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Women in the count of monte cristo
The count of monte cristo research paper
The count of monte cristo research paper
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Character Analysis: Maximilien Morrel
In the book The Count of Monte Cristo by Alexandre Dumas, Dumas uses Maximilien Morrel as a comparable character; a foolish foil. In the beginning, Maximilien is painted as a hero who is as handsome as he is noble, but regrettably he meets the end of his character arc as a lovesick fool who cannot do anything without his lover. Out of all of the characters, Maximilien pulled the short straw in character arc and consequently, by the end of the book, is depicted as a milksop. Conversely, he is far from a milksop; Maximilien Morrel is a dependable hero.
Although Maximilien Morrel is pictured earlier in the book, he is properly introduced when Albert de Morcerf gets friends together to have lunch and to meet
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Skilled marksman Chateau-Renaud had wanted to test his skills on the Arabs in Oran, but arrived in time to see his friends retreating. He was forced to follow on horseback when his horse died, leaving Chateau-Renaud to traveling by foot. A group of six Arabs caught up and came galloping on horseback straight for him. Renaud managed to shoot four of the Arabs but ran out of ammo and was in grave danger. One ran by and caught him by his hair, and was about to kill him when “... [Maximilien] came charging down on [the two Arabs], shot the one holding [Chateau-Renaud] by the hair and split the other one’s head with his saber” (164). As a cookie cutter hero, Maximilien is also described to be “...graceful in every movement because he was strong” (163). This shows that he has the discipline of an ox and keeps his body in excellent …show more content…
As soon as Dumas introduces Valentine, Maximilien’s secret girlfriend, Maximilien quickly deteriorates into a lovesick, helpless, and impatient fool. “With Valentine, count, my happiness was infinite, unheard-of; a happiness too great, too complete, too divine for this world; and now that she’s gone, there’s nothing left for me but heartbreak and despair” (450). Again, Alexandre Dumas ends Maximilien’s character arc by metaphorically untying his knot; everything becomes unravelled. He becomes an annoying character to the reader as Dumas pushes him as a character foil. Multiple times he threatens suicide if Valentine cannot be with him forever. Consequently, many readers forget his heroic actions from earlier in the book and assume Maximilien can be chalked up to his recent actions as a hopeless romantic. This is an absurdity as this honorable gentleman has shown readers that he is not someone who can be trifled with. Maximilien is a man who runs from
Maria Teresa Mirabal, also known as Mate was born on October 15, 1935. She is the youngest out of all the Mirabal sisters and we mostly get to know her from her journal entries. Mate received her diary from Minerva on the day of her first communion. At school, people would make fun of her for having the diary and would steal it from her. Mate used to think differently about Trujillo as a little girl, she thought he was someone that everyone loved and should be respected. On Benefactor’s Day, she wanted to give Trujillo her best wishes, "I am taking these few minutes to wish El Jefe Happy Benefactor's Day with all my heart. I feel so lucky that we have him for a president." (37) Mate’s sister Minerva starts to get in trouble at school for leaving
Have you ever met someone so clever, determined, and cruel to leave a man to die over an insult? Montresor is the perfect example of these character traits. In “The Cask of Amontillado”, by Edgar Allan Poe, Montresor uses all of these character traits to get revenge on Fortunado for insulting his family name. Montresor’s clever planning, determination for revenge, and cruel murder are the perfect combination for his unequaled revenge.
their self accomplishments. In the astounding novel, The Count of Monte Cristo,by Alexandre Dumas, Edmond Dantés is betrayed by several characters as he is sent off to prison for something he did not do. Fernand Mondego not only betrays Edmond, but also betrays Haydee, the count’s slave and lover. In the novel, Fernand Mondego acts as the ultimate betrayer because he is envious of Edmond for his happy life and killing Haydée’s father.
The main character Meursault is literally a stranger, a stranger to the reader. He is a stranger in many ways. Meursault does not act as we would say a normal person would. Being as he did not shed a tear at his own mothers funeral. Meursault also shot and killed an Arab at the beach and showed no regrets. Throughout the novel Meursault kept himself isolated himself mentally,
In Moliére’s Tartuffe (Moiré 1664), the reader is able to see a great contrast of Extreme and Moderate characters. Extreme characters being those who are seen as over the top, or very passionate people, and the moderate characters having a more calm and subtle approach to ideas. The extreme characters in this case would be Madam Pernelle, Orgon, Tartuffe, and Dorine. The moderate characters are seen as Cleante and Elmire.
...author uses satire to give a surprising twist in how the character’s behaviour and personality will affect the plot of the story. He who has both revenge and pride can really influence how he behaves in a positive or negative way, depending on his own judgment. His planning skills and actions are not very tactical or well thought out. Despite that his body is flexible and fast from training for preparations to kill Count Rugen, he is not able to use it correctly because of his foolishness and he cannot comprehend rationally. What he wants is stronger than how he should think with careful deductions before act while still has to learn to be self-reliant more regularly. Although his pride and talents of a fencer compensate for his weak brain, it is not enough to succeed in his goals if he is not able to anticipate what can happen and determine different possibilities.
