The daintiest poetic
conceit cannot conceal this blunt fact. Even the most fanciful of all
forms of amorous hyperbole--that in which the lover imagines that all
nature smiles or weeps with him--what is it but the most colossal
egotism conceivable?
The amorous hyperbole of the ancients is romantic in the sense of
fanciful, fictitious, extravagant, but not in the sense in which I
oppose romantic love to selfish sensual infatuation. There is no
intimation in it of those things that differentiate love from
lust--the mental and moral charms of the women, or the adoration,
sympathy, and affection, of the men. When one of Goethe's characters
says: "My life began at the moment I fell in love with you;" or when
one of Lessing's characters exclaims: "To live apart from her is
inconceivable to me, would be my death"--we still hear the note of
selfishness, but with harmonic overtones that change its quality, the
result of a change in the way of regarding women. Where women are
looked down on as inferiors, as among the ancients, amorous hyperbole
cannot be sincere; it is either nothing but "spruce affectation" or
else an illustration of the power of sensual love. No ancient author
could have written what Emerson wrote in his essay on Love, of the
visitations of a power which
"made the face of nature radiant with purple light, the
morning and the night varied enchantments; when a
single tone of one voice could make the heart bound,
and the most trivial circumstance associated with one
form is put in the amber of memory; when he became all
eye when one was present, and all memory when one was
gone; when the youth becomes a watcher of windows and
studious of a glove, a veil, a ribbon, or the wheels of
a carriage.
Pages:
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237