Warning of Passion Victor Hugo builds a very unique standpoint on the emotion of passion in Les
Misérables. Self-aware that emotions of love were an intriguing concept during the early 19th century, I slowly realized that of all the emotions pertaining to love passion stood out the most in the novel, and then the next question for myself was: Why did Victor Hugo decided to force a negative connotation upon the word? Only one source of literary scholarship had a slight idea behind the reason, but luckily more evidence presented itself after reading a biography about
Victor Hugo. Information began to tie together quickly as I realized that the repeated negative pattern of passion went hand and hand with Victor Hugo’s strong beliefs.
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She gave up her hair, her teeth, her body, and her overall well being for her child, but she did it all because she believed,
"My child will not die... I am satisfied" (Hugo 66). In the end Fantine died without seeing her daughter one final time, all for the reason that she crossed the line of love into suffering, such as other characters in the novel. Which explains why Victor Hugo firmly believed that "nothing should be taken to extremes" in the sense of passion based upon Victor Hugo; A Biography by
Graham Robb (Robb 80). Fantine innocently loved to the extreme causing her life to be torn repeatedly until finally her light burned out; Marius followed in Fantine’s footsteps, with a slight difference of knowingly loving to the extreme, causing him to face his demons and the consequences that were brought along with them. Marius wanted nothing to do with his
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Eponine faces gut
Landeros 4 wrenching extremes just so that her secret love, Marius, could be content. Breaking her own heart she receives the address of the woman whom Marius loves, but she acts as though she isn’t fazed. The biggest sacrifice Eponine takes for Marius involves her own life. Her passion for him caused her to relinquish her very own life to protect his from a gun shot. Marius was blind to what she did for him until she asks, "Did you see a gun aimed at you?”(Hugo 453). He responds,
“Yes, and a hand which stopped it”. It was Eponine’s hand and heart that stopped the bullet from killing Marius. As it went through her hand it went through her chest also, symbolizing her heart break for him. After the sick realization of this recent occurrence, Marius began to feel dreadful and couldn’t oppose to Eponine's requests of him to kiss her on the forehead when she is dead.
As she fades out of life she confesses to Marius, "I believe I was a little in love with you”(455).
She fall too deep into passion for a man that would never love her as she loved him and
“Instinctively, with sudden overmastering passion, at at the sight of her helplessness and her grief, he stretched out his arms, and next, would have seized her and held her to him, protected her from every evil with his very life, his very heart’s blood… But pride
must die." God spoke to her and she acted upon the support of a loved one.
This duality is exemplified in the first passage, from the final scene of the novel, where Tita and Pedro’s love finally consummates in a fiery “volcano”(Esquivel 176). The description of Pedro and Tita’s love as a volcano creates a sensual and emotion-provoking tone through the use of hyperbole and magical realism. Additionally, in this passage through the metaphor of fire Esquivel comments on the nature of soul and the repercussions of passion. The purpose of these exaggerated and hyperbolic descriptions is to create a fantasy world and evoke strong emotions. For instance the exaggerated description of the “enormous bedspread…that covered the whole ranch” (Esq...
Dalia Judovitz’s article mentions the sign of passion in the novel. According to the article, she says:
Throughout the history of literature, love has always played a large role in plot because it is a feeling that is universally shared by all humans and has been throughout human history. Spanish culture specifically, tends to be a culture more associated with romance and love than others. It is no surprise that because of this high importance placed on love and romance in Spanish culture that many Spanish authors and playwrights incorporate some form of love into all of their works. Lope De Vega was no exception and was one of the most famous playwrights of his time during the Spanish Golden Age. Something that makes Lope’s plays, specifically some of his unpublished ones such as Fuenteovejuna and Punishment Without Revenge so interesting is not the presence of perfect, harmonious love but rather of corrupt and distorted love within the characters’ relationships in his plays. By writing plays involving imperfect love, Lope comments on the culture around love and marriage of his time and even criticizes it, something Spanish audiences during this time were not ready to handle, which is the reason why some of these plays were never published until recently.
