Eros Love Quotes

They'll say you are bad or perhaps you are mad or at least you should stay undercover. Your mind must be bare if you would dare to think you can love more than one lover.

Is this guy Love or Death?" Jason growled. Ask your friends, Cupid said. Frank, Hazel, and Percy met my counterpart, Thanatos. We are not so different. Except Death is sometimes kinder.

Eros will have naked bodies; Friendship naked personalities.

Love is on every side, Cupid said. And no one's side. Don't ask what Love can do for you. "Great," Jason said. "Now he's spouting greeting card messages.

The words we read and words we write never say exactly what we mean. The people we love are never just as we desire them. The two symbola never perfectly match. Eros is in between.

Eros, again now, the loosener of limbs troubles me, Bittersweet, sly, uncontrollable creature….

Nico's voice was like broken glass. "I- I wasn't in love with Annabeth." "You were jealous of her," Jason said. "That's why you didn't want to be around her. Especially why you don't want to be around... him. It makes total sense.

Nothing?" Favonius cried. "The one you care for most... plunged into Tartarus, and you still will not allow the truth?" Suddenly Jason felt like he was eavedropping. The one you care for most.

Christianity gave Eros poison to drink; he did not die of it, certainly, but degenerated to Vice.

Eros is an issue of boundaries. He exists because certain boundaries do. In the interval between reach and grasp, between glance and counterglance, between ‘I love you’ and ‘I love you too,’ the absent presence of desire comes alive. But the boundaries of time and glance and I love you are only aftershocks of the main, inevitable boundary that creates Eros: the boundary of flesh and self between you and me. And it is only, suddenly, at the moment when I would dissolve that boundary, I realize I never can.

Nico, you can do this," Jason said. "It might be embarrassing, but it's for the scepter." Nico didn't look convinced. In fact he looked like he was going to be sick. But he squared his shoulders and nodded. "You're right. I- I'm not afraid of a love god." Favonius beamed. "Excellent! Would you like a snack before you go?

Those who cannot conceive of Friendship as a substantive love but only as a disguise or elaboration of Eros betray the fact that they have never had a Friend.

Still hiding, Cupid said, smashing another skeleton to pieces. You do not have the strength. "Nico," Jason managed to say, "it's okay. I get it." Nico glanced over, pain and misery washing across his face. "No you don't," he said. "There's no way you can understand." And so you run away again, Cupid chided. From your friends, from yourself.

The story of Psyche finally made sense to him- why a mortal girl would be so afraid. Why would she risk breaking the rules to look the god of love in the face, because she feared he might be a monster. Psyche had been right. Cupid was a monster. Love was the most savage monster of all.

Poor Nico di Angelo. The god's voice was tinged with disappointment. Do you know what you want, much less what I want? My beloved Psyche risked everything in the name of Love. It was the only way for her to atone for her lack of faith. And you- what have you risked in my name? "I've been to Tartarus and back," Nico snarled. "You don't scare me." I scare you very, very much. Face me. Be honest.

Those who cannot conceive Friendship as a substantive love but only as a disguise or elaboration of Eros betray the fact that they have never had a Friend. The rest of us know that though we can have erotic love and friendship for the same person yet in some ways nothing is less like a Friendship than a love-affair. Lovers are always talking to one another about their love; Friends hardly ever about their Friendship. Lovers are normally face to face, absorbed in each other; Friends, side by side, absorbed in some common interest. Above all, Eros (while it lasts) is necessarily between two only. But two, far from being the necessary number for Friendship, is not even the best. And the reason for this is important. ... In each of my friends there is something that only some other friend can fully bring out. By myself I am not large enough to call the whole man into activity; I want other lights than my own to show all his facets... Hence true Friendship is the least jealous of loves. Two friends delight to be joined by a third, and three by a fourth, if only the newcomer is qualified to become a real friend. They can then say, as the blessed souls say in Dante, 'Here comes one who will augment our loves.' For in this love 'to divide is not to take away.

Images flashed through his mind. He saw Nico and his sister on a snowy cliff in Maine, Percy Jackson protecting them from a manticore. Percy's sword gleamed in the dark. He'd been the first demigod Nico had ever seen in action. Later, at Camp Half-Blood, Percy took Nico by the arm, promising to keep his sister Bianca safe. Nico believed him. Nico looked into his sea-green eyes and thought, How can he possibly fail? This is a real hero. He was Nico's favorite game, Mythomagic, brought to life. Jason saw the moment when Percy returned and told Nico that Bianca was dead. Nico had screamed and called him a liar. He'd felt betrayed, but still... when the skeleton warriors attacked, he couldn't let them harm Percy. Nico had called on the earth to swallow them up, and then he'd run away- terrified of his own powers, and his own emotions.

