My Ideal Partner Life

An ideal husband would be a person who is an ideal companion. Does it appear that I am running around in circles? I hope it does not. Through the traditional role of a husband is different from that of a wife, the qualities of a person are not sex-oriented,they are person-oriented. What do I want in the person I marry? My list may be a long one but it is sound in its priorities. I want the man I choose as a husband to be generous, to have a sense of humor and to be trusting and trustworthy. I would like to build our relationship on affection and respect and on complete frankness.

A tall order? Let me explain myself. Affection and respect put together are the essences of love. They are more durable than the euphoria of romantic love linked to physical attraction. It is true that beauty contributes a great deal towards life’s pleasantness, but unreflecting, unthinking beauty has nothing to recommend itself. Respect in a relationship is very important, and note I mean respect, note awe or fear or any other feeling but respect which includes self-respect and can be stretched a long way to cover the crevices or feelings.

I would like my future husband to be frank with me and to discuss financial, emotional and other problems with me. for if there is any ground on which I cannot thread, or any occasion when I find the door closed against me, or any time when whispered conversation take place, or papers and letters are kept away, or I look askance and don’t get a reply, then there a lies the beginning distrust and rift. Marriage is companionship,it extends into old age and can mature into a relationship where words need not be exchanged and still complete understanding my exist.

It is a relationship that cannot be built on lies or half-truths. When I use the word ‘frank’ I do not only mean emotional friendship through they too are included. Is it not more grateful that my friends of the days when I was not yet married be known to my husband than that I spring a surprise on him or leave him to work his imagination in different directions? Similarly, I would like to know about my husband’s friends-men and women.

Frankness should extend to all money matters. I should know (and so should be) what our economics position is. Marriage is the basis of family,it grows and matures and strengthens over the years. It cannot do so when the partner concerned pull in different directions. A home is aplace where on feels there should be uneasiness, no appearances to maintain, where one should feel free to express onself and one’s own true self.

This is possible if there is some basic enerosity in the members of the family for generosity backs up the desire to understand,to be less critical and more forgiving in one’s approach. Don’t you know that a grim man is stern and unforgiving? There are numerous little problems which can be laughed away. At times this capacity to take things lightly, to see the funny side of an otherwise grim situation may cement a relationship much more than anything else. Laughter keeps one young. It is the best medicine. So let’s live and laugh together.

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The Treatment of Love in Shakespeare’s Othello

What can we see about the treatment of love in literature from comparing Shakespeare and Browning? In Shakespearean ‘Othello’ and Borrowing’s ‘The Laboratory, it is implied that love was the cause of a desire for revenge on and the death of another character. In ‘Othello, Othello-despite loving her-desires revenge on Desman, believing she has been unfaithful, and irrationally decides to kill her: “l will withdraw/To furnish me with some swift means of death/For the fair devil” (Ill. Ii. 73-4), whilst in Borrowing’s poem ‘The Laboratory, the monologist desires revenge on their lover by poisoning the woman with whom the lover was unfaithful-“And Pauline should have Just thirty minutes to live! ” (VI. 3). All of these texts have dramatic conclusions as a result of each of the characters’ desires. The conclusion of Othello, however, shows that the strength of the love between Othello and Desman was enough to cause Othello to feel so much remorse that e killed himself after killing her: “O fool, fool, fool! ” (V. Ii. 319).

This Implies that, despite killing Desman, his love for her was enough to make him want to be with her forever-in the end. This contrasts with the negative impression that love inflicts death and instead, portrays that love is very powerful. Just like in ‘Othello, In ‘The Laboratory, the motive for death is love. The monologist decides to poison a woman with whom their lover has been unfaithful. This also seems to be quite an Irrational action, but, unlike in ‘Othello, the central character feels no remorse for doing what they are doing, implying they have a different kind of love; possibly a weaker one.

Overall, by comparing the texts of Shakespeare and Browning, we can see that, In literature, love is very often portrayed as being negative: a motive for revenge and the cause of many deaths. In ‘Othello’ and ‘The Laboratory, both characters believe that the only way to sort out the problem of their lover being unfaithful, Is to murder hem, but they do not consider consulting the other person, Implying they do not understand the strength of love.

