The Nature of Werthers Love in Goethes The Suffering of Young Werther - Essay Example

?II. a. The Nature of Werther’s Love in Goethe’s The Suffering of Young Werther von Goethe portrays the philosophical notion of love as part of a person’s attitude and personality wherein a person’s manner of loving can direct him/her either to social integration, or utter isolation and self-destruction. Specifically, von Goethe highlights the notion of mad loving as the fuel of self-destruction through emphasizing the consequences of Werther’s hopeless love for Lotte. Further, Werther’s love for Lotte is comparable to Callisto’s love for Melibea. Throughout the story, one can say that Werther is not capable of healthy loving because he was not able to accept Lotte’s rejection. In the novel, Werther’s love for Lotte leads to his destruction, in the physical and emotional sense. For instance, in the line “I felt oppressed with the weight of my sensations, and sank under them,” Goethe highlights Werther’s mad love for Lotte (von Goethe 21). In this case, Werther’s unrequited love for Lotte leads to his isolation and dislocation in the society, considering that he can only identify his desires only in relation to Lotte. Werther’s mad love for Lotte drives him to move away from social contact, which eventually leads to his suicide. Further, it is likely that Werther sees Lotte’s rejection as attributable to his inability to establish social relationships effectively. Werther’s mad love for Lotte contributes to his social disintegration, considering that he moved away from the society after realizing that he has no chance for Lotte. Werther dwells on his obsession and rejected love. For instance, Swales states “His (Werther) longing for absorption into oneness with the world around him degenerates into refusal to recognize the otherness of people, places and situation” (30). Werther’s disillusionment traps him in misery making him incapable to reach a reasonable solution to his problems. Relatively, one can say that Werther is a hopeless romantic, considering his understanding of love as dependent on social acceptance. His mad love for Lotte, along with his indulgence in his miseries, fuels his mental misery. Considering Werther’s nature of loving, one can say that he is not capable of healthy love. His love for Lotte is an obsession wherein he loses his grip on reality while focusing on his illusions of Lotte. Werther’s refusal to accept Lotte’s rejection mirrors his inability to master his emotions, particularly his mad loving. Relatively, Werther’s love sickness is comparable to Calisto, who is also obsessively in love with Melibea. In Fernando de Rojas’ Celestina, Calisto’s mad love for Melibea drives him to use Celestina’s witchcraft. However, regardless of Celestina’s help, Calisto’s love for Melibea still fails, which also drives him to commit suicide. Werther’s story brings out the nature of mad loving as a physically and mentally destructive force, which leads to utter ruin. Further, the story also projects another form of love, an obsessive kind of love that ruins the logic and truth. Werther’s case is also similar to Calisto’s due to their parallel portrayals of love as a sickness that can destroy a man. Lastly, Goethe’s idea of the bitter consequences of mad love resonates in the character of Werther due to the sufferings that Werther gets out of loving Lotte. Works Cited Swales, Martin. Landmarks of World Literature: Goethe the Sorrows of Young Werther. Cambridge: Cambridge University Press, 1987. Print. von Goethe, Johann Wolfgang. The Sorrows of Young Werther. Penn State. Penn State, n.d. Web. 12 Dec. 2012. . III. a. Frederic Moreau’s and Madame Arnoux in Flaubert’s Sentimental Education Flaubert presents another concrete example of the cause and consequences of mad love through Frederic’s and Madame Arnoux’s nature of relationship. In the novel, one can say that mad love draws people toward illicit affairs that bring on more failures and difficulties in their lives. Although the illicit affair of the two brings happiness at first, Frederic faces difficulties with his social and political relationships because of his love for Madame Arnoux. Relatively, it is evident that the novel portrays the same notion of mad love as a psychological sickness. In presenting Moreau’s love for Madame Arnoux, Flaubert writes “He was annoyed at the presents she received... the more he was irritated by her basic personality, the more he was drawn to her by a harsh bestial sensuality...” (411). Throughout the novel, it is noticeable that Frederic regards Madame Arnoux as his longtime love, considering that he tries his best to get her attention. Regardless of his affairs with various women such as Louise, Roseannette, and Madame Dambruese, Frederic still goes back to his love and memories with Madame