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A.S. Byatt's perspectives on love
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From Shakespearean sonnets to lurid romance novels, the notion of love is a matter that has inspired art and literature since its inception. Consequently, many esteemed literary figures have attempted to contribute their own idea of what constitutes a perfect relationship. A.S. Byatt in her novel, Possession, is no exception, as she uses her story as a platform to propose her own thoughts about what composes a prosperous partnership. Though passion is generally considered to be synonymous with love, Byatt suggests differently. A commonly quoted line from her novel comes from a letter exchanged between two lovers in the midst of their swift, erotic, yet fleeting affair, “I cannot let you burn me up, nor can I resist you. No mere human can stand …show more content…
At the opening of the novel, Roland is entangled in a suffocating relationship with his college sweetheart Val. Though their love had initially been intense, issues quickly emerged. Roland reflects on the detrimental transformation that he observed occur in Val, “In the early days she had had lots of quiet opinions, he remembered, which she had offered him, shyly slyly, couched as a kind of invitation or bait...Later, Roland noticed as he himself had successes, Val said less and less, and when she argued, offered him increasingly his own ideas, sometimes the reverse side of the knitting, but essentially his”(15-16). Val becomes increasingly dependent on Roland. Her once “quiet opinions” gradually dwindle into what are essentially mere reiterations of Roland’s “own ideas”. She becomes gradually less and less autonomous, assuming an intellectually subservient role to Roland by abandoning her own individual ideas. Eventually, Val begins to associate her self-worth with her relationship to Roland. After her disastrous failed “Required Essay”, Val seeks solace in Roland, “‘At least you want me... I don't know why you should want me, I'm not good, but you do’ she told Roland, her face damp and …show more content…
Even the inception of their relationship is fraught with irrationality. Maud describes their first encounter, “[Fergus] expected Maud to come to his bed. ‘We two are the most intelligent people here, you know. You are the most beautiful thing I have ever seen or dreamed about. I want you, I need you, can’t you feel it, it’s irresistible.’ Why had it been irresistible, Maud was not rationally sure. But he had been right. Then arguments had begun. Maud shivered”(64). Their attraction is instantaneous. Fergus panders to her vanity by complimenting outward appearance, proclaiming Maud to be “the most beautiful thing [he] had ever seen or dreamed about.” Similar to what occurred to Roland and Val, her relationship with Fergus rapidly deteriorates. Maud describes her relationship with Fergus Wolff as “an image of a huge, unmade, stained and rumpled bed, its sheets pulled into standing peaks here and there, like the surface of whipped egg-white. Whenever she thought of Fergus Wolff, this empty battlefield was what she saw”(63). The “unmade, stained and rumpled bed” represents the disorganization and chaos that her relationship with Fergus brought to her life. Instead of tranquil and clean bed, Maud is left without a personal sanctuary. The bed has transformed into a “battlefield” in which she had to spar with Fergus, a direct opposition
In Marilyn Hacker’s “Villanelle for D.G.B” the speaker describes an ever changing relationship full of lust, passion, and physicality. Love is elusive, it is natural to be confused or intimidated by it. Also, it is human nature to have trouble separating love, lust, and intimacy. This common issue is illustrated well by Hacker. It is easy to assume that this poem is simply about an exclusively lust filled, shallow relationship between the speaker and the auditor. However, after closer analysis, one can see that the speaker yearns for a deeper relationship with the auditor. The speaker begins the poem being content with this exclusively physically intimate relationship, but grows to want a deeper more emotionally fulfilling
When Maude accidently invites Florrie to visit, Nan is flustered thinking the visit will be uncomfortably awkward, because from her perspective; Florrie “is so quiet and shy.” That perspective changes when Nan and Florrie spend the afternoon together. Nan soon realizes that Florrie is actually “so bright and witty when she thaws out.” This indicates Nan’s fresh understanding of Florrie once her perspective changed. The fact that Florrie “didn’t seem like the same girl at all.” proves that there is more to individuals than a flimsy first
Valentine’s compassionate and empathetic nature was the gateway to her rise to power. Her ability to empathise with and understand people, and her genius, made it easy for her to formulate sentences that she knew people wanted to hear. If she decided to, Valentine could placate, persuade, and even manipulate a person without them even knowing it. The narrator revealed this skill of hers when they said, “Val could always see what other people liked best about themselves, and flatter them. Valentine could persuade other people to her point of view—she could convince them that they wanted what she wanted them to want” (127).
What Jessica desires is to be in control and she sees an opportunity to achieve this within the popular group of the school. Jessica earns her position within her clique by being demanding. She scrutinizes students at school, and her dominant demeanor allows her to control people’s behaviours. Although Jessica plays her part exceptionally well, Valerie is able to see through the facade. During a conversation between Jessica and Val, Val sees the true Jessica. She says, “The confidence was gone, the superiority was missing - all replaced by this weird vulnerability that didn’t look right on her,” (Brown 215). Valerie sees that without her public persona, Jessica is vulnerable. What Jessica desires is control, and without it she feels just as insignificant as those she picks on. By developing a public persona of a confident teenager, Jessica controls people’s lives and makes an impact on others, positive or
This passage marks the first of several types of love, and gives us an intuitive
There exists no power as inexplicable as that of love. Love cannot be described in a traditional fashion; it is something that must be experienced in order for one to truly grasp its full enormity. It is the one emotion that can lead human beings to perform acts they are not usually capable of and to make sacrifices with no thought of the outcome or repercussions. Though love is full of unanswered questions and indescribable emotions, one of the most mystifying aspects of love is its timeless nature. Love is the one emotion, unlike superficial sentiments such as lust or jealousy, which can survive for years, or even generations. In the novel The Gargoyle, the author, Andrew Davidson, explores the idea of eternal love between two people, a union that spans over centuries spent both together and apart. Davidson, through the use of flashbacks, intricate plot development and foreshadowing, and dynamic characterization, creates a story that challenges the reader’s preconceived notions regarding whether eternal love can survive even when time’s inevitable grasp separates the individuals in question.
