Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Nun priest tale analysis
Nun priest tale analysis
Nun priest tale analysis
Don’t take our word for it - see why 10 million students trust us with their essay needs.
In The Nun, Diderot effectively utilizes language and comparison to depict what qualities make a good and bad nun and to subsequently characterize, the protagonist and narrator, Suzanne’s humanity over her religiosity. Suzanne’s friend Sister Ursule portrays the qualities of the good nun. When Ursule fell ill, she became concerned that her friend’s suffering resulted from “all the trouble she had taken, or by the care she had shown” (Diderot 86). While the other nuns treated Suzanne with cruelty, often failing to recognize her as a human being, her friend continually exhibited sympathy and also maintained her duties to the church. Almost like a Christ figure, she died internalizing Suzanne’s pain, allowing for Suzanne to continue her life in a better state when the …show more content…
nuns stopped harassing her. The Mother Superior of Sainte-Eutrope, the third Mother Superior in Suzanne’s life, exemplifies the bad nun.
In addition to her inappropriate physical advances toward Suzanne, who is in a compromised position of obedience, she inputs sinful thoughts to corrupt the young, innocent nun. Attempting to dissuade her from telling the confessor about her actions, the Mother Superior claims that there is “no sin [Suzanne could have] committed that [she] cannot pardon,” which takes some power away from institutions of the church and grants it to her (127). This Mother Superior abuses her position of authority by mistreating those beneath her and deliberately disobeys principles of the church, contributing to her representation as a bad nun. Rather than confine Suzanne to the stagnate role of good or bad nun, her thoughts and actions demonstrate how her character balances in between. When describing her distaste for religious life, she says she has “envied, and asked God for” the same disposition as her companions (80). Diderot juxtaposes one of the seven deadly sins with piety to highlight her duality. Suzanne’s revulsion derives from natural inclinations towards freedom and free will, which the cloisters
stifles. Contrary cases of her fulfilling her duties and abandoning them, as well as praying for her own sake versus for her position, expose how she is a moral person, allowing her to ascend above being perceived as just a nun and more as a human, an inherently flawed creature. Diderot distinguishes the qualities of a good and bad nuns and reflects on personhood above category or role.
“From Lieutenant Nun,” a memoir written by doña Catalina de Erauso, tells an intriguing story of a young Spanish female and her advantageous journey through Spain and the New World. Her family intends for her to become a nun but, that is not the life she seeks for herself. Therefore, she breaks away from the convent in hopes of finding somewhere to make her fortune by passing as a male. Catalina’s story is noteworthy because it gives readers another perspective of exploration focusing on self-discovery during the seventeenth century emphasizing how passing as a male is the only thing that secured her ability to explore. In the memoir, Catalina repeatedly reminisces about clothing and, whether she consciously or unconsciously does so, she allows the reader to see that this is an important aspect of her exploration. Throughout Catalina’s journey, clothing plays an increasingly important role not only in her travels but, also her personal life because it symbolized ones status, role, gender and privileges.
The pain she causes herself is Mariette being the vessel of God’s grace. Mariette’s intention to suffer displays a severe ambition and pride that she has a calling for a higher purpose. This purpose is also explored through Mariette’s experience with the stigmata. Mariette suddenly appears with the wounds of Jesus Christ, and Hansen creates a disturbance of power between female and male relationships to Christ. Mariette has been chosen above the male figures of the Church, and she shares in the appearance and bleeding of Christ wounds. Hansen connects female reproduction to Christ suffering. This ideology fits with Mariette because she has the capacity to perform the transfiguration of Christ, bringing the Grace of God to the World. This feminization of Christ allows Mariette to have a deeper connection with Him and reinforces the idea she has been chosen. Mariette’s intimacy in Christ’s pain is her desire to be more than just a sister, and even more than a Saint. Mariette associates His wounds with her own wounds, thus taking His ability to redeem as her having this capability too. Hansen uses Mariette’s relationship with Christ to draw on the theological formulation of Christ’s wounds as female reproduction. This idea challenges the notion of power within the priory and Roman
When she was younger she wanted to become a nun. Her mother taught her that religion was always important. She was always a “goody two shoes”. Patria set standards for her younger sisters that were too high to meet. They always felt as if they didn’t do enough.. She treated them all
Over the course of history there has been numerous works of literature which presented the reader with great descriptions of story characters and their overall personalities and one of the most prevalent examples of such use of character depiction is shown in the story “A New England Nun,” written by Mary E. Wilkins Freeman. In this short story, Freeman is able to illustrate a woman who is struggling with the commitment of marriage after waiting fourteen years for her fiancé Joe Dagget to return from Australia while also maintaining a lifestyle that involves monotonous, domestic activities in her home. However, more importantly, Freeman is able to clearly establish the character Louisa as someone who is suffering from obsessive compulsive disorder
Rob Hansen does an incredible job of placing the reader in the priory for themselves and allowing them to see just what kind of life the sisters live. On Mariette’s first day, the women rise at five o’clock to a ritualized call and response, where Sister Hermance shouts, “In Jesus Christ, my sisters, let us rise!” and the sisters respond with, “His holy name be praised!” (Page 5). The women follow a rigorous and regular schedule for the rest of the day. Embedded in their lifestyle are a lot of rituals and intricate tasks, which have been almost completely legitimized by their repetition.
