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Sexuality in literature
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Recommended: Sexuality in literature
Sexual Desire vs. Religion: A Close Look at Letter 128 Choderlos de Laclos’s epistolary novel Les Liaisons dangereuses is a complex novel filled with morally unsound characters. Even the more innocent characters, such as Cécile de Volanges, The Chevalier Danceny, and the chaste Madame de Tourvel, lose their sense of morality when they become pawns in Marquise de Merteuil and Vicomte de Valmont’s game of sexual domination and ruin. Several interesting relationships begin between the innocent and sadistic characters, but none of these relationships are as important as the one between Tourvel and Valmont.
The reason this pairing is so important is because, unlike Merteuil and Valmont, they initially appear to not have much in common.
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By writing Valmont as a libertine and having Tourvel succumb to sexual passion, Laclos seems to argue that sexual desire is a stronger desire than remaining devout. Even if this is true, Laclos also seems to suggest that it is morally wrong to fall victim to sexual desire. This is evident when Tourvel writes, “As long as my life is necessary for his happiness, I shall treasure it and consider myself a lucky woman. If some day he has other views, he will never hear a word of protest or blame from me. I have already faced up to this possibility and made my decision” (288). This is the most important statement in the letter because it proves that Tourvel has some doubt to the longevity of her relationship, and she accepts the price she will have to pay for falling victim to her sexual desire. This thought is reemphasized when Tourvel writes, "You can now see how I am bound to be unaffected by the fear . . . that Valmont may ruin me” (288). It is almost as if Laclos reemphasizes her acquiescence to show that Tourvel doesn’t mind that she has ruined herself as long as she can act on her desire to love Valmont, even if that love is fated to end and she has to forsake her religious
Perhaps the most evident display of transformation comes in the form of Isabelle’s social and moral evolution which is stimulated by her illicit relationship with Stephen in Part 1 of Faulks’ naturalistic novel. Isabelle’s husband, Azaire is a symbol of the “old wealth” in the Belle Époque era; he is a factory owner and enjoys an important social presence within Amiens: “There would have been no doubt that this was a property of a substantial man”...
The story of The Fantasticks, written by Tom Jones and Harvey Schmidt and also based upon Edmond Rostand's play Les Romanesques, concerns itself with the pairing of two young lovers, appropriately enough, the Boy and the Girl. As their story begins to unfold, as told to us by the Narrator (El Gallo), we quickly come to recognize both the Boy and Girl as specific characters with specific concerns, but at the same time we see them as every boy and girl that have ever fallen in love. We see the Boy's unwavering devotion and the Girl's romantic idealism and even though their fathers have built a wall between them, the zealous young lovers will let nothing stand in the way of their passion. Just as the story might b...
First, the plots of both works need to be discussed and explained how they are different. The stories of both works have basically the same structure, until it gets toward the endings. In Dangerous Liaisons, the Vicomte de Valmont dies in a sword battle between him and Danceny. Right before he dies, though, he gives Danceny all of his letters between him and the Marquise de Merteuil and tells him to circulate them in order to ruin Merteuil’s reputation. Danceny does this and then moves away for a while. Merteuil ends up becoming disfigured from small pox and her reputation crumbles. She moves to Holland because of this. Cecile moves back into the convent and Madame de Tourvel dies of misery because of the suffering that Valmont put her through.
Marie de France’s “Lanval” is a Breton lai dominated by themes common to 12th century literature, which through its exploration of love, erotic desire, wealth, gender and community, tells the story of a young knight who finds himself caught between two worlds: his lover’s and his own. Forced to separate these societies by a warning in which his lover states, “do not let any man know about this…you would lose me for good if this love were known” (Lines 145-148), Lanval must keep his love a secret and exist apart from the Arthurian world into which he was born. Consequently, romantic love between Lanval and his fairie queen exists conditionally, that is upon Lanval’s physical and emotional isolation. This restriction suggests that romantic love, as described in terms of erotic desire and physical/emotional devotion throughout “Lanval,” is unsuited for existence in the mundanity of Arthurian society. Therefore, Lanval’s solitude is necessary for his maintaining his relationship with the fairie queen, a fact that suggests the incompatibility of romantic love with Arthurian society, as Marie depicts it.
