Character Analysis Of Gustave Flaubert's A Simple Soul

When you think of a character from a novel you’ve read, you probably don’t imagine that they aren’t real. However, in Fahrenheit 451, it is something to be considered. One main character from the book is Clarisse McClellan. She lived a life in which relatively few people understood her. But one day, she met Montag, a hard working fireman who burnt every book in sight for a living. They became great friends and eventually she changed how Montag saw things, inducing him to read books and eventually get into conflict with his job. Some readers believe Clarisse is an imaginary character made up in his head due to how she changed him, but they are wrong. Clarisse McClellan is real because she can do things that other real people can do and multiple people other than Montag know about her existence.

The importance of cherishing the invaluable individuals in one’s life is apparent in Matthew Teague’s personal journey of his wife’s battle against cancer and a genuine friendship. “The Friend” depicts emotional appeal, comparisons, and vivid imagery to portray the significance of valuing loved ones. There is no single definition for a loved one. A spouse, children, family, friends, the reciprocated love can build everlasting bonds, but why is it so important to treasure the relationships we have? Just because they are family, it may not signify that we love them; just because they are acquaintances, it does not necessarily indicate that we have a type of love for them either. The pure love we possess for someone is rare and never chosen or obliged, so this valuable love should be nurtured, for people are bound within unpredictable time limits. Nichole’s, Teague’s wife’s, diagnosis of cancer was a realization for him that his days with her were numbered. Along the way, Dane Faucheux, the couple’s friend, was devoted to aiding the Teague family during their struggling time. Faucheux’s undisputed support for Teague and his family surprised him numerous times throughout their experience. This love in the sublime story is seeped with appreciation for those Teague values in his life. The realization and worth of his deep endearment for his family and friend is transferred to the reader, and he or she begins to realize the reality of the given time to value those who are most important.

Mrs. Mallard is, outwardly, a typical woman in the 19th century with a husband, family, and home. It is first apparent that Mrs. Mallard is not satisfied with her role as a wife when she receives the news of her husband’s death and begins to feel a sensation of joy that overcomes her. The wife’s unhappiness with her married life is enhanced when the narrator states, “She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long.” (Chopin 16) The reader infers that Mrs. Mallard was figuratively suffocating under the duties and stereotypes a 19th century woman was subjected to, such as caring for a house and family instead of pursuing a career outside of the home. Mrs. Mallard views her husband’s death as an escape from her role and a chance to have control over her life and choices, showed when she whispers “Free! Body and soul free!” (Chopin 16) In the final portion of the story Mrs. Mallard’s husband returns home, having never been in an accident, and she dies of what doctors determine is an overwhelming joy for seeing her husband alive. The reader infers that Mrs. Mallard has lost her chance of a new start and freedom from her role and dies of grief over her loss of freedom. The author contrasts Mrs. Mallard’s lack of control and freedom in her life to

She feels responsible and guilty for this day again, she feels like a sister that never keep her promise and being the “the one who never came back” (259). She writes a letter addressed to Michel, saying that she will “carry the burden of [his] death […] till the day [she dies]” (260). She also, in this letter, confesses that she never has been able to pretend to be someone else, since she cannot forget about her past. She cannot forgive herself because “[her] scars will never

In Gustave Flaubert’s “A Simple Heart,” tells the story of a maid named Felicite who endure hardships and heartbreaks one after another. Not only did she endure hardships and heartbreaks at a young age, but also throughout her life losing her nephew, the children of her mistress Mme Aubain and her parrot, LouLou. In his essay, “ Flaubert’s Un Simple,” James Reynolds argues that the story of Felicite demonstrates satire and that her actions is just too good. In Victor Brombert essay, “Un Coeur Simple: Tenderness and Irony,” he also argues that it is a story of satire, but also there is also sentiment. Felicite is pathetic, but extremely serving and loving. In “A Simple heart,” the story may seem to surpass both satire and sentiment, but

When Andrew, her docile servant, punches her in the face during sex, what made him the perfect companion is gone. He not only denies her physical pleasure, but causes her unwelcome pain. She sees that Andrew was not worth her devotion, because the only things that deserved her allegiance were those that brought

This idea of loss plays into another theme within A Simple Heart- that of unquestioning duty and responsibility. It is Felicite’s simplicity and, at times, her ignorance that allows her to so be so blindly devoted and caring. She works faithfully for little pay, and remains incredibly loyal to Aubain’s family. For example, when she saves Aubaine and her children from a raging bull, she puts her own life in peril without a second thought. She takes no pride in this act, and has not the “barest suspicion that she had done anything heroic” (1023). She also displays this when she fails to see Virginie before she dies because she feels so strongly about making sure the house is locked and secure before she leaves to see her. Despite her pure heart, it seems that Felicite is never rewarded. This challenges the value of such blind and unshakable devotion in such an unrewarding and oftentimes cruel world.

