When the concept of love and passion come up in literature, oftentimes the immediate reaction of a reader is one of identification or distance with the work. Love and passion are intimate and thus difficult to render universally in the external world, with the ineffectiveness of language, social and cultural impasses, and a multitude of other issues creating an “otherness” to the literary representation of the love/passion phenomena. The representation of love however, often hides within subtleties that transcend social constructs, or even perceived reality. In Jeanette Winterson’s Written on the Body, we are exposed to, as the book cover explains “love stripped of all of its cliché’s and categories” through ornate metaphor in a real and gripping manner. But also the effectiveness lies within Winterson’s deconstruction of societal and ideological views, which demonstrate how the unconscious impressions of modern ideology regarding love and desire cause immense conflict within one’s self, leading to a passionate anxiety, or also repression of desires through objectification of memory, as the fulfillment of our desires inevitably leads to the expression of mortality, e.g. all human emotions, even love, come to a logical end.
One of the finer points of Written on the Body is the exploration of desire in multiple viewpoints, but from one narrator. The natural erosion of philosophy of the un-named narrator can work to draw in a reader, as there is essentially no judgment. The shoes of the narrator are there to be filled as a voyeur, as a recollection or relatable experience, or as a rejection. The unabashed display of passion against social norms, highlighted vividly in the first pages by the mother of a traditional family scorning t...
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...the experience, a cathartic act of self-preservation aimed towards completion or closure, both unattainable goals, but still a desire in their own right. As quoted by Harold Bloom in The Western Canon, an out of context reference to a Friedrich Nietzsche quote, but applicable here, as the enactment of passion outside of ourselves is always the remnants of the actual experience: “That which we can find world for is something already dead in our hearts; there is always a kind of contempt in the act of speaking” (Bloom 137). Once we identify the source of our passion, and quantify it against our previous experience, essentially “speak” it out within our phenomenological dialog between experience and interpretation, we are essentially the mother on the riverbank, speaking how we should be ashamed of ourselves for such excess and disobedience to traditional structures.
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.
William Shakespeare’s Romeo and Juliet is perhaps one of the most well-recognized love stories of all time. However, it is more than just a classic love story, it is a tale of desperation and obsession. While developing these themes, Shakespeare contrasts Romeo and Juliet’s obsession with the concept of real love; he also demonstrates the danger of obsession-Romeo and Juliet do not heed Friar Laurence’s ominously omniscient warning “[t]hese violent delights have violent ends/ and in their triumph die, like fire and powder,/ which, as they kiss, consume”(II vi 9-11), and obsession with honor is likewise dangerous. He probes the theme of despair; the suicidal impulses that become reality for Romeo and Juliet are grounded in the dynamic and
3“The busts define the body as both symbolic and imaginary: a cultural means of self-articulation and a psychic image of the self”. In one point of view the effaced busts could also be seen to represent an eclipse of the self. These actions enact the autoerotic and narcissistic procedures of founding a self by internalizing an image of one’s own body. Another way of looking at Antoni’s Lick and Lather is as a pre-symbolic process of identifying oneself through the theory of the imaginary body. The actions she did enact an autoerotic and narcissistic procedure of founding a self by internalizing an image of one’s own body. The process of identification after this process is both productive and destructive of identity, by which it undermines its
Between both William Shakespeare’s 1610 play, “The Tempest” and Charlotte Perkins Gilman’s 1892 short novel “The Yellow Wallpaper,” the portrayal of love is a present theme in both genre’s that through the distinctive forms, is expressed in differing ways. Between the relationship of Miranda and Ferdinand in “The Tempest” and the narrator and husband John in “The Yellow Wallpaper,” love is presented uniquely and exposes the creative development of literature within differing genres throughout history. Throughout this paper I will be looking at the both of the mentioned literary genre’s, combined with the presentation of character, language and form, in an effort to evaluate ways all of these attributes contribute to the writer’s distinctive depictions of love and relationships.
Pablo Neruda’s “My ugly love” and William Shakespeare’s “Sonnet 130” are commonly well-known to describe beauty in a way hardly anyone would write: through the truth. It’s a popular fact that many modern-day poets compose poems that make love seem perfect and use phrases that often costume the truth by masking true beauty with words. Yet, Shakespeare and Neruda, both sincere people, chose to write about what love really is, it matters more what’s on the inside than what is found on the outside. The theme of true beauty and love are found through Shakespeare and Neruda’s uses of reflection of imagery, uses of organized structure, and uses of sensory devices to describe the meaning of beauty and love.
Anton Chekhov and Ernest Hemingway both convey their ideas of love in their respective stories The Lady with the Pet Dog and Hills like White Elephants in different ways. However, their ideas are quite varying, and may be interpreted differently by each individual reader. In their own, unique way, both Chekhov and Hemingway evince what is; and what is not love. Upon proper contemplation, one may observe that Hemingway, although not stating explicitly what love is; the genius found in his story is that he gives a very robust example of what may be mistaken as love, although not being true love. On the other hand, Chekhov exposes love as a frame of mind that may only be achieved upon making the acquaintance of the “right person,” and not as an ideal that one may palpate at one instance, and at the another instance one may cease to feel; upon simple and conscious command of the brain. I agree with Hemingway’s view on love because it goes straight to the point of revealing some misconceptions of love.
