Love: The Universal Constant

Some say that the idea of respect in modern terms differs conceptually from that of earlier periods. That argument is demonstrably false. Although cheat has been characterized In many different ways throughout the ages, the fundamental root remains constant. No matter the eccentric personalities erotic love Is entitled to, love Is what It Is. From a literary point of view, whether one reads the tender longing of Shop, the unattainable desire of Patriarch, or the whimsical prose of Dickinson, the message of love despite its innumerous of formsremains the same.The concept of love particular to the piece of writing is every bit a study of psychology, sociology and anthropology as it is a literary endeavor. As readers of literature, we do not learn anything intrinsically controversial about love crosswise eras, alone rather translate the dateless message of the many facets of love into literature and interpret its significance. The idea (or theme) of love does not change from tex t to text regardless of era, save rather has new traits tacked on as time progresses.In her poesy Rich-dethroned Immortal Aphrodite, Shop describes an insatiable desire or a woman, the pain of her refusal, and the dejected plea for release from the obsessive pursuit. have it off struck, Shop begs Aphrodite to make the woman hers. Shop can only theorise the unbearable pain and sickness of a crushed warmheartedness if otherwise. In another poem, He looks to me to be in heaven, Shop overwhelms readers with feelings that resemble butterflies in the stomach.The narrator of the poem has fallen in love with someone who makes the heart leap in my breast for watching you a moment, speech fails me, My dialect is paralyzed, at once a light fire nuns beneath my skin, my look are blinded, and my ears drumming. The concept of obsessive love Is again Illustrated Is James Jockeys poem Arab. The mall character seeks to profess his love to a young fille whom he has clearly fallen head over h eels for. The lovesick crack claims that a flood from my heart seemed to pour itself out into mossy. , I aspect little of the future. I did not know whether I would ever announce to her or not org if I spoke to her, how I could tell her of my manifold adoration. exactly my body was like a harp/ and her words and gestures were eke fingers ravel upon the wires. Similar to obsessive love, literature about love that is lost is scarcely as timeless. The melancholy that pervades the text is palpable in Counted Cullers The Loss of Love. For example, the terminal lines l have no will to weep or sing, No desire to pray or curse The freeing of love Is a terrible thing, They Ill who say that death Is worse. Simultaneously, In Patriarchs Canceller, Patriarch mourns the loss of his Laura. The unmistakable and undeniable sensation of loss and hopelessness is evident in both laddered, uncensored my life/ is totally, that night and day it weeps J bear without a helm in stormy seas/ on a suspicious course with no true guide. Then, there was Shakespearean Sonnet 57 that conveyed the realization that a fool in love is no much than a willing slave. The willing unwillingness of the speakers love makes one react at the truth of its depiction and at the tortured psychology which forces love into the anguish of such impossible situations. Being your slave, what should I do but tend. Upon the hours and times of your desire? I have no precious time to spend, Nor services to do, till you require. /. But, like a sad slave, stay and conceive enough/ Save, where you are how happy you make those. So true a fool is love that in you will, Though you do any thing, he thinks no ill. Almost half a millennium later, Emily Dickinson poem To endure thee moves readers with the same flooding emotions of a helpless lover. To lose thee, sweeter than to gain/ alone other hearts I knew. is true the drought is destitute/ But then I had the dewThe Caspian has its realms of sand, Its o ther realm of sea Without the sterile exclusive right/ No Caspian could be. So we see, love is an ageless universal constant. The powerful emotions invoked by love obviously reveal no discernible difference in the impact it has had, regardless of when the work was composed. Because there is a certain familiarity that love is enduring through the centuries with all its accompanying emotions and crossing of philosophic and religious boundaries, there is nothing really to be conjured about love, but only added factors that are discovered.