Relationship Between Catullus And Lesbia

Many of these poems describe romantic relationships and the relationship’s effect on the speakers’ behaviors. Whether the speaker feels lovesick, obsessive, or excited, the behavior of the speaker is different than it was when he/she was not in love. These love poems from Deir el-Medina depict the effects of a romantic relationship on the behavior of the people involved.

Hermia and Lysander behave irrationally throughout the whole play because they’re head over heels for each other; however, their love is oppressed by both her father Egeus and the strict Athenian law. In Act 1, Scene 1 when Egeus is at court with Hermia he uses a demanding and dominating tone to state, ‘as she is mine i may dispose of her’ This causes them to act spontaneously and irrationally and as a consequence, they run away from Athens to get married. This entertains the audience by adding more conflict and complication to the story. After they elope to the forest, magic becomes the force that turns love to a dramatic and conflict filled experience that is also entertaining. Lysander acts in irrational ways when he is put under the spell of ‘Love in Idleness’ where he states how madly he loves on Helena, and how much he hates Hermia. ‘Hang off, thou cat, thou burr! Vile thing, let loose, / or I will shake thee from me like a serpent.’ Derogatory language and repetition is used to emphasise his hate toward Hermia and orders her to leave him alone. For example, in Act 3, Scene 2, Lysander has fallen in love with Helena and tells Hermia how he hates her. ‘Out, loathed medicine! O hated potion, hence!’ Conflict between characters create comedy in the play which entertains the audience because of the dramatic irony. Lysander’s insults in the statement are repetition as it is the same meaning but in different words. This language technique emphasises that Lysander wants Hermia to leave him alone.

Love has an intoxicating effect on humans. It has the ability to cripple the mind of an individual as they become fixated with undying passion of another individual. Although love can bring pleasure, it can also be a cruel mistress that has the ability to crush one’s soul at a moment’s notice. The negative impacts of love are clearly seen in Virgil’s Aeneid, where we see the love between Aeneas, a Trojan war hero, and Dido, Queen of Carthage, ultimately resulting in the death of Dido after Aeneas is forced to leave Carthage to fulfill his duty. This story and Virgil’s negative interpretation of love are reflected in poet Louise Gluck’s poem “The Queen of Carthage.” In her poem, she attempts to portray to her audience the suffering Dido felt after Aeneas left Carthage. She warns her audience of the dangerous and double-edged nature of love using Dido as an example. Gluck’s use of repetition of key words, parallel structure, syntax and frequent allusions of to convey the risky nature of love.

Portia then restates that as a married couple, she is not just something, "to keep with you at meals, comfort your bed /and talk to you sometimes?" (2.1. 306-307). She does not feel like his wife and equal anymore, saying that she is not important when kept in the back of her husband's mind only for his pleasure. Guilty student. Portia, the rendition of the Roman modern woman, cannot live in that kind of state, believing that she feels used. She is very disturbed by the way she is treated, declaring "Portia is Brutus' harlot, not his wife" (2.1. 310). Slowly, Brutus understands his wife and feels shame when recalling what she has gone through. He tries to comfort her by saying, "You are my true and honorable wife, /as dear to me as are the ruddy drops /that visit my sad heart (2.1. 11-13). Next, Portia says that if what he says is true, Brutus should live up to his word by telling her the secret. Portia understands that as a woman, she is somewhat inferior to her husband, but she is not just any woman, for she has a good husband and is the daughter Cato, a well-respected Roman. To prove her constancy even further, she, following the Hellenistic form of ascetics, stoicism, makes a gash in her thigh. Portia claims, "Can I bear that with patience /and not my husband's secrets?" (2.1. 324-325). This wound was a proof of pain and showed her love and loyal constancy. Upon hearing this, an epiphany

Laertes displays more concern for their name and reputation tarnishing rather than Ophelia’s feelings. Like Ophelia, When Lucy acted very much like her friend Mina, who acted like a “good Victorian women” and suppresses her urge for sexuality and “anticipate dependence and submission when they are joined with the masculine.”(Howes 109)

This image of Lucretia is not that of some mythological or religious origin, say, of a venus, for example, part of whose appeal is the depiction of nudity without social repercussion. With respect to the time which bore this painting, it is not unlikely that this inclination to experiment with the female nude was in part sublimated by means of this historical subject matter, however, so say that Lucretia’s nudity is illustrated only on account of what would amount to the privilege of moral impunity is perhaps too simple an explanation. It seems much more reasonable to posit that Lucretia’s own nudity, especially in conjunction with her opulent, indeed, what is surely very expensive clothing (other depictions of Lucretia typically omit the inclusion of clothes altogether), is employed by Cleve to highlight Lucretia’s shame—amid her wealth and regal lifestyle, her clothes have been cleaved open, and she had been irrevocable hurt and humiliated. Whether intended by the artist, this awkward parting of Lucretia’s garments over her left shoulder and down through her abdomen adds greatly to the desolation and pity associated with her historical figure. Ultimately, this compositional decision serves to augment the paintings emotional

