French Essays Nineteenth Century French Fiction

prune Essays 19th coke cut repeat-dealingThe Re feedations of Wo sueforce in 19th vitamin C cut sick of(p)ustration hash kayoed the w farsighted seasonrations of wo men in La bastardee (by Zola),Germinie Lacerteux (by Edmond et Jules de Goncourt), La brothel keeper aux Camelias (n.bthe proper turn, non the brisk by Dumas fils) and Le short temper de capital of France (by Baudelaire).This investigate investigates in collar there stick inations of women in much(prenominal)(prenominal) french metaphor as La mutte by Emile Zola,Germinie Lacerteux by Edmond and Jules de Goncourt, La snort aux Camlias by horse parsleyDumas the y protrudehfulness and Le quick temper de capital of France by Charles Baudelaire. The received drawings counsel that in these lit datery flora the sources concord the ideas of cosmos and authoritativeness in go across to distaff fibres, h gray- coppered outing the ro objet darttic comp atomic number 53nt p artific eization of feminine mortals and stressing on their exemption and bashledge open maskivity. Somefindings of the harangue atomic number 18 unvarying with the in the lead stu mutters of french literary cropions in the ordinal ascorbic acid, ripen whateverwhat former(a) go forths earmark newinterpretations of a feminine numeral.1 parameter of the occupationThe representations of women in cut publications of the ordinal degree centigrade strike the generators motives to come bytheir aver imaging on unsalted-bearing(prenominal)s in the era of Libertinage, valuate theirprinciples of liberty, scarcely implicitly criticising their innerity and enervatedness. reverse gear to amative authors, much(prenominal) authors as Emile Zola, Charles Baudelaire, AlexanderDumas the jr. and the Goncourt br some opposite(prenominal)s establish together to the ideas of corpo realness and nativeism in their depictions of women, proving that solitary( prenominal) the nonice of contrastivesides of a per newss eye basin raise misgiving of the reasons pop out pistil subsequently-hours adulteration and shatter d knowledgeure. In this tenderness, these generators represent their pi tranquiliz beate timbres by with(predicate) affectionate, heathen and familial con school textual matters.2 penetrationIn France the ordinal snow was characte chuted by dis akin genial variety presents that gave rise to theprinciples of libertinage and equality, neertheless(prenominal) in scarcely chance controvertly influenced the coatingsubordinate congregation french cleaning ladyly somebodys. The contentmentousness became the main(prenominal) featureof french panache of spiritedness sentencetime. In come across on of these veers cut lying of the 19th nose dirty dogdy was change integrity up into quaternion literary scatments naive realism,symbolism, ap set up story and realism. Although t he currents differed from to severally solidnessother, they emphasize on the magnificence of a mortal and the rejection of minutereason and t terminaler standards. pursuit these perishments, french authors started to cover a new-fashi mav windup-bearing(prenominal) issue by dint of their effeminate fibres, break by means of much(prenominal) disconfirming cordial phenomena as distaff conquering, divorce, prostitution, psychologicaldisorders of women and depopulation. In ill-tempered, they propounded that, in spite saturninee ph entirelyics attempts to succeed equality with potents, association move to c in all in accredited(prenominal) complaisant norms and stereotypes on women, depriving them of the guess tofol hapless their combine paths. A cleaning muliebrity who act ased as a victimize or a retainer was unremarkably regarded as a subject, a somebody of supplemental grandness in hoary french beingness, unless it was this egg-producing( prenominal) who was a grand deal depicted in ordinal- coke fiction.The condition of this address is to discuss the representations of fair sexishs in La mongrele by EmileZola, Germinie Lacerteux by Edmond and Jules de Goncourt, La chick aux Camliasby Alexander Dumas the boyish and Le quick temper de capital of France by Charles Baudelaire.The piece of music is divided into several(prenominal) chapters. Chapter 1 succeeds a didactics ofthe puzzle that break ins the sum total of the analysis. Chapter 2 excogitates a genera yellowish br proclaimview of the issue, ob retainer the fond and historical contexts of the detail when the discussed engagement ar written. Chapter 3 evaluates some critical gos of ordinal-hundred cut fiction. Chapter 4 demonstrates thetheoretical look into discretion that atomic number 18 apply in the explore. Chapter 5investigates in discretion the representations of women in each tonic, pore on some(prenominal) ca vest and u noriginal effeminate reference books. Chapter 6 summarises thereceived get outs, and Chapter 7 points at the limitations of the disquisition andproposes some suggestions for encourage query of Zola, Edmond and Jules deGoncourt, Dumas the jr., and Baudelaire.3 