A Cross-Cultural Love Story

Whether it be a look into Vardaman’s childish mind or Dewey Dell’s self-centered mind, it shows a immense divide between the family members. Critic Homer Pettey validates the claim that Darl’s mentality is askew by addressing his “perceptions [that] already entrap him in the text of his own making”(8). Darl has trapped himself in a world that he cannot escape because of his perceptions after Addie’s death. He sees his mother as no longer his mother and “[he] haven’t got ere one because if [he] had one, it is was. And if it was, it can’t be is.

The narrator continues with the metaphors, explaining that their partner “fell in love” with being with them, and how the narrator does not particularly like

Although she was madly in love with Abelard, Heloise would much rather be considered his friend, or even his prostitute, than any title even resembling that of a wife. She writes, “the name of wife may seem more sacred or binding, but sweeter for me will be always be the word friend, or… that of concubine or whore,” (Heloise 51). When Abelard proposes marriage, Heloise does all in her power to dissuade him from this notion. She tells him of “the loss to the Church and grief of philosophers which would greet such a which would greet such a marriage,” (Abelard 13). When these points do not dissuade Abelard, Heloise tells him of the “annoyances of marriage and its endless anxieties,” (Abelard 14), and that their marriage would ultimately be a form of Abelard’s servitude to her.

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Figuratively, Damis and Mariane are prisoners of dichotomous; emotionally and intellectually because they are powerless when it comes to deciding on their life partners. As a result, the author of the article presents the power of reasoning as it is displayed in the play by Moliere. More so, Orgon’s fuddle judgment is in question because of his religious beliefs. “Ah, brother, the man’s a strangely fashioned creature… who seldom is content to follow nature…” However, Cleante analyzes Orgon 's religious because of its surplus. "

“Love’s Deceit,” by Big Rube, is a famous poem that is commonly connected with the American film “ATL.” In this poem, Big Rube discusses the deceitful ways of love. Rube also expresses his personal opinion of what love is and its irresistible lures. Big Rube uses several examples of figurative language to describe his feelings and thoughts love has brought upon him. He uses examples of similes, metaphors, and personification to explain the addiction of love in his life.

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Alexie and Sa both share the ideas of the Native American assimilation story and the hardships that follow assimilation. Through separation, finding themselves, and “loosing spirit”, Sa and Alexie find themselves at different stages of growth. With a key concept of hair and honor they relate what it is like to be pushed into an unfamiliar culture. Both having pressures to cut their hair and going through Indian schools set up be the federal government. Therefore their literary merit is similar in the purpose to tell their experience immersed in American culture.

The novel’s protagonist, Janie Crawford, a woman who dreamt of love, was on a journey to establish her voice and shape her own identity. She lived with Nanny, her grandmother, in a community inhabited by black and white people. This community only served as an antagonist to Janie, because she did not fit into the society in any respect. Race played a large factor in Janie being an outcast, because she was black, but had lighter skin than all other black people due to having a Caucasian ancestry.

The poem 's content points not to just a single memory, but an entire sexual affair from the speaker’s youth—chronicling the erotic encounters that would eventually lead to his lover’s “footfall light” and both of them “silent as a stone”. Thus the memory is also clouded by the nature of erotic