vengeance

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Saint Antoine slept, the Defarges slept: even The Vengeance slept with her starved grocer, and the drum was at rest.
Yet he enjoys one comfort, the offspring of solitude and delirium; he believes that when in dreams he holds converse with his friends and derives from that communion consolation for his miseries or excitements to his vengeance, that they are not the creations of his fancy, but the beings themselves who visit him from the regions of a remote world.
I am weak, but surely the spirits who assist my vengeance will endow me with sufficient strength.
He showed unparalleled malignity and selfishness in evil; he destroyed my friends; he devoted to destruction beings who possessed exquisite sensations, happiness, and wisdom; nor do I know where this thirst for vengeance may end.
If you had listened to the voice of conscience and heeded the stings of remorse before you had urged your diabolical vengeance to this extremity, Frankenstein would yet have lived.
But when I discovered that he, the author at once of my existence and of its unspeakable torments, dared to hope for happiness, that while he accumulated wretchedness and despair upon me he sought his own enjoyment in feelings and passions from the indulgence of which I was forever barred, then impotent envy and bitter indignation filled me with an insatiable thirst for vengeance.
If he whom you mourn still lived, still would he be the object, again would he become the prey, of your accursed vengeance.
But it was not so; thou didst seek my extinction, that I might not cause greater wretchedness; and if yet, in some mode unknown to me, thou hadst not ceased to think and feel, thou wouldst not desire against me a vengeance greater than that which I feel.
Anne Defrance analyse les vengeances creatives et toujours demonstratives qui ponctuent les nouvelles galantes et historiques de Madame de Villedieu, ecrivain dont le but, analogue a celui des vengeurs, est de <<punir le vice>>.
De l'Antiquite a la Revolution, la vengeance a fait couler autant d'encre que de sang.
Centrant son analyse sur la strategie du roman-feuilleton, en tant qu'il met en scene la figure du "surhomme," Eco s'interesse peu au fonctionnement narratif de la vengeance autour de laquelle s'articule de toute evidence l'architecture du Comte de Monte-Cristo, et cela tout en avouant sa fascination pour le devoilement du vengeur.
On ne saurait separer le theme de la vengeance et les traits qui lui sont propres des effets que produit la structure du recit, puisque, justement, elle participe de ces exces melodramatiques et de ces redondances que denonce Eco.