Love

eparated by generations and nationalities, Philip Roth’s novel Goodbye, Columbus and Ayad Akhtar’s play Disgraced have a few underlying themes in common. A substantial shared theme in these texts is women’s sexuality and pleasure. Each story has a male protagonist, whom the readers and audience are supposed to sympathize with. Because of this, the male gaze is applied to the featured women of these stories. In Goodbye, Columbus, Neil analyzes and judges every move his love interest, Brenda, makes. Somehow through this, he never bothers to consider her thoughts on sex or pleasure. In Disgraced, Emily’s sexuality is seen as overt and promiscuous. This makes her husband, Amir, uncomfortable, and the audience feels this strain. Both couples use

A woman in the Victorian era was good for few things – marriage being of the upmost importance. When married, a woman needed to pure of sexual experiences and desires, for only men had sexual needs to be fulfilled. If a woman were “ruined,” or not a virgin, she was unmarriageable. Few outlets were available unmarried women to survive, and many of them turned to prostitution. We shall see the image of a ruined woman presented by Christina Rossetti in “The Goblin Market,” and find the conflicting images of a prostitute in D. G. Rossetti’s “Jenny” and Thomas Hardy’s “The Ruined Maid.”

In this short story Mark Twain does an incredible job at incorporating in allusions in this work of literature to readers who know the bible version and this playful more human version. The short story teaches how one learns to accept a person if one gives the time to learn to love someone else even when they have many flaws. Eve is shown as being a bit bossy and inconsiderate towards Adam but they time they spend together Adam slowly learns to love her. Adam says: [a]fter all these years, I see that I was mistaken about Eve in the beginning; it is better to live outside the Garden with her than inside it without her (Twain 10). Adam is quoted

Eve was convinced! She picked the fruit and ate it” (“Adam and Eve”). Eve desired the knowledge that tasting the fruit would provide her with, much like Edmund desired to be the King of Narnia. Knowledge served as power in the bible and Eve was forbidden to this knowledge; Eve’s gluttonous ways made her disobey the lord and she was then

As Sebastian analyzes the peculiarity of Olivia’s proclamation of love, his “soul” convinces his “sense” that there is “no madness” in it, and although he recognizes there is “something in ‘t / That is deceivable,” he still agrees to the marriage (IV.3.9-22). Not only does his agreement to the marriage despite the insanity of the situation reveal his folly, but so does the fact that his “soul,” and “sense” are in conflict. The “soul,” or passion, of rational love works in coherence with “sense” to improve and evoke wisdom, while the “soul” of irrational infatuation works against “sense” to diminish reason and evoke folly. The contrast of Sebastian’s and Olivia’s rational decline with Olivia’s and Orsino’s rational growth demonstrates this process and emphasizes the folly of Sebastian’s infatuation.

During the conversation with Raphael, Adam relates his first experiences of passion with Eve, an emotion mixed with his love. While Raphael praises Adam's capacity to love, he disparages Adam's ability to control his passion. Adam should love, cherish, and honour Eve, but not subject himself to her. Moreover, Raphael stresses Adam's need to love God, and the potential conflict between his love for God and his love for Eve. To love God, is to obey God. For Adam, obeying God means never to eat of the Tree of Knowledge of good and evil. While God leaves Adam free to will and in his own will free, his will though free is mutable. Under the influence of passion — sexual desire for Eve — Adam could choose to act in ways at variance with his free will and God's will. Sexual passion engenders pride, affecting Adam's obedience and love for

She shamelessly announces her fruitful personal life and her excellent domestic “skills” to other pilgrims, and publicly despises the “virginitee” or “maidenhede” (68, 70). But this foul wife is paradoxical that she trades her body and serves men with a “feined appetite (pretended interest)”, but man also pay her back with their marital debt by their “sely instrument (blessed instrument)” and, most importantly, be enslaved by her intimacy (423, 136). Her open speech of sex demonstrates her proud, her mental satisfaction and enjoyment of her in-bed experience and her purpose of marriage is not only money but also the sex, the feeling of having the dominance. Besides that, she regards herself to be the creditor and governor of her marriage, she regards her husbands as her “dettour (debtor)”, “thral (thrall)”, she is able to “have his tribulacion (tribulation)” and she has “the power” above men “al… life upon his proper body (all life upon his own flesh)” (161-164).

One of the poem’s main premises as to why having sex is superior to making love is that the participants are not giving in to a “false Messiah” (15). People who claim to be in love or fawn over their sexual partners are missing the true point of the intimate act. The notion of a false Messiah, which is love and affection, argues that love is not a true savior for people, and it is more of an imposter of happiness. The poem states that when people extract love from the act of sex, each person does not mistakenly love the mediator of satisfaction, but instead focus on praising the true “God”. If one spends so much time admiring a person, he or she will ultimately be disappointed or lose time with the real goal of sex. In the words of the poem, to be attached to the person one is having sex with would mean to “mistake the lover for their own pleasure” (17). He or she would then fail in their endeavors to reach true satisfaction.

