Medieval Romantic Quotes

So, apart from casting runes, what other hobbies do you have? Forbidden rituals, human sacrifices, torturing? –

I suspect that beneath your offensively and vulgarly effeminate façade there may be a soul of sorts. Have you read widely in Boethius?" "Who? Oh, heavens no. I never even read newspapers." "Then you must begin a reading program immediately so that you may understand the crises of our age," Ignatius said solemnly. "Begin with the late Romans, including Boethius, of course. Then you should dip rather extensively into early Medieval. You may skip the Renaissance and the Enlightenment. That is mostly dangerous propaganda. Now that I think of it, you had better skip the Romantics and the Victorians, too. For the contemporary period, you should study some selected comic books." "You're fantastic." "I recommend Batman especially, for he tends to transcend the abysmal society in which he's found himself. His morality is rather rigid, also. I rather respect Batman.

Those darling byegone times, Mr Carker,' said Cleopatra, 'with their delicious fortresses, and their dear old dungeons, and their delightful places of torture, and their romantic vengeances, and their picturesque assaults and sieges, and everything that makes life truly charming! How dreadfully we have degenerated!

Perhaps the palms had been whispering warnings in the sultry breeze.

The Renaissance invented the Middle Ages in order to define itself; the Enlightenment perpetuated them in order to admire itself; and the Romantics revived them in order to escape from themselves. In their widest ramifications ‘the Middle Ages’ thus constitute one of the most prevalent cultural myths of the modern world. BRIAN STOCK, Listening for the text

Imagination is not, as some poets have thought, simply synonymous with good. It may be either good or evil. As long as art remained primarily mimetic, the evil which imagination could do was limited by nature. Again, as long as it was treated as an amusement, the evil which it could do was limited in scope. But in an age when the connection between imagination and figuration is beginning to be dimly realized, when the fact of the directionally creator relation is beginning to break through into consciousness, both the good and the evil latent in the working of imagination begin to appear unlimited. We have seen in the Romantic movement an instance of the way in which the making of images may react upon the collective representations. It is a fairly rudimentary instance, but even so it has already gone beyond the dreams and responses of a leisured few. The economic and social structure of Switzerland is noticeably affected by its tourist industry, and that is due only in part to increased facilities of travel. It is due not less to the condition that (whatever may be said about their ‘particles’) the mountains which twentieth-century man sees are not the mountains which eighteenth-century man saw. It may be objected that this is a very small matter, and that it will be a long time before the imagination of man substantially alters those appearances of nature with which his figuration supplies him. But then I am taking the long view. Even so, we need not be too confident. Even if the pace of change remained the same, one who is really sensitive to (for example) the difference between the medieval collective representations and our own will be aware that, without traveling any greater distance than we have come since the fourteenth century, we could very well move forward into a chaotically empty or fantastically hideous world. But the pace of change has not remained the same. It has accelerated and is accelerating. We should remember this, when appraising the aberrations of the formally representational arts. Of course, in so far as these are due to affectation, they are of no importance. But in so far as they are genuine, they are genuine because the artist has in some way or other experienced the world he represents. And in so far as they are appreciated, they are appreciated by those who are themselves willing to make a move towards seeing the world in that way, and, ultimately therefore, seeing that kind of world. We should remember this, when we see pictures of a dog with six legs emerging from a vegetable marrow or a woman with a motorbicycle substituted for her left breast.

To look up at the towering medieval universe is much more like looking at a great building. The ‘space’ of modern astronomy may arouse terror, or bewilderment or vague reverie; the spheres of the old present us with an object in which the mind can rest, overwhelming in its greatness but satisfying in its harmony. That is the sense in which our universe is romantic, and theirs was classical.

In medieval India, the Hindu Vaishnava system of bhakti-yoga (devotional yoga) developed highly sophisticated categories of relation (rasa) to God, including santa (awe and reverence), vatsalya (parental attitude toward God), dasya (servant of God), sakhya (being friends and playmates with God), and madburya (passionate, romantic love).