By comparing these texts, we can see that, In literature, love Is portrayed as being a negative emotion, often overpowering the logical mind, however, linking back to the above point about Othello remorse for his lover’s death, It can often be shown as a strong emotion that, In some cases, can result In positives, such as, the realization of the bond between lovers, but In others, can cause Irrational actions.

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Mccarthy Paper

Ubiquitous Love In the novels, The Road and All the Pretty Horses, by Cormac McCarthy, McCarthy shows through symbolism and setting, that ever-present love is a basic human need. In The Road, the boy symbolizes faith, and is the source of never-ending love. All the Pretty Horses, the horses symbolize an unfallen spirit, and is the basis of a deep love. In The Road, the desolate and godless world proves to be unforgiving, yet there is a beacon of light and love found through the boy. In All the Pretty Horses, the beautiful yet disappearing Wild West is a source of pain, but also love.

McCarthy uses symbolism in both of his novels, to show an underlying importance, and to further enhance his overall theme of needing something concrete to love. In The Road, McCarthy shows how a father and son’s relationship is based off of the father’s unconditional love for the boy. McCarthy writes; “Can I ask you something? Yes. Of course you can. What would you do if I died? If you died I would want to die too. So you could be with me? Yes. So I could be with you. Okay” (McCarthy 11). This quote dives deep into how the man feels about the boy.

Through this quote, the man fully expresses that he would not want to live if he had to live without the boy. The boy proves here to be the man’s only hope and the source of what keeps him going. The boy symbolizes faith in a godless and desolate world. In All the Pretty Horses, horses hold deep importance and meaning for John Grady Cole as he adventures away from home. McCarthy writes, “What he loved in horses was what he loved in men, the blood and the heat of the blood that ran them” (McCarthy 7).

In this quote, John Grady Cole simply, but quite deeply displays his undeniable love for horses. John Grady Cole goes as far as to say that he loves horses equally as much as he loves mankind, and that both horse and man have similar qualities. McCarthy gives great symbolism to the horse, as it is being compared to mankind. Horses symbolize an unfaltering spirit that John Grady Cole so dearly idolizes as he experiences pain and anguish while his beloved Wild West slips through his fingers.

The horses are the only thing that John Grady Cole can hold onto from the Wild West. He will hold on strong, no matter what happens to him, and will love horses as he loves mankind. In both The Road and All the Pretty Horses, McCarthy symbolizes holding onto something and never wanting to let go in both the boy and the horses. The boy and the horses prove to be something that is ever-present that the main characters in the novels can love unconditionally. McCarthy uses setting to further enhance plot and the theme that ever-present love is a basic human need.

In The Road, McCarthy creates a desolate and destroyed world that the man and the boy find themselves trapped in. McCarthy writes, “When he woke in the woods in the dark and the cold of the night he’d reach out to touch the child sleeping beside him. Nights dark beyond darkness and the days more gray each one than what had gone before. Like the onset of some cold glaucoma dimming away the world. His hand rose and fell softly with each precious breath” (McCarthy 1). In this quote, McCarthy sets the stage for what the world looks like.

He describes it as extremely dark, and uses the simile of glaucoma to physically describe the Man and Boy’s experiences. The sight of this new, harmed world basically deteriorates your sight, as the world is no long worth looking at. McCarthy also uses strong and consistent word choice with dark, darkness, gray, cold and dimming. These words give rise to the depressing setting that the Man and the Boy are in. Also in this quote, describes the man’s love and protectiveness for the boy.

McCarthy uses juxtaposition here to show that despite the dark, dreary and ever discouraging world they are in, there is a strong and deep love that can overcome any type of desperation. In All the Pretty Horses, McCarthy paints a beautiful country whose culture is slowly diminishing. McCarthy writes, “They rode out along the fence line and across the open pasture-land…The light fell away behind them. They rode out on the high prairie where they slowed the horses to a walk and the stars swarmed around them out of the blackness.