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.
The heroine is a sweet, shy companion of Mrs. Van Hopper. The two go to breakfast, dinner,and parties together. She is not used to talking to an older man such as Mr. De Winter. She is very shy around Mr. De Winter and very respectful when it comes to talking about Rebecca which he does not talk much about.
, it also shows that her mother was strict and really seem to care about their family reputation ,unlike her father who does not seemed to be bothered "who told my father of my dear?" which shows that her dad is consistent and reliable man , and she answers her questions saying "oh but Maude" which also tells us who told her parents about her lover. In the poem it is shown very clearly that the narrator hates her sister. This shows us the sisters had an evil bond, then she starts describing the dead body of the lover saying "cold he lies, as cold as stone" The narrator feels so sorry for the lover death and wishes her sister hadn't killed the lover and suggests her lover didn't find her sister attractive we know this as the narrator says ‘Though I had not been born at all, He'd never have looked at
In her novel Middlemarch, George Eliot’s job is to compare different types of existence and their relevance to one another—where each character is faced with a struggle to resolve his/her desires with the realities of life. In the novel, both the characters of Dorothea Brooke and Dr. Lydgate share a similar form of imagination, where both create an image in their mind of the ideal marriage. Such images can be seen as illusions and it is through these illusions the characters must surrender to reality, as they must make an effort to understand the desires that sparked their imagination from the start, and must attempt to make peace with their existing situations. Eliot, through her narration, attempts to exemplify through these two characters this common inclination of human nature to create what we desire as a tool when dealing with life that is both limiting and disappointing. The vision of the ideal marital partner, for both Dorothea and Lydgate, is oddly chanced.
Isabelle is mixed with social and artistic temperaments, sophistically educated, and pursued by many boys; on Amory’s side, he knows “that he stood for merely the best game in sight, and that he would have to improve his opportunity before he lost his advantage” (Fitzgerald, 67). He designs listless illusions and fantasies of Isabelle through the letters he writes to her. Nothing is personal in this romantic game of love, such that a kiss in this relationship has no other value than a championship. When Isabelle and Amory do kiss, it is not a beginning, but an ending. All along Isabelle “had been nothing except what he had read into her; that this was her high point” (Fitzgerald, 91). Moreover, he discusses the “destruction of his egotistic highways” with Monsignor Darcy, admits that he “lost half [his] personality in a year,” and argues that he “can’t do the next thing” (Fitzgerald, 98-99). The levity of Amory and Isabelle’s love breaks off easily, and he moves on towards a rather idealistic type of love with Clara Page. Just as Burne replaces Humbird, Fitzgerald gives Amory new aims in Amory’s newfound love. Clara Page “was the first fine woman he ever knew and one of the few good people who ever interested him. She made her goodness such an asset” (Fitzgerald,
To site a specific incident, Marianne describes her opinion of Edward Ferrars- her sister’s interest- as being very amiable, yet he is not the kind of man she expects to seriously attach to her sister. She goes on to find, what in her opinion are flaws, that Edward Ferrars reads with little feeling or emotion, does not regard music highly, and that he enjoys Elinor’s drawing, yet cannot appreciate it, for he is not an artist (15).
When applying her theory of love to evaluate Ernest Hemingway’s “Cat in the Rain” and Judith Ortiz Cofer’s “I Fell in Love, or My Hormones Awakened,” one can visibly distinguish good and bad
The narrator maintains a cool distance from the subjects of the story and readers are invited only to peer into the lives of the characters as opposed to joining them on their quests for love and success. Haywood explores the (sometimes fatal) ramifications of relentlessly pursuing self-interest without stopping to think about how it will affect oneself and others in the long run, especially concerning ambitious women. Alovisa is the first woman introduced to the audience, and one of the first things readers learn about her is that she is prideful. Haywood writes, “Aloisa, if her passion was not greater than the rest, her pride, and the good opinion she had of her self, made her the less able to support it; she sighed, she burned, she raged, when she perceived the charming D’elmont behaved himself toward her with no mark of distinguishing affection” (38). Neglecting the social ideals of her time, Alovisa takes it upon herself to aggressively pursue D’elmont as a suitor.
She hides her actions and attempt to justify them until she is expose by the letter from the paper regarding her novel entry. She is ignorant to her unrealistic judgements about Cecilia and Robert and attempts to fix the problem when she made it worse. She realizes her mistake when the letter questions the conflict of her novel and she witnesses her attempt to hide the true horror behind her decision. While she attempts at hiding her problem in the draft, she made it more noticeable to the paper and drain the luster of the plot. Her realization of her ignorance honor the lovers’ romance and made her strive to atone her former