The Russian Revolution is a radical change in history. The abolition of private property has created a new world. You may like it or detest it, but it’s new. Hitler’s socialism was a sham to get a mob of gangsters into power. He’s frozen the German economy just as it was, smashed the labor unions, lengthened the working hours, cut the pay, and kept all the old rich crowd on top, the Krupps and Thyssens, the men who gave him the money to run for office. The big Nazis live like barons, like sultans. The concentration camps are for anybody who still wants the socialist part of National Socialism." [...] "I’m sorry. I’m impressed with Hitler’s ability to use socialist prattle when necessary, and then discard it. He uses doctrines as he uses money, to get things done. They’re expendable. He uses racism because that’s the pure distillate of German romantic egotism, just as Lenin used utopian Marxism because it appealed to Russia’s messianic streak. Hitler means to hammer out a united Europe.... He understands them, and he may just succeed. A unified Europe must come. The medieval jigsaw of nations is obsolete. The balance of power is dangerous foolishness in the industrial age. It must all be thrown out. Somebody has to be ruthless enough to do it, since the peoples with their ancient hatreds will never do it themselves. It’s only Napoleon’s original vision, but he was a century ahead of his time.

There is no period in history when it would have been better to be alive than today. People who fantasise about a romantic past imagine themselves living in Pharaoh’s court, Caesar’s palace, Plato’s athenaeum, a medieval knight’s manor, a king’s castle, a queen’s château, an emperor’s citadel, a cardinal’s cathedral. But the cold, hard reality is that 99.99 per cent of all the people who ever lived existed in what we would today consider squalid poverty.

It would detain us too long here to trace the steps whereby a man’s genius, from being an invisible, personal, and external attendant, became his true self, and then his cast of mind, and finally (among the Romantics) his literary or artistic gifts. To understand this process fully would be to grasp that great movement of internalisation, and that consequent aggrandisement of man and desiccation of the outer universe, in which the psychological history of the West has so largely consisted.25

Werewolves had been so rationalized and medicalized by the year 1000 that they became subject to a medieval type of “heroin chic” romanticism in literature, in which they were frequently portrayed as attractive, lonely, suffering, victimized, self-sacrificing, chivalrous heroes in fictional and mythological tales emerging during the Grail romance era. The “chivalrous werewolf” narratives often feature a noble knight or prince who transforms into a werewolf to protect the subject of his romantic love, but while he is a werewolf she betrays him by stealing his transformative device—either a potion, a ring, a belt or his clothes—trapping him forever in his lovelorn werewolf state.25

Hence we may, with proper precautions, regard a certain humility as the overall characteristic of medieval art. Of the art; not always of the artists. Self-esteem may arise within any occupation at any period. A chef, a surgeon, or a scholar, may be proud, even to arrogance, of his skill; but his skill is confessedly the means to an end beyond itself, and the status of the skill depends wholly on the dignity or necessity of that end. I think it was then like that with all the arts. Literature exists to teach what is useful, to honour what deserves honour, to appreciate what is delightful. The useful, honourable, and delightful things are superior to it: it exists for their sake; its own use, honour, or delightfulness is derivative from theirs. In that sense the art is humble even when the artists are proud; proud of their proficiency in the art, but not making for the art itself the high Renaissance or Romantic claims. Perhaps they might not all have fully agreed with the statement that poetry is infima inter omnes doctrinas.17 But it awoke no such hurricane of protest as it would awake today. In this great change something has been won and something lost. I take it to be part and parcel of the same great process of Internalisation18 which has turned genius from an attendant daemon into a quality of the mind. Always, century by century, item after item is transferred from the object’s side of the account to the subject’s. And now, in some extreme forms of Behaviourism, the subject himself is discounted as merely subjective; we only think that we think. Having eaten up everything else, he eats himself up too. And where we ‘go from that’ is a dark question.

The construction of castle arbours, monastic cloister gardens and Byzantine courtyards with trees and flowers attested to Western interest in the natural world. Paradise remained synonymous with perfect environments. In Anglo-Saxon, 'paradise' translated as 'meadow' or 'pasture'. Notions of a classical Golden Age, local legends, religion and romantic poetry all perpetuated the concept of nature as a refuge from society. For the nobility, nature signified a retreat for aesthetic pleasure and a venue for spiritual uplift. However, for the average medieval peasant, the organic world meant livestock rearing and crop production.

Jung once quoted a medieval alchemist who said, “Only what is separated may be properly joined.” When two things are muddled together they need to be separated, distinguished, and untangled so that they may later be rejoined in a workable synthesis. This is the correct meaning of “analysis” in psychology; to analyze is to separate out the entangled threads of one’s inner life—the confused values, ideals, loyalties, and feelings—so that they may be synthesized in a new way. We analyze romantic love, not to destroy it, but to understand what it is and where it belongs in our lives. Analysis must always serve synthesis in order to serve life; what is taken apart must be put back together again.

