“I’m sorry m’dear. Boudreaux and I were talking about old times and I simply forgot myself - we should not speak of such things in front of you.”
“You were just speaking plenty on the Baroness and her misadventures, now you want to worry of my delicate ears- please, tell me of this ‘pleasure palace’,” I implored. “Is it a house of ill-repute?” I asked bluntly, looking first to one then the other.
“I did not think ladies knew of such places.” Louis’ tone showed surprise.
“We may not speak of them, but we do know about them, the same as we know about the practice of Placage among our Creole husbands and their other wives.” He looked helplessly to Boudreaux for help, but Boudreaux only smiled as if to say ‘she is your problem when you’re home my friend’.
“No m’dear, it is not,” said Louis sheepishly “well not exactly. It is more of a place
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Then, after the demon had its way with me, I had tried my best to seduce Boudreaux into making love to me right there in the courtyard where the demon had… Were those types of things what usually went on at Carnival? Was Carnival celebrated just to appease the lustful spirits of us humans?
“You have both warned me of the succubus and incubus demons - and you both warned me of those who walk the streets at night in search of lustful like minded people so why the fuss over telling me about this place called the, Pleasure Palace? Are you afraid I will want to go?” I acted as if the thought would never occur to me, and aimed my query toward my husband this time; Boudreaux knew of my misadventures, he was jealous of everyone except Louis it seemed; however, my husband did not know of them; therefore, he should have no reason to doubt my sincerity.
“Quite frankly, yes m‘dear, I do think you would want to go,” Louis said with a nervous chuckle. I was seeing another side to my usually confident
“Sir Launcelot, I see and feel daily that your love for me grows less, and you ride ever to help damsels and gentlewomen. Have you perhaps found one of them who is dearer to your heart than I am?” “Ah, madam,” Sir Launcelot sadly, “I love you only and no other women in all the world…” (p. 292).
Topic: Bertrande’s position as a woman in a patriarchal society makes her choices impossible. Discuss. Janet Lewis’ novella, The Wife of Martin Guerre presents a hierarchical society that disregards the voice of women in society who seek justice. Throughout the novel, Bertrande is depicted as a strong, independent women however, her ability to express her objections is restricted due to feudal system being an important part of the 16th century. Furthermore, although the French parochial lives under the patriarchal system, Bertrande is able to strongly express her decisions when taking the case of Arnuad du Tilh in court.
The royals are seen as light hearted, kind, and sharing. The Empress’s empathizes with Shonagon a number of times. Her Majesty commands the servant to, “leave the lattice as it is,” (28) because she knowns
Priestley, in his 1945 didactic diatribe ‘An Inspector Calls’ uses the Birling family as a construct in order to promote his anti-war, socialist and feminist agenda and in so catalyse change among hierarchical capitalistic society. He utilises the theme of guilt to evoke a sense of social responsibility into his audience and spark a cultural epiphany in which society realises that they are members of ‘one body’, and that factors that affect one unit, affect all others. Sheila Birling is arguably used as a tool by Priestly to represent the refuge he saw in the younger, ‘more impressionable’ population. Sheila ultimately embodies the deadly sin of vanity.
