Analysis of Act III Scene 8 of Alfred de Musset's Play

Extract

[...] However, he promises to repair his fault, in a simple future will find her . ' and asks for mercy, using the coordinating conjunction 'but' and the imperative 'do not kill'. However, the return to reality is elaborated with the interjection in exclamatory form, followed by the interrogative sentence 'What is there?'. The didascalie on Camille's entrance, in the horizon of expectation, announces a revelation. Indeed, she reports the death of Rosette, a tragic climax. The subject attribute 'dead' amplifies the intensity of the scene. [...]

[...] a break is elaborated because it shows that he can also be manipulated. Camille orders him to follow her, using the imperative 'let us enter', followed by the place complement 'in this gallery'. The deictic 'there' and the relative subordinate clause 'that one cried' allow them to become investigators, searching for a clue to solve the mystery. However, Perdican loses all lucidity, with an incomplete epistemic modality do not know' and 'it seems to me' about his uncertain sensations (madness? [...]

[...] The accumulation of these sentences and the qualifying adjectives anteposed (vaines/misérables) reinforce the vanity and the pathos. The comparison with the 'funereal wind' shows the rapidity of fate, reinforced by the prepositional group 'between us two', bringing to light their broken link. It follows an indirect question that supports the agonistic love conflict between the characters, from the interrogative pronoun 'which' reinforcing the idea of futility, one character among others. The volitive modality with the verb 'to want' amplifies the conflict. [...]

[...] This idea is reinforced by the adverb of intensity before the qualifying adjective 'painful'. He continues with an existential reflection on happiness, metaphorised under the image of a pearl, symbolising rarity. This rarity is reinforced by the image of the 'ocean', representing depth, where one does not easily find what one is looking for. However, God is qualified by the common name 'fisherman'. This shows the power of God, used to fishing for pearls in the ocean. But the myth of the lost Paradise, the Arcadia that the characters will never find again, are staged. [...]

[...] She uses the imperative to provoke their rapprochement. According to her, God would be omnipotent by the epistemic modality: he 'sait » and all-powerful by the volitive modality 'he [...]