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Analysis of movie characters in Les Miserables
Analysis of movie characters in Les Miserables
Symbolism in lrs miserables
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There is a saying that many people us, and it states that no two people are alike. People may not be exactly the same, but there can be numerous similarities that come about through their personalities. The characters of Victor Hugo’s Les Miserables seem to be completely different from one another. No two characters come across in the same manner. They all have their own way of expressing emotions, but to the surprise of many readers, some of them were meticulously related. The ones that were the closest related were the two that seemed to contradict the most with one another. Throughout the novel, the actions, thoughts, and words showed that there were many parallels between Jean Valjean and Javert because of their love and devotion the law …show more content…
The emotions that are revealed show the true love and devotion that Jean Valjean is feeling. “When [Jean Valjean] saw Cosette…he felt his heart moved.” (Hugo and Wilbour 108) illustrates that a simple emotion can have countless meanings behind it. Jean Valjean feels strengths of affection that completely take over his life. This emotion does more than just provide him with a feeling, it provides him with a purpose for his life. This feeling of love compelled him throughout every stage of his life, and “All that he might have felt of love in his entire life melted into a sort of ineffable radiance.” (Hugo and Wilbour 109) The love that he experienced shaped perception of the world he lived in.
Javert experienced the same feeling while his perception was shaping that Jean Valjean did. After being born in the gallows, his thoughts and feelings about the law were already put into motion. His life was devoted solely to following and promoting all of the laws. “He believes that once a criminal, always a criminal.” ("‘Les Mis’: Why Do We Idealize Jean Valjean and Act Like Javert? • The Berkeley Blog") The feelings that he had towards the law were so strong that they blinded any outside emotions that breaking through to him. The law was merely the purpose for his
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When he felt that Cosette was no longer his, he felt that the largest piece of him was being taken away. “It is best that I should go away. Death is a good arrangement,” (Hugo and Wilbour 330) were the powerful words spoken by Jean Valjean after the realization that Cosette loved someone else other than him. Javert and Jean Valjean’s powerful words express their true devotion to the law and Cosette. Jean Valjean feels that he has nothing to live for besides loving Cosette, and Javert believes that the law is the only thing that we should following throughout our
Both men become prisoners of the other at one time or another in the novel. Valjean becomes Javert’s prisoner in Paris. Then Javert becomes Valjean’s prisoner at the barricade in Rue de la Chanvrerie but is freed. Then when Javert catches Valjean by the sewers, he frees him in return.
What is an emotion? William James and Jean-Paul Sartre present two different arguments regarding what constitutes an emotion. This paper will explore William James' analysis of emotion as set out in his 1884 essay . It will attempt to discover the main points of his view, and then present Sartre's rebuttal of this view taken from his essay on emotions . Concluding with an explanation regarding why Sartre's account is flawed and James's argument is the stronger of the two, it will use outside examples to demonstrate the various weaknesses and strengths within the two perspectives.
The Way Juliet Feels in Act 3 Scene 2 of William Shakespeare's Romeo and Juliet
The heartfelt emotion of charity shines throughout Victor Hugo’s Les Miserables. Each character shows love and charity differently to numerous people. Charity can also be called “love” from the various translations of the King James Bible. Jesus Christ imitates the perfect way to express charity. His example represents the perfect way for people to show the feeling of love within their heart to the others around them.
The mix of emotions has been evident throughout the course of the play. Not only is this healthy confusion beneficial, but it is imperative to the success of the literary works as a whole. Just as Troy Maxson demonstrates, humans are made up of an array of contrasting emotions. Conflicting emotions can often be confusing, but in the end they often lead to a profound
However, upon deciding to kill a man, he quickly learns that his previous unconcern will not diminish the consequences for his deed. Put to death, Meursault remains stagnant on his opinion of justice, refusing to ever consider that justice possesses any worth. Upon receiving a visit from a chaplain hours before his execution, he merely uttered “I had been right, I was still right, I was always right” (Camus 121) Meursault did not understand why the chaplain wanted to force him to turn to God and gain a moral sense about life. Thus he simply reiterated the motto that he lived by: an apathetic, self-absorbed idea that nothing in life means anything. Meursault’s continual refusal to accept the moral standards of the world prohibited him from every truly finding a true sense of
It is interesting and even surprising that the two major strategies regarding war were developed by European contemporaries of the late eighteenth and nineteenth century. Antoine Henri de Jomini (1779-1869) approached his philosophy of war in a structured, scientific manner. Carl von Clausewitz (1780-1831) took a more fluid, open-ended approach to his philosophy of war. The fact that they lived during the same time period in Europe is also fascinating in that they likely knew of each others’ writings as well as potentially influenced and were influenced by the philosophy of the other. Jomini’s scientific approach is more applicable to the tactical and operational levels of war while Clausewitz approaches war as more of an art or interaction between people that is more appropriate to the strategic and political levels of war. Although their two war strategies are presented as opposing strategies, by comparing concepts from each of the theorists to the other theorist’s work shows that they are actually more complementary than competing in that they are addressing different levels of war. The concepts to be evaluated are Clausewitz’s “Trinity of War”, “war as a continuation of politics”, and the “unpredictability of war” as well as Jomini’s definition of strategy and his “Fundamental Principle of War”.