They heard somewhere in that tenantless night a bell that tolled and ceased where no bell was and they rode out on the round dais of the earth which alone was dark and no light to it and which carried their figures and bore them up into the swarming stars so that they rode not under but among them” (McCarthy 30). In this quote, McCarthy sets up John Grady’s world with incredible imagery, describing the open fields, prairies and the abundance of stars that consume them. John Grady’s world is picturesque and seems quite perfect as the feeling of this quote is quite calming.

But, in the face of this beauty, John Grady is still faced with the ever-present disappearance of the Wild West culture. Although McCarthy finds sadness in the beauty, John Grady is yet again placed with his horses. McCarthy describes the men and their horses as “they” showing an unbreakable bond. In both The Road and All the Pretty Horses, McCarthy uses contrasting settings to ultimately unite them by showing that ever-present love can be found no matter where you are. In the novels, The Road and All the Pretty Horses, McCarthy shows through symbolism and setting that ever-present love is a basic human need.

He cleverly displays this by providing similar and contrasting elements. Humans need to know that they have something constant and concrete to love in order to survive. People tend to struggle when faced with challenges alone. The presence of something to love; whether it is a son, or a horse, is essential. This love is what drives the human race to overcome obstacles and barriers throughout life. McCarthy, Cormac. All the Pretty Horses. New York: Knopf, 1992. Print. McCarthy, Cormac. The Road. New York: Alfred A. Knopf, 2006. Print.

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In What Respects is Twicknam Garden a Metaphysical Poem?

a) In What Respects is Twicknam Garden a Metaphysical Poem?

b) How Does Donne Use Imagery Related to Nature?

c) Comment on Donne’s Different Attitudes to Love in One or Two Other Poems

a) The term metaphysical poetry was first used to group Donne’s poetry, and the poetry of his contemporaries, together because of their similar characteristics. Metaphysical poetry seeks to communicate difficult ideas as concisely as possible to the reader. Donne’s poem “Twicknam Garden” can be regarded as metaphysical poetry because it contains many difficult ideas expressed concisely. For example the lines “The spider love, which transubstantiates all, and can convert manna to gall” compares love to a spider, which were thought at the time of Donne’s writing to be poisonous.

The lexeme “transubstantiates” refers to the change from bread and wine to the blood and body of Christ. Manna simply means soul or spirit and gall, anger. Translated into modern English, the lines mean that love, poisonous like a spider, changes something positive and spiritual into something negative and bitter. The religious reference simply elevates the poem, giving it deeper meaning. Such a complex idea expressed in few lines is typical of metaphysical poetry.

Metaphysical poetry is also characterised by a line of argument being pursued throughout the poem. This is exemplified in “Twicknam Garden” as Donne maintains that love is painful throughout the poem. In the opening lines, he describes the painful effects of love “Blasted with sighs, and surrounded with tears”. The lines in the middle of the poem “let me some senseless piece of this place be” express that love is so painful for Donne that he would rather be an emotionless object than feel his pain. The final lines in the poem also express the pain Donne feels because of his unrequited love: “who’s therefore true because her truth kills me” refers to the fact that fidelity of a woman to a lover other than him, is painful and metaphorically “kills” Donne. Donne’s line of reasoning can be observed throughout the poem and is a standard characteristic of metaphysical poetry.

Donne’s use of rhythm in “Twicknam Garden” is also a classic feature of metaphysical poetry. The poem has consistent rhythm and rhyme scheme “And that this place may thoroughly be thought/ True paradise I have the serpent brought”, and also ellipsis, for example the archaic contracted form “‘Twere”, another common feature of metaphysical poetry.

