In Daphnis and Chloe, there are twenty one instances of crying. Of the twenty one instances, it is Daphnis who is crying thirteen times. No other character cries more than twice, and for four of the eight occurrences of others crying, Daphnis is also crying. Chloe, Daphnis’s counterpart, cries only twice, even though she is two years younger than him. Of the eight characters who cry, five are male. Although it is noticeable that Daphnis cries far more than other characters, he is not weak or inferior because crying is not associated with fragility or femininity as it is today; instead, it is regarded as a regular and respected aspect of one’s life. Perhaps within the theoretical events, characters did cry more times, but it was not depicted: …show more content…
Although Daphnis is two years older than Chloe, he is less mature than her: he is prone to outbursts of crying and “[realized] what love meant” (29) some time after Chloe did. Therefore, he does not have the position of power and dominance men often have in the relationship, so he will not take advantage of or harm Chloe unlike the majority of men in the narrative attempt to. However, Daphnis is depicted as especially kindhearted because even though these other male characters do despicable things, they themselves are not despicable: Dorcon “[makes] a beast of himself” (32) and attempts to rape Chloe, but he saves Daphnis’s life; Pan chases a girl “with the intention of offering her violence” (65) but is revered and saves Chloe’s life. Even after Daphnis has sex and therefore attains the upper hand in the relationship, he still cries often and demonstrates sensitivity. He avoided having sex with Chloe despite his desires, “for he did not want her to scream at him as if he were an enemy, or cry as if she were hurt, or stream with blood as if he had murdered her,” (82) as he was told would happen. Daphnis loves Chloe and values her wellbeing over his personal sexual desire even though that is the opposite of what he has seen other men do throughout his life. His newfound higher status in the relationship is used instead for teaching and …show more content…
In the same vein that Daphnis, nor any other character, can control their tears, one cannot control how, when, with who, or if they fall in love. Love occurs suddenly to Daphnis and Chloe and comes on so strongly it is likened to a “strange disease” (31) from which they both “suffer[]” (28, 31). In fact, tears are considered an “immediately recogniz[able]...sign[] of love” (116); crying and love and inextricably linked. Daphnis cries so often because he is in love and this is the power love has over someone. When Daphnis refrains from having sex with Chloe in fear it will harm her, it is in contrast to the behavior he has seen displayed by other men because true love and care are instinctive, not taught. Even after having sex, Daphnis still cries numerous times because crying is not purely associated with youth and ignorance but is a common, innate practice, especially when one is in love. Daphnis’s “burst into tears” is regarded as what “lovers usually do” (88). Crying is natural in both senses: inherent, but also correlated to nature itself; at Dorcon’s funeral, “some pitiful moos were also heard from the cows...this...was the cows’ way of mourning for their departed herdsman” (40-41). If one is inclined to do the immoral thing, nature reminds them of goodness: Lamon’s first instinct when he finds
anywhere else in his life, he even felt a little like crying himself.". Soon enough, Jeff discovers
In the Aeneid, love is depicted as an uncontrollable emotion. Venus and Juno promote the romance between Dido and Aeneas. Dido, the queen of Carthage, begins to fall in love with Aeneas, even though she has vowed to her late husband that she would set her “face against marriage” (Virgil 975). Aeneas falls in love with Dido and remains with her in Carthage, even though he knows that he must continue his travel to Rome. Love is a passion which consumes the soul in spite of its will. It is an “inward fire” (Virgil 976). Juno arranges it so that Dido and Aeneas consummate their love in a cave during a storm. Again, mortals have little or no control over their loves. The gods are the ones who cause people to fall in love.
...n and in order to stay his advances she gives him an impossible task to win her. However, when he completes the task the mutual respect in the marriage is put to the test. Arveragus wants Dorigen to keep her promise, but when she does Aurelius feels guilty and calls off the dept. This ending shows not only to respect the other gender but also everyone in general. The conclusion further supports the argument that a love based on equality, not just a marriage, is the superior relationship.
