last of his energy to turn his head towards her, the faintest hint of a smile across his lips. As Erik's gaze joined with Christine's for the ultimate time, he took in a shuddering breath in order to speak.
"Do not wilt, my white rose."
Blanche’s immoral and illogical decisions all stem from her husband's suicide. When a tragedy happens in someone’s life, it shows the person’s true colors. Blanche’s true self was an alcoholic and sex addict, which is displayed when “She rushes about frantically, hiding the bottle in a closet, crouching at the mirror and dabbing her face with cologne and powder” (Williams 122). Although Blanche is an alcoholic, she tries to hide it from others. She is aware of her true self and tries to hide it within illusions. Blanche pretends to be proper and young with her fancy clothes and makeup but is only masking her true, broken self.
The warm wind blew my hair back, while I listened to the chatter and thumps from the steps on the wooden walkway. Car horns occasionally sounded as they passed by up the road. Colorful sail boats provided a picturesque background. Paris had his camera wrapped around his neck and was focused on the glowing sunset. We sat on a black swinging chair, facing the rippling water that held the sunset’s warm reflection. Paris scrolled through the pictures on his black professional camera.
She thought about her family, and the neighbors, and the town, and the dogs next door, and everyone and everything she has ever met or seen. As she began to cry harder, she looked out the window at the stores and buildings drifting past, becoming intoxicated suddenly with the view before her. She noticed a young woman at the bus stop, juggling her children on one side of her, shielding them from the bus fumes.
blanche of trying to fraud him for all of his money and then she met
Christine realizes a new perspective on women’s oppression after her journey with the Ladies of Reason, Rectitude and Justice. In The Book of the City of Ladies, she becomes more outspoken about female priorities as the text progresses. “In short, all you women, whether high, middle or low social rank, should be especially alert and on your guard against those who seek to attack your honour and your virtue” (de Pizan 239). Christine’s quote explicitly puts females as a top priority, which was never done before. Because of the Ladies’ many explanations to Christine of women’s importance to humanity, she finally speaks out to her peers, saying to put themselves first by being alert to protect their honour and virtue. Not only does Christine tell women to put themselves first, she also urges them to avoid men’s love. “O my ladies, fly, fly from the passionate love with which they try so tempt you!” (de Pizan 239...
Christine de Pisan in her Querrel de la Rose criticizes Roman de la Rose, which is a love poem. This poem “describes the ultimately successful quest of a lover for the mystical and fleshly Rose”. Christine is totally against the poem and attacks of strongly.
her house. Mrs. Mallard was suddenly disappointed in her heart and she though in her
There is no refuge from memories as it is the guardian for all things. Stories fill every space in your heart an...
...nd just as fast the memories came they went. Cringing her teeth, she begins to count. “One, two, three, four, five…” As she is about to reach six she begins to feel a warm rush invade my inner skin, instantly she feels relief. It no longer mattered to her that that woman came, or that the trash was overflowing with weeks of junk mail or that she had a thirty page thesis due tomorrow. All that mattered was getting on the phone and phoning her mother, Nancy. “Mom?” says Janine.
Christine, being the heroine and the love interest of both leading men, is portrayed as an ideal woman because she upholds the expected feminine gender roles in our culture: delicate, naïve, indecisive, and helpless. Her delicacy is displayed when she faints in the Phantom’s lair, and the Phantom has to carry her. It is clear that this adds to her overall appeal to the Phantom because he feels needed and important—something that rarely happens to him. Because Christine becomes more appealing to the Phantom when she is weak and helpless, that supports the gender normative roles of females. In addition, Christine blindly believed that this voice was the angel of music that her father sent to her, and that added to her innocence. Christine accepted that idea so easily, making her seem naïve, which helps to support the stereotype of women. In general, Christine is more appealing when she needs a man help, those character traits exemplify the gender ideals for females, and the Phantom’s interactions with her confirm that.
she always used to wish for a way to escape her life. She saw memories
The scene that evidently defines Satine’s character is her performance of “Sparkling Diamonds”. During this moment, all eyes are on Satine, staring at her astonishing beauty. The female lead is now being presented to all as an object whom men desire to have and women desire to become. This scene is an adequate example of the male gaze which is “the cinema’s frequent positioning of women as objects (Ott & Mack, 2010).” This theory is manifested through the way the object, Satine, is framed by the camera lens. A better vantage point is given to the spectators by positioning her higher than everybo...
Raoul admitted his true feelings for her. Christine didn’t say anything. Raoul was hurt. He answered for her. He said that she has feelings for someone else, the person that was in her room. Christine was in complete shock. She immediately said, “I thought I was the only one that can hear the voice.” She started crying. Raoul was concerned, so he asked what was wrong. She told Raoul a secret. She said that her father used to tell her the Angel of Music will visit her and sing with his heavenly voice. After the conversation was over, she locked herself in the room. A little before after midnight, Christine slipped out of her room. She was in her white form, and she seemed to be in a trance. Raoul was following her through the churchyard. At the stroke of twelve, Raoul heard a rich and sweet voice, but he saw no one but Christine. Raoul waited for the singer to appear. When the singing stopped, Christine returned to her inn, as if in a daze. He saw a shadow glide through the wall. He ran up to it and pulled the cloak off his head. The last thing he remembered seeing was a snarling face and a pair of scorching eyes. Back at the opera house, Mr. Moncharmin and Mr. Richard were searching Box Five. They agreed to sit at Box Five this night. Mr. Moncharmin found another letter. He opened it and read it. It said to give the ghost Box Five, make Christine Daae perform, hire Mrs. Giry again and give her the letter accepting his demands. At the
She is a beautiful young woman, she is popular, smart, and caring. She gets raped by her date Zachary Lundt the night of the Valentine’s day 1976. She did not want her family to worry, so she kept quiet. This being the first outcome of the butterfly effect in the story. Her keeping her rape clandestine tormented her internally. She wept and attempted to “clean” herself after the events when it is depicted “Her soul she’d scrubbed, scrubbed, scrubbed as, in the hot, hurting water at the La-Portes’, she’d scrubbed her offended flesh” (143) Neglecting the situation, to acknowledging the event. Consequently, after her family found out about her rape , she was devastated in seeing her “...Marianne who was sobbing convulsively- choking, breathless, hysterical.
...of Christine as being so emotionally tortured and romantically torn that both Raoul and the Phantom should ask themselves if there is another man” (Ebert).