When Odysseus returns to Ithaka, his curiosity in viewing whether people remembered and missed him drives him toward testing people. His own beloved wife, Penelope, is apart of his trial making. Without approaching her in his true form and telling her who he is, he rather has a conversation with her lying that he entertained Odysseus. From the deceiving stories of Odysseus, Penelope listened as “ her tears ran and her body was melted… as Penelope wept for her man, who was sitting there by her side” (287. 205). Causing her so much sorrow and grief through Odysseus’ trials. He even has “ pity for his wife as she mourned for him” (287. 210). In his reckless curiosity he generates more pain and suffering upon her fragile self than deserved. Also, Odysseus tests his father in curiosity “to see whether he will know [him] and his eyes recognize [him], or fail to know [him]” (350. 217). However, Odysseus takes it too far, using words of mockery, and even seeing his father break down in tears over him, Odysseus continues in his deceit. Speaking to the extent that Laertes “ caught up the grimy dust and poured it over his face and grizzled head, groaning incessantly” (353. 315). In those days such was the epitome of mourning, to cover ones face in ashes and dirt. Out of Odysseus’ reckless curiosity, Laertes who is already old and weary has to endure mockery and mourning from his own

    Byblis and Myrrha, two of Ovid's impassioned, transgressive heroines, confess incestuous passions. Byblis yearns for her brother, Caunus, and Myrrha lusts for her father, Cinyras. Mandelbaum translates these tales effectively, but sometimes a different translation by Crane brings new meaning to an argument. As Byblis and Myrrha realize the feelings at hand, they weigh the pros and cons of such emotions. Despite the appalling relationships in question, each young girl provides concrete support and speaks in such a way that provokes pity for her plight. Their paths of reasoning coincide, but Byblis starts where Myrrha's ends, and visa versa; Myrrha begins where Byblis' concludes.

The patriarchal society in which EBB lived, is subverted in the Sonnets as she twists the traditional use of a Petrarchan sonnet and turns herself into the unconventional ‘hero’. Her imperative and authoritative tone of voice, represents her power and her drive in a world where her father ‘owned’ her. The archaic language in the line “That thou dost love me- Though the word repeated” is expressive of her want for past tradition, and her ability to remind the audience that the sonnet is art. “…love me, love me, love me…” demonstrates EBB’s want for RB to express his love for her, but also for him to “…love me (her) also in silence, with thy soul”, keeping it between them, sacred from her demanding father.

I’m hither, with abhor, to complain about mine daughter Hermia. My lord, this sir, Demetrius, hath mine permission to marry that lady. Step forward, Lysander. —But this other sir, Lysander, hath cast a magic spell ov'r mine child’s heart. You, thee, Lysander, you’ve given that lady poems, and switch thy love with mine daughter. You’ve connived to steal mine daughter’s heart, making that lady stubborn and harsh instead of obedient, I asketh thee to alloweth me exercise the right that all fathers has't in Athens. Since the lady belongs to me, I can doth what I want with her, as the law says: I can either maketh that lady marry Demetrius—or hath that lady killed.

As the play begins to unfold love is immediately illustrated to be the main theme of the play; starting with a wedding and leading up to tears shed by miserable lovers.Although it is an extremely rewarding, love is never an easy adventure. Lovers must be prepared to protect and fight for one another against everyone and anyone. In Hermia’s tragic situation her enemy was her father. Egeus passionately voices his disapproval by taking his daughter to Theseus and stating, “ full of vexation come I with complaint Against my child, my daughter Hermia.—Stand forth, Demetrius.—My noble lord,This man hath my consent to marry her.—Stand forth, Lysander.—And my gracious duke,This man hath bewitched the bosom of my child” (1.1. 22-27). When love is at last passionately felt amongst both lovers, it encounters a malevolent invincible demon; parental disapproval. Hermia and Lysander’s love is cursed and forbidden by her father’s

In this essay I will be commenting on the presentation of relationships in two poems. The first poem is ‘Les Grands Seigneurs’, in which the speaker remarks on her life before marriage, where she was adored and worshiped by men, and how it has changed after marriage. ‘My Last Duchess’ is a dramatic monologue in which the speaker comments on his late wife and her character, suggesting that she was unfaithful to him and hinting that he may have murdered her because of this.

Unlike Titus’ other sons, whom remain numerous and mostly nameless, Lavinia is immediately distinguished and established as a central character. Upon Saturninus’ ascension to the Roman throne, the seeking of her hand in marriage is the first act of the newly minted emperor. Already promised as she is to Bassianus, Lavinia’s brothers spring to action in order to protect the unsolicited match from occurring. In doing so, they directly defy both the power of their father and that of their ruler, willingly submitting themselves to the ire of great forces on behalf of Lavinia’s propriety. The youngest, Mutius, even loses his life for the cause, bearing the brunt of Titus’ temper. While the public breaking of the vow between Lavinia and Bassianus might have been embarrassing for the family name, the esteem derived from a match between their sister and the emperor should have outweighed the risk. It can be supposed that Bassianus was Lavinia’s own choice of husband, therefore the combined effort of all involved to preserve that match is reflective of her ability to sway the actions of others by quietly effecting her

When reading the poems from Sappho, they all are about love. In this poem, the narrator seems to be a woman. She is speaking about she feels as if she's being held back from opening up to love, so she wants Aphrodite to set her free. Aphrodite is the goddess of love and sex. Her poems mainly focused on same sex relationships.

I will consider the way in which the two poets deal with the idea of love as timeless.I will also explore themes of authenticity and identity in their poems about love. In addition I will consider the extent to which their gender may have affected their view of love.