The Villanelle

La Farce de Maitre Pierre Pathelin has been called "a little masterpiece". In comparison to most earlier works of French medieval literature, it is highly complex in many aspects. In the words of Cazamian, "a high level of artistic creation is reached." This essay will focus on Guillemette and study both her role in the play, and the complex nature of this character. Such a study should give the reader an idea of the plays "high level of artistic creation", and also illustrate some of the many witty double meanings and underlying messages that are present right throughout the Farce.

Chopin was a southern feminist writer who often related her stories back to the issue of discrimination across genders. She uses symbolism to analyze the gender roles of inequality between men and women in society. In the very beginning Desiree was left on a stone pillar at the Valmonde estate; it is here that Armand Aubigny sees her and falls instantly in love with her. The stone pillar is a phallic symbol of firm, forced male dominance in a patriarchal society. Throughout the story Desiree is submissive to her husband and obeys everything he says even when Aubigny sends her and the child away. Desiree left wearing a thin white garment and slippers and as she walked the sun beamed down giving off a radiant, golden gleam from her long, brown hair. Chopin uses Desiree's white clothing to symbolize the feminine element being introduced into society and the sun's shining rays seem to represent the shifting of power roles among genders. Chopin demonstrates the rising power of women in society and the establishment of equality among genders.

In the story “Desiree’s Baby” it shows how Armand is impulsive when he fell in love with Desiree instantaneously. It was at the same pillar where Monsieur Valmonde, her adopted father, found her and her new life begun and ironically it is the same place Armand fell in love with her, signifying another

Martirio once had a man interested in her but that opportunity was snatched away from her by Bernarda. On page 191 Poncia says, “Martirio is lovesick, I don't care what you say. Why didn't you let her marry enrique Humanas? Why, on the very day he was coming to her window did you send him a message not to come? And Bernarda responded, “... My blood won’t mingle with the Humanas’ while I live!” This is an example of how different Martirio’s circumstances were from Adela and Angustias. Martirio was repressed from her desire for freedom from her mother and became jealous when her sister’s were not denied in the same way. These two themes lead the characters to believe that escaping one prison will make them free, only to be confined to another. This is the situation the women in the play recognize as a inner conflict. An example of this is on page 169 when Amelia says, “These days a girl doesn't know whether to have a beau or not.” Additionally, On page 208 Adela says, “ I can't stand this horrible house after the taste of his mouth. I’ll be what he wants me to be.” This quote shows how the girls view men as an escape from their sheltered home. Men represent freedom as well as repression. For Example, On page 169 it says “... Her sweetheart doesn't let her go out even to the front doorstep.” This shows us that Bernarda’s daughters realize if they stay at home forever, they will be controlled by their mother,

The relatively open and honest (less suppressed)culture of the Creoles is one which catalyzes her human sensibilities. Who could blame her? Especially Madame Ratignolle, and the way Chopin describes her sensuousness and warmth, would be compelling features it seems for anyone to be attracted to and to want, almost unconsciously, to emulate. Second, the attentive nature of Robert LeBrun is so marked and attractive when compared with Leonce’s domineering, controlling, even neglectful ways in which he treats (and does not treat) his family, (but with a measure of trying to placate them as the result of his own selfishness at Klein’s). When he wins, he forgets all about the candy and peanuts he promised his children. With Edna, he is talkative, but not attentive. Still, though, Edna is culturally in over her head when it comes to the sensual honesty and astonishingly implicit trust of these men to let their wives do what they do at this time in history. Thus far, I see an ostensibly lethal combination of Mme R and Robert working, however innocently in Edna’s life.

In the short story called “Desiree’s Baby” written by Kate Chopin, the author used many different literary elements to describe and build up many characters. But two of the one that stands out the most was the foreshadowing and symbolism. These elements helped to build up Desiree Valmonde, one of the main character in the short story.

The fact that Desiree derives her happiness from pleasing Armand shows that she is not only his slave, but also that she helps to put herself into this position.  “When he frowned she trembled, but loved him” (317).  Desiree’s simultaneous fear and love of Armand elevates him to a god-like status in

Desiree?s words show that her life depends on the race, notions, and social class of her husband and consequently, she feels obligated to obey his every desire. Desiree is presented as vulnerable to whatever Armand wants and tells her to do when she says, ?Do you want me to go?? (177). Desiree displays through her actions that in many ways, her happiness only comes from pleasing her husband. Therefore, Desiree must decide whether to live completely separate from Armand, or to live with him in constant fear and unpleasantness. Desiree achieves personal freedom and independence from Armand when ?she disappeared among the reeds and willows that grew thing along the banks of the deep, sluggish bayou; she did not come back again? (177). It is not even an option and is unheard of that Armand, being a male holding a respectable background, could possibly be black. Consequently, Desiree feels compelled to leave because she wants to please him. When Desiree decides to kill herself and her child, she shows that she is sensitive and vulnerable to her husband?s thoughts and actions.