In The Lais of Marie de France, the theme of love is conceivably of the utmost importance. Particularly in the story of Guigemar, the love between a knight and a queen brings them seemingly true happiness. The lovers commit to each other an endless devotion and timeless affection. They are tested by distance and are in turn utterly depressed set apart from their better halves. Prior to their coupling the knight established a belief to never have interest in romantic love while the queen was set in a marriage that left her trapped and unhappy. Guigemar is cursed to have a wound only cured by a woman’s love; he is then sent by an apparent fate to the queen of a city across the shores. The attraction between them sparks quickly and is purely based on desire, but desire within romantic love is the selfishness of it. True love rests on a foundation that is above mere desire for another person. In truth, the selfishness of desire is the
The emotionless anti-hero, Monsieur Meursault, embarks on a distinct philosophical journey through The Stranger. Confident in his ideas about the world, Meursault is an unemotional protagonist who survives without expectations or even aspirations. Because of his constant indifference and lack of opinions about the world, it can be denoted that he undergoes a psychological detachment from the world and society. It is through these characteristics that exist in Meursault that Camus expresses the absurd. Starting from the very first sentence of the book, “Maman died today. Or maybe yesterday, I don’t know.” (Camus 1) The indifferent tone from these short sentences convey a rather apathetic attitude from Meursault’s part. Not only does he not feel any sorrow, he also “felt like having a smoke.” (Camus 4) Communicating perfectly Meursault’s disinterest, “[he] hesitate, [he] didn’t know if [he] could do it with Maman right there. [He] thought it over; it really didn’t matter.” (Camus 4) The death of his mother prompts an absurdist philosophy in which he experiences a psychological awakening and begins to place no real emphasis on emotions, but rather on the physical aspect of life.
Firstly, Camus juxtaposes the stories of Meursault and the Czechoslovakian man to create a presage of the denouement of Meursault. The Czechoslovakian man undergoes major life changes, and this ultimately leads to his demise. He goes to make a better life for himself, and he returns to his village with riches in wealth and in family. Unrecognizable to them, the Czechoslovakian man returns to his mother and sister, and he decides to play a simple joke “of taking a room” and “he had shown off his money” (80). This trick ends when “during the night his mother and sister had beaten him to death…in order to rob him” (80). The Czechoslovakian man’s newfound courage results in obstinacy. Contrastingly, until Meursault commits his crime of murder, his life appears nearly painfully simple. ...
Albert Camus has his own toolbox of literary devices when it comes to accentuating the theme of The Stranger, one of them being his unique sense and use of secondary characters. Whether major or minor, every character in the book serves a purpose, and corroborates the theme in some form of fashion. Camus describes his secondary characters as foiling Meursault in one aspect or another, and thus, shining light on Meursault’s characteristics. Whether through close connections like familial relationships (Maman) and friendships (Salamano, Raymond, and Marie), or through bonds as distant as people he briefly converses with (Chaplain), or even so much as complete strangers (Perez and unidentified lady at the restaurant), characters that Meursault encounters foil and therefore, emphasize many aspects of his nature. Furthermore, because Meursault aptly embodies Camus’s ideology of Absurdism, emphasizing Meursault through secondary characteristics simply highlights Camus’ doctrine and theme of the book.
The conflict is established at the end of Part I, when Meursault kills an Arab; an action not uncommon in Algiers during this period of social unrest (the 1930’s). He does not do it intentionally, but rather because of the intensity of the moment and the blinding sunlight reflecting off of the Arab’s blade. The fact that Meursault kills an Arab is of little importance in this novel. The jury and the general population despise him because he is different, not because of the murder. Even Meursault’s lawyer predicts that the punishment will be minimal. Throughout the entire trial, the prosecution stresses Meursault’s lifestyle and his indifference to everything. They bring up his mother’s funeral and say that he showed no signs of emotion. To make things worse, he went to a Fernandel comedy and had sex with Marie on the very next day. The prosecutor once states, “...all I see is a monster.”
Excellence has always been a virtue revered by society. Writers throughout the ages have tried to capture the essence of excellence in their works, often in the form of a title character, who is the embodiment of perfection, encapsulating all the ideal traits necessary for one to be considered an excellent member of society. However, the standards for excellence are not universally agreed upon. On the contrary, one man's idea of excellence may very well be another's idea of mediocrity. Yet, human nature is constant enough that by analyzing different literary "heroes", one can discover the standards of excellence that are common to different peoples.
A life changing journey is taken as Jean Valjean, Cosette and Marius feel the emotion of love and learn to cope with its effects. Each character soon realizes that the effects of love are very powerful. Happiness, self-confidence, and depression are all found during the enduring journey. Studies have proven that, “...without love we die...” (B). Jean Valjean, Cosette, and Marius realize that they can not survive without experiencing the profound effects of love.
Whilst the Marquis is presented as significantly wealthier that Jean-Yves and the wealthiest character in the story, he is simultaneously presented as the most distorted character in the story. The female narrator seems to acknowledge this, believing that he was in “despair” when he discovers her betrayal and also highlights his “atrocious loneliness”; thus portraying that even the wealthiest and most powerful of figures can still bear emptiness within themselves.
... used to associate himself with and he starts empathizing with the barbarians. First his dreams reveal his true feelings of the Empire’s wrongs then his actions in reality start to reciprocate these desires. Through the symbols in his dreams to his helping the barbarians in reality, the magistrate divulges his odd attraction to the barbarians.