Metaphysical poetry also contains many allusions to make the poetry demanding for readers. One such example in “Twicknam Garden” is the reference to the Garden of Gethsemane in the lines “These trees to laugh, and mock me to my face”. Donne compares Twicknam Garden to the Garden of Gethsemane where Jesus was mocked by soldiers arresting him, in a similar way that the trees mock Donne’s pain at being afflicted by unrequited love. Such a comparison is rather tenuous and stretches metaphor to its limit. Conceits such as this however, are commonplace in metaphysical poetry

The theme of unrequited love around which the poem centres is a common theme for metaphysical poets and Donne explores this theme thoroughly in “Twicknam Garden”. Donne describes love as a “spider”, meaning poisonous, and as a “serpent” because like the serpent in the Garden of Eden, the pain of unrequited love spoils the perfection of Twicknam Garden. Donne also describes the thoroughly: “weeping”, “kills me” “surrounded with tears”. This typical imagery for love poems is unusual for Donne but commonly found in metaphysical poetry.

b) As the setting for the poem is a garden, there is plenty of natural imagery to be found in Donne’s “Twicknam Garden”. Donne begins by stating the purpose for which he came to the garden, to cure his pain of unrequited love. Donne uses a metaphor comparing nature to a healing balm “Hither I come to seek the spring, and at mine eyes, and at mine ears, receive such balms as else cure everything.” Donne maintains that the balming effects that should be brought on by the natural beauty in the garden, are spoilt because he has brought with him the poisonous “spider love”.

Donne uses a paradox in that, the natural beauty that was supposed to soothe his pain, makes it worse because it contrasts with his misery. Donne complains that the natural beauty of the garden mocks him. He wishes for night to come so that he may not be able to see the beauty of nature. Donne also wishes that winter would come to freeze the trees which laugh at him and which cause him so much pain “‘Twere wholesomer for me, that winter did benight the glory of this place, and that the grave frost did forbid these trees to laugh, and mock me to my face”.

Donne then uses natural imagery in response to this: “Make me a mandrake, so I may groan here, or a stone fountain weeping out the year”. At the time of Donne’s writing, mandrake roots were believed to have human properties and scream when lifted out of the ground. Donne asks to be made into a mandrake root so that he may “groan” like a mandrake at his unrequited love. He then asks to be made a fountain, to that he may weeps tears, like a water fountain, at his unrequited love. Donne asks to be made part of the garden in order to be without feeling “some senseless piece of this place be”.

Donne also uses natural images at the beginning of the poem to create an abrupt opening. “Blasted with sighs, and surrounded with tears” carry connotations of the elements wind and water, because surrounded in this context means flooded.

Donne uses natural imagery in order to demonstrate to the reader his pain in being a spurned lover. The main ideas behind the poem is that he is in so much emotional pain that even the natural beauty of Twicknam Garden cannot console him.

c) “Love’s Alchymie” has a wholly negative attitude towards love as it is a poem that brings together several negative emotions pain, disillusionment and anger. The opening image is a crude sexual reference, also demonstrated in the alliteration used, which creates a harsh tone “Some that have deeper digg’d loves Myne that I”. Women in the poem are perceived as receptacles “deeper digg’d”, “lov’d and got” which is onomatopoeic because the sexual image combined with the violent sounding alliteration is gives the impression of an assault on the woman.

The perception of women as receptacles is also reinforced by Donne’s imperative “Hope not for mind in women; at their best sweetness and wit, they are but Mummy posses’t .” The lexeme “Mummy” means simply pieces of dead flesh but “posses’t” has two meanings; sexual possession and the possession of women by evil spirits. Donne suggests that when a woman appears sweet and clever, it is in fact the appearance given by an evil spirit that has possessed her, giving the appearance of life to a dead flesh.

The idyllic concept of love in paradoxically contrasted with Donne’s idea of the reality of love “So lovers dream a rich and long delight, but get a winter seeming summer’s night.” In these lines Donne argues that love is as cold and barren as a winter’s night instead of the beautiful ideal that they wish for. It is an epigrammatic couplet, which summarises the theme of the entire poem, that love is essentially a cheat.

Contrasts between the popular idea of love and the reality are also reflected in Donne’s musical image “In that dayes rude hoarse minstralsey, the spheares”. The day referred to is the wedding day, which for Donne is a humiliation as he describes it as “short scorn of a Bridegroomes play”. The image of music means that the unpleasant sound of wedding music, is perceived by a lover as being heavenly music, as it was thought by Elizabethans that the “spheares”, stars, played divine music to wonderful for people to hear.