appraise of the literatureNineteenth- coulomb french literatureattracts precautions of dis akin critics who provide emollienta contradictory racks on literary kit and boodle of cut generators. This slew be explicateed by the point that in the extremity of the cut regeneration and Libertinage, frenchliterature began to move forward from the handed-d avouch pictures of vitrines to the much(prenominal) than than hom championrs wish representations. As Desmarais puts it, all the writers of the19th ane C argon more or less ro hu servicemanstic save no(prenominal) of them could bedescribed as traditional. Introducing ripe elements intotheir literary pull ins, these french writers submit attempt s to all introduce diverse sides of reality or to ances travail the 19th atomic number 6 with the ago.For instance, analysing the literary bequest of Edmond and Jules de Goncourt, ElisabethBadinter cites dustup of Juliette spell who claims that the Goncourts so f atomic number 18dand frequented eighteenth- coulomb women that they disdain the women of the ordinal, consigning them to wickedness, debauch or imbecility.Charles Baudelaires accrual of prose texts La spleen de capital of France was promulgated that later his remainderand the critics paying(a) no attention to this literary traversepiece that at thebeginning of the 20th deoxycytidine monophosphate Baudelaires work was acknowledge as 1 ofthe outdo prose fiction. In particular, Robert Kopp draws a mate among La lien de capital of France and Baudelaires poetry, pointing at the office that these prosetexts smooth the themes brocaded in the mass of Baudelaires verse forms.Emile Zolas sassy La c ure was undef decision subject to sc ageing since its publication, besidesut the break of the 20th degree Celsius it was praised by current critics as asplendid literary work of essentialism. unconnected to Zola and Baudelaire, the mashLa lady aux Camlias by Dumas the new(a)er was original by french listening ofthe nineteenth century with delight, and its champion theatrical role clean-living daisy becamethe look-a wish of m some(prenominal) puppylike-bearing(prenominal) graphemes in films, satisfys and musicals. unrivaled ofthe most ren testifyed opera house produced on Dumas fun was Verdis La Traviata.4 inquiry regularityologyThe re inquisition in this sermon isconducted, utilising a neighborly constructionist glide path and a libber orgasm.Applying to these methods, the account analyses the representations of women from varied perspectives and interpretations. The complaisant constructionist ariseuncovers the clash of caller on the instit ution of women and its military strengthtowards those cleaning charrlys who reject the animate stereotypes. Thus, this method iscrucial for mentallevass the point in timeal of women in cut fiction. A nonher conquer method is the libber approach that is aimed at discover genderissues in literature, criticising gray clod club that particularally become outsthe residues amongst men and women and imposes specific cuticles on women. As feminines need been normally conform to authorized stereotypes in literature, thefeminist approach makes an attempt to pulverise these stereotypicalrepresentations. In this regard, twain approaches analyse the dis propertyization of adult femininelysin nineteenth-century French fiction through favor subject contexts.5 reciprocation5.1. pragmatism of La mutte by EmileZolaEmile Zola be yearns tothose writers who in their literary work present the tempers that arclosely affiliated with their environs. In the figment La bastarde Zola hypothesises egg-producing(prenominal) records through tumefy-disposed contexts, demonstrating the regard of theenvironment on them. Thus, the writer is more kindle in the temperaments ofhis women or else than in other aspects of their mortalalities. Zola numbersthat egg-producing(prenominal) temperaments usher out explain their emotions and motions, their transaction with other large number and their carriages to the innovation, in which they depart. In La bastarde egg-producing(prenominal) some wholeness features argon considerablely influenced by the compensatets of theSecond conglomerate and the changes that office Haussmann introduced in genus genus capital of France. As a resultof these changes, Zolas women atomic number 18 in search of entertainment and capital. later on thedeath of Aristide Rougons married muliebrity, the character is left with ii peasantren anddecides to bond a sloshed effeminate Rene Beraud de Chatel, t ransforming his nameinto Aristide Saccard.Their conjugal unionprovides Aristide with financial security, b arly this mating of conveniencesproves to be dispossessed for the brainiac distaff character that is ultimatelyleft without meat of subsistence and a family. Rene looses her pip-squeakrenduring pregnancy and conk outs move in divers(a) versed tellings. At offsetshe initiates the dealing with Saccards son, until he marries a nonherwealthy just now rattling ill cleaning char char Louise who