Need some suggestions to improve!

Hey guys, I'm doing an expository essay on unrequited love shown in various text forms and in this case, I have used a poem and two films, and needed some help on improving it that little bit more. It's for my Year 12 finals.

Any help woud be greatly appreciated!

Throughout the millennium, love has been acknowledged in all forms of texts. In Percy Shelley’s poem, Love’s Philosophy, Lee Mendelson’s film, A Boy Named Charlie Brown and in the various film versions of King Kong, love is represented as unrequited. This representation is constructed through language, ideas and perspectives which position the text user to view unrequited love as envious, hopeful and impossible. Love is emphasised through the use of literary devices and writing techniques, animation and music in both poems and film.

In Percy Shelley’s Love’s Philosophy the representation of unrequited love is written through the perspective of envy with clever use of personification and other literary devices. Shelley’s use of personification gives inert objects a sense of feeling and emotion. This emphasises the envious love because of all these inhumanly objects are given a chance at love whereas the poet, with genuine emotion and feeling, is not. Alliteration has also been implemented in the second-last sentence of the first stanza,
In one spirit meet and mingle -
emphasises the personification that is used abundantly throughout. In the last stanza, Shelley’s use of personification also enhances it by giving nature physical capabilities,
See the mountains kiss high Heaven
And the waves clasp one another
in this case kissing and hugging, the most common physical forms of expressing love for one another. Shelley has effectively used personification to its fullest extent in order to emphasise the envy in how he has represented love. The use of imagery has also been effectively used throughout. This is especially significant because of the personification which has been enhanced with the use of a steady A, B, A, B rhyming scheme. The line,
Why not I with thine?
is also an example of a rhetorical question which stresses the importance of the first stanza. Shelley has written an overly satisfactory poem which has effectively used some of the basic literary devices to create a representation of envious love.

In Lee Mendelson’s animation film, A Boy Named Charlie Brown, unrequited love is represented as hopeful. Despite the antagonist, Charlie Brown doesn’t express his feelings for the Little Red-Haired Girl in this film, Mendelson has used two other examples. The director has animated Sally, sister of protagonist Charlie Brown to express her unrequited love for Linus, brother of the antagonistic and cynical Lucy van Pelt. Sally expresses her love towards Linus by calling him her ‘Sweet Babboo’ and declaring that ‘Isn’t he the cutest thing?’ despite being rejected repeatedly. The animator has cleverly juxtaposed Charlie, a hopelessly hopeful lovable loser, and Sally, an infatuated and hopeful young girl. This juxtaposition greatly enhances the relationship between Sally and Linus because he is Charlie’s best friend. Lucy van Pelt also expresses her unrequited but hopeful love for the young and talented Schroeder. Despite Lucy’s infatuation, Schroeder shows great dislike in her especially because of how she demeans his idol Beethoven who himself, fell hopelessly in love, completely refuses her love. Lucy is shown to act very differently when alone with Schroeder but still retains her bossy but hopeful nature which is evident in the scene where she approaches him whilst he is playing the piano,
L: A young man has to work very hard to sport a wife doesn’t he?
S: Who said anything about a wife?
L: Do piano players make a lot of money?
S: Some do, if they practice very hard, I guess.
L: Keep practicing kiddo! kiss
L: Incidentally, who’s this? George Washington Picks up Beethoven bust
This scene abruptly ends with Schroeder playing a Beethoven’s Moonlight Sonata a truly romantic song which Beethoven actually composed when he was in love with a countess, which also reflected a hopeful love due to the class differences between Beethoven and the countess he loved. It is the piano of the young Schroeder which further augments this although he doesn’t appear to share any feelings for Lucy, his piano playing is phenomenal for a child of his age, but the sonata, greatly and undoubtedly appreciates the same emotion that is shared between Lucy and Schroeder. Despite this being a ‘children’s’ animated film, Mendelson has gone to truly augment the representation of unrequited love as hopeful effectively through the use of animation and music.

In the various adaptations of King Kong, the representation of love between a 25 foot gorilla and a petite female is shown as impossible. In the 21^st century where we expect realism from our film, Peter Jackson (2005) has used animation to evoke a sense of realism that love does exist but is impossible. The long shot and animation of the mystifying and unknown land of Skull Island privilege this realism and sets apart the obvious differences between the isolated civilization of Skull Island and the working class citizens of New York. However, in the early versions of film where stop-animation was used in order to represent Kong, it was more difficult to engage the audience into believing that Kong was indeed, infatuated with the petite blonde headed Ann. It is because of the animation that as an audience can see that Kong does have a soul capable of loving despite the brutality that has accumulated over the past hundred years of living in isolation. Jackson’s use of camera angles and short shots also enhance and magnify the impossible relationship between Ann and Kong. The infamous scene where Kong carries Ann to the top of the Empire State Building, we can see that they both know that they soon will be separated again. The animated body language of Kong is less ruthless and ‘Kong-like’ throughout the climb and Ann is obviously depressed. The high angled wide shot, used to fully incorporate Ann and the dying Kong, enhances this feeling and finally, establishing the fact that this was an impossible relationship. King Kong is a unique and tragic love story which truly privileges the representation of love that it is impossible.

The representations of unrequited love which are expressed have been represented through the forms of poems and film with the use of literary devices, animation and music three different representations of unrequited love have been established and enhanced. Percy Shelley’s Love’s Philosophy, Lee Mendelson’s A Boy Named Charlie Brown and in the various adaptations of King Kong we have witnessed the very different truly inspiring representations of unrequited love.