The idea that love is an illusion is reiterated all through the poem as he compares a lover to an alchemist, “no chymiqe yet th’Elixar got”, because just as no alchemist found the elixir of life, the would-be lover will never find love, as all lovers do, is to turn base lust into love, just as alchemists try to turn base metal into gold, “but glorifies his pregnant pot”. The image of the alchemist is also used to show that lovers may find lust during their quest for love and be encouraged by it, just as alchemists were encouraged by discovering something which smelled sweet or had medicinal properties “if by way to him befall some odoriferous thing, or medicenall.”

Donne uses a rhetorical question in order to challenge the belief of the reality of love “Our ease, our honour and our day, shall we for this vaine Bubles shadow pay”. The “vaine Buble” is love, which is described as a shadow because it is it is feeble and false. The second rhetorical question challenges the idea that love is special “Ends love in this, that my man, can be as happy as I can; if he can endure the short scorne of a Bridegroomes play?” Donne’s argument is that if he, and his servant, can both experience so-called love and get married, then there can be nothing special about love as it is commonplace.

The poem that differs in attitude most clearly from “Love’s Alchymie” is “The Good Morrow”. It is entirely different in that it is celebration of the reality of love. It is an aubade and is although there is no dialogue from Donne’s lover in the poem, there is no doubt of her presence because of the frequent use of personal pronouns “we” and references to shared experiences.

The tone of the poem is joyful and teasing, established by references to immature sexual experiences “suck’d on countrey pleasures childishly”. These highlight that the lovers have moved from juvenile pleasures to real, mature love. This idea is demonstrated in the archaic cultural reference to the legend of the seven Christian boys, who were walled up in a cave to escape persecution, only to awaken to find Christianity the established religion “Or snorted we in the seven sleepers den?”. Donne’s analogy is to show that the lovers have awakened, like the boys, literally, but also spiritually. The literal awakening symbolises the awakening of their souls to love so that it is a “good morrow” for the lovers in every possible way: “And now good morrow to our waking soules.”

Donne acknowledges that both he, and his lover, have a past but it affectionately dismissive by using language to create a connotation of clumsiness “snorted”, “If any beauty it did see, which I desir’d, and got, t’was but a dream of thee”. The sexual image is dismissed as Donne makes clear that his lover is superior to any of the other women he has known.

The passion Donne has for his lover is also reflected in his declaration that all he needs is her. He rejects the outside world’s importance because for him, his lover is all that is important. “Let sea-discoverers to new worlds have gone, let Maps to other, worlds on worlds have showne, let us possesse one world, each hath one, and is one.” At the time Donne was living, new continents were being discovered and charted. In this phrase, Donne sets aside all of this because “For love, all love of other sights controules”, true love removes the desire to see other people and places, their world is now their bedroom “And makes one little room, an everywhere”. The lovers’ world is now each other, and the exploration of their love is as important to them as the exploration of the New World is to travellers. The lexical repetition of “world” demonstrates how important this idea is for Donne and the repetition of the imperative “Let” reveals his fervour.

The metaphor, and rhetorical, question “My face in thine eye, thine in mine appeares, and true plaine hearts doe in the faces rest, where can we find two better hemispheares without sharpe North, without declining West?” means that Donne’s lover’s eye reflecting him, and his eyes reflecting her, suggest that they are like the two hemispheres but without the coldness of the North, or the Western sunset which declines into darkness. The concluding lines also emphasise the strength of their love “What ever dyes was not mixed equally; if our two loves be one, or, thou and I love so alike, that none doe slacken, none can die” refers to the Elizabethan belief that death and decay come from the lack of perfect balance of elements. Donne’s final point is that their love will be everlasting because it is perfectly matched and balanced in each other, since their love is reciprocated, it is immortal.

