In her essay “At the origins of the novel”, Marthe Robert characterizes the novel as knowing “neither rules nor constraints. Open to all possibilities, its boundaries fluctuate in all directions.” Indeed, La Princesse de Clèves by Madame de Lafayette and Oroonoko by Aphra Behn are often considered the first novels to engage in psychological analysis and realistic representation of marginalized groups in society, thus triumphing over forms of earlier and more prescriptive writing. These novels crucially dissect human emotions and behaviors through the complex, multi-layered forms of communication between characters. While spoken language is often superficial and dictated by social protocol, the various physical manifestations and involuntary bodily "confessions" depicted in the novels expose the ambiguities and elaborate passions that lie behind human behavior. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”?Get the original essaySet in the hierarchical and refined 16th-century royal court of Henry II, the characters of The Princess of Cleves engage in violent polite speech and customary platitudes, thereby exuding a feeling of courteous propriety. As such, they often address themselves in a lofty and courteous manner: “I swear before Your Majesty, with all due respect, that I have no attachment to any lady of the court” [97]. The princess herself is subject to the codes of courteous speech and her manner of speaking is largely characteristic of her reticent temperament. Its erasable language therefore reflects the importance of outward respectability and the dominance of approved social “maxims” to which the protagonist is expected to adhere. For example, by telling edifying stories, such as that of the adulterous Madame de Tournon, Madame de Cleves learns that a lady of the court is expected to show respect and submission to her husband. The emphasis on sincerity and good manners therefore ensures that true feelings are often hidden. Indeed, it is only during the surprisingly unconventional "confession scene" that the characters' facade of polite distrust fades, with husband and wife finally engaging in a remarkably modern outburst of emotion : “I adore you, I hate you, I offend you. , I beg your pardon ; I am filled with wonder and admiration for you, and shame at these feelings” [144] Madame de Cleves herself recognizes the particularity of her speech – “an admission that no woman has ever made to her husband” – thus accentuating the atypical character of the scene and reinforces the reader’s perception of the royal court as an oppressive and stifling environment. Spoken dialogue thus takes on a highly ritualized and insincere form, allowing characters to hide behind a restrictive mask of polite decorum and civility. Due to the artificial and stereotypical nature of much spoken language, words are often twisted and distorted in order to perform their functions. control over others. The manipulative power of speech is demonstrated by the learned assurances of the Duke of Nemours following a misunderstanding: "as it is easy to persuade someone of a truth in which one wants to believe, he convinced her that he had not no part in the letter” [105]. The ease with which the Duke alters Madame de Cleve's perceptions exposes the potential for spoken language to act as a tool of deception. Indeed, the significant amount of whispers and rumors spread throughout the novel suggests that the face one presents at court canbe very different from his true character. The danger of speaking is aptly articulated by Madame de Chartres, who warns that "If you judge by appearances in this place...you will often be deceived, because what appears to be the case is almost never the case." [46]. Despite her mother's advice, however, Madame de Cleves' inability to interpret the true intentions behind the speech exacerbates her lack of power in a very unforgiving society, a shortcoming which leads to tragic consequences. A similar naivety and candor towards spoken language can be found in Oroonoko, with the "Royal Slave" displaying an almost child-like confidence in the words of others. The protagonist, “whose honor was such that he himself had never broken a word” [32], grants incontestable value to the word and is thus continually the victim of deception and disinformation: “They fed day by day. Day of promises, and I have delayed it until the Lord Governor comes; so that he began to suspect them of lying”[41]. Furthermore, it could be argued that his wife is the greatest victim of the monopolized nature of spoken language – largely silent throughout the novel, her gender and race placing her at a social disadvantage. His status as a “doubly oppressed” character means that Imoinda does not have the privilege of expressing himself through open dialogue. As a result, it is clear that spoken language (or lack thereof) can be used as a tool of subjugation and dishonesty by those in positions of power in society. It is therefore necessary to consider other forms of communication between characters, because true emotions are rarely represented through dialogue alone. In light of this, it can be argued that silence, rather than speech, offers a more penetrating insight into the human being. spirit. Due to Imoinda's engagement to the king, the two lovers are initially unable to outwardly express their affection and therefore must