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Essays on the three musketeers novel
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The Three Musketeers & Alexandre Dumas
Alexandre Dumas’s novels and in particular The Three Musketeers are so great for his ability to mix fact with fiction. As a historical novel, The Three Musketeers bases its story around some major characters and events of 17th century, French history. Cardinal Richelieu, Anne of Austria, and other important characters really lived and acted the way they do in the novel. In fact, the historical basis of Dumas's story extends all the way to his initial idea for the novel, even to the Musketeers and d’Artagnan themselves.(history 1)
The Three Musketeers is inspired by a 17th century work entitled Memoires de d'Artagnan by Gatien de Cortilz de Sandras, which Dumas stumbled across in his research. This work became an outline for part I of The Three Musketeers. At the time, Dumas did not believe that the Cortilz novel was historical, but thought he was simply plagiarizing and developing a previous writer's work. But Dumas claimed in his original introduction to The Three Musketeers that he thought the work was historical.(history 2)
D’Artagnan the hero of The Three Musketeers, was really Charles de Batz-Castelmore, and hailed from Gascony, just as Dumas writes. He left Gascony not in 1625, as in the novel, but in 1640. He had a great career not under Louis XIII and Richelieu, but under their successors Mazarin and Louis XIV and he rose through the ranks to great distinction until he died in service in 1673 at the Siege of Maestricht...
"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.
The Return of Martin Guerre, written by Natalie Zemon Davis, is the tale of a court case that takes place in sixteenth century France. Martin Guerre is a peasant who deserted his wife and family for many years. While Martin Guerre is gone, a man named Arnaud du Tilh arrives at Martin’s village and claims to be Martin Guerre. Bertrande, who is Guerre’s wife, Guerre’s sisters, and many of the villagers, accepts the imposter. After almost three years of being happily married, Bertrande takes the fraud to court under pressure of Pierre Guerre, her stepfather and Guerre’s brother. Arnaud du Tilh is almost declared innocent, but the real Martin Guerre appears in the courthouse. Throughout this tale, many factors of the peasant life are highlighted. The author gives a very effective and detailed insight to a peasant’s life during the time of Martin Guerre. Davis does a successful job of portraying the peasant lifestyle in sixteenth century France by accentuating the social, cultural, and judicial factors of everyday peasant life.
To summarize the book into a few paragraphs doesn't due it the justice it deserves. The beginning details of the French and Ind...
In the reading, Tartuffe is a con artist who uses religious hypocrisy as a deceit to trick Orgon and gain access to Orgon’s family and legal documents of the house. Tartuffe’s deceit is blatantly apparent to the readers and several characters in the story like Cleante, Dorine, and Elmire. In one particular scene, Orgon learns about Tartuffe’s deceit with the help of Elmire, stating “What an abominable man! I can’t believe it! I’m overwhelmed!” (Moliere 82). This scene is significant because Tartuffe represents religious hypocrisy by using his fake piety as a method to manipulate others as a way to achieve his devious goals. Moliere attacks this idea of religious hypocrisy because he views it as a danger to French society. In the journal article titled “Tartuffe, Religion, and Courtly Culture,” the Emanuel S. Chill explains how the character Tartuffe is based on a group of religious people in France called the Cabale des Devots” (156). The Cabale des Devots was a fundamental Catholic group that persecuted the Huguenots, the protestants, in France by depriving them of their rights, leading to the mass emigration. Furthermore, the historical event is mirrored in Tartuffe when Orgon and his family are nearly evicted from their house. Moliere uses this part of the story to reinforce his idea that religious fanaticism is dangerous by inserting
Professor’s comment: This student uses a feminist approach to shift our value judgment of two works in a surprisingly thought-provoking way. After showing how female seduction in Malory’s story of King Arthur is crucial to the story as a whole, the student follows with an equally serious analysis of Monty Python’s parody of the female seduction motif in what may be the most memorable and hilarious episode of the film.
The Memoires de l’Estat de France quoted in R J Knecht Profiles in Power: Catherine de Medici, Essex, 1998
Durrenmatt uses many allusions in The Visit in which its connections sheds so much more light on the play and helps to emphasize even the smallest aspects of it. Durrenmatt’s implementation of allusions to describe characters at a deeper lever, compare events in Guellen to its contrasting Westernized culture and show the irony of what Claire does to what others say, helps us understand The Visit at a much deeper level and far more interesting way.
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.
After reading, Charles Perrault, version of “Little Red Riding Hood” a story told in the 17th century of France from that time era the 17th century. The audience of Charles writing were for kings, and young women and the royal courts. The purpose of his writing is developed a seriousness of why rich noble age women should be worried about predators. The rhetorical appeals that he displayed was pathos he expressed work of art that stirs up emotions of pity for Little Red Riding, and the Grandmother. So, the audience would feel sympathy and sorrow. By using pathos appeals he made an important persuasion in arguments of different emotions. After, I read upon H.R. Trevor- Roper’s journal article who is known for studies in 17th century history and European history he written an article called The General Crisis of the 17th Century. Roper’s article said that. “The middle of the 17th century was a period of revolutions in Europe: seem to rise out of particular, and local causes.” (Roper). Which informed me on a lot of what was happening in that time era from the many different wars and the revolution in the country. From
The story begins with the Marquise de Merteuil corresponding with Vicomte de Valmont regarding a luscious new act of ‘revenge’, as she describes it, against the Comte de Gercourt. The young Cecile de Volanges has just come home from the convent and her marriage to Gercourt has been arranged. However, before he can wed the innocent child, Merteuil proposes Valmont ‘educate’ her, thus spoiling Gercourt’s fancy for untarnished convent girls. Valmont is uninterested in such an easy seduction and is far more aroused by the thought of lulling The Presidente’ de Tourvel, the very epitome of virtue, into submission. And so the tale unfolds.
It is evident from such a diversity of sentiments that the work before us is complex enough to provoke a variety of reactions. On the one hand, Molière made The Misanthrope a comedy, not a tragedy. Alceste, despite his bold railings against the hypocrisy of society, often finds it impossible to set a heroic example in front of his all-too-"civilized" circle. He is no lone upholder of a noble creed forced to martyrdom for his beliefs; in fact, his announcement, at the end of the play, of the martyrdom he is imposing upon himself--exile to "some solitary place on earth/Where one is free to be a man of worth"{6}--makes him look less heroic than ridiculous.
The story takes place in 1799, and the movie represents that time very well. For example, when they write, they use a feather and some ink instead of a pen. Also, there are no cars in the movie, only horses are used. Another thing that is representative of the e...
“It is precisely of him that I wished to speak. Dispose of me as you please; but help me first to carry him home. I only ask that of you.” Upon examination of Les Miserables, it is clearly evident that the elements of Forgiveness, Self – Sacrifice, and Courage are only a few of the main themes Hugo wanted to develop.
Tess, this is a happy time for Tess. When Tess is at Tolbothays it is