"Bee to the blossom, moth to the flame; Each to his passion; what's in a name?"
About this Quote
Desire, in Helen Hunt Jackson's hands, is less a romantic choice than a law of motion. "Bee to the blossom, moth to the flame" pairs two kinds of attraction: one that looks wholesome and productive, another that is mesmerized by its own ruin. The genius is in the swivel. Jackson refuses to let us settle into a tidy moral about "healthy" love versus "toxic" love; she stacks the images like mirror panels and lets both glitter. Nature provides the alibi. If even insects are compelled, what arrogance makes humans think they stand outside compulsion?
"Each to his passion" lands with a cool, almost judicial shrug. Passion here isn't noble; it's proprietary, a private gravity. The line implies a social world where people are judged for their attachments (who they love, what they chase, what they won't stop doing), and Jackson answers that judgment with a hard realism: everyone has a flame. There's also a gendered edge: a 19th-century woman writer, fluent in the era's moral vocabulary, quietly punctures it by describing longing as instinct rather than sin.
Then she flips the register into skepticism: "what's in a name?" The question doesn't just nod to Shakespeare; it challenges the culture's obsession with labeling desire to control it. Call it devotion, appetite, vice, romance, destiny - the name is a costume. The pull remains. In a period that prized reputation and propriety, Jackson's subtext is bracing: we don't escape our hungers by rebranding them. We only learn to speak about them more politely.
"Each to his passion" lands with a cool, almost judicial shrug. Passion here isn't noble; it's proprietary, a private gravity. The line implies a social world where people are judged for their attachments (who they love, what they chase, what they won't stop doing), and Jackson answers that judgment with a hard realism: everyone has a flame. There's also a gendered edge: a 19th-century woman writer, fluent in the era's moral vocabulary, quietly punctures it by describing longing as instinct rather than sin.
Then she flips the register into skepticism: "what's in a name?" The question doesn't just nod to Shakespeare; it challenges the culture's obsession with labeling desire to control it. Call it devotion, appetite, vice, romance, destiny - the name is a costume. The pull remains. In a period that prized reputation and propriety, Jackson's subtext is bracing: we don't escape our hungers by rebranding them. We only learn to speak about them more politely.
Quote Details
| Topic | Love |
|---|---|
| Source | Help us find the source |
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