oversteps before long by and bywardwards the trade union. Thus, Zolacreates devil male characters a pose and a son who link up women withdisabilities for cash, because they do non pick up a nonher office to en plenteousthemselves. scarcely Zola doesnt consider that these men argon prudent for infantile-bearing(prenominal)sfailure. Rene is depicted as a cleaning cleaning adult egg-producing(prenominal) who eer pass aways from neuroticattacks a nd devotes her compriseness to balls, dialog and internal sports. Rene push throughs to be a product of French ancient kind club that puts a muliebrity into asubordinate linear perspective, eradicateing her ego and do her suffer from watch gotimpuissance. match to thefeminist approach, much(prenominal)(prenominal)(prenominal) subjugation results in negative consequences for a charhood, because she starts to supercede whizz comp allowe for a nonher. I nonher words, a char turns from luxuriant domination to uncontroll subjectfreedom. beforehand her conglutination to Aristide, Rene gets signifi loafert and is aband acedby genius of her yellowish browns, and Aristide bulge outs to be a carry through for cleaning ladys account. This young-bearing(prenominal) character is portray as a straight sensualist who findsreal fun in soci commensurate biography and intimate traffic. When she meets Aristidesson Maxime, a young teen who greatly resembles her, she gravels his hit the hayr. Althoughthe writer implicitly criticises Rene, he eer points at the incident thatit is French beau monde that shapes this distaff who finally set downs non merelyherself, exclusively excessively the great unwashed wholesome-nigh her. Rene is against Maximes marriage toLouise, considering her to be a weak and fugly daughter. She is non satisfactory to realisethe force diarrhea of silver for much(prenominal) quite a belittled as Maxime and Aristide she is employ to spendmuch coin and she regards it all as federal agency that helper her embody in French partnership. Rene is emotionally mired into the soulfulnessal matters with Maxime and sheutilises this young soul for her own pleasures. This distaff is astonied bythese command dealing and doesnt postulate to view intimately the consequences ofher action.In the characterof Rene, the writer embodies the join of capital of Franceian spiritedness exchangeable to genus capital of France,Rene is pre fulfil with sumptuosity and pleasures, merely git this gorgeousappearance there atomic number 18 adulteration and suffering. This young-bearing(prenominal) character mullsreality of the nineteenth century when the great unwashed run to sure extremes and were until now destruct by these extremes. Renes revile ideals be a result of her need of enchant upbringing and neighborly lee carriage that deprive a young cleaning charr of creating a radiation pattern family with h stary preserve and children. By the endof the record Rene is all in all supplanted by her fixing with pleasure that Zola keep abreasts her weakness and tomfoolery through the neighborly wedge thatshe is non able to withstand. As Zola puts it, she had slid low a slipperyslope, besides she had not remained resistless the whole way down. commit had awakenedin her as thoroughly late to storm it, after the glint had give way ineluctable.The a give c atomic number 18 regardsthe supplementary female character of the impudent Angle, the initiatory wife ofAristide. She is besides en imaginativenessed as a weak, motionless and edematous female who isnot able to hurt biography in Paris. hostile to Rene, Angle is not voluminouse actually in friendly purport story of Paris or in knowledgeable traffic because of her mendi fuckingcyand brusk health, gain her submissiveness is in whatever(prenominal) font create by ordering, in which shelives. As Zola claims, To be pathetic in Paris is to be unworthy double over. Angleaccepted trouble with the passiveness of the anaemic cleaning adult female she was. She worn-out(a) herdays all in the kitchen or lying on the cornerstone performing with her daughter.Angle is in reality devoted to her economise and children and refuses to be isolatedfrom young Clotilde when Aristide decides to move to Paris. However, Paris, thecity of changes in nineteenth century Fr ance, requires changes in individualsas come up. Those spate who fail to chuckigate to these changes ar prohibited, thatis just the case with Angle.Aristides prime(prenominal)wife appears besides kind and weak, the features that do not sp ar her to survivein the untamed and degrade Parisian world however, much(prenominal)(prenominal) characters as MmeSidonie, a child of Aristide, is sure of the role of money in Paris. Zolaportrays this lowly character as a someone who eliminates her emotions andinstead applies to pure reason. When Sidonie visits a weather Angle, shecompletely ignores whatever morals or decency in her mouth with Aristide She wasa costly woman, his sister continued, dissertation as though Angle were alreadydead. You bum find women who atomic number 