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If chemistry could have been this clear when I went to school, it would actually have been fun. The awesome order of God's creation on a molecular level helps me appreciate His providence more than ever before. This book fills an important need not met by any other publication. David Stewart has, to my knowledge, gone where no author has ever gone before.


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Readers will find in this volume a fresh, challenging, and complementary alternative point of view for the practice of medicine and the healing arts, which no doubt will stimulate some beneficial and much needed debate. I believe Dr. Robert W. Miner , M. Grand Rapids, Michigan. David Stewart studied theology, philosophy, and English at Central Methodist College in Fayette, Missouri and studied chemistry, biology and social sciences at Central Missouri State University in Warrensburg His MS and PhD degrees are in geophysics theoretical seismology and were earned from the University of Missouri at Rolla in and respectively.

He has held positions as a hydraulic engineer and hydrologist with the U. Geological Survey in Southern California He was a professor on the faculty of the University of North Carolina, Chapel Hill, and also held a professorship at Southeast Missouri State University He was also a part-time United Methodist Pastor , in rural Missouri.

For most of his professional career, Dr. Stewart has been self-employed as an author and lecturer, mainly in the area of alternative health care. He has testified as an expert on health matters before state legislative committees, U. Aesthetic significance does not deliver truth about the human condition in general: it delivers truth about the condition of a particular human, the artist.

Mating Mind , pp. De Bergerac recognised poetry to be the quintessential art of seduction, but this, of course, is not to say that all skilled poets are consciously advertising the fitness of their genes, that poetry is invariably part of some sophisticated chat-up plan. But as the courtly lovers well knew, sophisticated accounts of desolation are more likely to win favour than crude attempts at seduction. In fact, the least likely of poetic sub-genres can serve an evolutionary purpose: for example, those who could memorise sagas or recount epic tales of heroism in battle were undoubtedly bathed in reflected glory, admired for their rare skills as story-tellers, enjoyed raised status within their peer group, and hence bettered their chances of leaving progeny gifted with similar abilities.

Miller makes the basic point: Because humans are fascinated by many things, courtship displays can successfully appeal to human interests by talking about almost anything under the sun. This Darwinian account of poetry does not drain poetry of its meaning — on the contrary, it shows why its meaning is free to range over the entirety of human experience. Mating Mind , p. On this point, at least, Darwin might have concurred. Whichever is the case, passion does seem to come with programmed obsolescence.

The truth was revealed by the fMRI scans: those subjects who had been in longer relationships showed less activity in the r-complex, the area concerned with fundamental drives and motivations, and more in the limbic system, the area concerned with the processing of emotions and the consolidation of memories see Why We Love , pp. Such a neurophysiological pattern reflects a common shift from passion towards another kind of love that Fisher labels attachment: where the former is, as we have seen, a short-lived drive associated with successful reproduction, the latter accompanies longer-term relationships, and appears to be governed by different evolutionary and cultural pressures.

But if it takes only twenty words a day to maintain exclusive sexual access to you, why should he bother uttering more? His motivational system has evolved to deploy his courtship effort where it makes a difference to his reproductive success — mainly by focusing it where it improves his rate of sexual intercourse. Men apparently did not evolve from male ancestors who squandered high levels of verbal courtship effort on already-established relationships.

Yet Patricia Ball and Kerry McSweeney have argued that a significant change did occur within this sub-genre during the nineteenth century, as cultural and philosophical developments in Victorian Britain led a number of poets to write about long-term love relationships as they existed within specific social contexts. Felix may be writing from within a marriage in The Angel in the House , but he is primarily writing about a courtship. Shortly before the children make their presence felt, the couple jointly conceive a plan for a true poem of marital love:But this is only a projection two pages from the end of the book.

Perhaps the poetry of attachment is more likely to be found in the celebrated records of loss and mourning collected in the first part of The Unknown Eros. Coventry Patmore took not only the adulterous intent out of love poetry, then, he ultimately took the flesh and blood out of it altogether, leaving us with visions of disembodied passion rather than records of attachment. The chief poetic witness to the Christian marriage ceremony turns out to have been a high priest of eros.