The two poems are completely different in that “Love’s Alchymie” denies the existence of love because it is simply glorified lust, “Oh, ’tis imposture all”, whereas “The Good Morrow” stresses of difference between lust and love “If any beauty it did see, which I desir’d, and got, t’was but a dream of thee”. Both recognise the potential pain behind love “So lovers dream a rich and long delight, but get a winter seeming summer’s night” (Love’s Alchymie), “watch not one another out of feare” (The Good Morrow), however “The Good Morrow” praises love whereas “Love’s Alchymie” condemns it as an illusion.

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Puppy Love vs Adolescent Relationships

Live, Laugh, Crush Infatuation can be defined as “puppy love” or “the temporary love of an adolescent” (Word Net). Therefore, this concludes that many adolescent relationships are short-lived. For instance, William Shakespeare’s Romeo and Juliet is frequently called a true love story, but really, the two protagonists, Romeo and Juliet are merely infatuated. First, in most relationships, true love takes time to develop, and Romeo and Juliet only know each other for a couple of days when they decide to marry.

Furthermore, Romeo and Juliet constantly refer to each other’s looks, rather than to their true personality, which is a clear sign that they are simply infatuated. Finally, Romeo and Juliet are too young and naive for their bond to be true love. Indubitably, Romeo and Juliet’s relationship is not true love, but just infatuation. To commence, in most cases, true love takes time to fully develop. However, Romeo and Juliet only know each other for a couple of days when they decide to marry. “It is too rash, too unadvised, too sudden, too like the lightning,” (2. . 118-119) for their love to be true. Because Romeo and Juliet only know each other for a couple days, their relationship is not developed enough to call it true love. If Romeo and Juliet would slow down a bit and actually give some time for their bond to grow, it would give Romeo and Juliet a chance to get to know each other better, so their love would be genuine. Additionally, Romeo and Juliet’s bond does not grow enough to call it true love because right after Romeo sleeps with Juliet, he completely disappears and brings their relationship to a halt.

If Romeo was really in love with Juliet, he would “let [himself] be ta’en, let [himself] be put to death” instead of completely isolating her. Their relationship can not evolve into true love if Romeo and Juliet are separated for a long time, so therefore their “love” is only infatuation. Lastly, Romeo is just dumped by Rosaline the same day he meets Juliet. Since “Rosaline, that [Romeo] didst love so dear, [is] so soon forsaken” (2. 3. 66-67), it does not give Romeo enough time to fully recover from being hurt.

Thus, there is not enough time for Romeo and Juliet to fully develop their relationship because he is still grieving over his loss of Rosaline. Clearly, Romeo and Juliet did not have enough time to expand their relationship, so for this reason, Romeo and Juliet are only infatuated. The second reason why Romeo and Juliet are purely infatuated is because they constantly refer to each other’s appearance, instead of their true personality. Initially, when Romeo first sees Juliet, he immediately starts rambling on about how he “ne’er saw true beauty till this night” (1. 5. 3) instead of talking to Juliet and learning about her personality. Romeo and Juliet are not really in love if they only talk about how beautiful the other person is. If they would actually take the time to learn new things about each other so they can develop their bond, their relationship would actually be true love. Moreover, Juliet is no different from Romeo since she also talks grandly of Romeo’s beauty. When Romeo kills Tybalt, Juliet calls him “[a] serpent heart, hid with a flowering face! ” (3. 2. 73). Even though Romeo kills her own cousin, Juliet still refers to Romeo’s handsomeness, instead of grieving over Tybalt.

This shows that Juliet also bases her bond a 3 with Romeo on his appearance, especially since in this case, Romeo just kills her cousin. Lastly, even when Juliet is laying in the tomb, apparently dead, Romeo still refers to Juliet’s beauty, asking her “why art [she] yet so fair? ” (5. 3. 102). In Romeo’s last moments with Juliet, he is blinded by Juliet’s beauty, even though she is said to be dead. This clearly shows Romeo’s infatuation for Juliet since he wastes his last moments with Juliet to talk about her beauty. Evidently, since the couple bases their “love” on looks, their relationship is merely infatuation.