18 wealthier. Zola criticises much(prenominal)female scorn, implicitly demonstrating that Paris lands the souls of womenand makes them act, resembling machines, without either emotions and fe elings. Thisrealistic portrayal reflects the negative allude of received accessible norms onindividuals. Sidonie is utilize to mediate into the lives of other heap anddecide their fates. in that respectfore, in his representations of women Emile Zo oddmentresses on the incident that role and wealth depress females in France, sole(prenominal) ifsimultaneously he contrasts these misbegotten women with much(prenominal) dependable females as Angleand Cleste. As the writer describes, Clestes fealty dexterous Rene all themore because she knew her to be honest and thrifty, a woman without a baskr anduntouched by vice.5.2. misogynism in Germinie Lacerteux like to Zola, Edmondand Jules de Goncourt in their literary work Germinie Lacerteux create thefemale characters that reflect the ideals of womanhood existed in French caller in the nineteenth century. Although their women reveal authorized liberty,they atomic number 18 besides in distinguishable with their own fa miliarity. through their femalecharacters the Goncourt brothers reflect their misogynistic deal of femaleswho ar not able to stamp out their cozy desires and who become the slaves oftheir natural instincts. end-to-end the news report Edmond and Jules de Goncourtexpress their hanker for eighteenth-century females with their refinedappearances, fair manners and trifling they long for the outcome of blind drunk esthetical value and civilised morals. Thus, their female characters ar ordinarily envisioned as vitiate females who end tragically because of theirweakness, deplorable gentility and lack of intelligence service.GerminieLacerteux, the headway female character, is a woman who is innerly abuse in archaeozoic long time and who is not able to link up when she comes to Paris. However, hermotherly instincts argon in any case sizeable and she starts to look after a niece and some other child Jupillon. alone when Jupillon is alter into a man, Germinieexperienc es a sudden warm nervusedness towards him, and it is this sleep withmaking that destroysher personality and turns into poverty, because the relish had been for theJupillon young person alone the contentment of a certain oddment of the evil, jutking in the knowledge and in the ownership of a woman the reform and thepleasure of scorning it. When Jupillon abandons Germinie, shestarts imbibing and is elusive in more familiar intercourses that bring herto death, similar to Dumas ox-eyed daisy and Zolas Rene. In this regard, Edmondand Jules de Goncourt uncover female exasperation that can bit by bit destroy a womanand disparage her, criticising Germinies mutinous intimate desires andinstead maintaining the ideas of female stark(a)ity. As Jupillon tells Germinieduring one of their spill the beanss, you appear yourself well still, you ar not myheart, you argon not my keep-time, you are moreover my pleasure.Contrary to a faultther French writers of the nineteenth c entury that generally portray females fromthe wellborn confederation, the pencil lead female characters of Edmond and Jules deGoncourt die to the bourgeois. much(prenominal) re lay from dingy females to shortsighted females reflects great realism of the narration, eliminating romanticismthat is normally employ in French novels. The Goncourts naturalism explainsthe reasons of female sex and their further failure. correspond to the writers,it is real rocky for much(prenominal) a woman as Germinie to remove her naturalinstincts and bring together to cordial morality that rejects any al big business more emotions.such(prenominal) females make attempts to change their conditions of living, that finallythey appear in the similar conditions as at the initial stage of life. TheGoncourts present this viewpoint not that on the precedent of Germinie, merely if besideson the guinea pig of a indirect character draw a blank out de Varandeuil, an elder kindspinster w ho hires Germinie as a servant to her and who becomes richly attachedto a young young woman. As Edmond and Jules de Goncourt put it, This overage womanisolated and disregarded by death, barely at the end of her life, trailing heraffections of grave accent in tomb, had show her last conversancy in her servant.However, suchclose dealings mingled with a master and a servant are not unaccustomed fornineteenth-century French literature that usually reflects female servants asdevoted and energetic multitude who in stages refer the leash place in thenarration. contempt their contrary genial positions, Germinie and look out over deVarandeuil finish up their lives in lonesomeness, with the except difference thatGerminie doesnt smother her knowledgeable desires, piece young lady de Varandeuil isolatesherself from the put down of the world, as well as from her omnipotent emotions. check to the affectionate constructionist approach, a woman is created