The Paradoxical Nature Of Love And Higher Being Essays - Philosophy

The Paradoxical Nature Of Love And Higher Being The Paradoxical Nature of Love and Higher Being Over many centuries, the concepts of love and the discovery of ?a higher being? have been mysteries to man. Both ideas have been discussed, analyzed, and disputed by various authors and philosophers. In the ancient past, love and discovery of a higher being have been thought to be primarily positive concepts, experienced only by those who are truly comfortable with their lives and situations. However, beginning in the mid- twentieth century, various poets, and other artists began expressing their emotions from a more vivid, realistic point of view. Love and the search for a higher self were found painful, and strange at times. Both concepts were achieved as a result of searching the soul and finding some type of truth concerning the individual. Various artists realized that in order to achieve or even experience these concepts, one must first experience negativity to grasp the depth of either. Throughout the poem ?In a Dark Time? by Theodore Roethke and the song ?I Want You? by Bob D ylan, one can easily recognize the paradoxical nature of both love and discovery of a higher self. Throughout Bob Dylan's love song, ?I Want You?, there are two paralleled yet very different themes that reign. Dylan describes numerous sad and contemptible situations, which are also valid aspects of life. He writes, ?The guilty undertaker sighs,/ The lonesome organ grinder cries/?/The drunken politician leaps/ Upon the street where mothers weep/ I want you?. All of the situations described are the exact opposite of the love that he feels for this person. However, the two contrasting emotions go together very well when describing Bob Dylan's deep love. They are each equally desperate and beseeching; one, from a lover to reciprocate his love, and the other to stress the urgency of the times. Bob Dylan continues to parallel these two opposite themes throughout the song, one complementing the importance of the other. The significance of death, as a part of the scheme of the world, is intensely stressed throughout ?I Want You?. Bob Dylan sings, ?Well, I return to the Queen of Spades/ And talk with my chambermaid./ She knows I'm not afraid to look at her./ She is good to me/And there's nothing she doesn't see? . Here, Dylan brings up the subject of death by making a reference to the ?Queen of Spades?, a well-known symbol for the matter. Though this significance of death is present, Dylan seems to undermine its negative severity, while idolizing it to some extent. Perhaps by using the metaphor of the Queen of Spades, Dylan would also like to compare her to his object of affection. Dylan plays upon these double-meanings by stating that he is not afraid to look at her, and that she (meaning death and his love) is good to him. By relating his love to the personification of death, Dylan is able to stress the urgency of his love. He is ready to submit himself wholly to his object of affection, even if sh e was the personification of death. By comparing this coveted person with her antithesis (death), Dylan is able to demonstrate the complications and depth of true love. Throughout the last stanza of ?I Want You?, the author comes face to face with an underlying issue concerning his object of affection. Dylan perhaps hints at the fact that death is coming face to face with his love. He sings, ?Now your dancing child with his Chinese suit,/ He spoke to me, I took his flute./ ?he lied/ Because he took you for a ride/ And because time was on his side? . Dylan leaves the key to his song at the end of the poem. The reason for the drastic comparison between that which is loved and that which is loathed is because the object of his affection has come face to face with death. The extreme differences between the two subjects fuse together at the end to form a full depiction of Bob Dylan's heart-felt situation regarding his love coupled with his loss. Theodore Roethke discusses a subject similar in theme, but covers a different subject. Instead of coupling death with love, in his