... of love can be varied from the madman who remains in unrequited love to the lover, like Hermia, who not only falls in love but overcomes obstacles and depictions of false affection from Lysander. The poet in this becomes the metaphorical observer of the events who out of love, attempts to protect his love. Theseus, here, refers unintentionally to Oberon, Titania’s jealous and vengeful husband, who watches Titania fall in love with Bottom. Oberon becomes the poet who gazes upon an event and analyzes every instance for its meaning.
Can a simple emotion such as love be regarded as one of the greatest weapons to create or attain power? It’s a renowned fact that human beings are by nature designed to need, crave, and even require love as part of their survival mechanisms. It comes to no surprise that one of the first accounts of antique poetry maintains love and the craving for it as its main theme; thereby, reinforcing the deep importance that it upholds in the lives of many individuals. Sappho’s “Deathless Aphrodite” clearly epitomizes the suffering and bitterness that arises from an unrequited love. In Sappho’s case, which portrays the case of many, she constantly finds herself in loneliness and despair for though she tries repeatedly, she is only let down recurrently as no one reciprocates the love she gives. It is only the Greek goddess Aphrodite, who holds
The meaning of love is as intricate and unique as the purpose that it serves. It seems that the nature of love is found in the mind, the body and the soul. In Plato’s Symposium each member of the drinking party gives their own interpretation of love. As each speaker engages in their discourse, the concept of love is evaluated from different angles. According to Phaedrus, homoerotic love is the highest form of love and that sacrificing oneself for love will result in a multitude of rewards from the gods, while Pausanias believes that there are two forms of love: Commonly and Heavenly. As a physician, Eryximachus claims that love appears in every part of the universe, including plants and animals and that protection results from love. Before starting his speech, Aristophanes tells the group that his discussion about love may seem completely absurd, as he explains that in the beginning one body had two people who were eventually split in half by Zeus. This is meant to explain why people are constantly looking for their “other half”. Moreover Agathon, the poet the symposium is celebrating, critiques the previous speakers by stating that they failed to praise the god of love. He claims that love rejects feebleness and embraces youthfulness while also implying that love creates justice, courage and wisdom.
Love is a powerful emotion, capable of turning reasonable people into fools. Out of love, ridiculous emotions arise, like jealousy and desperation. Love can shield us from the truth, narrowing a perspective to solely what the lover wants to see. Though beautiful and inspiring when requited, a love unreturned can be devastating and maddening. In his play, A Midsummer Night’s Dream, William Shakespeare comically explores the flaws and suffering of lovers. Four young Athenians: Demetrius, Lysander, Hermia, and Helena, are confronted by love’s challenge, one that becomes increasingly difficult with the interference of the fairy world. Through specific word choice and word order, a struggle between lovers is revealed throughout the play. In A Midsummer Night’s Dream, Shakespeare uses descriptive diction to emphasize the impact love has on reality and one’s own rationality, and how society’s desperate pursuit to find love can turn even strong individuals into fools.
I cry. There is pressure behind my eyes, my skin turns blotchy and my lips tremble, and mucus clogs my airways, making it difficult to breath. I hate crying in front of others: not because I want to hide how upset I am, but because the second that most people perceive my emotional state as fragile, they assume my reasoning and mental functions are also not sound. The outward expression of an inward instability is something we save for those who we know and trust best. They do not view our emotionality as a weakness, they already know us to be strong. Crying is represented in our culture as a lack of control. When upset, the "ideal" is to keep a cool head (and a poker face), not allowing emotions to enter into the decision making process. However, I submit that without our emotional base, rationality would have no reason or foundation upon which to operate.
Extreme passion results in irrational actions with horrifying consequences. The indecisive and fervent whims regarding love and the human heart are often selfish and fickle. For the victims of love, destruction is often inevitable. In William Shakespeare’s Romeo and Juliet, unrequited love forces both Romeo and Juliet to commit suicide, as neither one believes it is possible to continue life without the other. Both, through mere days of desperation, elation, deception, and grief, were ultimately cheated out of their lives by their love. Shakespeare develops a similar opinion through Helena in A Midsummers Night’s Dream. Helena is able to recognize love as a volatile creature, yet with uncontrollable power over the heart.The transient nature of love is channeled through deception and clouded judgement.