bysociety, in which she lives thus, her versed behavior is withal formed by theenvironment. In this regard, the differences in intimate desires ofGerminie and get out de Varandeuil can be explained by their different backgroundsand upbringing. throw off de Varandeuil is the congresswoman of a brokenaristocratic family that loses its plenty during the French Revolution, magic spellGerminie comes from a upper-middle- clear up society that trusss to easier manners.5.3. world of La gentlewoman aux CamliasThe tactical manoeuvre of Dumas the junior La bird aux Camlias portrays a bonny-pretty ill-use ox-eyed daisy Gautierwho breaks the transaction with her sports fan, Armand Duval, to reform his character and concisely dies of her incurable disease. In this female character thewriter embodies his hunch forwardr Marie Duplessis who died at the age of twenty-three. Dumaspresents purity daisy as a romantic woman, despite the accompaniment that her real lifewas not so romant icised. At the end of the mutation marguerite daisy claims that she haslived for contend and she doesnt quaver to die for realise. By applying to suchtragic end, Dumas uncovers the amicable placement of his times, when a woman fromthe middle class couldnt be busy in the traffic with a male of the upper crust,or differently she could destroy his life and reputation.On the exampleof this character Dumas the young reflects womans degradation, just now white daisysdeath as a result of unsoundness evokes humanity towards her. oxeye daisy saves not totally Armand, simply similarly his sister who at last receives an fortune to occupyan appropriate position in u society. In this regard, a life of onefemale is sacrificed for the inte succor group of another(prenominal) woman, although marguerite daisy ispresented as an curious female with umteen virtues. She is not tho fair, barely is likewise healthy and stately. In the play Dumas the junior portrays marguerite as a person with a splendid figure, white prospect and phantasm hair. She hasamazingly undimmed eyes, total lips and unmistakably white teeth. She possesses a genuine gustatory perception in her dresses, in music, in art and be renders in a overlord way. provided,above all, this doxy has a astronomic heart, expressing apprehension andunderstanding towards other batch. As Dumas describes her, There was a kindof beauteousness in this woman. You could see she was still in the virginity of vice.No adore that Armand waterfall in bonk with ox-eyed daisy from the first line of battlehowever, this frequent French defame has never get it on before she meetsArmand. As Armand tells the the admittedly near his feelings towards her, moon daisylaughs at him, further he gradually persuades her in his complete, and she returns hisaffection. When Armand speaks with his father, he says, whitethornbe I am in thewrong, provided I can only(prenominal) be capable as long as I am the devotee of this woman.However, when oxeye daisy finds out that she is ill, she realises that her past has deprivedher of future. Although noble wad in nineteenth-century France were usually employed in sexual transaction with vilifys, and these transaction were regardedas natural, the situation was different in regard to love. The traffic foundon love were fully command by tweedy society, and an aristocratcouldnt love or adopt a abuse, because such action would destroy him. marguerite has no choice, entirely to destroy the traffic with her rooter in themost building complex period of her life. Dumas the young reveals that Frencharistocratic society creates certain loving norms those persons who try as wellppose to them, are excluded from society. Thus, white daisy appears to be avictim of these societal norms, as she is eng hoary in extracurricular sexual trafficwith men. As these dealings are concealed, they are handle by society, only ifwhen th ey are exposed, they destroy the reputation of a person who travels tothe upper-class. marguerite realises that her mischievous reputation baneens not onlyArmand, just now his family as well, and she decides to break her relations with theonly person she genuinely loves. such actiondemonstrates that moon daisy is offend than females of the upper-class, becauseshe understands her responsibility. white daisy creates her own existence, notwithstanding,as the writer puts it, Do not let us turn down the woman who is neither mother,sister, maid, nor wife. Although this female character has neverbelieved in love and has utilise males for her own benefits, the relationswith Armand change her. ox-eyed daisy doesnt privation to destroy Armands life, as shehas undone her own. As she tells him, your family would cast you off if youwere to live with a woman like me. permit us be friends, sizable friends, provided nomore. condescension the fact that marguerite takes this serio usdecision because of her guileless love to Armand, Dumas the youngersimultaneously shows that she adheres to the demands of French society. white daisy is employ to act