The event of falling in love is of such a nature that we are right to reject as intolerable the idea that it should be transitory. In one high bound it has overleaped the massive of our selfhood; it has made appetite itself altruistic, tossed personal happiness aside as a triviality and planted the interests of another in the centre of our being. Spontaneously and without effort we have fulfilled the law (towards one person) by loving our neighbour as ourselves. It is an image, a foretaste, of what we must become to all if Love Himself rules in us without a rival. It is even (well used) a preparation for that.

Gods, I wish the world was full of passive women.He thought for a moment longer, then scowled. On second thoughts, what a nightmare that'd be. It's the job of a man to fan the spark into flames, not quench it...

As Sokrates tells it, your story begins the moment Eros enters you. That incursion is the biggest risk of your life. How you handle it is an index of the quality, wisdom, and decorum of the things inside you. As you handle it you come into contact with what is inside you, in a sudden and startling way. You perceive what you are, what you lack, what you could be.

The concept that really gets the goat of the gay-hater, the idea that really spins their melon and sickens their stomachs is that most terrible and terrifying of all human notions, love. That one can love another of the same gender, that is what the homophobe really cannot stand. Love in all eight tones and all five semitones of the world's full octave. Love as Agape, Eros and Philos; love as infatuation, obsession and lust; love as torture, euphoria, ecstasy and oblivion (this is beginning to read like a Calvin Klein perfume catalogue); love as need, passion and desire.

Bakit kahit simpleng pagmamahal ay kinakailangan ng materyal na kapital?

When you are falling in love it is always already too late: dēute, as the poets say.

At home, besides being Peter or Jane, we also bear a general character; husband or wife, brother or sister, chief, colleague or subordinate. Not among Friends. It is an affair of disentangled, or stripped, minds. Eros will have naked bodies; Friendship naked personalities.

I guess I'm giving in to life. It's like the ocean breaking against the rocks: it simply wears me down until I given in. It was only a matter of time.

I think Eros should be dirty. In Greek legend, as I'm sure you are aware, he fell in love with the minor deity Psyche. It was the Greek way of saying that, in spite of what it may believe, Love pursues the Soul, not the body; the Erotic desires the Psychic. If Love was clean and wholesome he wouldn't lust after Psyche.

SEPTEMBER 1, 1939 I sit in one of the dives On Fifty-second Street Uncertain and afraid As the clever hopes expire Of a low dishonest decade: Waves of anger and fear Circulate over the bright And darkened lands of the earth, Obsessing our private lives; The unmentionable odour of death Offends the September night. Accurate scholarship can Unearth the whole offence From Luther until now That has driven a culture mad, Find what occurred at Linz, What huge imago made A psychopathic god: I and the public know What all schoolchildren learn, Those to whom evil is done Do evil in return. Exiled Thucydides knew All that a speech can say About Democracy, And what dictators do, The elderly rubbish they talk To an apathetic grave; Analysed all in his book, The enlightenment driven away, The habit-forming pain, Mismanagement and grief: We must suffer them all again. Into this neutral air Where blind skyscrapers use Their full height to proclaim The strength of Collective Man, Each language pours its vain Competitive excuse: But who can live for long In an euphoric dream; Out of the mirror they stare, Imperialism's face And the international wrong. Faces along the bar Cling to their average day: The lights must never go out, The music must always play, All the conventions conspire To make this fort assume The furniture of home; Lest we should see where we are, Lost in a haunted wood, Children afraid of the night Who have never been happy or good. The windiest militant trash Important Persons shout Is not so crude as our wish: What mad Nijinsky wrote About Diaghilev Is true of the normal heart; For the error bred in the bone Of each woman and each man Craves what it cannot have, Not universal love But to be loved alone. From the conservative dark Into the ethical life The dense commuters come, Repeating their morning vow; 'I will be true to the wife, I'll concentrate more on my work,' And helpless governors wake To resume their compulsory game: Who can release them now, Who can reach the dead, Who can speak for the dumb? All I have is a voice To undo the folded lie, The romantic lie in the brain Of the sensual man-in-the-street And the lie of Authority Whose buildings grope the sky: There is no such thing as the State And no one exists alone; Hunger allows no choice To the citizen or the police; We must love one another or die. Defenseless under the night Our world in stupor lies; Yet, dotted everywhere, Ironic points of light Flash out wherever the Just Exchange their messages: May I, composed like them Of Eros and of dust, Beleaguered by the same Negation and despair, Show an affirming flame.

As Venus within Eros does not really aim at pleasure, so Eros does not aim at happiness. We may think he does, but when he is brought to the test it proves otherwise... For it is the very mark of Eros that when he is in us we had rather share unhappiness with the Beloved than be happy on any other terms.