Since we are kids we are taught the importance and meaning of love. Obviously, when we are kids we don’t realize such a big felling, until we grow up. I would say that love isn’t the feeling of intense hormonal urges; it is much more than that. It’s a real genuine feeling. The intense connection of true love cannot be broken because true love is unconditional and it has no boundaries. I have read many books about love, but in this case this book I would talk about is special because it makes us ask many questions about ourselves. Gabriel Garcia Marquez without writing it in the book Love in the Time of Cholera sets the question how long could we will be willing to wait for love? Since the first moment we open the book we can see it is going to be about love, so after reading some chapters we can ask ourselves about this question, and that obviously traps us. Love in the Time of Cholera is a novel that has a very strong meaning of love, some types of love presented in this books focuses on pure, and innocent, passionate, interested, divided love and among others, but the good thing about these kinds of love is that it gives the readers a teaching.
...d the sudden blast of heat from the open incinerator that caused her body to bolt upright. The fire blazed around her head like a halo and her lips seemed to break into a seductive smile just as the doors shut. In addition, her last diary entry read "I hope the end is joyful - and I hope never to return - Frida.".
Infatuation causes Helena to lose all sense of dignity, as can be seen when in the woods, she desperately pleads with Demetrius to ?but treat me as your spaniel?. Here, Helena also becomes irrational, obsessed with pursuing Demetrius, though it is obvious that Demetrius is fixated on winning Hermia?s hand in marriage. Helena?s infatuation also causes her to see things from a skewed perspective, for she falsely believes that when she divulges Hermia?s plans for eloping with Lysander, Demetrius? love for Helena will rekindle. As the audience, we know that the most probable course of action for Demetrius upon hearing such news is to pursue Lysander and Hermia, or to report them to Theseus or Egeus. Clearly, infatuation has clouded Helena?s ability to think clearly, and she sees things in her own idealistic way.
... sins, but she can’t take back what she did so she will forever have blood on her hands. This guilt and all of the lies she has told is giving her true trepidation and in the end she decided to end her terror by taking her life.
“Love and hate are two sides of the same coin” (anonymous). While these emotions are thought of as positive and negative respectively, they are really just different forms of passion. Passion drives everyone to make decisions in their life, and love and hate are the most common forms of passion. Everyone experiences love and hate and is prisoner to the reactions that these elicit from them. Emotions simply happen, and while they can be hidden or covered up, they cannot be consciously changed by the victim. People cannot control the emotions they feel, but they often choose to work towards intensifying their hate or love once they know they are experiencing it. Although these emotions are encountered by everyone at one point or another, they are misunderstood by society and usually accepted as opposites. Though love and hate are often thought of as antonyms, Nathaniel Hawthorne, in his novel The Scarlet Letter, examines how they are fundamentally the same because of their intimacy and the power with which they shape people and society.
This passage marks the first of several types of love, and gives us an intuitive
From the beginning of fiction, authors have constantly exploited the one topic that is sure to secure an audience: love. From the tragic romance of Tristan and Isolde to the satirical misadventures in A Midsummer Night’s Dream, literature seems obsessed with deciphering the mysteries of affection. The concept most debated is the question of where the line falls between lust and love and what occurs when the two are combined, and few portray it more clearly than Edmund Rostand in his French drama Cyrano de Bergerac. The influence of fickle physical attraction and deep romantic love on each other are explored by the interactions of the four main characters: De Guiche, Christian, Roxane, and Cyrano.
devotion to a child she had murdered. A chance to stay by her side no matter how
Kramer, Dale. “Far from the Madding Crowd: The Non-Tragic Predessor.” Thomas Hardy: The Forms of Tragedy. Detroit: Wayne state University Press, 1975. 25-47. Rpt. in Twentieth-Century Literary Criticism. Ed. Linda Pavlovski. Vol.153. Detroit: Gale 2004. Literature Resource Center. Web. 20 April 2014.
In this essay I would like to emphasize different ideas of how love is understood and discussed in literature. This topic has been immortal. One can notice that throughout the whole history writers have always been returning to this subject no matter what century people lived in or what their nationality was.