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Madeline Moulton Abbye Meyer English 1011-D19 7 March 2012 Madeline the Great The childrens books Madeline, written and illustrated by Ludwig Bemelmans, stand out for their charming identity and ability to balance what children desire most. There is an overwhelming sense of attitude within each story which derives from main character Madeline, the smallest one (Bemelmans 26). Madeline is fearless and full of curiosity, loves to learn, and would do anything for her eleven roommates. Each day caregiver and nurturer, Miss Clavel (a nun) takes the twelve little girls who travel in two straight lines through the beautiful streets of Paris (23). In an ordinary life at boarding school, built on routine, Madeline takes from her imagination and creativity to make life exciting. Ludwig Bemelman's Madeline tales display Madeline as a role model for a younger audience who must idolize her; through the rhyming text and child-like illustrations Madeline teaches life lessons such as practicing proper manners, knowing right from wrong, conveying confidence, and enjoying adventure from time to time. Madeline provides children with a great demonstration of how to acquire respectable manners. On one of the first pages, Madeline is introduced in the images being measured for clothing to fit her short stature. Madelines perfect posture and formal expression highlight her etiquette and respectable manners. Madeline is always the leader of the two straight lines, modeling and leading the other girls. Bemelmans pictures are identical and neat when emphasizing on the twelve girls and their daily routine. The girls listen and learn without complaint. They wear uniforms which consist of a yellow hat with a black bow paired with

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matching, modest dresses. This attire addresses their tidy lifestyle and expresses what colour[s] can say [about the messages] inside the text (Moebjus 151). The color yellow evokes tones of joy, freshness, and intellect which these little girls definitely illuminate. Apart from dress, the color yellow is a backdrop for many pages, furthering the message of happiness and the essence of Miss Clavel and her extended family. From walking, to eating, to sleeping, the girls all do this in unison and on a precise schedule. The old house in Paris that [is] covered with vines which houses these twelve little girls represents the structured presented world of the Madeline books (15, Moebjus 143). Moebjus explains a presented world as one that is a stable recognizable visual cu[e] (143). The house in Paris is a consistent illustration that depicts where Madeline and her roommates live throughout the stories. Miss Clavel is one of the reasons why these young girls are well-behaved, pure, and have learned valuable social skills. She is present on nearly every page to guide them and be their mother. At the end of each story Miss Clavel concludes with preparing the girls for bed and closing their bedroom door saying Good night, little girls! Thank the lord you are well! And now go to sleep! (Bemelmans 58). Having strong faith and such a loving care-giver is what makes their organized and disciplined lifestyle ideal and wholesome. Growing up in this environment is the foundation for obtaining well instilled morals and beliefs that young children should practice. The twelve little girls know to smil[e] at the good and frow[n] at the bad (20). While on their daily stroll the twelve little girls notice right and wrong actions taking place in their surroundings. The supporting pictures display on the left a happy scene with a horse in which the girls and Miss Clavel smile toward and on the right hand side of the page is a bad burglar in which the girls and Miss Clavel frown upon. Bemelmans illustration on the right hand page supports how the burglar depicts a scene of

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risk (Moebjus 149). The jagged lines used underneath the criminal running from the police further indicate to the reader the little girls troubled emotions over the misconduct they are taking in (150). As the Madeline stories develop, a new (named) character other than Miss Clavel and Madeline moves next door named Pepito (the Spanish Ambassadors son), who also emphasizes the need for moral behavior. Madeline immediately sees through his fancy attributes and distinguishes this little boy [as] a Bad Hat! (Bemelmans 70). Pepito is mischievous like Madeline, however, his intentions for excitement are pure evil. With each terrorizing prank Pepito plays on the little girls, they like him less and less. He is shown in large scale, emphasizing his menace and overblown ego (Moebjus 149). Pepito does want the girls next door to like him and be his friend. The bribes and fancy invitations do not faze Madeline. She knows that material things are non-important and that traits such as honestly and being a dependable friend have much more value. Madeline can grasp that Pepito is insecure and believes tangible items will make him friends (146). Pepito has no companions to play with so he makes scenes for attention. Pepito sneers, Lets have a game of tag as he lets loose an orange cat into a vicious pack of orphaned dogs. Though Madeline has distaste for the rude elf, with help from Miss Clavel [they] came in time to save the Bad Hat (Bemelmans 83, 98). When help is needed Madeline understands to put past disagreements behind and do what is right. The illustrations portray Pepitos terror as the dogs attack him; he finally realizes that his actions are irresponsible and harmful. Pepito trades his past ways for satisfying habits. He finally understands friendship when Madeline praises his new personality, You are our pride and joy, you are the worlds most wonderful boy! (112) At this moment Pepito is now centered on the page and enlarged with Madeline, marking he is now secure and strengthened (Moebjus