Arnoux. Further, Frederic’s yearning for Madame Arnoux’s companionship resembles his desire to attain a lasting love and relationship. However, considering Frederic’s move in searching for such kind of love, it is evident that Frederic is smitten by the destructive influence of mad loving. For instance, Frederic comes in conflict with Rosanette and Madame Dambruese in the process of pursuing Madame Arnoux. In the novel, one can say that mad love is a result of the uncalculated actions of the characters. For instance, Frederic’s quest for lasting love is futile, considering his refusal to maintain a monogamous relationship. As for Rosanette, her search for love leads her to encounter various men including Frederic. Further, the character of Madame Arnoux projects an image of platonic love because she treats Frederic maternally. For instance, Ginsburg states that Madame Arnoux’s character, in relation to Frederic, mirrors what Frederic cannot have, which is a life of contentment (136-37). In the last parts of the novel, Madame Arnoux visits Frederic and readies herself to tolerate his desires only to discover that Frederic does not love her anymore. This is Frederic’s last meeting with Madame Arnoux wherein he concludes that he does not want the companionship of Madame Arnoux anymore. With their last meeting, it is evident that the relationship between Frederic and Madame Arnoux is a failure, and they were not able to spend time together due to their individual decisions. Additionally, Frederic and Madame Arnoux do not have the freedom to be together because they already have their individual families. Conclusively, Flaubert’s Sentimental Education traces the loves, loss, and recovery of Frederic, particularly with his mad love for Madame Arnoux. Throughout the novel, Flaubert presents the idea that mad loving is not only a result of rejection; instead, mad love is a result of a person’s insatiable desire to find his true happiness making him/her unable to settle down. Thus, the notion of mad love in the novel resides in Frederic’s search for love, which remains out of his reach. Works Cited Flaubert, Gustave. Sentimental Education. Hertfordshire: Wordsworth, 2003. Print. Ginsburg, Michal Peled. Flaubert Writing: A Study in Narrative Strategies. California: Stanford University Press, 1986. Print. IV. b. Madness in Mann’s Death in Venice and Euripides’ Bacchae The novel presents another form of love and madness that leads to both inspiration and sacrifice, and this is noticeable to Mann’s usage of Allusion and Myths. Basically, the novella focuses on the understanding and feelings of Aschenbach to Tadzio, whom Aschenbach considers as his inspiration due to Tadzio’s youthful beauty. In analyzing the novella, one can say that Tadzio’s impression on Aschenbach is comparable to the impression of Dionysius on the women of Tmolus. This relates to the kind of love that transforms the lives, perceptions, and understanding of a person. Mann’s idea of the transformative influence of mad love relates to Euripedes's concept of mad love as a way of self-realization wherein a person becomes open to more paths to learning. For instance, in describing Tadzio’s impression on Aschenbach, Mann highlights Aschenbach's desire to “meet and talk to the unknowing source of his emotional turmoil and inspiration..” (34). The initial parts of the novella present the physical and mental stagnancy of Aschenbach wherein he lacks motivation to continue his art. However, Aschenbach’s encounter with Tadzio brings hope to the former. In this case, Aschenbach’s admiration to Tadzio becomes his motivation and drive to write better his art. Relatively, this presents the idea of mad love as a fuel for creativity, and it is evident that Mann highlights the nature of mad love as an experience that transforms the perceptions and feelings of people. For Aschenbach, his madness for Tadzio allows him to face his internal conflicts. Mann’s use of Allusions and Myths, particularly the myth of Dionysus, draws readers to evaluate the value of mad love in relation to sacrifice and personal development. Further, Mann highlights the value of madness as part of a person’s quest for knowledge and personal satisfaction. For instance, Euripides presents the same idea of a transformative mad love in Bacchae, particularly in presenting the myth of Dionysus. For instance, in Bacchae, Euripides writes “you women who have left Tmolus...move here, beat those drums by Pentheus’ palace..” (9). Dionysus’ call to the women serves as an awakening call that allows women to reconsider their social condition in relation to their male counterparts. In Bacchae, Euripides tells the social changes in Tmolus after their women learned to pursue their own passion, particularly in the emergence of the female power in the society. Mann’s Death in Venice tackles the idea of mad