The last reason why Romeo and Juliet are merely infatuated is because they are so young and naive. First, Juliet “is not [even] fourteen [yet]” (1. 3. 15), when she marries Romeo and fully devotes herself to him. Romeo and Juliet’s relationship can be called “puppy love” (WordNet Search 3. 0), since they are only adolescents. Also, Romeo and Juliet can not say that they are truly in love because they are very inexperienced when it comes to love. Secondly, Romeo is only a couple of years older than Juliet, so his affection for Juliet is just “the temporary love of an adolescent” (WordNet Search 3. ). He even admits to Friar Laurence when he is banished from Verona, that “wert [Friar Laurence] as young as [Romeo], [with] Juliet [as his] love…then mightst thou speak” (3. 3. 65-68) Romeo is a very young teenager and therefore, his relationship with Juliet is just infatuation. Thirdly, Romeo and Juliet are young and naive because after they spend a night together and Romeo has to leave, they are confident that they will see each other again. Romeo “doubts it not” (3. 5. 52) and acts very naively since he knows he is banished, but he still thinks he will see Juliet again.

Romeo and Juliet think they know all about love, but in truth, they do not, since they are simply teenagers. Romeo and Juliet’s naivety is a reason why they are simply infatuated because it shows how young and inexperienced they are. Seemingly, Romeo and Juliet are simply two young and naive adolescents that are only infatuated. It would seem that Romeo and Juliet should be called a love story since it is a play about two young lovers who “fall in love” at first sight. However, it is the complete opposite. Primarily, there is not enough time for Romeo and Juliet’s relationship to develop into true love, so therefore it is just infatuation.

Furthermore, Romeo and Juliet constantly refer to each other’s appearances instead of their true personality, which is a clear sign that they are only infatuated. Finally, Romeo and Juliet are only naive adolescents who have not really experienced true love. Hence, their relationship is degraded to infatuation. In conclusion, it is very interesting why some readers call Romeo and Juliet a love story, since it really is not. If Shakespeare gave Romeo and Juliet more time to develop their relationship, maybe more readers would be convinced that Romeo and Juliet is a true love story.

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Becoming an Adolscent

Childhood to adolescences Eventually, everything has to change. Whether it is for the best or the worst is to be determined. In this short story Steven becomes more realistic about the nature of breaking up and he also learns to consider the feelings of others. Steven gains a deeper understanding of himself and figures out who he wants to become. In “breaking up” by Susan Beeby and Paul Lima, Steven experiences a transition from childhood to adolescences. Steven’s view of being in a relationship is not realistic because he does not know what commitment entails.

He attended his girlfriend’s birthday party, where he made her a cake and gave her a special birthday gift. His girlfriend said “when he gave me a gold band for my birthday, I thought our relationship was solid. ”(Beeby and Lima 1) Steven did not recognise the sentimental values a ring has for a girl. He did not think about the commitment he just made to her, resulting in a very immature choice. Steven is now seeing his ex-girlfriend not acting like she is upset or mad about him breaking up with her.

She is not giving him the satisfaction that he craves for. Steven than proclaimed “and every time I saw her afterwards- laughing with her friends, but looking at me with icicle eyes- I almost gagged on what I said. ”(Beeby and Lima 1) He is now taking more accountability for his actions. Steven is realizing he should have never made a commitment when he was not ready because it hurt him more in the end. He started out making immature decisions and he made progress through the story by taking more responsibility for the actions he chooses.

In addition to that, Steven takes more steps to becoming more of an adult. Steven gets the opportunity to understand how to respect others feelings. His girlfriend was expressing how their relationship was not perfect. “the romance did have its weaknesses, Steven would sometimes break our date”(Beeby and Lima 1) said his girlfriend. Steven did not take into consideration that maybe his girlfriend was really looking forward to their date. He did not think about her feelings. More into the story, Steven’s girlfriend explained how he has changed. sometimes he brought me flowers and wrote me poems” (Beeby and Lima 1) his girlfriend expressed. He is now realizing he should respect his girlfriend’s feelings and he should make her feel special. By this time he is not just thinking about himself. Steven makes a transition from acting very immature to more mature, and is now actually treating his girlfriend with respect. With the ability to respect others, he finds out who he wants to become. Steven has more of an understanding of himself. He is analyzing what he thinks a poet should do about love. love means commitment and real poets don’t commit themselves, not to no body. ”(Beeby and Lima 1) Steven is relating himself to what a poet would do, not to what he thinks is best for himself. He also experiences a wide awakening of who he thought he was. Steven was questioning if he was really a poet. “but I should have known I wasn’t a poet because I was afraid of how far we could go on the name of poetry. ”(Beeby and Lima 1) Steven made an adult decision realizing he was not a poet because he actually loved her.