In the plot, Cleante is Orgon’s brother-in-law and his main characteristic is being the person who plays the voice of reason in the chaotic situation. To prove this, the journal article titled “The Explicator,” describes Cleante as having the “‘ability to see things clearly is reflected in his ironic comments to Tartuffe’” (Saur 10). Because of this characteristic, Cleante can be viewed as the character who channels Moliere’s thoughts regarding religion. In the journal article, Saur discusses the extent to which Cleante is a “‘mouthpiece of the author’” (9). Saur’s comment can be proven true with relative ease. For example, Cleante discusses with Orgon about Tartuffe, stating “I’m talking about those sanctimonious fellows who use religious zeal to fatten their bank accounts, who attach themselves to the Court while preaching austerity, who adjust their piety to fit their vices. (Moliere 18). In this excerpt, Cleante refers to Tartuffe as a deceptive person who manipulate others by using religion as an excuse. As discussed previously, Moliere makes reference to the real life counterpart, the Cabale des Devots, who uses Christianity as an excuse to carry out their devious plans. In addition, The author inserts himself indirectly into the story by utilizing Cleante as a way to address his opponents’ criticism.
The “beautiful young woman” began to show her stubborn ways early. According to the reading, Bertrande was concerned more about putting aside her wifely duties than to ruin her reputation and independence (27-28). When Martin abandoned Bertrande, she was left without a defined position in the village social structure. Being the honest women that Coras said she was, Bertrande would not separate from Martin, and under Catholic law she could not remarry unless there was strong proof of death. The values that Bertrande grew up with showed that she never saw herself leaving village customs (32). Though the devastating experience of Martin leaving left her weak and yearning for a husband, she lived “virtuously and honorably” through her “stiff-necked sense of herself and her reputation” (34).
In analyzing this story, there are several other interesting facts that merit further exploration. For instance, throughout the story all references to the little convent girl use black or dark references. But, when plunging to her death, the author describes the little convent girl as a "flutter of white petticoats, a show of white stockings". What is the significance of the sudden color change? Also, Since the reader must assume that the little convent girl is Catholic, what can be concluded about a proper catholic committing suicide?
The Sheriff, Attorney, and neighbour Mr. Hale look for evidence while the women Mrs. Peters and Hale are left to their own devices in the kitchen. Condescendingly, the men mock the women’s concerns over Mrs. Wright’s stored preserves, its stated: “Well, women are used to worrying over trifles.” (Hale, act 1) It’s inferred that women- who care only of trifles, something of little or no importance, must be trifles themselves. Ironically, these said trifles: the quilt, preserves, a little bird- which will be discussed later, are what solves this mystery. A major concern expressed by all the characters is motive; why would Mrs. Wright kill her husband? While discussing the marriage and disposition of the victim, its stated: “Yes--good; he didn't drink, and kept his word as well as most, I guess, and paid his debts. But he was a hard man, Mrs. Peters. Just to pass the time of day with him. (Shivers.) Like a raw wind that gets to the bone.” (Mrs. Hale, act 1) Abuses, which have been hinted at all throughout the play are finally spoken of in these lines. Audiences find, that Mrs. Wright- “real sweet and pretty, but kind of timid” - would murder her
In “St. Lucy’s Home for Girls raised by Wolves”, the pack loved and helped each other before they became fully human. They were not only loyal, but compassionate. Whenever someone in the pack was hurt, the rest of them would show the injured, love. In spite of that, one time when Mirabella hurt herself and was covered with splinters, she turned to Claudette to help her but Claudette disregarded her and told her to “lick her own wounds” (Russell 244). Once Claudette had told her sister that, she immediately felt some sort of remorse as she said, “how can people live like they do” (Russell 244). Still, she shut that feeling out and told herself it was a stage 3 thought; to “reject their host culture” (Russell 244). Also, because Mirabella chose not to conform, the nuns decided they had to do something, “a something so awful that nobody wanted to assume responsibility for it” (Russell 245). Claudette wanted to help her sister, yet she was so blinded by being in Stage 3, that she rather created loathe for her sister since she would not conform. Claudette trusted that on the off chance that she demonstrated Mirabella sympathy, Mirabella would never leave her alone, and continue to act wolf like, which was not what Claudette wanted. Claudette wanted her and her sisters to respect her parent's desires and
As a girl, St. Teresa strived to be worthy of God, as did her siblings whom she loved. Instead of acting like she was a princess with the other girls, she and her brother Rodrigo would pretend to be hermits in the back yard.... ... middle of paper ... ... Works Cited Kiefer, J. a.