love in relation to sacrifice and inspiration. Specifically, Mann presents this idea through highlighting the motivational, but repressive effect of Tadzio on Aschenbach. For instance, Aschenbach regains his motivation to write through his admiration to Tadzio, although, he is not allowed to establish any outward relationship with the boy. Throughout the novel, one can say that Aschenbach faces the beneficial and restrictive effects of his feelings for Tadzio. Aside from this, the comparable case of Aschenbach and the women of Tmolus, in Euripides’ Bacchae, presents the notion that mad love has its consequences although a person may also reap the benefits of his/her mad love. Conclusively, the use of myths in Bacchae and Death in Venice helps readers associate mad loving to learning and self-realization wherein madness may also lead to enlightenment. Works Cited Euripides. Bacchae. Trans. Ian Johnston. Arlington: Richer Resources Publications, 2008. Print. Mann, Thomas. Death in Venice, Tonio Kroger, and Other Writings. Ed. Frederick A. Lubich. New York: Continuum, 1999. Print. V. b. Mad Love and Humbert’s Sanity in Vladimir Nabokov’s Lolita Humbert’s nature of loving fuels the theme and plot of the novel because the novel is, basically, his story told through his personal recollection of his experiences. Nabokov’s narrative technique, which is the first-person perspective, allows readers to fully understand the intentions of Humbert. Nabokov’s presentation of Humbert’s character brings out questions about the former’s sanity in relation to love. Specifically, Nabokov’s portrayal of mad love lies on how Humbert and Quilty treats Lolita wherein both men sees Lolita as a sexual object depriving her of her childhood. Moreover, in relation to mad loving, Humbert’s and Quilty’s character relates to Pygmalion. The first paragraph of the novel hints that the story is based on Humbert’s own narration and experience; it also introduces readers to Humbert’s psychology, particularly on how he sees Lolita. For instance, Nabokov writes, “Lolita, light of my life, fire of my loins. My sin, my soul..” (7). Relatively, one can say that although Humbert admits his sinful feelings for Lolita, he still dwells on such feelings because of his longing for his long-gone, previous love interest. Humbert’s case presents the notion that mad love may arise due to a previous loss. In his obsession for Lolita, Humbert marries Lolita’s mother only to get closer to her daughter. Relatively, one can question Humbert’s sanity, considering his incestious intentions to Lolita and infidelity to his wife. Further, in reading the novel, one can say that Humbert’s sanity relates to Freudian psychoanalysis wherein the decisions of people reflect internal cognitive and emotional conflicts. According to De La Durantaye, Humbert’s sanity relates to Freudian grotesque wherein follies are attributable to underlying emotional conflicts (59). Further, as Humbert’s feelings for Lolita mirror his previous feelings for his deceased love, it is likely that his obsession may be considered an issue of his internal search for relationships. Relatively, one can say that Lolita is just a substitute for someone, who is the previous love of Humbert. Humbert clings to Lolita to save his sanity, and recover from his loss. Humbert’s relationship with Lolita is comparable to the story of Pygmalion and Galatea wherein Pygmalion only dreams his love for Galatea, considering that the latter is a statue. According to Peterson and Dunworth, Pygmalion story is a story of a person’s search for love and companionship wherein a person may confuse his reality with the illusionary vision of his/her love (152). Nabokov also presents the idea of illusionary love through the kind of relationship of Humbert and Lolita. The only difference between Humbert and Pygmalion relies in Humbert outward defense for his lustful intentions although he admits that taking advantage of Lolita is an act of deprivation. Conclusively, Lolita introduces another controversial kind of mad love, which relates to Humbert’s lustful intention to Lolita. Humbert’s obsessive love for Lolita mirrors Pygmalion’s feelings for Galatea, considering that both men only see the sexual capacities of their prospective lovers. The entirety of the novel tackles the grim consequences of mad loving, particularly for Humbert who resorts to killing Lolita’s lover, Quilty, to satisfy his jealousy. As for Lolita, her character portrays the bitter effects of mad love. Works Cited De La Durantaye, Leland. “Vladimir Nabokov and Sigmund Freud, or a Particular Problem.” American Imago 62.1 (2005): 59-73. Print. Nabokov, Vladimir. Lolita. London: Penguin, 1955. Print. Peterson, Amy T., and David J. Dunworth. Mythology in Our Midst: A Guide to Cultural References. Westport: Greenwood Press, 2004. Print. Read More