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Essays on the three musketeers novel
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In the adventure novel The Three Musketeers, Alexandre Dumas uses highly ornate language and precise detail and symbols to convey an overall dark yet humorous view on noble aristocratic society, particularly its use of personal militias.
Diction
Throughout the novel, Dumas writes in a high connotative style. His use of poetic however grotesque and ornate language creates a disastrous, immoral atmosphere which the characters unintentionally create through their own actions. For example, “It was common gossip that the King was violently prejudiced against the Queen… [His Majesty] was firmly convinced that Madame de Chevreuse served the Queen not only in her political activity but--more tortuous still! -- in her amorous intrigues” (Dumas 139). In this scene, Dumas describes the Queen's alleged affair as "amorous," effectively illustrating the passion of the supposed love shared between herself and the Duke of Buckingham as more than romantic, rather as deeply lustful. The circumstances of these allegations are catastrophic, as adultery in the seventeenth century was highly frowned upon and viewed as sinful for women, even punishable by death. The narrator’s use of forceful vocabulary — such as "violently," “prejudiced," and “tortuous” to describe the opinions on the Queen’s believed tryst reveal the underlying perils of Parisian court life, both socially and physically, as they have the power to take her power and life. If words such as “strongly," “influenced," or “winding” were used, the overall threatening tone of the passage would not be achieved, portraying a mood of subtle annoyance and mild anger at the situation rather than one of passionate fury.
The language employed by Dumas throughout the novel is also pedanti...
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... However, these justifications appear fabricated and rather pathetic, as many comrades believe the source of income for such a magnificent article to be a wealthy mistress of Porthos’s rather than his own pocket (22-23). The inclusion of these oppositions to Porthos’s account serve as a ridicule of the gravity placed upon materialistic items as a measure of self worth and authority, as such articles are obtained through the value of currency, as opposed to the values of intellect and character.
Through the inclusion of highly elaborate language, meticulous detail and symbols, Alexandre Dumas conveys a dismal yet amusing perspective on French aristocratic society and its utilization of private soldiers.
Works Cited
Dumas, Alexander pere. The Three Musketeers. United States of America: Random House Inc., Feb. 13 2001. Print.
"I think you're rotten," says Yvette at the end of The Apprenticeship of Duddy Kravitz, "I wish you were dead" (Richler 318). This sentiment is echoed throughout a substantial amount of the criticism of Mordecai Richler's tale. At best, we question whether Duddy has learned anything during his apprenticeship; at worst, we accuse him of taking a tremendous step backwards, of becoming an utterly contemptible human being. When Duddy steals money from his friend and admirer, Virgil, to pay for the final parcel of land around Lac St. Pierre, it may seem that he has sunk to a low from which he may never recover; but careful consideration of the events leading up to the theft, the turn of events after it, and finally, Duddy's emotional reaction to both Yvette's anger and Simcha's disappointment indicates that Duddy is not the monster that he is frequently made out to be.
In The Return of Martin Guerre, one man's impersonation of an heir from an influential peasant family in the French village of Artigat ultimately leads to his public execution. The tale of Arnaud du Tilh alias Pansette (meaning "the belly") is full of ironies, not the least of which is his death at the hands of a man who by some accounts harbored some admiration for the quick-witted peasant. Set in a time and place where a hardly discernible line separated proper behavior from that which was grounds for death, du Tilh was guilty of more than one serious charge. Yet he was well-known as a strong farmer, loving husband, shrewd rural-merchant, and eloquent speaker. Arnaud's actions are not the result of his own audacity, rather of something more universal, so universal its results can be seen in other historical figures from the text. Du Tilh assumed Martin Guerre's identity because doing so represented a unique opportunity to test the extent of his abilities and leave behind his presently troubled life.
