Generalities[ edit ] The Pauline epistles contain multiple condemnations of various forms of extramarital sex.
Moore's quotation of Bacon, so aptly placed for rendering the symbol of love into an image of social greed, and the eternal circle into an image of unprogressive self-interest, applies as much to a style of writing and speaking as it does to the life style of prospective husbands and wives.
Social mores, ingenious in the enshrinement of the original felix culpa, must be fought with like ingenuity. What Adam and Eve might think of it is certainly no consolation.
The "hand" that is offered the reader in "Marriage" is, like the hand offered in marriage described by the poem, "impatient to assure you" that its groping is free of obligation.
Whatever they say, though, both poet and lover know that this is not true. The poet beginning an ambitious poem is not unlike the applicant for marriage in that there is an obligation to fulfill at least one's own definition of a plausible poem, and at most to make a lasting and public union of words and sense.
The applicant for marriage is squeezed between the danger of uncontrollable affection, something alive with goldenness which requires criminal Marriage funny essay to obtain as well as to avoid, and a certain abstract bondage to universal meaning. To maintain a balance between the inner irrationality and the outer reasonableness of any such Marriage funny essay leads almost inevitably to a moral strain; it is perhaps this strain, more than any other, that holds the fragments of a life, a marriage, or a poem together.
Late in the poem "Marriage" someone is quoted as saying: A poem of more or less loosely "married" images also looks a bit "mixed and malarial," with a good line and a bad, according to its various mental predispositions, chance associations, arid a certain amount of unconscious fastidiousness.
Part of the strain of "Marriage" is due to the intended comprehensiveness of it despite the knowledge, or intuition at least, that such an enterprise is to be necessarily incomprehensible in the end. The poet takes it up, only to be forced to put it down again when the poetic image of the moment is exhausted.
Crane's difficulty is that of modern poets generally: The poem is true to the "conscientious inconsistency" of the mind described by Moore in "The Mind Is an Enchanting Thing"; it is a poem that describes the poet's mind with as much faithfulness as it describes what is in the poet's mind.
Clearly Moore thinks of "marriage" not so much as an event as a set of attitudes toward a hypothesis. It is centrally concerned with mental, not physical actions, and it leads eventually to a marriage within one mind of its various attitudes toward marriage rather than to a marriage of different minds.
Moore's initial picture of Eve, for instance, marries the old my thy attractiveness with a very peculiar mental ability: Moore's note on this passage refers us to an article in the Scientific American entitled "Multiple Consciousness or Reflex Action of Unaccustomed Range. Babel is behind us.
Finnegans Wake is before us, unwritten as yet, a threatening potential of multiple consciousness turned literary. Eve is modern and it is her mind, the incomprehensible comprehendability of it, that attracts us. He enters the room of the poem and of the scribbling Eve when we are not looking; he is an unwelcome "visitor.
On the surface it is good natured enough, or pleasantly devious. Any second thought about it, though, is sure to be made uncomfortable with its glibness, vulgarity, and sad presumption with regard to what could be a sacred human relation.
There is an insidious remoteness and literally embarrassing sentiment in the proposal of being alone together.
It is all mildly funny, too, but the poem, resisting its own impulses with a vengeance, glances suddenly back to Eden and seriousness, as it was seen to glance for just a moment near the beginning, at a live goldenness.
Here, despite a warning given earlier that "psychology. Below the incandescent stars the strange experience of beauty; its existence is too much; it tears one to pieces and each fresh wave of consciousness is poison.
We welcome the new inspiration and relief from the offhand proposition that immediately precedes it, but are we to welcome the news that each such fresh wave is poison?
Although sudden beauty saves us from the poetic sterility of "alone together," it transports us to the only slightly more poetically fertile ground of being alone alone, savoring a disjunction of senses that we know is poison.
From affectation to affection, in poem after poem, Marianne Moore writes, or seems to write, in self-defense against this poison. At the same time she cannot help seeking it out. She may remind one of the small animal, observed observing, in her poem "An Octopus," the victim on some slight observatory, of "a struggle between curiosity and caution," inquiring what has scared it.
This is a "victim" not only of some hidden predatory thing in man or in nature, but of its own struggle between the instinctive desire to know and the fear that by venturing out to know, it will be known. In the poem "Marriage," no matter how much the mind wants to be alone, there is the very existence of "Adam" to contend with.
Adam is tantamount to a world; he is the general "other" as well as the particular "other" who is dangerous to the self precisely because he is equipped by beauty to invade it, because he may not remain quite "other" enough.One paragraph per source means this essay can't be too long, right?!
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In other words marriage in all cultures is the start-point of a “new” life, full of care, love and devotion to the chosen person. The Filipino must be the foremost determinant in the Philippine economy so that they may become the principal beneficiaries thereof.
Geniel and Larry Childs share what they believe are the secrets to staying happily married at the Lehi Council's Celebration of Marriage Seminar.
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There are different customs and traditions that are followed in different societal set-ups.