The husband is the head of the wife just in so far as he is to her what Christ is to the Church - read on - and give his life for her (Eph. V, 25). This headship, then, is most fully embodied not in the husband we should all wish to be but in him whose marriage is most like a crucifixion; whose wife receives most and gives least, is most unworthy of him, is - in her own mere nature - least lovable. For the Church has not beauty but what the Bride-groom gives her; he does not find, but makes her, lovely. The chrism of this terrible coronation is to be seen not in the joys of any man's marriage but in its sorrows, in the sickness and sufferings of a good wife or the faults of a bad one, in his unwearying (never paraded) care or his inexhaustible forgiveness: forgiveness, not acquiescence. As Christ sees in the flawed, proud, fanatical or lukewarm Church on earth that Bride who will one day be without spot or wrinkle, and labours to produce the latter, so the husband whose headship is Christ-like (and he is allowed no other sort) never despairs. He is a King Cophetua who after twenty years still hopes that the beggar-girl will one day learn to speak the truth and wash behind her ears.

Love is a great spirit. Everything spiritual is in between god and mortal.

Hold me as if I were the most fragile object that a touch of a feather could break. Dance with me with the same animal craving, with the same desire you would make love to me.

With good reason, love's messengers, Eros and Kama, are armed with bows and long-distance arrows. No being, god or mortal, can choose love. Love comes despite ourselves; and then, if we have not already done so, we have the task of becoming our selves so we may welcome love.

We're terrible together." "It's not about true love, Jess." "If it were love then it's a terrible love.

Novels institutionalize the ruse of eros. It becomes a narrative texture of sustained incongruence, emotional and cognitive. It permits the reader to stand in triangular relation to the characters in the story and reach into the text after the objects of their desire, sharing their longing but also detached from it, seeing their view of reality but also its mistakenness. It is almost like being in love.

Ways of loving from a distance, mating without even touching-Amor platonicus! The ladder of love one is expected to climb higher and higher, elating the Self and the Other. Plato clearly regards any actual physical contact as corrupt and ignoble because he thinks the true goal of Eros is beauty. Is there no beauty in sex? Not according to Plato. He is after `more sublime pursuits.' But if you ask me, I think Plato's problem, like those of many others, was that he never got splendidly laid.

Like a gale smiting an oak On mountainous terrain, Eros, with a stroke, Shattered my brain.

The psyche cannot tolerate a vacuum of love. In the severely abused or deprived child, pain, dis-ease, and violance rush in to fill the void. In the average person in our culture, who has been only "normally" deprived of touch, anxiety and an insatiable hunger for posessions replace the missing eros. The child lacking a sense of welcome, joyous belonging, gratuitous security, will learn to hoard the limited supply of affection. According to the law of psychic compensation, not being held leads to holding on, grasping, addiction, posessiveness. Gradually, things replace people as a source of pleasure and security. When the gift of belonging with is denied, the child learns that love means belongin to. To the degree we are arrested at this stage of development, the needy child will dominate our motivations. Other people and things (and there is fundamentally no difference) will be seen as existing solely for the purpose of "my" survival and satisfaction. "Mine" will become the most important word.

If he held me any tighter we'd be one person. I say nothing and listen to our hearts beat together in perfect harmony.

Defenceless under the night Our world in stupor lies; Yet, dotted everywhere, Ironic points of light Flash out wherever the Just Exchange their messages: May I, composed like them Of Eros and of dust, Beleaguered by the same Negation and despair, Show an affirming flame.

We are born with our father's names. We are not responsible for their failures. We are responsible for what they made us believe in. That is our only obligation. And it is even then a choice which we may sometimes be wise to ignore.

The secret has been killing me. Taking small chunks out of who I am until I wasn't me anymore.

Touch me with your bestial pupils, keep me in a floating air between us, clasp my shuddering thoughts below the moonlight captured in a candle jar.

Love me. As a mother who had fed you on her breasts. Like a lover who teased you with them. Like a friend on whose chest you laid your head and wept. Love me.

Sexual desire, without Eros, wants it, the thing in itself; Eros wants the Beloved.

Desire is not simple. In Greek the act of love is a mingling and desire melts the limbs. Boundaries of body, category of thought, are confounded.

Relaxing me from head to feet Love masters me, the bitter sweet O'er thy limbs breathing; Yea, Eros now, the god born blind Sweeps my soul like the mountain wind Through the oaks seething.

Do you know the German word, sehnsucht," he asked. "Yes," I answered. "The idea of an inconsolable longing for what we don't understand. You believe that longing is for God. Or heaven. And that we can confuse it with longing for someone or something else.

Give my soul to Heaven to keep it, while I am becoming nothing but pleasure in your skilful hands of a sculptor.

By learning to truly love someone else, you learn to love the world. And yourself, which may be even harder.