He finally understood that you can be your own version of a poet and do not have to follow all the guidelines of a poet. Steven takes a huge step from being a child to becoming an adult. He experienced the aftermath of a break up. Steven also now knows how to consider other people’s feelings not just his own. He realizes who he wants to become; Steven took some time to figure out his faults, but in the end it all worked out to better him. The only question is will he stay an adolescences or make his way back to becoming more of a child?

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Irony in Love

Irony in Love Irony is a mystery. The smartest minds of society even contradict themselves; nothing goes as planned. No matter how much people are molded by others, they are always their own individual with their own free will. Love is also a mystery; it is an emotion, but also a psychological necessity. Having immense book smarts and everything planned out does not set the standards for the ideal guy. Conceded, self-centered people have no realization that the world does not revolve around them and their opinion.

In many cases, the guy “on top” does not always get what he wants but what he deserves. In Max Sultan’s, Love Is a Fallacy, the story has almost no association with the emotion love; it follows the material, selfish, earthly values of humans. Salmon portrays how irony can be seen through a man teaching a woman how to be logic, but then the woman turns away. Logically choosing another mate. A young law student pursues Poly Espy; a beautiful, graceful classmate who is not the brilliant compared to him. He aims to teach her logic, making them the “perfect” pair.

In his arrogance he neglects to see that Poly is her own person and does not have to choose him, no matter his educational status. After all the knowledge given to her, she makes the decision to “go steady’ with his roommate, Petty Bellows, realizing their relationship is not a logical choice for her life. As John Gay has said “follow love and it will flee, flee love and it will follow. ” Poly sees right through the main character, all his “hard work” back fired. In the end of the story she has no interest in him. With all his intelligence, he has no emotions.

Everything enters around him. During the story, Poly and the future lawyer meet for their “dates” at the Knoll. Known for being regularly visited by young couples as a hook up spot. Though this young couple ironically goes to talk about logic. The young law student could have taken her any. Veer at all, but chose to take her to a romantic spot for a non-romantic conversation. His unconscious, emotionless choice provides the audience and Poly even more information to come to the conclusion that he isn’t emotionally interested; even though he stated it early in the story.

For him this is strictly an experiment to see if Poly is “worthy’ of him. He would rather spend the time “correcting” Polyps mind because she is “logic-proof,” than trying to get to know her for who she really is. In doing this he debilitates the chemical process the brain completes in order to feel the emotion of lust and attraction. Everyone and everything has to measure up to him or it is not good enough. Though, in the end the law student doesn’t measure up to his roommate that is “dumb as an ox. ” At the end of the story, Poly chooses Petty over the pompous law student imply because of the raccoon coat.

Ironically the reason petty has the coat is because of the fact that his roommate gave him it for the girl. Poly hilariously proves to the young man that no matter how well put together someone’s future or current situation in life, something as simple as a raccoon coat can leave you in the dust. From the very beginning, Poly and Petty already had chemistry. Like John Dryden once said “love is not in our choice but in our fate,” there was something established prior. The young lawyer sought out to take her, not even considering she needed to be won over.

Once again not thinking about another individual’s opinion, only his need and wants to become a “successful” lawyer. Proven in Love Is a Fallacy, you can educate someone to a higher standard but the repercussions of that action may not be in your favor. This lead to the knowledge that having a giant intellect does not mean that an individual knows everything, especially about love. Many geniuses do not understand that not every aspect of life needs to be mathematically calculated to precision. People are singular because no one is exactly alike.

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