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148,149). Pepito makes a transformation from firmly relying on the tangible items of life to experiencing the intangible feelings of warmth and contentment which are derived from companionship (146). This message is teaching readers and children that one needs to treat others the way one would like to be treated to keep lasting relationships. Madeline recognizes Pepitos change in attitude and with her morals is able to forgive. Madeline continuously teaches readers to act in such humble ways. Little Madeline may be small in size, but has a tenacious drive and complete confidence that gives off a beneficial message of being independent and secure to Bemelmans readers. Madelines signal traits reflect her overall moxie (143). Madeline stands out from the other eleven little girls, not only because she is the only one the reader knows by name, but because of her appearance. In a house full of bland browns and dull black hair, Madeline is at the front of the line with vibrant, fire-red, short locks. This distinguishable colour highlights Madelines feisty personality (150). On each page Madeline can be distinguished from her position and physical traits. Being different from the other girls is a clear indicator that Madeline possesses self-confidence and owns her individuality. While her roommates shrink and shriek about mice and tigers, Madeline is fearless and simply says Pooh-pooh (Bemelmans 29). Madeline even remains brave even when her appendix needs to be removed. Madelines departure caused everybody [to] cry not a single eye was dry (35). During the pages of panic the rectangular shap[e] frames and scribbled lines emphasize Miss Clavels and Madelines roommates distress for her sudden leave and the problem at hand (Moebjus 150). In the hospital, Madeline receives candy, flowers, and new toys for her surgery. When the eleven girls and Miss Clavel make a visit, they are fascinated by the toys, the tangible rewards (146). What Madeline treasures the most from her experience, is the scar on her stomach. She values the intangible

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reward of her own personal bravery which can be represented by the scar (146). The illustrations portray Madeline standing on her bed, bearing the scar to her attentive, wide-eyed roommates. She is higher on the frame, illustrating her leadership over the others. Height on the page marks Madelines positive self-image which not only her roommates see, but the many boys and girls who are exposed to the Madeline tales (149). Madelines self-image is one that many want to achieve. After Madeline has her appendix out, the other girls cry, Boohoo, we want to have our appendix out, too! (Bemelmans 57). These girls yearn for Madelines powerful poise and boldness, as do the readers who aspire to be just like her. Within each Madeline book there is a climaxing point, which symbolizes an exciting or frightening event. Enjoying this adventure and accentuating the importance of being a happy free-spirit is another message that Bemelmans sends to his readers. Madeline loves to change up her scenery and live life without limitations. In her life built on routine, Madeline seeks for adventure and exploration. When the other eleven girls walk uniformly in two straight lines, Madeline will break from the group to live on the edge. She will prance on the bridges stone foundation which overlays the river. Higher than the other girls, she is the only one who knows how to frighten Miss Clavel (30). During this scene Madeline is positioned both higher up and in a larger scale than the other girls; showing strength and a dream vision (Moebjus 148, 149). The whimsical drawings emphasize Madelines imagination which often takes over and defines her outgoing persona. Her bright red hair and yellow hat stands for exhilaration and discovery (151). When Pepito is in danger, Madeline is the first to run to the site of disaster. When Madeline has her appendix removed, she looks to the bright side of her adventure. The scar that Madeline loves represents her perfectly. Like the scar, Madeline is different and enjoys taking risks. Children should not conform to what other children are doing, they should be

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individuals and enjoy where their dreams can take them. Bemelmans Madeline is teaching these principles to the audience who idolizes Madelines daring attitude. Ludwig Bemelmans Madeline is an enchanting creation. Miss Madeline is a character that invites children to discover themselves within her many dimensions. Madeline plays the role of a gutsy, outspoken, and bright tiny girl. Her lessons that she teaches along with her eleven roommates, friends, and Miss Clavel are timeless. These picture books practice life-long modules such as obtaining dynamic morals and manners, being fearless and assertive, and accepting journeys and imagination with open arms. Madeline is and continues to be a role model to children and adults, Thats all there is- there isnt any more (Bemelmans 58).

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Works Cited Bemelmans, Ludwig. Mad about Madeline: The Complete Tales. New York, N.Y., U.S.A.: Viking, 1993. Print. Moebius, William. Introduction to picturebook codes. Word & Image 2.2 (1986): 141-158.