The characters Madame Pernelle, and Mariane, follow the roles as stereotypical women in that time, whereas Dorine and Elmire push the boundaries and start to show an edgier depiction of women. Madame Pernelle is depicted as an obnoxious old woman, she is very stubborn and stuck in her ways. She believes what she says is always right which kind of gives her a hint of ignorance. For example, this stubbornness and ignorance is brought to light when Orgon tells her of what he has learned about Tartuffe and ultimately tries to convince her that he is a fake she replies with “No, no, a man of such surpassing piety could not do such a thing. You cannot shake me. I don’t believe it and you shall not make me.” (5.3.24). Mariane is an overly obedient and hide in the shadows type of girl, she obeys to her father Orgon’s every command. That is until he asks her to end her engagement with her fiancé Valere who she is madly in love with, which even then does not cause her to develop a voice of her own it is Dorine who speaks up for her. Dorine comes off as a very opinionated, sassy, and outspoken woman. Due to her position as a maid, and overall upbringing she has no problem speaking up when she feels something is wrong, no matter whether it is to a man or a woman, which was very rare in the 17th century to hear of a woman speaking out against a man. For example, when Organ is
The fifteenth century was a gruesome era in world history. Church and state were not separated which caused many problems because the Church officials were often corrupt. The story of Joan of Arc, portrayed by George Bernard Shaw, impeccably reflects the Church of the 1400’s. Joan, a French native, fought for her country and won many battles against England. But Joan’s imminent demise came knocking at her door when she was captured by the English. She was charged with heresy because the armor she wore was deemed for men only but she justified her actions by stating that God told her to do it. Today, Joan of Arc would be diagnosed schizophrenic because of the voices in her head but she would still be respected for serving in the military. But in the fifteenth century, she was labeled as nothing more than a deviant. She was tried and the Inquisitor characterized her as a beast that will harm society. Through his sophistic reasoning, loaded diction, and appeals to pathos and ethos, the Inquisitor coaxed the court into believing Joan was a threat to society and she had to pay the ultimate price.
When women are kept in their classical role of mother and caretaker, all is well and their lives are simple. Children relate positively to their mothers in this typical setting; while Dantés was in prison, during a time of distress, he remembered something his mother had done for him. For example, Dumas writes, “He remembered the prayers his mother had taught him and found meanings in them which he had formerly been unaware.” (41). Mothers teach their children to the best of their ability, evidenced in Dantés, as well as when Caderousse says Mercédès is instructing her son, Albert. It is in these moments that a mother’s love, compassion, and necessity are revealed. Lives are calm and enriched as long as women are in their niche. This includes non-maternal nurturing roles, for example, Mercédès attentiveness to Dantés father and Valentine’s special ability to care for Nortier. This loyalty is valued and shown as essential for the stability of life. Though The Count of Monte Cristo depicted women as best suited to the home, they intermittently stepped further out of that r...
According to Francois De La Rochefoucauld, “Virtue would go far if vanity did not keep it company.” In Rape of the Lock, Alexander Pope uses the epic form to satirize 18th century English high society. The protagonist, Belinda, represents women within her society through her focus on both beauty and piety. Rape of the Lock provides insight into the duality of beauty and chastity, and the struggle for women to encompass both ideals. These ideals, dictated by society, allowed women to fill their roles as a proper wife and mother. In order to achieve those roles, women adhered to appropriate ideals of beauty and virginity. Belinda fills the role of a traditional woman in 18th century society because she places equal value on beauty and religion. She prides herself on her appearance, yet also displays her religion. Her duality becomes evident in her toilette scene, where she readies herself for the day. Her toilette displays both materialistic goods and religious symbols, providing equal importance to both aspects of her identity. Pope uses Belinda as a symbol for women during the 18th century; she conforms to societal pressures by remaining both beautiful and chaste, a duality which creates a contradictory identity.