In Patrick Süskind's Perfume: The Story of a Murderer the motif of perfume and smell plays a huge role in the development of the novel's plot; perhaps that's the main driving force behind it. Throughout the book, this motif is woven into the text as a separate entity that belongs to the essential theme of the novel: smell. Süskind's placement in the enhancement of smell brings Grenouille closer to readers precisely by the fact that he is dehumanized. The author's technique in using this motif is graceful such that its presence does not appear redundant; rather it makes the reader want each time they are shown how the motif connects holistically to the story. Süskind's first demonstration of "weaving" this motif into the text occurs through the dehumanization of the protagonist Jean-Baptiste Grenouille. In the first pages of the book, this dehumanization is shown through the figure who brought Grenouille into the world: his mother. Due to his current circumstances, he does not even state that Grenouille and his brothers are “real children” (p.5). Precisely because they are illegitimate, there is no father present at home and the inability to support them pushes her to consider them false. Although this scene does not directly refer to the motif, Süskind uses this quote as the beginning of Grenouille's perpetual inhumane treatment and his heightened olfactory abilities. The first use of this motif is when Grenouille's infant caregivers realize that he has no personal odor. The scene where Father Terrier denigrates Jean Bussie for claiming that Grenouille is possessed by a demon since he has no personal scent shows how the children were treated as an incomplete buzz... middle of the card... currently reversed on his victims . Giving Laure the attribute of having sap dehumanizes her to the max. This foreshadows Grenouille's future murder victims as mere inhuman prey, nothing more. In this same passage, Süskind reveals how finely tuned Grenouille's hyperosmia is. A year earlier, when she was in Grasse, her perfume was “sprinkled and dappled” (p.190), but now it is “a faint, smooth stream of perfume that shimmers” (190). However, Grenouille then goes on to imagine that the peak of his perfume would last "only twelve more months" and then he would be able to "capture the wild flow of his perfume" (p. 190). Süskind reveals in this passage – as well as in the other murders – that Grenouille's passion for the scent of red-haired prepubescent girls not only portrays his contempt for humanity, but also his lack of veneration for women..