In the novel, later, Mme. de Clèves asks for further explanation for the love between a woman and the king with “several other lovers” (1039). This passion forms the “political and social effects” (1039) that change the norms in the court. The court mixes this false “event into its own structure, so that the implausible now becomes the norm for the entire court” (1039). This incident drives to the extent of passions, “political ambitions and social events”, that utilize M. de Clève’s passion. Hence, the power of Duchesse de Valentinois doubles “the power of the monarch” (1039).
The use of ‘wild’ in both Catherine and La Belle’s descriptions shows their similarity in nature. The similarities of their descriptions of a charming, appealing appearances compared with their saucy, wild natures demonstrate the comparison of conflict within these texts.
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 romance genre is centered around many themes, the most famous being love. The protagonist is almost always the one character that is receiving love or working towards obtaining love. The Romance genre began around the 12th century in Europe. The most famous author of that genre and time was none other than Chretien De Troyes. Troyes is the author of seven poems, four of which were completed by just him. The other three have been worked on and finished by other authors. In this essay the themes from two of his works will be discussed. The works being analyzed are The Knight of the Cart (Lancelot) and The Story of the Grail (Perceval).
Though both Alan and Meursault are deemed as “appalling” members of society, their stories become lost and unimportant when Dysart and the members of the law seek representation of their lives. Both characters arrive in the story at the convenience of Dysart and the members of the law, and because of this convenience, Shaffer and Camus glorify Dysart and the members of the law, rather than solve the problems in Alan or Meursault’s lives. What one finds truthful in the world or their lives becomes unreliable in its presentation to the reader, as displayed in both Equus and The Stranger.
Although, it would be a mistake to depict Valmont as anything but the monster that he is, there seems to be a small measure of actual ‘affection’ for Tourvel, however short-lived. Once Valmont shares this strange and unexpected interest in Madame de Tourvel, The Marquise de Merteuil is enraged, considering it an appalling sign of weakness. In order to save face, Valmont returns to his ruthless ways, thus completing the destruction of Madame de Tourvel, who had ultimately fallen madly in love with Valmont.
Although revolutionary, this new change in structure came with a collective anxiety and confusion on how society in the eighteenth century could make the new and more intimate version of marriage and courtship function smoothly. I believe that the overall thesis of this essay, as well as the answer to everyone’s anxiety at that time, can be understood through the quote, “how would they be able to tell a virtuous suitor from a dissipated roué, the woman of their dreams from the Old Regime nightmare… They would do so by reading – by partaking of a new form of commercialized courtship found in the pages of the Le courier de l’hymen” (Jones, 174). Therefore, according to Jones, the answer to the new version of courtship and marriage could be found in the French journal, Le courier de l’hymen, and other works of fiction from that time
Furthermore, she exhibits very little hesitation in beginning this love affair with the chevalier saying almost immediately that “she would be his love if he believed in God above; if so there was no obstacle” (138-139). By discounting her husband entirely and by agreeing to take part in the affair so quickly she demonstrates her interest in her own happiness over the sanctity of her marriage.
During the Middle Ages, Courtly love was a code which prescribed the conduct between a lady and her lover (Britannica). The relationship of courtly love was very much like the feudal relationship between a knight and his liege. The lover serves his beloved, in the manner a servant would. He owes his devotion and allegiance to her, and she inspires him to perform noble acts of valor (Schwartz). Capellanus writes, in The Art of Courtly Love, “A true lover considers nothing good except what he thinks will please his beloved”. The stories of Marie de France and Chrétien de Troyes illustrate the conventions of courtly love.
The relationship shared by Pierre and Helene is best described as a lustful charade. It is no coincidence that Pierre, one of the most introspective characters in the novel, first marries a shallow, inwardly-ugly adulterer. His first recorded attitude towards Helene is one of admira...
In her suspense novel Gnomon, Luchia Dertien explores the gray areas of morality and the dark side to love. Gnomon is set in a fictionalized modern Paris, and focuses on Renaire and his relationship with Emile Delaurier. Renaire is desperately in love with Emile, who is the leader of a militant revolutionary group called the STB. The novel focuses on Renaire’s relationship with Emile and his struggles with his moral code, being haunted by his past, and being in love with one of the most dangerous men on the planet. Gnomon leaves it’s audience captivated and thoughtful, making the reader question what exactly it means to be righteous, how far is too far when it comes to justice, and what is the most important to follow; your heart or your morals.