Besides intercourse (when the Image-repertoire goes to the devil), there is that other embrace, which is a motionless cradling: we are enchanted, bewitched: we are in the realm of sleep, without sleeping; we are within the voluptous infantilism of sleepiness: this is the moment for telling stories, the moment of the voice which takes me, siderates me, this is the return to the mother ("in the loving calm of your arms," says a poem set to music by Duparc). In this companionable incest, everything is suspended: time, law, prohibition: nothing is exhausted, nothing is wanted: all desires are abolished, for they seem definitively fulfilled. Yet, within this infantile embrace, the genital unfailingly appears; it cuts off the diffuse sensuality of the incestuous embrace; the logic of desire begins to function, the will-to-possess returns, the adult is superimposed upon the child. I am then two subjects at once: I want maternity and genitality. (The lover might be defined as a child getting an erection: such was the young Eros.)

Friendship is unnecessary, like philosophy, like art, like the universe itself (for God did not need to create). It has no survival value; rather it is one of those things which give value to survival.” p.71 “Affection is taken as the image when God is represented as our Father; Eros, when Christ is represented as the Bridegroom of the Church.” p.78 “The little pockets of early Christians survived because they cared exclusively for the love of “the brethren” and stopped their ears to the opinion of the Pagan society all around them.” p.70 “Friendship is even, if you like, angelic. But man needs to be triply protected by humility if he is to eat the bread of angels without risk.” p.87

I covet him. His hot body over mine, sweaty and smelling like grass after the rain. I want to live that moment of Eros again and again and again. Never having enough of him, the masculine image of me, a piece of art, unique masterpiece of God, that is calmly sleeping beside me.

Do you think you might be able to love me someday?" He asked and heard her laugh softly. "I already do." She said and his soul soared. "So this is what the poets write about? This is what they call love?" She asked. "Yes my love." He said softly. "They do not do it justice." She stated and he laughed. "I agree." He told her as he held her, wondering how this could be real.

When I contemplate the physical spaces that articulate the letters 'I love you' in a written text, I may be led to think about other spaces, for example the space that lies between 'you' in the text and you in my life.

But there comes a point (and this is the challenge facing modern technological Western man) when the cult of technique destroys feeling, undermines passion, and blots out individual identity. The technologically efficient lover...has lost the power to be carried away; he knows only too well what he is doing. At this point, technology diminishes consciousness and demolishes eros. Tools are no longer an enlargement of consciousness but a substitute for it and, indeed, tend to repress and truncate it.

Psy was smiling. It was warm and soft, and to Eros it looked like the perfect place to lie in and just be.

All lovers believe they are inventing love.

Eros aimed one of his arrows at Medea, and drove it into her heart, up to the feathers.

Like a child licking his lower lip while looking through the window of a candy shop, eye-eating the sugar glazed apples that are shining in all shades of red. That is how you look at me. With all the temptation of a child, wanting to break the glass and indulge in something he cannot have.

Love makes temporary saints and poets of us all. We feel the source of life welling up inside us and long to express the joy it brings and share it with the partner of our heart’s awakening.

I was pondering the Greek ideals of love. Agape, of course, the highest love, the love that Gods feel. Then eros, romantic love; and philia, the love of friends; and storge, the love of family.

Like the tigress watching her playing cub while napping, covered with sun rays that are blinding her. She opens her eyes wider at every sound, at every movement of the trees, air, soil… Protective. Alert. That is how you look at me. Wanting to save me from all that could harm me. Preventing my pain by loving me

The full moon cast an eerie glow through thick ancient dark woods. In the shadows around a tree, the serial killer ran his knife lovingly over Chelsea’s trussed dead body. She lay, as if posed for a photo, wearing only bloody pink underpants.

I love you. If I only have this window of time to do it in, let me love you now. Because tomorrow will come, and if you're not in it, I can't live with knowing you could have been.

God's love, and hence the love with which we come to love God, is eros and agape at once: a desire for the other that delights in the distance of otherness.

Eros, honoured without reservation and obeyed unconditionally, becomes a demon.

Sai bene che non sogno. Ma ieri notte ho sognato che assistevamo a un funerale nel mare. All’inizio ero attonito. Poi pieno di rimpianti. Ma tu m’hai sfiorato un braccio e hai detto: “no, va tutto bene. Era molto vecchia, e poi lui l’ha amata tutta la vita

michelle would get picked up and bang someone anonymous stud in the bathroom, and i would sip my drink wishing i could go home and curl up with a book. i sigh. thats ok. she was my vicarious slutty friend. and for that i loved her

The unraveling is beginning. I understand, for the first time, why people call it "falling" in love. It's real. The falling part. It's like falling and never landing. Hope I can survive in one piece.

You’re too focused. Too high-strung. Too…” Eros trails off as he continues to look into Levi’s blue eyes. “Too caught up with being in love.

He smiled and smoothed my hair back from my forehead. He did not say a word, nor did he need to, because his affection for me spoke louder than words. I only hoped Eros understood I just extended a personal invitation to share his body with me. The primal look in his eyes expressed one single message—you’re mine now.

