Hopeless Love : Act Of Worship

The Sacred Romance Drawing Closer to the Heart of God by Brent Curtis and John Eldredge is an interesting book that’s supposedly filled with useful information about how to live like a Christian and become more like Christ. However, this book has many issues. Brent Curtis and John Eldredge attempt to get us as readers to understand how to live and be more like Christ by comparing the pains and sufferings we all go through in our everyday lives to that of arrows piercing our hearts. As Curtis and Eldredge talked about arrows piercing our hearts I realized there have been times in my life that happened to me. Finally, after reading the book I realized that this book has the potential of being an interesting read but, it’s many errors leave us as readers confused.

Chikamatsu Monzaemon’s play, The Love Suicides at Amijima explores the disgrace of Jihei and Koharu’s misbegotten romance, the underlying conflict of the hidden innuendos aimed at the Japanese social class and the sense of duty formed between two women from unseemmingly different backgrounds. In order to fully understand these themes, on must take into account the societal structure of Osaka, Japan in the 1720s. Within this culture, every individual was instilled the notion of familial obligation and had to adhere to the rules placed upon them by society. Chikamatsu Monzaemon does an ideal job of capturing these concepts within the play.

In the novel Kokoro, Natsume Sōseki uses his character Sensei to represent how guilt can weigh too heavily on a person. Throughout the story, Sensei's interactions with the Narrator, both verbal and nonverbal occurrences, showcase how guilt leads to other negative emotional experiences, such as loneliness and misery. Sensei's internal struggle with guilt shapes the entirety of his adult life and the unfolding of the events in the book. This paper aims to show the implications that Sensei’s guilt has upon his life, especially his relationships with others.

“Who knows, perhaps a lovers quarrel?” He watched her step into her green taffeta dress, the daring décolletage exposing an enticing glimpse of her breasts, swollen from their earlier lovemaking. It was ruthless to deceive her, but he required her prolonged support and the information she passed

In the second movement, the girl stands up and walks away from her companion to end of the station so that she effectively distances herself from the influence of her male companion and enables herself, evidently for the first time, to realize what is in her own mind. According to Renner “Thus, figuratively speaking, the girl’s movement to a point where she can look out to the other side of the station shows the freeing of her mind from the control of the American and her development toward discovering her own feeling, represented figuratively by the other side of the valley she now sees for the first time” (32). Throughout the third movement, the girl appeals her mind for the first time. “She is again physically on his side of the station and the decision, but her mind remains on her side, to which she tries to persuade him by implying that her pregnancy could mean something to him and allaying his fear that they would not be able to “get along” with the added burden of a child.” (Renner 33). In the final movement, there is turning point where Stanley Renner offers a key sentence in the story when the woman serving drinks informs the couple of the imminent arrival of the train, the man picks up the bags to carry them to “the other side of the station.” appending great significance to the word “other,” Renner argues: “What the girl’s outbursts have made clear is just how strong her resistance

While she is on the train, she cannot help herself but to be lost in her thoughts. She thinks to herself, “‘Don’t think so much…’ I mumbled to myself. ‘Forget these complexes. Don’t complicate life. Don't be so ridiculous,’ I continued, punishing myself with these thoughts.

In the play Equus worship and passion are seen in many contrasting lights. In the example of Alan, the boy in the centre of the play, worship and passion are the same thing. What he is devoted to inspires excitement in him, in this case the God Equus. With his parents, it is the same, but in different ways of worship. Alan’s mother is a devout Catholic, and also has worship with a passion, but she is so devoted to this single cause she is unable to experience passion for anything else.

From the beginning of the novel, we feel that the different conceptions of what is to live to Watanabe and Naoko will make their love story impossible. The distance is unbounded between the two characters in their platonic relation, and take a geographical dimension early in the book. However Watanabe does not hesitate. If he is uncertain about everything in his life, he want to live and is not absorbed by Naoko’s death drives. Likewise he is not attracted by the inhumanity of Nagasawa. Every characters of the book are allegoric of Japanese and widely more generally human beeing. Here is the strength of Murakami’s work, beyond a very Japanese context firmly anchored in student turmoils of the Sixties in Tokyo, story and characters are universal. Main subjects like suicide, responsibility, depression and aspiration to live fully resonate in the reader’s mind, and the very Japanese sensibility that emerges from the work is transcended by

In the novel ‘Kokoro’, authored by Natsume Soseki’s, the protagonist is a young man who is bored with his life when he becomes a friend of an older man named “Sensei” by him, with an expectation of learning about life. The protagonist is often confused and disappointed by Sensei's words and believes that older man's perceptions about him are incorrect. Being an inquisitive character, the protagonist constantly possesses a desire to know about Sensei’s mystery life. He learns more about Sensei through his wife, Shizu, and hence his knowledge as well as feelings towards her increases as well.

