Sue's contemporaries know that his themes were a species of social commentary and critique, although there is evidence of a fairly high level of discomfort about the moral defensibility of the shape that this critique took. Writing in the Foreign quarterly Review (and engaged in the project of creating the conventions, style, and subject subject atomic number 18a of the Victorian novel), Thackeray declared that Sue was a "quack" and questioned the propriety of committing narrative and characters of questionable morality to serialized fiction: "We suffer no right to be interested with the virtues of ruffianism," he says (Thackeray 235), and cautions against being " direct to a guilty sympathy for villany, by having it depicted to us as exceedingly specious, agreeable, generous, and virtuous at heart" (236). however Thackeray also declared Sue's Mysteries of Paris to be quite readable, very much in the manner of a guilty pleasure.
An uncredited notice produce in the Southern Quarterly Review, an American journal, acknowledged "the benefaction of his philosophy," or good intentions, on one hand, but was untrusting of his point of view as actually uttered in Mysteries of Paris: "we are not so sure that [his opinions] are then either true or wholesome" (257). The reassessment cited--without labeling as such--the naturalistic det
B. Rodolphe's gumption of providental mission
Where Rodolphe judges harshly, so the penalties he metes out are harsh. That helps explain why, as shocking as Rodolphe's order to have the Ma?tre d'Ecole blinded by his servants in the first volume, it is portrayed as mere justice. He gives Ma?tre d'Ecole 1,500 francs in compensation, having rendered him "harmless" (Sue). The retaliation on Ferrand is also appropriate, with Ferrand being obliged to reveal his crimes to a clergyman he had earlier swindled and in expiation throttle up a bank to which the poor might have recourse. "Was it not, in effect, a great punishment for this hideous impostor--this hard-boiled criminal, to be constrained to practice . . . Christian virtues" (3, 13). Ferrand's reduction to privation is a strong example of poetic justice.
One suspects this would be congenial to Gerando, given Gerando's hortatory rhetoric, though Gerando does not out to insist that the privileged be reduced in parcel in order to help the unfortunate.
A. Social idealism as a shaper of novelistic character
A. Belief in possibility of modify society
B. Sue's Mysteries of Paris as aesthetic response
Ratcliffe, Barrie M. "Popular Classes and Cohabitation in Mid-Nineteenth-Century Paris." diary of Family History 21 (July 1996): 316-350.
The shape that Rodolphe's compassion takes has to do with how he evaluates them. He can be extraorinarily generous. The Slasher and Germain alike marvel at the help they receive from a complete stranger, as healthful as Rodolphe's eagerness to enlist them in the service of others. mediocre as the Slasher was saved by Rodolphe, so is Germain saved by the Slasher (3, 11). As the Slasher says, he was a "wicked, brutal, savage, and riotous rascal,: but Rodolphe expressed confidence in his "heart" and "honor," and thereby "made me a kind of honest man" (3, 11). The dynamic of doing good flora and urging others to do so as well is concordant with what Ratcliffe (328) refers to as Gerando's "ca
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