rely on tacit exchanges. Upon their reunion, they communicate simply through the "Parliament of Eyes", but their feelings are clearly expressed by the way they look at each other silently: "It was this powerful language alone that conveyed in an instant all the thoughts of their souls towards each other. powerful with emotions. Similarly, the adulterous courtship depicted in The Princess of Cleves is largely undertaken through the silent act of watching. Indeed, it has been noted that Madame de Cleves and the Duke of Nemours never touch hands throughout the novel, yet their interaction is very charged with eroticism. This quiet passion manifests itself especially during the Duke's secret visit to the country house of Madame de Clèves in Coulommiers, an act of "mutual voyeurism" which sees him furtively observing the princess contemplating her portrait "with the intensity of meditation that only passionate love can provoke.” » [148]. Although no words are spoken during this scene, the two characters' mutual desire is made explicit through their private actions. Furthermore, the frequent moments of silence in the novel allow the reader to gain a valuable insight into the thinking of certain characters, for example through the interior monologue of M. de Clèves: “Because she likes me,” says -he. »[40]. By accessing his innermost thoughts, the reader is privy to something he would not express through words, and thus feels a certain empathy towards his predicament. As Woshinsky points out, the inhabitants of the court have been conditioned to guard their true feelings. to themselves, and "they do not dare to stop, because they have no way of dealing with open feeling." Tellingly, it is the silence ofMadame de Clèves who betrays her adulterous feelings towards another man, thus allowing her husband to clearly decipher her behavior: “Madame de Clèves said nothing and her silence confirmed what her husband thought. “You don’t answer,” he continued. “And that means I’m right.” » [113] The emotional intensity of the speech in this scene exposes another notable function of silence in the novel. He plays a crucial role in creating tension and suspense throughout Monsieur de Cleves' interrogation of his wife, culminating in the desperate physical act of Madame de Cleves "throwing herself at his feet." De Lafayette therefore uses silence as a narrative tool, allowing him to explore the hitherto neglected theme of women's fears and desires in 16th-century France. While it is clear that much spoken language is rife with dishonesty and insincerity, de Lafayette and Behn suggest that a kind of truth can instead be found on the body. There are several examples of bodily confessions throughout both narratives, suggesting that it is possible for the human body itself to be "read." For example, Madame de Cleves externally reveals the subject of her thoughts by “caressing” the colored ribbons that she associates with the Duke of Nemours, whose sexual connotations recall the intensity of her desire. Furthermore, we find numerous examples of Madame de Clèves betrayed by her blushes, a physical reaction over which she has no control: “fortunately for her, her face was in shadow” [124]. It is therefore through spontaneous physical responses that the body inadvertently confesses the sins of the mind. Likewise, the inhabitants of Surinam in the Orinoco display their feelings of affection through modest looks and blushing ("A negro can change his color; for I have seen them as often blush and look pale, and that too visibly that I have ever seen him in the most beautiful white") [19]. As the characters have very little control over their physical expressions, it can therefore be said that this is the only means by which the truth is fully displayed. Consequently, The Princess of Cleves and Oroonoko associate moral decency with bodily display, presenting the body as an object. symbol of virtue and discipline. While the court denizens of The Princess of Cleves achieve this through elaborate clothing and lavish jewelry, bodily exposure in Oroonoko takes a much less refined form, with Behn placing particular emphasis on mutilation and mutilation. As Robert L. Chibka notes, "the evidence on the body increasingly becomes the only one that matters," and the death of Oroonoko's wife sparks a grief that cannot be expressed in mere words. Instead, value is placed on courage and disregard for physical pain is seen as a test of moral caliber. This endurance is presented most strikingly through the symbolic image of Oroonoko calmly smoking throughout his dismemberment, thus proving his heroic status: “He had learned to take tobacco; and when he was assured that he was going to die, he desired that a pipe be put in his mouth, fully lit, which they did; and the executioner came, and the first cut off his members, and threw them into the fire; after that, with a poor knife, they cut off his ears and nose, and burned them; he still smoked, as if nothing had touched him..." [64] By resisting the temptation of suicide and choosing a noble death, Oroonoko avoids the degrading label of "slave", instead becoming a figure of 'admiration. and respect. Similarly, Madame de Cleves does not act on her desire for the Duke of Nemours and thus maintains her sexual and emotional integrity in order to resist the self-definition of adultery. Consequently, Madame de.