In Toni Morrison’s Beloved, love proves to be a dangerous and destructive force. Upon learning that Sethe killed her daughter, Beloved, Paul D warns Sethe “Your love is too thick” (193). Morrison proved this statement to be true, as Sethe’s intense passion for her children lead to the loss of her grasp on reality. Each word Morrison chose is deliberate, and each sentence is structured with meaning, which is especially evident in Paul D’s warning to Sethe. Morrison’s use of the phrase “too thick”, along with her short yet powerful sentence structure make this sentence the most prevalent and important in her novel. This sentence supports Paul D’s side on the bitter debate between Sethe and he regarding the theme of love. While Sethe asserts that the only way to love is to do so passionately, Paul D cites the danger in slaves loving too much. Morrison uses a metaphor comparing Paul D’s capacity to love to a tobacco tin rusted shut. This metaphor demonstrates how Paul D views love in a descriptive manner, its imagery allowing the reader to visualize and thus understand Paul D’s point of view. In this debate, Paul D proves to be right in that Sethe’s strong love eventually hurts her, yet Paul D ends up unable to survive alone. Thus, Morrison argues that love is necessary to the human condition, yet it is destructive and consuming in nature. She does so through the powerful diction and short syntax in Paul D’s warning, her use of the theme love, and a metaphor for Paul D’s heart.
The ultimate act of consummation between a man and a woman is depicted by Wright as the deepest and most profound expression of pure love that can be mutually partaken in by two fellow human beings. Such an event involves truly uniting the opposite polarities of human existence, male and female, in a selfless act that plays a crucial role in Woman To Man’s underlying interpretation of the human condition. There is an almost animalistic and primal yearning ingrained in the human condition for physical union between a man and woman, as exemplified by the juxtaposed symbolism of the male “hunter” and his prize, the “chase”, that he seeks. Such an attitude towards the physical facets of sexual passion is reinforced by the polysyndeton of “the strength that your arm knows, / the arc of flesh that is my breast, / the precise crystals of our eyes”, highlighting the magnitude of the bodily pleasure derived from this unification. However, there are clearly deeper and more emotionally significant ramifications arising internally, with the combined amorous fervour between male and female capable of producing an even greater gift, that of new life. The result...
Love has always been a controversial issue throughout centuries. However, it was, and is, still one of the most popular topics in literature.One cannot help but be reminded of Shakespeare’s Romeo and Juliet when that particular topic is brought up, which is one of the finest examples on this topic. Despite all the literary works written about love, love itself remains unexplained. The questions “why” and “when” is often asked –it can usually be answered vaguely or deeply, but sometimes it remians unanswered. In Pride and Prejudice Jane Austen makes Mr Darcy, who has captured young girls’ hearts for decades, say “I cannot fix on the hour, or the spot, or the look, or the words, which laid the foundation. It is too long ago. I was in the middle before I knew that I had begun.”, which is both very informative and a vague answer, when asked by his love of life. It is vague, because it doesn’t exactly answer the question “when”. On the other hand, it is a perfect answer to describe the mysterious nature of love.
Love has always been a controversial issue throughout centuries. However, it was, and is, still one of the most popular topics in literature. One cannot help but be reminded of Shakespeare’s Romeo and Juliet when that particular topic is brought up, which is one of the finest examples on this topic. Despite all the literary works written about love, love itself remains unexplained. The questions “why” and “when” is often asked –it can usually be answered vaguely or deeply, but sometimes it remains unanswered. In Pride and Prejudice, Jane Austen makes Mr Darcy, who has captured young girls’ hearts for decades, say “I cannot fix on the hour, or the spot, or the look, or the words, which laid the foundation. It is too long ago. I was in the middle before I knew that I had begun.” which is both very informative and a vague answer, when asked by the love of his life. It is vague, because it doesn’t exactly answer the question “when”. On the other hand, it is a perfect answer to describe the mysterious nature of love. It proves that in order to be in love, some time for each part to contemplate on the nature of the emotion must pass after two people meet. In other words, if it is described as that romantic “love at first sight” it’s not the love that brings a happily ever after, but merely a form of cursed obsession that leads to disappointing endings.
Love is one of the main sources that move the world, and poetry is not an exception, this shows completely the feelings of someone. In “Litany” written by Billy Collins, “Love Poem” by John Frederick Nims, “Song” by John Donne, “Love” by Matthew Dickman and “Last Night” by Sharon Olds navigate around the same theme. Nevertheless, they differ in formats and figurative language that would be compared. For this reason, the rhetoric figures used in the poems will conduct us to understand the insights thought of the authors and the arguments they want to support.
In Literature and Life, Love is a powerful force. Sans love; feelings, desires and relationships may seem empty. This force however, can also be destructive, even may end a marriage. Marital discord, arising in general, due to infatuation, lust or affection for a third person, may crop up primarily facilitated by adverse familial, economic or societal conditions that do frequently find their mention in the written word. Some of these concerns like family, marriage, sexuality, society and death, are notably illustrated by the authors, Gustave Flaubert in Madame Bovary and Laura Esquivel in Like Water for Chocolate.
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.
War has the capacity to foster love while equalizing social status. The novels The English Patient by Michael Ondaatje and A Town Like Alice by Nevil Shute substantiate the fact, through fiction, that during war-time men and women who are not of the same station in life can find an incomparable love with one another. Each novel also gives evidence of love igniting during war and surviving the trials of time and distance. Hana and Kip from The English Patient and Jean and Joe both go through these trials and tribulations associated with love and war. Whether that love is doomed for failure or a future together forever…it never dies.
Szymborska, Wislawa. “True Love.” Making Arguments about Literature: A Compact Guide And Anthology. Ed. John Schilb and John Clifford. Boston: Bedford/St. Martins, 2005. 725-726.