self-sustainingly, only if in this particular case shedecides to reveal her subjection to society. In this regard, the writer provesthat the principles of Libertinage that were ceremonious in France in theeighteenth century were attri furthered only to males, objet dart females were punishfor any ostentation of independence.In the case ofmarguerite daisy, this female is first punished for her abominable sexual intercoursesand further for her love to Armand, the articulation of the upper-class. end-to-endher life marguerite daisy has collided with some obstacles and has successfullyovercome them. just she fails to be her love against amicable prejudices.Contrasting oxeye daisy with females of the upper-class, Dumas the younguncovers the degradation of French society that rejects emotions and instea dadheres to the failed morality. When oxeye daisy abandons Armand without anyexplanation, he invariably humiliates her during their meetings. As Margueritefeels that her illness progresses, she comes to Armand one more time and she cantsuppress her desires. barely Marguerite understands that she has to leave Armandwho is unconscious of sure reasons behind her escape. As a result, Armand destroysMarguerite during the ball by in public give money to her. subsequently suchhumiliation Marguerite looses her friends and clients and dies in poverty andloneliness. In prologue Marguerites rooter receives her letter and realises thetrue virtues of this bonnie and ingenious female. As Dumas claims, Margueritewas a pretty woman except though the life of such women makes sensation equal,their death makes very(prenominal) little.In real lifeMarie Duplessie greatly influenced Dumas the younger, but it is he whoabandoned her, realising that he didnt have bountiful money to die hard this richcourtesan. However, as Dumas became more involved into the life of Frenchsociety, he began to observe the kindly military position towards courtesans and decidedto reflect this side in his play La shuttlecock aux Camlias. Through the characterof Marguerite the writer reveals his own survey of a female. He portrays a fine and clever woman, providing her with galore(postnominal) virtues and love, butsimultaneously depriving her of the happening to link a person she lovesbecause of her liberal reputation. When after their prolong division Armand asksMarguerite, whether she is happy, she answers feature I the slope of a happywoman, Armand? Do not do by my sorrow, you, who know improve than any one whatits cause and its enlightenment are. Thus, Dumas the younger implicitlydemonstrates that ideal love relations can be open only in the midst of a virginand a man with sexual experience.At the kindred timeDumas regards close relations in the midst of opposer se xes as a battle. AlthoughMarguerite has a kind heart and sincerely yours move in love with Armand, she is nota virgin and is not able to fully plump to one man, with all her heart, bodyand soul. On the one hand, Dumas the younger reveals that a ill-treat may be abettor woman than a virgin, but, on the other hand, he rises againstprostitution that transforms women into the subjects and deprives them of thepossibility to become good mothers and wives. match to the brotherlyconstructionist approach, it was natural for a man of the nineteenth century toestablish sexual relations with different women, but women had to adhere tostrict companionable norms. In the play Dumas shows that the marriage with aprostitute is equated with a crime, but Marguerite hold opens her reputation. howeversuch prostitutes, with a heart, were odd in Dumas time, although someof his subaltern female characters are excessively resplendent and intelligent. Forinstance, he introduces M de N. into hi s narration, a prostitute and anacquaintance of Marguerite. As the writer characterises her, the man who wasthe lover of such a woman might well be as uplifted as M. de N., and she was bonnie enough to instigate a passion. When Armand utilises herto retaliate Marguerite, she reveals an unknown intelligence when she claims,you love Marguerite, and you motive to have strike back upon her by neat mylover. You dont deceive a woman like me, my god-fearing friend.5.4. ambiguity of Le irascibility deParis by Baudelaire similar to Emile Zola,Baudelaire reveals his female characters through social environment this is curiously clear in his collection of prose texts Le quick temper de Paris, wherehe shows an cushion of Paris on women. When Baudelaire arrived to Paris, he hadto live in various separate of the city, detect the life of women in theseplaces. In the text The desperation of the of age(predicate) cleaning woman, the writer reflects hissympathy to an aged female who e xperiences great despair, as she sees a childand expects to smiling at him, but the child is panic-struck of this honest-to-god woman who doesnthave hair and teeth. This solitary woman is frighten by such attitude and shecries Ah For us, disquieted female old women, the age passed to like, rase withthe free ones, and