Victorian society may have placed great value on marriage and on family relations, but in truth love poems by celebrated authors such as Patmore, Matthew Arnold, both of the Rossettis, Browning and Barrett Browning, Tennyson, Swinburne and early Yeats to name but a few speak far more frequently of the exquisite afflictions of passion than of the consolations of attachment. When we move into the twentieth century, poems of attachment begin to crop up more frequently, and in the least expected of places: the poetry of Robert Graves, for example.

He was not, as we know, talking about remaining in love with the same woman. The succession of muses who inspired Graves's love poetry can, in retrospect, be seen as a logical if morally questionable result of his belief that the true poet must endure a constant state of passion, a state that — as we have seen — has evolved a limited shelf-life. Endure is the operative word, here.

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Graves's sometimes vociferously proclaimed fealty to the White Goddess, who was establishing Her presence in his mind at exactly the same time as Beryl was establishing the marital home in Deya, made him uniquely susceptible to the lure of passion, and there is no shortage of poetic residue from this.

Graves's poem revises an idealistic vision of marital love in age by R. As it turns out, then, the most committed and passionate of twentieth-century love poets — or at least the poet most committed to the aesthetics of passion — also writes convincingly and originally about marital attachment, and this from within marriage, not in anticipation of wedded bliss, or reflecting idealistically on past union. It would, of course, be somewhat perverse to recast Robert Graves as an artistic role-model in this regard.

Chemistry of Love Poetry | The Cambridge Quarterly | Oxford Academic

A more suitable candidate could be the similarly long-married Seamus Heaney, some of whose best poems — I would argue — have been inspired by conjugal love. Not all readers concurred with Alvarez, however. Having said that, what Morrison perceptively identifies as unusual about these poems is their apparent accommodation of both kinds of love: a conjunction as rare in practice as it is pervasive as a cultural aspiration.

The brain scanner tells a disenchanting story: passion and attachment are two distinct phenomena, the coexistence of which appears to be physiologically unsustainable over the medium to long term. How does he manage this unlikely trick? I want to suggest that he achieves it by temporarily superimposing the perspectives of passion and attachment. A breath of the unknown renews the claim of the known. Everything here is sharply defined, but everything gestures a little beyond the usual, an impression reflected by the combination of feminine endings and end stops held breaths?

The reader can fully appreciate the narrator's tension when informed of it because a tantalising atmosphere has already been created by the poetry. With its overtones of obsessive and predatory sexuality, of trespassing across restricted and foreign territory, and yet also the sense that the erotic charge has been projected onto this territory by the observer, voyeurism is a classic symptom of eros. The actual peeping of stanza six is, then, considerably less stimulating than the metaphorical peeping of stanza two, confirming our impression that we have now moved from the realms of eros to those of agape.

For, as the final stanza reveals, this is a poem that recalls and relives passion but speaks of, and from, attachment. The poem is, then, recalling eros in the light of agape and playfully re-envisaging agape in the light of eros , superimposing the tantalising absence and amatory display of the skunk onto the familiar presence and bedtime routine of the wife.

In his own famous poem of skunks and voyeurism, Robert Lowell pictured himself crawling kerbs in his Ford, drawn out of the marital home by the fecund air of Fall in New England. This is no battle between eros and agape ; rather, the combination of the wild and the domesticated allows the poet to, aesthetically speaking at least, both have his cake and eat it.

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Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide. Sign In or Create an Account. Sign In. Advanced Search. Article Navigation. Close mobile search navigation Article Navigation. Volume Article Contents. Universal Love.


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Passion and Poetry. The Poetry of Attachment? Editor's Choice. Oxford Academic. Google Scholar. Cite Citation. Permissions Icon Permissions. Introduction One of several ways in which C. Universal Love C. Lad, let me flee with you — into the bedroom.

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And blood burnt round my heart. To die unknown for her were little cost! While life unrolled us its very best. And at the married fireside, sleep of soul and sleep of fancy,. Within our walls, within our golden ring.

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Your ordinariness was renewed there. To speed the plough again and feed the flame. This following his own experience of a relationship in the late s. See The Four Loves London p. Singer, The Nature of Love , vol. William R. Jankowiak ed. New York p. Unlike Freud or Reik, but like Tennov, Fisher distinguishes the drive of passionate love from lust, arguing that the two involve different configurations of brain chemistry.

See Why We Love , pp.