Abstract
In 1872, Belgian naturalist writer Camille Lemonnier publishes “Un bon tour”: a story inspired by two engravings by Pieter Bruegel the Elder, the Thin and the Fat Kitchen. At first glance, these grotesque engravings appear to be essentially comical, but they were probably motivated by the painter’s social concern as well. Likewise, a close reading of Lemonnier’s “fairy-tale with neither head nor tail” reveals how behind what seems to be a comical narrative at first, there lies a social dimension as well. Lemonnier wrote a critical satire on the opulent bourgeoisie.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