In 1998, Francine du Plessix Gray, prolific author of novels, biographies, sociological studies and frequent contributions to The New Yorker, published her most acclaimed work to date: At Home with the Marquis de Sade: A Life. A Pulizer Prize finalist that has already appeared in multiple English-language editions as well as translated ones, Du Plessix Gray’s biography has met with crowning achievement and recognition on all fronts. Accolades have accumulated from the most acclaimed of eighteenth-century luminaries, such as Robert Darnton, in a lengthy review in The New York Review of Books that compares her biography with Laurence Bongie’s Sade: A Biographical Essay, to the list of scholars whom she thanks in her acknowledgements for having read the manuscript: Lynn Hunt, Lucienne Frappier-Mazur, and Marie-Hélène Huët. Surely, any scholar can appreciate the vast amount of research that undergirds Du Plessix Gray’s narrative, and indeed, she takes great pains to meticulously inform the reader who might care to look at her sources and read her acknowledgements that she has done her homework and knows every inch of the scholarly terrain. Du PlessixGray wisely begins her acknowledgements with a debt of gratitude to Maurice Lever’s studies, which rest on years of archival research.
Allusions to philosophers and other authors pepper “Create Dangerously,” reflecting how the people use the words of those that came before them to make the best of their own reality. The most highlighted philosopher within the paper is Albert Camus, by whom the title “Create Dangerously” was inspired. Not only does Danticat quote and speak of Camus within the essay, but tells of how the people of Haiti would put on his play quietly, quietly in the basements of their homes in secret, finding invigoration in the philosopher’s absurdist and poignant words. " 'Execution relieves and liberates. It is a universal tonic, just in precept as in practice. A man dies because he is guilty. A man is guilty because he is one of Caligula’s subjects. Ergo all men are guilty and shall die. It is only a matter of time and patience' " quotes Danticat in reference to “quietly, quietly.”. By picking this quote, Danticat draws parallels to the death sentences given to the people of Haiti by the dictatorship, including Numa and Drouin, perpetuating the consistency of Danticat’s message. Camus was part of a dialogue that was strikingly similar to that of the people battling the Haitian dictatorship. He himself opposed the Nazi regime by editing an underground newspaper in France (Kellman 2011). Danticat’s affinity for Camus’ work is made more palpable seeing the similarities in what they have faced through their lifetime. Inciting small forms of rebellion is a lifeline for those faced with domination, more specifically an autocracy. The overall theme of the story is the importance of literature, especially in times of oppression and pain, and how it can be used to aid the human
A major concern in both the film and the original text is the ‘status of women’. This is represented through the differing roles of women and their denigration within the Elizabethan society. For instance, Hero is accused of committing infidelity; consequently her image in society is tarnished, In addition to this, Claudio insults Hero publicly without even considering confirming the accusation of her being unchaste. This is illustrated through Claudio slandering Hero through the use of usage of Greek Mythological allusions “You seem to as Dian in her orb, but you are more intemperate than Venus in y...
Friedrich Durrenmatt's use of allusions in order to enhance and describe the characters include the famous Romeo and Juliet, Lais, and Lord Alfred Tennyson. Durrenmatt uses these people in particular to help characterize Claire Zachanassian and Alfred Ill. Durrenmatt first alludes to Lais on page 27. “That conspicuous consumption of husbands; she’s a second Lais.” (Durrenmatt 27) Lais was a prostitute for nobles; she was very attractive and wealthy. Durrenmatt uses Lais to describe Claire and emphasize how Claire had to become a prostitute when she left Guellen and yet, came back still beautiful and wealthy. Durrenmatt uses this characterization to show that she was scorned by love, she scorned other, having nine husbands. We learn later that Claire herself says, “The world turned me into a whore. I shall turn the world into a brothel.” (67) This again alludes to her sexual services, which were bought and she knows through this anything can be bought. To erase this past she wants to erase the beginning of it by killing Ill, and money can do just that. Not only is Lais used to characterize a major character of the play, but also Lord Alfred Tennyson can be used to describe Ill. “Atmosphere like Tennyson” (83) was mentioned by Ill’s Daughter....
To conclude this essay we have acknowledged that ‘The Charge of the Light Brigade’ and ‘Dulce Et Decorum Est’ are contrastable. However, in some points they are compatible as both involve war. Even though they mention war, it is shown in different ways. As ‘The Charge of the Light Brigade’ glorifies soldiers and the war, whereas, ‘Dulce Et decorum Est’ points out that war are not as heroic as it seems but instead is a horrifying brutal affair.
