Madame de La fayette一連串的作品皆以女性名字命名，闡述一次又一次不同的女性遭遇，卻也是一個接一個相同的命運：女性在充滿父權圖騰與男性凝視的世界裡內／外、身／心分裂，無法自處，悲劇以終。兩性的性別差異被父權社會利用為統治女性的藉口，使女性在文化、歷史、社會和兩性關係中屈從於男性之下。LaPrincessedeCleves呈現女性遭受壓抑、邊陸化後自我匿乏的真相，她們被迫以各種「扮演」出入衣香鬢影的社交場合，既世故也天真，時而清醒，時而迷失，為了得以生存，以身體體現各種「階級」與「性」政治。女主角是文本敘述中心，卻又是男性體制中的「他者」，因此流露出與群體疏離與扞格的獨特風采。其他女性是她觀照的對象，供給她模擬、認同與抗拒女性自我的原型。我們因此藉由剖析三位對她影響至深的女性人物，皇后、國王的情婦、母親的心裡狀態、生活環境與遭遇，勾勒小說中抑鬱／焦慮，內固／失序等女性集體經驗景觀，以尋跡刻劃出女主角成長的艱辛路程。

Madame de Lafayette always employs a heroine as the title character in her series of work. She interprets the respective confrontation of different women with, however, the single destiny. All of her heroines submerged in the patriarchal world are doomed to shatter their souls and lead to the tragic end. Gender differences become excuses for men to subjugate women whom, therefore, submit themselves to men's authority in culture, history, society, and sexual relationships as well. La Princesse de Cleves reveal the true stories of these self-repressed, and marginalized women. In order to survive, these women are obliged to "play" well in social life. They are simultaneously sophisticated and innocent, depend on the occasions, to expose the varieties of the hierarchal and sexual politics with their own "body" language. Even though the woman protagonist is the center of Madame de Lafayette's narration, the heroine also happens to be the "other" of the male-centered mechanics. Thus the heroine detaches and alienates herself from the majority. The "other" women are all involved in her imitation, identification, as well as resistance of archetypal womanhood. The present project explores the inner lives, living conditions and circumstances of three of the most influential women characters, the Queen, the King's mistress, and her mother, to construct the heroine's hard time. The study depicts the collective depression, anxiety, circumscription, and disorder of these Lafayette women, in order to embody the growing pains of the heroine.