In the basis of ancient medieval literature, there were at least three principle concepts that were guidelines for writers: the tradition of chivalry, use of power, and the art of courtly love. In her lais, or lyrical narrative, Marie de France uses all three of them, but not exactly in the traditional sense that men of her time favored. Through her writings, Marie de France has shown great focus on members of the aristocracy that were not as prominently acknowledged, which included both women and single knights, and portrayed characters that she observed in real life in ways that did or did not conform to their stereotypes. Additionally, she challenged the roles often found in 12th century writings by using ordinary heroines and heroes to work through both genuine and figurative conflicts. Through the lai of “Lanval”, Marie subtly works through the theme of courtly love in a separate ideal setting that both challenges and reverses the typical gender roles without completely letting go of the accepted cultural standards of that time.

Mrs Mallard's awkward attitude after learning of her husband's death establishes an irony- somebody who is really happy in marriage will not enjoy nature in peace and have mixed emotions; the person will feel genuine grief upon hearing of the death of her husband. Here, Mrs Mallard's reaction portrays the extent to which her thirst for freedom was strong. Kate Chopin allows us to visualise the moment that Mrs Mallard is able to shed the bondage of marriage: "free, free, free!." She feels liberated through her husband's death. Much emphasis is laid on her joy upon finding freedom- "there would be no one to live for." The author also points out that "she knew that she would weep again.....folded in death." This only highlights the fact that it is not an expression of love but seems more like a duty that

It is a turning point for both women, but it affects Felicite deeply because she has lost so much and continues to lose those that are important to her. At this point in the story, she has lost her parents, her sisters (through loss of contact), the love of her life, her nephew whom she had grown very fond of, and now Virginie. Most people would have given up at this point, but once again, Felicité shows her devotion in a different way. When Mme Aubain grows depressed, Felicité is the one to remind her that she has another child to live for, and also in “remembrance of her” (Flaubert 533). Mme Aubain wakes as if from a dream and agrees, “Ah yes!...

Once returning to Stamps, silent and traumatized, Marguerite meets Mrs. Bertha Flowers. Marguerite discusses her as “the aristocrat of Black Stamps.” (93) Marguerite looks up to Mrs. Flowers in many ways. She is beautiful and sophisticated and according to Marguerite, Mrs. Flowers “has remained throughout my life the measure of what a human being can be.” (94) Mrs. Flowers took Marguerite under her wing and into her home. She shared her books with her and allowed Marguerite to read from them, spend time with her, enjoy cookies, and lemonade, all while bringing her back from her silent ways after her rape. She encouraged Marguerite to be “intolerant of ignorance but understanding of illiteracy” as not everyone had the ability or luxury to become educated. (99) Marguerite was in awe of

Gerran, I also thought Félicité could be described as a “simple heart,” due to her selfless personality and her ability to appreciate life for what hers is. Félicité, an underclass maid was one of the only characters who showed genuine love and those of an upper class proved to show opposite characteristics: anger, animosity, and toxicity. I found it interesting to have the opportunity to compare these two social hierarchies; I would of thought the upper class hierarchy would have been more happy than those such as Félicité, but this shows again money and materialistic things are not the key to happiness. I also thought Félicité was naive for she was being taken advantage of by her own family and while those such as Madame Aubain and her sisters

Flavia Alba is also stricken by the arrow of Eros and she falls in love with Andronicus, a handsome young man. As a love starved widow she gives herself whole heartedly to her lover, though she has lurking doubts about Andronicus. These love episodes with Andronicus are beautifully handled. There is passion as Flavia gives herself to her lover. But her doubts remain in her mind even when she sleeps with Andronicus. With this love the author creates one of the essential ingredients in a women’s life, even if she is a professional like

The narrator is unknown to the readers but describes Catherine’s, and other characters inner thoughts, that would otherwise be reserved to them. Although it is Catherine that is made the main focus, “Catherine’s feelings, as she got into the carriage, were in a very unsettled state; divided between regret for the loss of one great pleasure, and the hope of soon enjoying another”, her narrative representation is sympathetic and pleasant but the third-person structure also allows for Catherine’s nature to be presented without confusing the

Author, Kate Chopin, presents the character of Mrs. Louis Mallard. She is an unhappy woman trapped in her discontented marriage. Unable to assert herself or extricate herself from the relationship, she endures it. The news of the presumed death of her husband comes as a great relief to her, and for a brief moment she experiences the joys of a liberated life from the repressed relationship with her husband. Finally, she recognizes the freedom she has desired for a long time and it overcomes her sorrow: "Free! Body and soul free! She kept whispering." In her soul, the dark clouds are disappearing because she is illuminated. All the memories of her husband are now of the past. She is living in the present. At this point, she is no longer "Mrs.Mallard." She is Louise and is ready to welcome a new horizon of freedom : "Spring days, and summer days, and all sorts of days that would be her own." Overwhelmed with a new sense of herself, she feels as if she