People have and always will enjoy a good read. The success of classics such as William Shakespeare’s, Romeo and Juliet, and The Merchant of Venice validate this. Modern authors are no exception to this ideology. In Manuel Puig’s 1976 hit, Kiss of the Spider Woman, the audience is introduced to two characters that inevitably fall into situations of adventure, romance, and deception. These elements are embedded in human kind’s tales all across the ages. The first of the two protagonists, Molina, is an easy-going, homosexual window dresser. Meanwhile, the second of the two protagonists, Valentin, is a non-homosexual, hot-blooded, political anarchist. These two are polar opposites who, in the wilderness of society, do their best to avoid each other’s presence; but being trapped in a prison cell together doesn’t give too much space for options. As the book’s title suggests, there is Spider, and therefore, there must be prey. The question is who is who?
When family and personal honor taints, the aftermath escalates into a major threat stemming from the nature of revenge forming in order to protect a principle. In order to save the family’s honor, which the town holds of the utmost importance, the Vicario brothers seek vengeance on Santiago Nasar. Pablo Vicario’s betrothed Prudencia Cotes, “knew what they were up to […] and [she] didn't only agree, [she] never would have married [Pablo] if he hadn't done what a man should do” (García Márquez 62). The quote characterizes not only Prudencia as unsympathetic, but also much of the town, whose indifference comes in part from its belief that the men have a duty to protect the women from disgrace. The House of the Spirits’ arguable protagonist, Esteban Trueba, tries to save his daughter from what he thinks of as disgrace in a similar manner-murder. The time passes “since the fateful day when Trueba had made him pay for his daughter’s virginity with an axe. Pedro Tercero remembered him as an angry giant” (Allende 360). The simile comparing Trueba to a giant emphasizes the lasting impact the encounter has on Pedro Tercero. Both accounts of vengean...
Great feelings like partnership, remembrance, and parenthood can accompany love, but feelings like heartbreak, torment, and grief can also accompany love. “A strong affection for another” is not an all-encompassing definition for love. Love is happiness and fairytales but is also pain and sadness. No dictionary could truly define human emotion, as words are to simple to convey the overlapping complexity of the feelings we experience. Love is what builds us up and what breaks us down, but most importantly, it is what makes us
In the face of fear, people can do things that they never thought they would do. Winston Smith and Julia were “in love” in a place where it wasnt allowed, where you could be punished for love. It was a crime. Winston and Julia snuck around behind security, thinking they were going unnoticed by Big Brother. Although, Big Brother had known from the start. The lovers were caught and brought to be tortured. An analysis of love and fear shows it is hard to maintain humanity when approached/tortured with your greatest fear.
This situation of flux coupled with revolutionary events can be seen reflected in the personal lives of characters seen in both novels; in an attempt to regain some control over their lives, they frequently try to challenge or overthrow the forces that control them, which include tradition, family and the political sphere. An example of this is Pedro Tercero, the young rebel who's willing to speak truth to power, even if it means risking his life. The purpose of these characters representations are to act embodiments of the conflict present in these stories and to be symbols of change and hope to others, whether they themselves feel the same way is unimportant.
It is, at times, stated that paradoxes allow for misinterpretation in almost every aspect of life. Wherever those paradoxes appear, conflicts, both external and internal, arise and misunderstandings ensue. In the two novels The House of the Spirits by Isabel Allende and Kiss of the Spiderwoman by Manuel Puig, however, the characters Alba and Molina, respectively, create paradoxes through their subversive actions. These paradoxes create conflicts in self-interest, which, in turn, reveal the impossibility of actually knowing or understanding one’s true motives.
In Song of Solomon, through many different types of love, Ruth's incestuous love, Milkman and Hagar's romantic love, and Guitar's love for his race, Toni Morrison demonstrates not only the readiness with which love will turn into a devastating and destructive force, but also the immediacy with which it will do so. Morrison tackles the amorphous and resilient human emotion of love not to glorify the joyous feelings it can effect but to warn readers of love's volatile nature. Simultaneously, however, she gives the reader a clear sense of what love is not. Morrison explicitly states that true love is not destructive. In essence, she illustrates that if "love" is destructive, it is most likely, a mutation of love, something impure, because love is all that is pure and true.
Love and the way we love others varies across different individuals of various cultural backgrounds. From a psychoanalytic approach, many theorists in this field focus on the development of love and it’s stages as we become of age to establish a loving, healthy relationship with a companion. In the book titled Personality: Classic Theories and Modern Research (Friedman & Schustack, 2013), A person must have social connection with others in order to achieve true happiness. This is something so unique to humans; the human connection. To connect with another person on an emotional, intellectual, and even physical level brings on an entire new perspective on life. Love is the most powerful force that we have as human
As any romantic will assert, love is by far the most powerful force known to human hearts and minds. This sentiment is espoused throughout history, almost to the point of cliché. Everyone has heard the optimistic statement, “love conquers all,” and The Beatles are certain, however idyllic it may be, that “all you need is love.” Humanity is convinced that love is unique within human emotion, unequalled in its power to both lift the spirit up in throws of ecstasy, and cast it down in utter despair.
love in the context of being a device that is used to protect and to care for people