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Three Musketeers Research Paper

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Three Musketeers Research Paper
Kaylee Lindsey
AP Prep English 10
Leslie Kimbril
11 Dec. 2012
Symbolism and Imagery in “The Three Musketeers” Symbolism and imagery is used throughout “The Three Musketeers” frequently. Another thing I would like to focus on though is the history of this novel. The tone of the novel can also be nightmarish at times. With all the things that D’Artagnan, Athos, Porthos, and Aramis encounter throughout their journey. Swords are used as symbols in many novels, including this one. At the beginning of this novel, D’Artagnan attempts to draw his sword at the Jolly Miller Inn. This was right after he had been beaten by the inns servants. To draw ones sword with another man is honor in D’Artagnan’s world (Shmoop Editorial Team). This novel is about young manhood, in which youth is tested and youthful ideas protect against political ideas. An example of imagery is when D’Artagnan says ‘it is useless to struggle any longer; I may as well blow my brains out, and put an end to the matter at once.” “That's the last folly to be committed,” said Athos, “seeing that that is the only one for which there is no remedy” (Dumas 392). Here, D’Artagnan and Athos are saying, what is the point of going on when there’s nothing more we can do, they are actually suggesting suicide here. Another example of symbolism is, when D’Artagnan and Porthos get into an argument and are angry at one another and they run into each other, when that happens, D’Artagnan gets tangled in Porthos’ cloak. When he runs into him, D’Artagnan realizes that Porthos’ gold shoulder-belt is only gold in the front. Beneath his cloak where it is not visible, it is only plain fabric. Showing that Porthos is a show off and likes others to think he has more than he really does (Winters). In the novel, Aramis is always clothed in black and ends up entering a monetary. This is an example of imagery because the color black represents evil and night. It can also represent mourning, power, wealth, mystery, and more.

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