Life, of course, never gets anyone's entire attention. Death always remains interesting, pulls us, draws us. As sleep is necessary to our physiology, so depression seems necessary to our psychic economy. In some secret way, Thanatos nourishes Eros as well as opposes it. The two principles work in covert concert; though in most of us Eros dominates, in none of us is Thanatos completely subdued. However-and this is the paradox of suicide-to take one's life is to behave in a more active, assertive, "erotic" way than to helplessly watch as one's life is taken away from one by inevitable mortality. Suicide thus engages with both the death-hating and the death-loving parts of us: on some level, perhaps, we may envy the suicide even as we pity him. It has frequently been asked whether the poetry of Plath would have so aroused the attention of the world if Plath had not killed herself. I would agree with those who say no. The death-ridden poems move us and electrify us because of our knowledge of what happened. Alvarez has observed that the late poems read as if they were written posthumously, but they do so only because a death actually took place. "When I am talking about the weather / I know what I am talking about," Kurt Schwitters writes in a Dada poem (which I have quoted in its entirety). When Plath is talking about the death wish, she knows what she is talking about. In 1966, Anne Sexton, who committed suicide eleven years after Plath, wrote a poem entitled "Wanting to Die," in which these startlingly informative lines appear: But suicides have a special language. Like carpenters they want to know which tools. They never ask why build. When, in the opening of "Lady Lazarus," Plath triumphantly exclaims, "I have done it again," and, later in the poem, writes, Dying Is an art, like everything else. I do it exceptionally well. I do it so it feels like hell. I do it so it feels real. I guess you could say I've a call, we can only share her elation. We know we are in the presence of a master builder.

if someone got to see the Beautiful itself, absolute, pure, unmixed, not polluted by human flesh or colors or any other great nonsense of mortality, but if he could see the divine Beauty itself in its one form? Do you think it would be a poor life for a human being to look there and to behold it by that which he ought, and to be with it? Or haven't you remembered that in that life alone, when he looks at Beauty in the only way what Beauty can be seen - only then will it become possible for him to give birth no to images of virtue but to true virtue. The love of the gods belongs to anyone who has given birth to true virtue and nourished it, and if any human being could become immortal, it would be he.

... as a breath of wind or some echo rebounds from smooth, hard surfaces and returns to the source from which it issued, so the stream of beauty passes back into its possessor through his eyes, which is its natural route to the soul; arriving there and setting him all aflutter, it waters the passages of the feathers and causes the wings to grow, and fills the soul of the loved one in his turn with love.

Used as rocket fuel, sex energy can lift our consciousness to the stars to experience a state of being where love exists in and for itself and has no opposite. On a soul level, this is our natural state.

The Greeks were smarter than us, and they had different words for different kinds of love. There's storge, which is family love. That's not us. There's eros, which is sexual love. There's philia, which is brotherly love. And then there's the highest form. Agape." He pronounced it 'aga-pay'. "Thats transcendental love, like when you place the other person above yourself.

It is always astonishing how love can strike. No context is love-proof, no convention or commitment impervious. Even a lifestyle which is perfectly insulated, where the personality is controlled, all the days ordered and all actions in sequence, can to its own dismay find that an unexpected spark has landed; it begins to smolder until it is finally unquenchable. The force of Eros always brings disturbance; in the concealed terrain of the human heart Eros remains a light sleeper.

Love is the true state of the human heart. When we love, we unguard our hearts. We open ourselves up to the world with- out any restraint. When passion flows, desires stir, our earthy senses become dull, and our ethereal self becomes illumined. At this stage, we are naked, totally naked, with little or no covering of ego.

The extraordinary Soul Mate and Twin Flame encounters, makes one feel as if they have just arrived at a temple. They have been given access to the Divine. As they enter the room where the holy of holies resides, they can sense the spark of the Almighty deep within each other.

I believe eros dwells in our innermost being as the spirit of creative expression. To me, eros is a great path that we must walk, a song we listen to, a game that we hunt and enjoy, a lesson to learn, a garden where flowers bloom, a prodigious puzzle to solve, a book to read, a chapter to write, and an ocean to swim in. That’s what eros is to me.

When an individual appreciates that he alone is responsible for the content and coherence of his person, an influx like eros becomes a concrete personal threat. So in the lyric poets, love is something that assaults or invades the body of the lover to wrest control of it from him, a personal struggle of will and physique between the god and his victim. The poets describe this struggle from within a consciousness – perhaps new in the world – of the body as a unity of limbs, senses and self, amazed at its own vulnerability.

We cannot ask ourselves whether ‘woman’ is superior or inferior to ‘man’ any more than we can ask ourselves whether water is superior or inferior to fire. There can be no doubt that a woman who is perfectly woman is superior to a man who is imperfectly man, just as a farmer who is faithful to his land and performs his work perfectly is superior to a king who cannot do his own work.