Hugo, Victor. Les Miserables. Comp. Lee Fahnestock and Norman MacAfee. Trans. Wilbour, C.E. Only Complete and Unabridged Paperback Editon ed. New York, New York: Signet Classics, 1987. Print.
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.
For example, he treats some women with little respect. The novel states, “ And [Robert] related the story of Alcee Arobin and the consul’s wife; and another about the tenor of the French Opera, who received letters which should never have been written…” (20). This shows that Alcee has been with multiple women, and he has, from what can be inferred, written bad letters to them. He seems to have casted these women aside now and moved on showing little respect for them which was not what a man should have. Moreover, he moves in on married women. The novel states, “When he leaned forward and kissed [Edna], she clasped his head, holding his lips to hers” (84). Although Edna returned the kiss, it still does not excuse the fact that Alcee initiated the kiss on a known married women. Men during the time did not try to take what other men already had as the reader is shown when Robert says goodbye to Edna for the reason of her marriage to Leonce. Additionally, Alcee does what he wants to women. The novel states, “‘ I am, after I have said good night[,]’ [said Alcee.] ‘Good night,’ [Edna] murmured. He did not answer, except to continue to caress her. He did not say good night until she had become supple to his gentle, seductive entreaties” (94). Edna tries to tell Alcee to leave, although not in a very commanding way, but he refuses until he gets what he wants from her. Men at the time had more respect from
The protagonists, The Marquise de Merteuil and the Vicomte de Valmont, consider it their life’s ambition to sadistically control and dominate those around them through sexual intrigue. These two villains are indeed locked in psychological combat to see who can actually ‘out-do’ the other in stalking, capturing and destroying the souls of others. Taking absolute pleasure in ripping any virtue from the hearts of their prey, Merteuil and Valmont wave their accomplishments in front of each other like spoils of war. The less the chance of surrender, the more relentless is the pursuit.
And yet, if we do not place our sympathies with Alceste, we search this play in vain for another character worthy of them. The silly marquises do not command much respect. Arsinoé is conniving, spiteful, and a critic of everyone else's morals. Oronte is not only as vain a...
Alexandre Dumas was the writer of many famous books such as The Count of Monte Cristo and The Three Musketeers. Dumas was influenced by many different authors and play writers, but one significant influence on Dumas’ writing was the work of William Shakespeare. Dumas used Shakespeare’s ideas of poison and romance in his novel The Count of Monte Cristo. Experts say that one pivotal element that Dumas used in The Count of Monte Cristo that is also used in the plot of Shakespeare’s Romeo and Juliet is the notion of pseudo-poison in the tale of two lovers . In The Count of Monte Cristo, the Count gives Valentine a fake poison to give the appearance that she is dead . In Shakespeare’s Romeo and Juliet, Juliet is given a fake poison so that everyone will think that she is dead . Unlike in Shakespearean tragedies, especially Romeo and Juliet, the poison does not end in a tragic ending. In The Count of Monte Cristo the two lovers are not deceived in a way in which they would kill themselves. In Romeo and Juliet, the unfortunate ending was the fault of...
Catherine’s revenge does not make things better for her. Her revenge on Heathcliff by blaming him for her upcoming death does not meliorate her mind. Just before she dies, she ascribes Heathcliff for her “murder.” “You have killed me, and thriven on it, I think” (Bronte 158). Catherine resembles what Oliver Goldsmith said, “When lovely woman stoops to folly, and finds too late that men betray, what charm can soothe her melancholy?
“If a Jew wrongs a Christian, what is his humility? Shakespeare shows here that money doesn’t have the same effect on love as it does with the caskets or with the evil in Shylock, and that it can be used for good love in Portia’s donation. In Venice, Bassanio brings fourth the 6000 ducats to repay Shylock, but he doesn’t accept it. Once Portia, disguised as the doctor, entered the court, she pleads with Shylock to show mercy, but he refuses.