The sense that Armand is so proud of himself is like a hint of how the end will turn out because when we realize that the child is black the reader automatically knows that he is going to blame his wife. Never would he consider himself black. The thought of Armand being black never crosses the reader’s mind either. Kate Chopin also deceived the reader into thinking that Désirée is in fault by

Without racial comparisons, the story would only be a tragedy, reading as a criticism of hasty racial categorization because of the suffering it brings, but with them it is a depiction of a flawed system that has rewarded a black man. Chopin first contrasts Armand’s tendency to take on “the very spirit of Satan” in dealing with slaves with the more relaxed relationship they had with his father (441). Looking upon L’Abri, Madame Valmonde is troubled to realize that under Young Aubigny’s rule “his negroes had forgotten how to be gay, as they had been during the old master’s easy-going and indulgent lifetime” (440). Additionally, Madame Valmonde’s sadness upon seeing the estate may indicate that Monsieur Valmonde, a white man like Armand’s father, lacks young Aubigny’s cruelty. Armand’s lack of compassion is seen again upon realizing his son’s black heritage. Feeling that “Almighty God had dealt cruelly and unjustly with him” by giving him a quadroon child, Armand asks Desiree and the child to leave L’Abri (442). In contrast, Monsieur Valmonde’s treatment of Desiree as “the idol of Valmonde” depicts his compassion toward a child who may potentially be black (440). Chopin’s racist undertones are realized as the dark-skinned Armand, characterized by volatility and callousness, is meant to be looked upon much less favorably than the story’s compassionate white slave owners.

Louis Hémon creates a story of the rural life in a family of the Saguenay-Lac-Saint-Jean region, the Chapdelaine’s. He uses the climate and traditional values in a way in which the novel still has an ironic and crucial element. Also, the beginning of the novel on Ite, missa est[1] is (“the mass”) a claim on religious behaviour, a main theme in this novel. Maria Chapdelaine, a novel personifying the spirit of French Canada at its most romantic, was written by

While the theme of love itself, may it be positive or negative, is reoccurring, Marie’s presentation of romantic relationships and their differing qualities can be considered a theme alone. In “Guigemar”, the relationship between the knight and his lady represents loyalty, and an ability to heal or cure. Yet, the relationship between the beast and his wife in “Bisclavret” demonstrates the selfish and traitorous behavior that can occur between partners, especially if one has proved to be adulterous.

Georges Duroy uses the emotions all the women in the book have for him to his own advantage. After Monsieur Forestier’s death he asks Madame Forestier to be his wife because he knew that she felt more than a friendship for him and that she felt “a sort of affection” and “mutual attraction” for him and he was able to become a part of a higher social class because of his marriage

One Art by Elizabeth Bishop is a villanelle in which the narrator talks of losing things. Her attitude of losing things in lines 16-19 is different from her attitude in lines 1-15. As the poem continues, the narrator’s losses change from material items to the truly painful loss of a beloved person. Bishop uses verse form and language throughout the poem which contribute to the reader’s understanding of the narrator’s different attitudes throughout the poem.

Cosette is deprived of the love that she desires and deserves. She longs for love and instead receives the opposite. The Thenardiers do not care for Cosette and do not view her as their child, to them she is a servant girl. When Jean Valjean offers to take Cosette away from the Thenardiers, they reply, “Ah monsieur! My good monsieur! Take her, keep her, take her away, carry her off, sugar her, stuff her, drink her, eat her, and be blessed by the holy Virgin and all the saints in paradise!” (154). The Thenardiers want Cosette out of their house, and no longer want the responsibility of taking care of the “imbecile child” (147). It is a blessing to them that this traveler has come to take Cosette away forever. Because of Jean Valjean's good deed, Cosette's life can improve and she can finally experience the emotion of love she longs for. Although Jean Valjean offers Cosette all the love he is capable of giving, it is not enough to satisfy Cosette. She craves for a different, romantic love after she is introduced to Marius. Hugo,