Her hair tickled my nose as I felt it wrap tightly around my neck. Feeling trapped with no other place to go, I realize that no other person would love me as much as she does. It is easy to become accustomed to a romantic relationship even though there may be a lack of love, communication, or passion, but there are couples that can develop their own peculiar habit. The couple in Yasunari Kawabata’s story “Sleeping Habit” have a strange habit of having the woman’s hair wrapped around the man’s arm and neck to keep him from loosening his embrace. Through Kawabata’s use of ambiguity, it never becomes clear to the reader whether the couple is truly romantically involved or going through the motions of sleeping together.

Ryuji, the sailor, symbolizes Japan’s situation at that time, stuck between the opportunity to embrace westernization or fight to retain the fleeting traditional Japanese culture. Ryuji embodies the current Japan in his vacillating mindset, entangled in Fusako’s temptations, and in essence symbolizes the limbo that the people of Japan are stuck in. The citizens of Japan lack a cultural identity, and this can be inferred from Ryuji often being unsure as to who he is, and this demonstrated when Mishima conveys that “Noboru didn’t realize Ryuji was sinking into a void” (Mishima 152). This description gives insight into Ryuji’s mind where he is sinking, unsure and confused, the same way Japan is being blinded by the western goods and losing grip with their traditional cultural values. If Ryuji marries Fusako and gives into the western way of life, it is the death of Japan as Mishima knows it.

One of the concepts of love from Chapter 4 is the lack of trust. Like the book says trust is important for your relationship because both partners can be secure. Being in a long-distance relationship a lot of trust is needed. Dependability was quote on this section of the book and I feel like that why my boyfriend is there for me so when something happens we can spend quality time together and he can make me feel better. The word he tells me help me out and appreciate him more because he is there for me when I need him. This helps me reinforce what I have learned from this is that trust can either make or break any type of relationship whether monogamy, polyamory or non-monogamy. Love and trust come hand and hand together. Another concept learn

She confronts taboos and questions figures of authority through the process of domestic scenes and of abuse, in both word and line drawings. Acting as a witness herself she questions the relationships she has been in including that of her parents. Even in the sections "the loving" and "the breaking," she is not yet secure in herself. She continues to struggle to find her own worth and looks to others to give her power. In "the loving," she is consumed by love, or what she thinks is love.

Devdas rise above limits to grasp their affection in a profound way. They repudiate their material belonging and embellishments in the quest for non-romantic adoration. This is all that much like some female holy people in Hinduism, who said that "common relational unions speak to both the bait and the servitude of the world, while their association with God (once in a while discussed as a profound marriage) speaks to a renunciation of the world and customary parts" (Kinsley, 1981). Paro‟s move from youth to adulthood is spoken to through the picture of a lotus blossoming. "In Hindu otherworldly examination the lotus has a unique spot. It is viewed as unadulterated and lovely, as well as an image of goodwill, peace, flourishing and bliss" (Bhalla, 2009). In its maturing stage, the lotus symbolizes her inactive adoration that has not achieved full acknowledgment. With the blossoming of a lotus, which is viewed as blessed in Hindu conviction, Paro‟s profound adoration achieves a completely created stage. Amid their initially meeting as grown-ups, Paro lights a „diya‟ or a light, something that Hindus do while performing petitions to God. In Hindu family units "a customary oil light is lit day by day before the sacrificial stone of the Lord" (Chary, 2009). Promptly after that, Devdas is appeared from his feet upwards, hoisting his status from minor mortal to profound significant other. Vasudevan (2010) applies the idea of darshan to this scene, where the "lighting of the

Both Sayuri’s childhood psychological unfulfillment and Tanaka-san’s role as her first “surrogate” father figure cause obsession with Chairman Iwamura. Adversity and emotional problems encountered during early childhood play a great role in shaping later behaviors. Sayuri’s lack of love from a father figure in her youth shapes her mind’s particular susceptibility to displays of affection from older males. When the Chairman performs the simple act of helping and complimenting her, she “changed from a lost girl facing a lifetime of emptiness to a girl with purpose in her life” (113), the event greatly impacting her psyche. She is led to believe, through her deadpan father, that men are generally uncaring, and as such