Texts The theme of desire is at the core of the written
fictions, especially romance novels. Novels which are based around the theme of desire, which can range from a long aching feeling to an unstoppable torrent, include
Madame Bovary by
Gustave Flaubert;
Love in the Time of Cholera by
Gabriel García Márquez;
Lolita by
Vladimir Nabokov;
Jane Eyre by Charlotte Brontë, and
Dracula by
Bram Stoker. Brontë's characterization of Jane Eyre depicts her as torn by an inner conflict between reason and desire, because "customs" and "conventionalities" stand in the way of her romantic desires.
E.M. Forster's novels use homoerotic codes to describe same-sex desire and longing. Close male friendships with subtle homoerotic undercurrents occur in every novel, which subverts the conventional, heterosexual plot of the novels. In the Gothic-themed
Dracula, Stoker depicts the theme of desire which is coupled with fear. When the character Lucy is seduced by Dracula, she describes her sensations in the graveyard as a mixture of fear and blissful emotion. Poet
W. B. Yeats depicts the positive and negative aspects of desire in his poems such as "The Rose for the World", "Adam's Curse", "No Second Troy", "All Things can Tempt me", and "Meditations in Time of Civil War". Some poems depict desire as a poison for the soul; Yeats worked through his desire for his beloved, Maud Gonne, and realized that "Our longing, our craving, our thirsting for something other than Reality is what dissatisfies us". In "The Rose for the World", he admires her beauty, but feels pain because he cannot be with her. In the poem "No Second Troy", Yeats overflows with anger and bitterness because of their unrequited love. Poet
T. S. Eliot dealt with the themes of desire and homoeroticism in his poetry, prose and drama. Other poems on the theme of desire include
John Donne's poem "To His Mistress Going to Bed",
Carol Ann Duffy's longings in "Warming Her Pearls";
Ted Hughes' "Lovesong" about the savage intensity of desire; and
Wendy Cope's humorous poem "Song". Philippe Borgeaud's novels analyse how emotions such as erotic desire and seduction are connected to fear and wrath by examining cases where people are worried about issues of impurity, sin, and shame.
Films Just as desire is central to the written fiction genre of romance, it is the central theme of
melodrama films, which are a subgenre of the
drama film. Like drama, a melodrama depends mostly on in-depth character development, interaction, and highly emotional themes. Melodramatic films tend to use plots that appeal to the heightened emotions of the audience. Melodramatic plots often deal with "crises of human emotion, failed romance or friendship, strained familial situations, tragedy, illness, neuroses, or emotional and physical hardship." Film critics sometimes use the term "pejoratively to connote an unrealistic, bathos-filled, campy tale of romance or domestic situations with stereotypical characters (often including a central female character) that would directly appeal to feminine audiences." Also called "women's movies", "weepies", tearjerkers, or "chick flicks". "Melodrama… is Hollywood's fairly consistent way of treating desire and subject identity", as can be seen in well-known films such as
Gone with the Wind, in which "desire is the driving force for both Scarlett and the hero, Rhett". Scarlett desires love, money, the attention of men, and the vision of being a virtuous "true lady". Rhett Butler desires to be with Scarlett, which builds to a burning longing that is ultimately his undoing, because Scarlett keeps refusing his advances; when she finally confesses her secret desire, Rhett is worn out and his longing is spent. In Cathy Cupitt's article on "Desire and Vision in Blade Runner", she argues that film, as a "visual narrative form, plays with the voyeuristic desires of its audience". Focusing on the dystopian 1980s science fiction film
Blade Runner, she calls the film an "Object of Visual Desire", in which it plays to an "expectation of an audience's delight in visual texture, with the 'retro-fitted' spectacle of the post-modern city to ogle" and with the use of the "motif of the 'eye'". In the film, "desire is a key motivating influence on the narrative of the film, both in the 'real world', and within the text." == See also ==