As the tale unfolds, it becomes clear that Phaedra is aware that her love for Hippolytus can never be fulfilled, and the shame that she feels from this passion is true. After confessing her love to Hippolytus in Act 2, scene 5, she curses the Gods for torturing her soul by making her love someone against her will, and she even goes as far as to ask for death. The power of shame has overcome her, and she feels that if she can not be with the man that she loves then she wishes to die by his sword as if she were a "monster". When Theseus returns home, her shame is heightened by the presence of him, and by the thought that her incestuous love will be made aware to all. However, this shame quickly turns to the offensive when she allows Oenome to plot a reverse of guilt and accuse Hippolytus of loving Phaedra. The power of shame is no more evident then at this point in the story, because Phaedra, feeling the height of shame after admitting her love to Hippolytus, must face both her husband Theseus, the man she should love, and Hippolytus, the forbidden love. Feeling confused and helpless, Phaedra allows Oenome to place the blame on Hippolytus, and this begins her change from feelings of shame to guilt.
Crying has always been recognized as a significant and frequent part of the therapeutic process (Blume-Marcovici, Stolberg, & Khademi, 2013; Nelson, 2012). During the therapy process, tears are often shed by both the client and the therapist. Because therapy tends to be focused on uncovering repressed emotions, working through traumatic experiences, processing grief, or adjusting to life’s circumstances, tears are often associated with the work that is done during therapy. Because mental health therapy tends to be emotion-focused, it is surprising to discover that little research has emphasized the importance of therapists’ crying during session. This leaves family science researchers wondering how often therapists cry in therapy and if their tears are helpful or harmful to their clients (“The Tears of a Therapist,” 2013). In a field that is so focused on emotions, more research needs to be done in order to better understand the frequency of therapists crying during therapy and how a therapist crying may affect clients. Understanding the frequency of therapists’ tears and the effects the tears have on clients may help future clinicians better indicate when and if it is appropriate for them to cry in front of their clients in a therapy session.
During much of the play, Helena relentlessly chases Demetrius, giving him love no matter how many times he spurns her. While in pursuit of him in the woods, where he tells her that he will never reciprocate her feelings, she tells him, “I am your spaniel; and, Demetrius,/The more you beat me, I will fawn on you” (II.i.203-204). She is so desperate to win him over that she lowers her own status, calling herself his dog; no matter how many times he may abuse her, she will always adore him. Out of love, Helena is willing to swallow her pride to prove her devotion to him. More evidence of Helena’s blind love towards Demetrius can be found in her overlooking the flaws in Demetrius’ character. For example, he proves himself to be quite insensitive towards Helena: when they are in the woods, he says he will “leave [her] to the mercy of the wild beasts” (II.i.228) if she doesn’t stop following him. He also says to her, “…I am sick when I do look on thee” (II.i.212). Lastly, he threatens her, saying “…if thou follow me, do not believe/But I shall do thee mischief in the wood” (II.i.237). Helena acknowledges this aspect of his character, though choos...
All of the eulogies and speeches within Plato's novel give great insight as to the social workings and aspects of ancient Greek intellectuals. Through The Symposium the reader learns the different aspects and natures of love as viewed by these intellects. The theories and themes within the novel are discussed and compared with the opinions and beliefs of each person present. The more notable themes in the novel are the ideas of physical love and lust, and the importance of the reproduction of ideas as they are filtered through each of the speakers.
In the plays female sexuality is not expressed variously through courtship, pregnancy, childbearing, and remarriage, as it is in the period. Instead it is narrowly defined and contained by the conventions of Petrarchan love and cuckoldry. The first idealizes women as a catalyst to male virtue, insisting on their absolute purity. The second fears and mistrusts them for their (usually fantasized) infidelity, an infidelity that requires their actual or temporary elimination from the world of men, which then re-forms [sic] itself around the certainty of men’s shared victimization (Neely 127).
Due to the fact that Troilus had mocked love becomes punished by the God of Love with a desire for Criseyde whom he sees in the temple. Troilus didn’t start anything with Criseyde by himself. He had gotten help from Pandarus who happens to be Criseyde’s uncle. He helps them and the start to exchange letters. This works and then Pandarus tries to get the two of them in bed together. Troilus is very nervous about this and h...