Both sets of characters, an unnamed pair of loves and Romeo and Juliet, prove that intense passion can hurt oneself when the pursuit of passion trumps aspects of one’s own individuality. The light and dark imagery

Depending on the cultural and religious beliefs, sex means either a form of intimacy and liberation or a repulsive and sinful behavior one should avoid. Dominance of the Catholic Church during the Medieval period made sex taboo and sinful. This negative view of sex strongly contrasts the positive views of sex during the Sexual Revolution of the 1960s. Sex in the 1960s was not restricted or taboo, but rather an outlet for liberation and growth, especially among women. While set in two different time periods, both Umberto Eco’s medieval-based The Name of the Rose and Thomas Pynchon’s sixties-based The Crying of Lot 49 include romantic encounters examining the themes of exploration and liberation. Eco utilizes the sexual encounter as a moment of character development, while Pynchon, by contrast, demonstrates how sex does not always lead to character growth.

The wife of Adam, Eve, was created by God as a companion to accompany him. They live in harmony and peace together amongst the Gardens of Eden. Their life takes place in the book of Genesis, part one of the Bible. Eve’s position in her life is to make sure Adam is never lonesome, and to serve as a soft, beautiful touch to the Garden of Eden. When a devilish snake coaxes her into eating the forbidden fruit, God’s fury plunges her and her husband into eternal punishment for their sins. Eve’s punishments in particular were very harsh for her wrongdoings—the burden of the first childbirth, and the order from God to serve Adam and have him be her master forever. This biblical figure’s trials were important to the plot of the bible and all that revolved around it afterwards, because her struggles are what impacted the rest of ecclesiastical history.

He resists change—even a positive change—in an effort to preserve the familiar, secure routine which benefits him and keeps Eve secondary. He does not believe that Eve can function independently or overcome risks and temptations away from his allegedly advanced comprehension and supervision. Adam’s statement that a wife is “safest and seemliest” (IX 268) when with her husband reflects the attitude of 17th century society: women are helpless and endangered without men, and they need their husbands’ guidance. These same “chauvinistic and incorrect” ideals are shown in Paradise Lost yet the “attitudes that are in the poem that show Eve to be of a weak character are to be satirized, and criticized,” not taken seriously as Milton’s own opinion (Medici). Diane Kelsey McColley declares that “far from being Milton’s ‘own voice,’ Adam’s diatribes…epitomize stale antifeminine commonplaces still lingering in Milton’s lifetime” (McColley 24). Milton does not present his personal point of view in Adam’s outlook, but rather includes the position as “a useful guide to the perverse response we are not to make” (McColley 34) in order to denounce the narrow-minded ideas and inspire readers to challenge them.

After the fall in Milton’s Paradise Lost, Adam and Eve bicker and blame one another for their decent. First, Adam accuses Eve for her physical act of accepting the apple from Satan and eating it, thus defying God’s decree not to eat from the Tree of Knowledge. In retaliation, Eve responds and attempts to not only justify her act, but also to place the blame on Adam. Eve’s reaction is typical of someone who does not like to admit he is wrong.

present and one of those is the theme of love. Philia, Eros, and Agape are the three types of love present in the play and are what represent the theme of love. These three types of love, Philia, Eros, and Agape are expressed by the different characters in the play. The expression of the theme of love in the play is not just there by accident; William Shakespeare put it in this comedic and romantic play with a purpose.

Milton reproduces the scenes of Bible in his Paradise Lost. This epic reveals the sin and degradation of human beings in twelve volumes. In the beginning, because of Satan’s challenging of authority, he has been expelled from the realm of heaven to the hell by God. This rebelling hero always seeks for a chance to take his revenge on the unshakable authority. Based on consideration of the strength of his party, man, the newest creation of God, turned into the ideal target. In the end, Eve successfully seduced by Satan, because of her inner desires and vulnerability. Even though the birth of Eve is to fulfill the emptiness of Adam, who has no one to share the beautiful scenarios in the Garden of Eden, Eve has been endowed with humanized image in the Paradise Lost by Milton. She is not only the beautiful mother of human beings, but also processing some remarkable characteristics. Although it is Eve’s vanity about her alluring physical appearances gets herself into trouble, she is an authentic existence is this epic. Nothing can stop her from pursuing independent self-consciousness. Therefore, in Paradise Lost, Milton represents the ambivalent relation between dependence and independence of Eve in respect to Adam.