Come gli manca uno sguardo così. Se non lo conosci vivacchi e non ti manca. Ma se una stronza ti ha posato addosso quelle ali lì, ti ha fatto sentire l'eroe di una sceneggiatura temeraria, rimani tutta la vita un mendicante che va in giro a cercare quelle palpebre che si aprono solo per guardarti e si chiudono per imprigionarti.

(On the myth of Eros) Each time I recall this myth, I wonder: Are we never to be able to see the true face of love? And I understand what the Greeks meant by this: Love is an act of faith and its face should always be covered in mystery. Every moment should be lived with feeling and emotion because if we try to decipher it and understand it, the magic disappears.

This idea the Greeks had of him is best summed up not by a poet, but by a philosopher, Plato: “Love—Eros—makes his home in men’s hearts, but not in every heart, for where there is hardness he departs. His greatest glory is that he cannot do wrong nor allow it; force never comes near him. For all men serve him of their own free will. And he whom Love touches not walks in darkness.

Song " I am stuck in traffic in a taxicab which is typical and not just of modern life mud clambers up the trellis of my nerves must lovers of Eros end up with Venus muss es sein? es muss nicht sein, I tell you how I hate disease, it’s like worrying that comes true and it simply must not be able to happen in a world where you are possible my love nothing can go wrong for us, tell me

He came to read; two or three books are lying open: history and poetry. But after just ten minutes of reading he lets them drop. There on the sofa he falls asleep. He truly is devoted to reading- but he is twenty-three years old, and very handsome. And just this afternoon, Eros surged within his perfect limbs and on his lips. Into his beautiful flesh came the heat of passion, and there was no foolish embarrassment about the form that pleasure took..

I'd felt certain of his eros in the months before this unsterile kiss, but perhaps some small and niggling part of me had believed it pity or forbearance, that his medieval virtues compelled him to love me in my dying. But non! It was this wink of time when I whorled toward understanding, into and resting in the arms of love we shared--an uncommon and vulnerable combination of the four loves we'd traveled with and toward: agape, storge, philia, and now, unquestionably, eros. Our journey--riddled with both pain and joy--culminated in a kiss I would never have anticipated as the revelation it became, as the comfort and mastery of love.

As Sokrates tells it, your story begins the moment Eros enters you. That incursion is the biggest risk of your life. How you handle it is an index of the quality, wisdom and decorum of the things inside you. As you handle it you come into contact with what is inside you, in a sudden and startling way. You perceive what you are, what you lack, what you could be. What is this mode of perception, so different from ordinary perception that it is well described as madness? How is it that when you fall in love you feel as if suddenly you are seeing the world as it really is? A mood of knowledge floats out over your life. You seem to know what is real and what is not. Something is lifting you toward an understanding so complete and clear it makes you jubilant. This mood is no delusion, in Sokrates’ belief. It is a glance down into time, at realities you once knew, as staggeringly beautiful as the glance of your beloved (249e-50c).

It appears that Venus has Beatrice’s face. Once again, I’m not interested in a historical analysis of the models for the painting. I’m simply asking you to note the visible similarities between the figures. They represent two muses, two ideal types, one theological and one secular. Beatrice is the lover of the soul; Venus is the lover of the body. Botticelli’s La Bella has both faces — one of sacrificial love or agape, and one of sexual love or eros.

L. T. Woodward has also rightly brought to light a form of psychological sadism in those women of today who "make a great show of their bodies but apply a symbolic placard bearing the words 'Do not touch. "* Sexual tormentresses of this kind are found everywhere: in the girl who wears a minute bikini, the married woman with a provocatively low neckline, the young woman who walks along the street wiggling her hips in very tight pants or in a miniskirt that leaves more than half of her thighs exposed and who wants to be looked at but not touched — all of these types are capable of showing anger.

The Greeks were smarter. They used different words, eros and agape, to distinguish between these two profoundly different ways of experiencing what we call “love.” Eros, of course, refers to passionate love, while agape describes the stable and committed relationship, free of passion, that exists between two individuals who care deeply for each other. The contrast of eros and agape allows us to understand our dilemma when we look for both these kinds of love at one time, in one relationship with one person. It also helps us see why eros and agape each have their champions, those who claim that one or the other is the only real way of experiencing love, for indeed each has its very special beauty, truth, and worth. And each type of love also lacks something precious, which only the other has to offer. Let’s look at how proponents of each would describe being in love.