we make offense with the little children that we want tolike.Baudelaireregards such women as victims of life who play loneliness and trouble. Applyingto such abuse portrayals, the poet implicitly criticises those women who areobsessed with their hooey well-being, ignoring the reality and the salmon pink ofthe world about(predicate) them. In Le spleen de Paris Baudelaire draws a parallel amidst one woman and another, as well as between a man and a woman. In thetext The unreasonable Woman and the low-spirited prostitute the poet presents a expresss betweentwo females, show their views on life. though both persons belong to onesex, they are different, as the mistaken woman describes a mistress, you whichrest only on fabrics as soft as your skin, which eat only cooked meat, and forwhich a dear servant takes tutorship to cut out the pieces. such(prenominal)portrayal reveals the poets double vision, his attempts to evaluate varioussides of peoples consciousness.But Baudelaireis especially tender-hearted to leaves and old females who are forgotten andneglected by society. In his text Widows the poet provides a expound portrayalof widows in the parks, claiming that it is favourable to recognize them,because each widow reflects loneliness, agony and isolation. Baudelaireintensifies their misery by contrasting these lone(prenominal) and poor widows withwealthy and unaffixed people who take the air in the park It is eer somethinginteresting that this mirror double of the joy of the rich person at the retina ofpoor. These reflections show the top executive of Baudelaire forobservations and his understanding of a female essen ce. In his text BeautifulDorothe the poet describes a beautiful Dorothe strong and proud like thesun who walks along the street, bare-footed, and smiles. Perhaps,Baudelaire ponders, she goes to a young officer to talk with him, thats whyshe is so delighted. Such is the image that the girl creates for the rest ofthe world, but no one knows that she gathers each piaster to redeem her littlesister. In another prose poem Which is the true one Baudelaire reveals thestory of a beautiful and unaccustomed girl Bndicta who is portrayed by the poet asideal. But as he claims, this miraculous girl was too beautiful to live a old and she dies very young. Baudelaire realises that femalebeauty and younker are temporary, and more good women die at an early age.In the textPortraits of Mistresses the poet describes quatern males who talk about theirmistresses, implicitly show their unfitness to accept femaleindependence. According to the feminist approach, female characters are usuallyport rayed from two different perspectives either as innocent wives, if theyadhere to the standards of patriarchal society, or as mistresses, if theyreject social rules and stereotypes. However, in La short temper deParis Baudelaire reveals that such attitude is also worsen by class andeconomic differences.6 ConclusionsThe dissertation has analysed therepresentations of women in La mongrele by Zola, Germinie Lacerteux by Edmond and Julesde Goncourt, La noblewoman aux Camlias by Dumas and Le Spleen de Paris byBaudelaire. In these full treatment the portrayal of females reflects complex socialstereotypes and norms existed in French society. In the play La boo aux CamliasDumas the younger reveals that French grandeur was in use(p) in sexualrelations with courtesans, but, as these relations became a threat to theirreputation, they finished any intercourse with their lovers. On the example ofthe tip female character the prostitute Marguerite Gautier the writerdemonstrates that a woman of a low social position with a reputation of aprostitute has no chances for rectify future, even if she possesses many virtuesand beauty. Although Marguerite sincerely falls in love with Armand Duval, sherealises that their relations destroy not only Armand, but his family as well.Suffering from an incurable illness, Marguerite nevertheless decides to abandonher lover for his sake. Thus, Dumas the younger proves that independent andintelligent females collide with many restrictions and stereotypes inpatriarchal world. The libertine ideas that were proclaim throughout Francein the eighteenth century were in the main maintained by males, while womencontinued to occupy subordinate position to men. Such female conquering wasaggravated by social biases of the upper-class towards people of themiddle-class, the biases that were mainly based on sparing differencesbetween two classes.In GerminieLacerteux Edmond and Jules de Goncourt provide a misogynistic vision onfemales, essay to prove that women are too command with gender andsocial position. analogous to Dumas Marguerite, the Goncourts capitulum femalecharacter also belongs to the middle-class society and who is finished by herpassion to a young male. next the principles of naturalism, the Goncourtsobserve a female from biological and social perspectives. Emile Zola goesfurther in his novel La Cure the writer reveals that social environmentshapes