What does dangerous liaisons mean




















But the character development is striking. Valmont and de Merteuil present one version of themselves to the people they are trying to seduce, and another version to each other.

Two characters can describe the same incident in radically different ways. This emphasizes the subjectivity of their respective experiences, but it also creates an opportunity for misrepresentation. Each of the characters in the novel acts in accordance with his or her ideology.

He of course does not publish the letters related to his own equally illicit affair with the Marquise de Merteuil-- that would have brought scandal on himself.

Satisfied that he has done the "right" thing, and brokenhearted, Danceny retires from the world to become an ascetic Knight of Malta. The Marquise retreats into the countryside and contracts a disfiguring disease. The novel is extremely plot-centric, which means that descriptions, allegories, symbolism, and other literary devices are limited. They do exist, however. The image of a rose, and particularly a budding rose, suggests innocence.

He also subtly aligns himself with the character of Danceny. An editor will review the submission and either publish your submission or provide feedback. Laclos learned from the error of Richardon and Rousseau's ways in that he did not create a novel written from a single perspective, and he did not use the letters of his Dangerous Liaisons solely to report events. There seemed to be no motivation behind these letters. To combat this lack of depth, Laclos wrote a kind of drama in letters, where multiple personages vied and schemed with, and against, each other through what they wrote.

It is the portrait of the end of an era: an extremely rarified society gasps its last breaths on the pages of Dangerous Liaisons. It is the most extreme kind of epistolary novel one can imagine, a novel that could not be written except in letters, and it seems the last possible book of its kind.

Its plot and its characters so perfectly motivate its own form that the result is terrifying and seamless.

The situations in Dangerous Liaisons are arranged so that only letters can communicate them. It is not so much what the characters claim to have been doing in their letters, but how they make these claims, which furthers the plot. Each letter has a purpose: it must convey some desire on the part of one of the characters, since no one would bother writing if he or she did not want something.

This is evident in each letter that, at the very least, has the desire to be read written into it. The masters of letter-writing are Merteuil and Valmont, who are able to anticipate how a reader will respond to what is written, and so, are able to write into the letter an understanding of how the letter will be read.

The double entendre, where what is read "heard" depends on who is reading, is a favorite ploy of these aristocratic writers: its exclusivity, its power to determine who will be able to read it, is somehow very pleasing to them.

The point of that stunt is to teach the maid to stay in line and please her master or else face rearrest. The novel is certainly a tragedy in many respects. Despite being the initiator of their affair, he wraps his complaints in religious terminology to convince her that she, in fact, is responsible for his unhappiness.

When Dangerous Liaisons was first published, its celebration of malice, seduction, revenge, and romantic duplicity was viewed as scandalous in French society. Others, however, have argued that the story is actually a celebration of libertinism among the privileged: a theory supported by the novel's popularity with royalists during the early s.

Dangerous Liaisons has been the subject of numerous stage and screen adaptations. Film adaptations include a big-screen feature starring Malkovich as Valmont and Glenn Close as Merteuil, as well as a French-television version under the story's original name, in which Rupert Everett and Catherine Deneuve star as the scheming ex-lovers.

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