Elizabeth's new take on love in "Pride and Prejudice"

(Elizabeth): "She certainly did not hate him. No; hatred had vanished long ago, and she had almost as long been ashamed of ever feeling a dislike against him that could be so called. The respect created by the conviction of his valuable qualities, though at first unwillingly admitted, had for some time ceased to be repugnant to her feelings; and it was now heightened into somewhat of a friendlier nature by the testimony so highly in his favour, and bringing forward his disposition in so amiable a light, which yesterday had produced.

But above all, above respect and esteem, there was a motive within her of good will which could not be overlooked. It was gratitude. -- Gratitude, not merely for having once loved her, but for loving her still well enough to forgive all the petulance and acrimony of her manner in rejecting him, and all the unjust accusations accompanying her rejection.

She respected, she esteemed, she was grateful to him; she felt a real interest in his welfare; and she only wanted to know how far she wished that welfare to depend upon herself, and how far it would be for the happiness of both that she should employ the power, which her fancy told her she still possessed, of bringing on the renewal of his addresses."

--Elizabeth's change of heart in Pride and Prejudice (I love this!)

Vanilla Twilight

The stars lean down to kiss you
And I lie awake and miss you
Pour me a heavy dose of atmosphere

'Cause I'll doze off safe and soundly
But I'll miss your arms around me
I'd send a postcard to you, dear
'Cause I wish you were here

I'll watch the night turn light-blue
But it's not the same without you
Because it takes two to whisper quietly

The silence isn't so bad
'Til I look at my hands and feel sad
'Cause the spaces between my fingers
Are right where yours fit perfectly

I'll find repose in new ways
Though I haven't slept in two days
'Cause cold nostalgia
Chills me to the bone

But drenched in vanilla twilight
I'll sit on the front porch all night
Waist-deep in thought because
When I think of you I don't feel so alone

I don't feel so alone, I don't feel so alone

As many times as I blink
I'll think of you tonight
I'll think of you tonight

When violet eyes get brighter
And heavy wings grow lighter
I'll taste the sky and feel alive again

And I'll forget the world that I knew
But I swear I won't forget you
Oh, if my voice could reach
Back through the past
I'd whisper in your ear
Oh darling, I wish you were here

--Owl City

About Critical Theory

"Deconstruction is inadequate because it has no way of talking sensibly about the meaning of indisputable human verities such as birth, life, love, and death. There are all sorts of things, obviously, which are social constructs, dependent upon the accidents of history, upon the manipulations of the powerful, upon the differences between genders, classes, and races. Literature may indeed fall into this category, but this does not mean that everything that literature describes, like death, does, too. You can't deconstruct death. Christian readers, by contrast, no matter how critical they may be, are, with at least one part of their being, attuned to meaning, and, when faced with death, they understand (and speak) the language of hope.

I would suggest, then, that we must recover in our scholarship and teaching of literature a greater degree of innocence. We must recapture some of the child-like wonder, which, one would guess, even the most jaded critic once had in the power and pleasure of words. Much of what we enjoy most in literature does lies right at the surface: the narrative thread (what's going to happen next?), the sound of the language, and the author's message. What is he or she trying to say to me or us? This last (now unfashionable) question presupposes a sort of submission on the part of the reader, a willingness to take a leap of imaginative faith that transcends the distance, temporal, geographical, and cultural, that may separate us from the author, a loving forbearance of an author who may indeed be of a different sex, or of a different time, or of a different political mindset, and a preliminary assumption that the author has something he or she wishes to say to us, on which it is the reader's duty and delight to put the best construction. Such a position does not simply replicate the traditional "humanist" confidence in human reason and "reasonability" as the basis for communication, but instead views language as an effectual activity grounded in God's love, in which humans, made in the image of God, may joyfully participate--or, which, like any other aspect of God's grace, we may disparage, manipulate, and reject. We should, then, in our study of literature, be amateurs in the strict sense of the word. Love is God's motive for communicating with humans, and it is also the backdrop for all Christian interrelations, including the way we respond to and ourselves use word.

--The Hermeneutics of Innocence: Literary Criticism from a Christian Perspective
by Carl P.E. Springer PhD

I just wanted to save this thought. I like the idea of approaching literature with innocence, with hope, and with love...words are His gift to us!