. Sometimes, but only for a moment, I saw a faint solitary figure with a Rosa veiled face, and carrying a faint torch, flit among the dancers, but like a dream within a dream, like a shadow of a shadow, and I knew by an understanding born from a deeper fountain than thought, that it was Eros himself, and that his face was veiled because no man or woman from the beginning of the world has ever known what love is, or looked into his eyes, for Eros alone of divinities is altogether a spirit, and hides in passions not of his essence if he would commune with a mortal heart. So that if a man love nobly he knows love through infinite pity, unspeakable trust, unending sympathy; and if ignobly through vehement jealousy, sudden hatred, and unappeasable desire; but unveiled love he never knows.

True love is first, love which does not conceal, and it does not conceal in two senses. First, it does not conceal because it has nothing to hide. It has nothing shameful which has to be hidden. It does not shun the light. It is willing, and is such that it is always willing to show itself in front of witnesses. It is also a love which does not conceal its aims. True love does not hide the true objective that it seeks to obtain from the one it loves. it is without subterfuge and does not employ roundabout means with its partner. It does not keep itself out of sight of witnesses, or of its partner. True love is love without disguise. Second, true love is an unalloyed love, that is to say, without mixture of pleasure and displeasure. It is also a love in which sensual pleasure and the friendship of souls do not intermingle. To that extend it is therefore a pure love because unalloyed. Third, true love (alethes eros) is love which is in line with what is right, what is correct. It is a direct (euthus) love. It has nothing contrary to the rule or custom. And finally, true love is love which is never subject to change or becoming. It is an incorruptible love which remains always the same.

We’ve made it private, contained it in family, when its audacity is in its potential to cross tribal lines. We’ve fetishized it as romance, when its true measure is a quality of sustained, practical care. We’ve lived it as a feeling, when it is a way of being. It is the elemental experience we all desire and seek, most of our days, to give and receive. The sliver of love’s potential that the Greeks separated out as eros is where we load so much of our desire, center so much of our imagination about delight and despair, define so much of our sense of completion. There is the love the Greeks called filia—the love of friendship. There is the love they called agape—love as embodied compassion, expressions of kindness that might be given to a neighbor or a stranger. The Metta of the root Buddhist Pali tongue, “lovingkindness,” carries the nuance of benevolent, active interest in others known and unknown, and its cultivation begins with compassion towards oneself.

An individual's torments only have meaning within his or her personal experience. Faced with the collective we are as naked and helpless as the day we were born. Our individual development depends on realizing that others cannot understand our experience. Sometimes the obstacles we meet tempt us to place our destiny in the hands of another. But we cannot live by proxy, we must take everything on our own shoulders. Then we know we are alone. We must allow this sensation to fill our being and live like abandoned children because only thus is our life in our own hands. From time to time a mirage will surface of some way of life that will free us from the feeling of abandonment; but a mirage is exactly what it will remain. We can of course live solely within the collective, with the illusion of speaking a common language and of not being alone, but this deception can cost our lives. If we act according to the general rule, we are following a code that is not our own. Everyone must find his or her own tune, accepting the resulting abandonment by those who continue singing in concert. Great artists create modes of expression that are uniquely their own: they enter so deeply into their sense of life that preexisting modes no longer serve their purpose. They invent new ways of writing poetry, of painting and making music.

Weininger observed that nothing is more baffling for a man than a woman’s response when caught in a lie. When asked why she is lying, she is unable to understand the question, acts astonished, bursts out crying, or seeks to pacify him by smiling . She cannot understand the ethical and transcendental side of lying or the fact that a lie represents damage to being and, as was acknowledged in ancient Iran, constitutes a crime even worse than killing. It is nonsense to deduce this trait in women from sociological factors; some people say that a lie is the “natural weapon” of the woman and therefore used in her defense for hundreds of years. The truth, pure and simple, is that woman is prone to lie and to disguise her true self even when she has no need to do so; this is not a social trait acquired in the struggle for existence, but something linked to her deepest and most genuine nature. Just as the absolute woman does not truly feel that lying is wrong, so in her, contrary to man, lying is not wrong, nor is it an inner yielding or a breaking of her own existential law. It is a possible counterpart of her plastic and fluid nature. A type such as D’Aurevilly described is perfectly understandable: “She made a habit of lying to the point where it became truth; it was so simple and natural, without any effort or alleviation." Ii is foolish to judge woman with the values of the absolute man even in cases where, by doing violence to her own self, she makes a show of following those values and even sincerely believes that she is following them.