From once the woman enters the room dressed in a white negligée the readers expect that there will be an attraction between the woman and the young man who is just passing the time waiting to go to Midnight Mass with the neighbour. This meeting occurs against the backdrop of a sanctimonious idea of going to midnight mass on the most holy of holy nights - Christmas Night and there in the dimly lit room a young impressionable hormonal young man could be tempted by a woman that is pure and saint-like. De Assis gives many descriptions of Conceição, her negligée, the shape of her face, the look on her face, the veins in her arms, these descriptions are like as if he were describing a statue. He says“she spoke ill of no one she pardoned everything, she didn’t know how to hate; quite possibly she didn’t know how to love.” As the evening wears on we note that he gives strong descriptions of her voice, her whispers, the movement of her head, the movement
The Prince was a social figure widely loved for his good looks and compassion towards the common man, however those close to him knew that “he could be irritable, selfish and stubborn, and felt deeply oppressed by his official life and family pressures, from which he sought escape in the frenetic pursuit of pleasure,” (qtd. in Bloch 33). His pursuit of pleasure increasingly involved Wallis, whom he thought was entertaining due to her Americanisms and witty humor. When Thelma, the Prince’s current mistress, left for America to visit her family in 1934, she asked Wallis to “look after” the Prince for her
Marguerite Duras’s novel “The Lover” can lend itself to the interpretive extrapolation that colonialism is in essence a social phenomenon which is engendered on the basis of socio-cultural, as well as intra-personal and inter-personal psycho-emotional, all of them being interwoven into another and inter-consequential or inter-determining. The novel, although predominantly functioning on a domestic level, strongly suggests the profound effects of its social frame upon its domestic story, specifically on the characters of the narrator and her mother, as well as the relationship between the two and that of the narrator with her Chinese lover, the latter serving, as I will argue, as an allegory to the process of colonialism. In this paper I will
“Please?” you begged, rolling over in bed so that you were half-draped across his chest. “For the eighth time now—no, ((Y/n)).” “But it’d be so cool!!” you whimpered.
However, Creole women were expected to be chaste, and would behave in a unreserved manner. The exposure to such openness is what frees Edna from her previously repressed emotions and desires and motivates her to become more independent. Because they are women, Adele and Edna do not have much freedom, as in comparison to men. However, Edna gains more freedom that is much closer to that of men when she abandons her household and social responsibilities. Edna’s refusal to follow and obey social conventions, allows her to spend her time on painting and sketching.
An analysis of Kate Chopin’s “Desiree’s Baby” shows the ways in which gender inequality, class and race play a large theme in mid-nineteenth century Southern culture. The gender inequality Chopin insinuates in her story is one that women still battle today. By buying Desiree corbeille gifts and fine clothes, she is treated as a possession by Armand. He seems to believe that by gifting these items to her, he can buy her – and her love.
“See you guys on Monday,” Matt said, “Have a good weekend!” Matt and Jessica were the only two left after the rest of their coworkers had left the holiday party because of a brewing storm that was reportedly in the next town over. “They are such wimps,” said Jessica, “seriously, the storm isn’t anything we haven’t dealt with before.” “Well, most people at the age of 28 have a family, some even have children to go home to unlike our sorry asses who pay fifteen hundred in rent each month for an apartment the size of a shoebox in the middle of New York.” “Yeah, don’t remind me how miserable my life is.
After the death of his mother and his father’s absence, Rousseau met his second maternal figure, Miss Lamberciers, whose existence sparked a perverse nature from within him. After moving in with his uncle, Rousseau was sent to a village called Bossey to learn Latin from a local pastor named M. Lamberciers. While in his care, Rousseau met the pastor’s wife, Miss Lamberciers, who later became a type of mother figure for him. She would reprimand him when she felt necessary, and instead of regarding her punishments with anger, he began to experience them with sexual delight.
Why should you not think that we women make use of our reputation, as you men of yours, only to deceive the world with less suspicion? Our virtue is like the statesman’s religion, the Quaker’s word, the gamester’s oath, and the great man’s honour: but to cheat those that trust us.” Lady Fidget is in such a confessional mood that she soon makes open reference to Horner’s being her lover. The revelation shocks Dainty
Wilde’s representation of the British upper class, its values and opinions, is presented most notably through Lady Augusta Bracknell. She is a dignified aristocratic residing fashionable London society circles. On the surface, she is very typical Victorian woman. As a mother to Gwendolen Fairfax, she has a great authority over her controlling her life. She has even a list of ”eligible young man” whom she is ready to interview in order to select a suitable partner for her daughter.
“Le Chat” by Charles Baudelaire is from the fascinating collection “Les Fleurs du Mal”, published in 1857. “Le Chat” is an erotic poem, which portrays the image of the cat in a complimentary manner. The cat is an ambivalent figure and is compared to a treasured woman. The poem contains two quatrains and two tercets but cannot be called a sonnet due to the alternation between decasyllable and octosyllable lines and not Alexandrian. Baudelaire does not adhere to the traditional rhyming scheme, which therefore makes it irregular.