Hugo’s social commentary focuses on three main concepts that he believes must be reformed in the French society: criminal justice, education and the treatment of women. By showing the unreasonable punishments both Valjean and Fantine shows how the social structure has turned innocent and good people into criminals.
...llowed to flow. He also manipulates Miss Julie's emotions by appealing to the romantic child in her. It is Miss Julie's fall from her high social status and her consequent fall to a childish ego state that makes Jean adapt his ego. She starts out thinking she is better than Jean because he is her servant. As they get closer she feels he is her equal so she talks to him as an adult from an adult standpoint. By the end when she has fallen from grace she feels so low that she is talking up to Jean and wants him to tell her what to do. All the while Jean is on the opposite side of the wheel that Miss Julie is on.
First off, is the element of forgiveness. In a book of mistrust, poverty, and hate…forgiveness thrives in the world of Les Miserables. The first example of this was at the very beginning, when Jean Valjean stayed with the bishop. Valjean stole his silver…and ran off. He ends up being caught by police, but when the police questioned the bishop, he claimed to have given the silver to Valjean. Jean was confused…and the bishop claimed that with the silver, he had purchased the convicts soul, and had given it to God, and from that day forward, Valjean must be a good man. Another example of forgiveness goes two ways. Javert, in his relentless pursuit of Valjean, is captured by revolutionaries. In reward for saving the lives of a few of these revolutionaries, Valjean asks for, and gets, permission to take Javert outside, and kill him. Once outside, a small monologue occurs…and Valjean releases Javert, and lets him go free. Valjean just wanted to be left alone in peace, and hoped this act of kindness would change Javert, and make him realize that Valjean was no longer the man he was. The second way…is that in the end, after Javert finally captures Valjean, he lets him go. Since Javert had broken the law… that he loved so dearly, he kills himself shortly thereafter, by jumping into a river.
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.
The protagonist’s transformation begins when the bishop recognizes Jean Valjean’s human soul that is capable of goodness. When he is put out into the streets, Valjean goes from place to place being rejected for being a convict until he meets the bishop who sees him as a common person, “That men saw his mask, but the bishop saw his face”(75). Even though people might be good, they don’t always see someone’s true soul. The bishop’s simple act of kindness and deeper understanding leads to Valjean living a better, more moral life, “From that moment we have seen, he was another man… It was more than a transformation-it was a transfiguration” (72). Since the bishop recognizes Valjean as an “another man” (72), he fulfils what he wants Valjean to become, a better more loving person.
...beforehand. He was also going through an identity crisis, trying to find his true self and knowing what was best for him. He had loved the people had relationships with but most importantly he learned to love himself when he was ultimately seperated from Iseult the Fair. On a psychological point of view, he experienced the continuing affections from others because it was a survival need. From infancy to maturity love needs to be present at all times. Love is a solid force for challenging the obstacles in life.
The list of similarities is significant as any one can see, but can they really be named "similar"? Perhaps they have some in common, but are the characters truly alike? It would seem to me that they are actually very different. It can be argues either way, but the correct answer to this question can only come though examination. Weighing both the likenesses and similarities will rule out either extreme in likeness, but perhaps they fall into a category close to one side. In this essay I intend to cut through the protective fibers set by Flaubert and Ibsen, and to examine the contents of two important characters, to compare them, and to contrast. Both Lheureux and Krogstad want something. At first they both want money, which is a large similarity. Soon Krogstad changes his demand to keeping his job, and Lheureux just lets the debts owed to him by Emma Bovary build up. They both seem nice at one point in each work. Lheureux begins on a good note, being very kind to Emma and her husband. He extends a lot of credit to Emma, which she abuses, and unwittingly plans her own demise. Krogstad on the other hand begins with a money grubbing attitude, though not quite as ruthless as that of Lheureux. Krogstad's ultimately progresses through the play, when at the end he is actually a decent individual. It would seem that as far as character progression goes, the two are inverse of each other. They both use threats to gain what they want. In Lheureux's case, he threatens to tell her husband, and later foreclosure if she doesn't pay. She managed to put Lheureux off for a while. Finally he lost patience...He'd be forced to take back the things he had brought her.
In Fyodor Dostoevsky’s drama, Crime and Punishment Rodion Romanovich Raskonlnikov exclaims, “I didn’t kill a human being, but a principle!” (Dostoevsky, 409). This occurs in part III, chapter VI of the novel when he’s battling with the confession of his murder he committed. In the beginning, Raskonlnikov, the protagonist of the novel, was a former student, struggling to get his life in order. He contemplates on whether he wants to assassinate his old land lady, Alyona Ivanovna, because he believes she was the cause for his debt. He finally slaughters her, and ends up slaughtering her sister, too, when she walked in on the murder. Afterwards, the crime he committed began to carp at his conscious psychologically. In a key passage of Crime and Punishment on page 409 , Fydodor Dostoevsky uses major themes, irony, language, symbols, and foreshadowing to emphasize the psychological effects that Raskonlnikov is struggling with before he confesses his murder.