The air of a deposed prince. falsehood as restorative-if they wouldnt do that if they wouldnt do all that they do. the body as traitor the body as foe. she's thinking about mythology,about reluctant daphne/ relentless apollo. if she could, as daphne did, cry out to mother earth for protection. and have every suitors find a laurel tree in his arms. people would still look up to her. misjudge her. misunderstand her. worship her evn[damn druids]. or carve someone elses name into her. 'oh sweetie dont take things so seriously: the world is your oister' just as she thot, the world is something slimy in a shell. he's so proud of his knavery. okay, she's been vainglorious about her sins too but shes tired of that. 'if you love someone you accept him as he is, but if you accept him as he is than you dont really love him because if you did youd want whats best for him and that usually means he should be better than he is. a meadowy susuration that she used to pretend to like. but not anymore. shes sick of 'huh?' too, that interjection of ignorance. 'love in action is a harsh and dreadful thing compared to love in dreams.'-Feodor Dostoyevsky. she wants to kiss him. but just in some neutral way. some agape-not-eros way. like disciples kiss. or brave french freedom fighters. 'for i the Lord thy God am a jealous God, visisting the iniquity of the fathers upon the children'-Exodus 20:5 'its just stuff that i thot was interesting. its not, you know, a rorshach. its not like somebody could read this and figure me out.' 'transylvania has beautiful nights. ill just open the window and slip out of this cumbersome crucfix.' 'like the Torah said, dont just hate somebody in your heart; rebuke him.'" -Margaux with an X

of the problem was that Chaos got a little creation-happy. It thought to its misty, gloomy self: Hey, Earth and Sky. That was fun! I wonder what else I can make. Soon it created all sorts of other problems—and by that I mean gods. Water collected out of the mist of Chaos, pooled in the deepest parts of the earth, and formed the first seas, which naturally developed a consciousness—the god Pontus. Then Chaos really went nuts and thought: I know! How about a dome like the sky, but at the bottom of the earth! That would be awesome! So another dome came into being beneath the earth, but it was dark and murky and generally not very nice, since it was always hidden from the light of the sky. This was Tartarus, the Pit of Evil; and as you can guess from the name, when he developed a godly personality, he didn't win any popularity contests. The problem was, both Pontus and Tartarus liked Gaea, which put some pressure on her relationship with Ouranos. A bunch of other primordial gods popped up, but if I tried to name them all we’d be here for weeks. Chaos and Tartarus had a kid together (don’t ask how; I don’t know) called Nyx, who was the embodiment of night. Then Nyx, somehow all by herself, had a daughter named Hemera, who was Day. Those two never got along because they were as different as…well, you know. According to some stories, Chaos also created Eros, the god of procreation... in other words, mommy gods and daddy gods having lots of little baby gods. Other stories claim Eros was the son of Aphrodite. We’ll get to her later. I don’t know which version is true, but I do know Gaea and Ouranos started having kids—with very mixed results. First, they had a batch of twelve—six girls and six boys called the Titans. These kids looked human, but they were much taller and more powerful. You’d figure twelve kids would be enough for anybody, right? I mean, with a family that big, you’ve basically got your own reality TV show. Plus, once the Titans were born, things started to go sour with Ouranos and Gaea’s marriage. Ouranos spent a lot more time hanging out in the sky. He didn't visit. He didn't help with the kids. Gaea got resentful. The two of them started fighting. As the kids grew older, Ouranos would yell at them and basically act like a horrible dad. A few times, Gaea and Ouranos tried to patch things up. Gaea decided maybe if they had another set of kids, it would bring them closer…. I know, right? Bad idea. She gave birth to triplets. The problem: these new kids defined the word UGLY. They were as big and strong as Titans, except hulking and brutish and in desperate need of a body wax. Worst of all, each kid had a single eye in the middle of his forehead. Talk about a face only a mother could love. Well, Gaea loved these guys. She named them the Elder Cyclopes, and eventually they would spawn a whole race of other, lesser Cyclopes. But that was much later. When Ouranos saw the Cyclops triplets, he freaked. “These cannot be my kids! They don’t even look like me!” “They are your children, you deadbeat!” Gaea screamed back. “Don’t you dare leave me to raise them on my own!

Eros: Real love is an all-consuming, desperate yearning for the beloved, who is perceived as different, mysterious, and elusive. The depth of love is measured by the intensity of obsession with the loved one. There is little time or attention for other interests or pursuits, because so much energy is focused on recalling past encounters or imagining future ones. Often, great obstacles must be overcome, and thus there is an element of suffering in true love. Another indication of the depth of love is the willingness to endure pain and hardship for the sake of the relationship. Associated with real love are feelings of excitement, rapture, drama, anxiety, tension, mystery, and yearning. Agape: Real love is a partnership to which two caring people are deeply committed. These people share many basic values, interests, and goals, and tolerate good-naturedly their individual differences. The depth of love is measured by the mutual trust and respect they feel toward each other. Their relationship allows each to be more fully expressive, creative, and productive in the world. There is much joy in shared experiences both past and present, as well as those that are anticipated. Each views the other as his/ her dearest and most cherished friend. Another measure of the depth of love is the willingness to look honestly at oneself in order to promote the growth of the relationship and the deepening of intimacy. Associated with real love are feelings of serenity, security, devotion, understanding, companionship, mutual support, and comfort.