Of course, all of this stuff ought to be included in your wedding entertainers contract, that ought to be signed before any money changed hands.
Dogs need dental care too! Failure to care for Caesar’s teeth can cause plenty of problems for him â€“ not the least of which is bad breath, bleeding gums and tartar buildup. In the worst case scenario dogs â€“ much like humans â€“ will experience an excess growth of bacteria that affects the internal organs. There are several methods of cleaning Caesar’s teeth that can prevent dental disease and promote a long and healthy life.
The vampire is closely linked to another romantic archetype: the dissatisfied lover. Rafael Argullol summarizes its traits: â€œel enamorado romÃ¡ntico reconoce en la consumaciÃ³n amorosa el punto de inflexiÃ³n a partir del cual la pasiÃ³n muestra su faz desposedora y exterminadora.â€. The romantic lover begins to feel a sense of dissatisfaction, caducity and mortality at the very moment when his passion is fulfilled. This feeling prompts him to embark in a sentimental rollercoaster where each peak of satisfaction is followed by a valley of despair and the impulse to seek satisfaction in a new object of love in order to renew the faded passion (the extreme of this attitude is the character of Don Juan). The vampire goes one step further than the seducer: for him the loved one stands as an image of his own dissatisfaction and it must be destroyed at the very moment when the longing for her disappears; at the instant of consummation. Again Byron in Manfred expresses this transference, which Argullol opportunely labels as romantic self-mirroring: â€œI loved her, and destroy’d her! (211)â€. Keats conveys in his Ode on Melancholy the feeling of mortality that is hidden in the moment of pleasure for the romantic: â€œTurning to poison while the bee-mouth sips:/ Ay, in the very temple of Delight/Veil’d Melancholy has her sovran shrine,/ Though seen of none save him whose strenuous tongue/Can burst Joy’s grape against his palate fineâ€. La belle dame sans merci is according to Argullol also a poem where â€œvida y muerte se vivifican y complementan mutuamente […] se hallan en total simbiosisâ€. But there is a crucial difference between Byron and Keats in their approach to the fatal lover: Byron’s characters are fatal males, epitomized in the vampire, while Keats’ characters are femmes fatales. This difference underlines a different attitude to gender issues: Byron liked to emanate a dominant masculinity which is imprinted in all his leading characters. Keats, however, had a passive approach to love, his poetic personas like to be seduced even if that means, as we have seen, to be killed. Byron is the male aristocrat who thinks all women are naturally his, they are his possessions and, as such, disposable at will. Keats, who disliked Byron’s Don Juan – in a letter to his brother, he referred to it as â€œLord Byron’s last flash poemâ€, announces a more modern and non-patriarchal approach to love where the woman is free to be the seducer. Nevertheless, as we have seen, they both share the extreme notion of love as creation and destruction at the same time; and their characters, though of different gender, are vampire lovers. This different attitude is not only personal but it mirrors a wider and epochal distinction. Mario Praz has observed how the fatal and cruel lovers of the first half of the nineteenth century are chiefly males, while in the second half of the century the roles are gradually inverted until late century decadentism is dominated by femmes fatales. This literary process mirrors the advancement of social changes throughout the century, and the slow but continuous emancipation of love from patriarchal standards. Gender issues shift focus, but power and domination remain at the core of the portrayals of love even in the fully bourgeoisie society of the late nineteenth century. Goodland (2000) has explored the role of women as a redundant class subject to another classes and the gender/class dialectic found in the vampire.