Until recently, attempts to resolve the contradictions created by urbanization, centralization, bureaucratic growth and statification were viewed as a vain counterdrift to "progress"—a counterdrift that could be dismissed as chimerical and reactionary. The anarchist was regarded as a forlorn visionary, a social outcast, filled with nostalgia for the peasant village or the medieval commune. His yearnings for a decentralized society and for a humanistic community at one with nature and the needs of the individual—the spontaneous individual, unfettered by authority—were viewed as the reactions of a romantic, of a declassed craftsman or an intellectual "misfit." His protest against centralization and statification seemed all the less persuasive because it was supported primarily by ethical considerations—by Utopian, ostensibly "unrealistic," notions of what man could be, not by what he was. In response to this protest, opponents of anarchist thought—liberals, rightists and authoritarian "leftists"—argued that they were the voices of historic reality, that their statist and centralist notions were rooted in the objective, practical world. Time is not very kind to the conflict of ideas. Whatever may have been the validity of libertarian and non-libertarian views a few years ago, historical development has rendered virtually all objections to anarchist thought meaningless today. The modern city and state, the massive coal-steel technology of the Industrial Revolution, the later, more rationalized, systems of mass production and assembly-line systems of labor organization, the centralized nation, the state and its bureaucratic apparatus—all have reached their limits. Whatever progressive or liberatory role they may have possessed, they have now become entirely regressive and oppressive. They are regressive not only because they erode the human spirit and drain the community of all its cohesiveness, solidarity and ethico-cultural standards; they are regressive from an objective standpoint, from an ecological standpoint. For they undermine not only the human spirit and the human community but also the viability of the planet and all living things on it.

The daemons are ‘between’ us and the gods not only locally and materially but qualitatively as well. Like the impassible gods, they are immortal: like mortal men, they are passible (xiii). Some of them, before they became daemons, lived in terrestrial bodies; were in fact men. That is why Pompey saw semidei Manes, demigod-ghosts, in the airy region. But this is not true of all daemons. Some, such as Sleep and Love, were never human. From this class an individual daemon (or genius, the standard Latin translation of daemon) is allotted to each human being as his ‘witness and guardian’ through life (xvi). It would detain us too long here to trace the steps whereby a man’s genius, from being an invisible, personal, and external attendant, became his true self, and then his cast of mind, and finally (among the Romantics) his literary or artistic gifts. To understand this process fully would be to grasp that great movement of internalisation, and that consequent aggrandisement of man and desiccation of the outer universe, in which the psychological history of the West has so largely consisted.25

Yes, do that,” Ignatius said excitedly. “Begin organizing at every level.” “Oh, I never guessed that you would be such a fun person to know. You were so hostile in that dreadful, tacky bar.” “My being has many facets.” “You amaze me.” The young man stared at Ignatius’ outfit. “To think that they’re letting you run around loose. In a way, I respect you.” “Thank you very much.” Ignatius’ voice was smooth, pleased. “Most fools don’t comprehend my worldview at all.” “I wouldn’t imagine so.” “I suspect that beneath your offensively and vulgarly effeminate façade there may be a soul of sorts. Have you read widely in Boethius?” “Who? Oh, heavens no. I never even read newspapers.” “Then you must begin a reading program immediately so that you may understand the crises of our age,” Ignatius said solemnly. “Begin with the late Romans, including Boethius, of course. Then you should dip rather extensively into early Medieval. You may skip the Renaissance and the Enlightenment. That is mostly dangerous propaganda. Now that I think of it, you had better skip the Romantics and the Victorians, too. For the contemporary period, you should study some selected comic books.” “You’re fantastic.” “I recommend Batman especially, for he tends to transcend the abysmal society in which he’s found himself. His morality is rather rigid, also. I rather respect Batman.

Will she survive it? I told his lordship she would. I didn’t want to give him an excuse not to help her. Methinks that if he suspected she was near death, he would turn her out.” “I don’t know. Methinks it depends on her will to live. If she doesn’t want life, she’ll die.” Haldana sighed. “I’ll stay with her and watch over her. Please, direct the girls to take over my duties.” “Yea. ‘Tis already done.” Ulric narrowed his eyes in heavy contemplation, drawing back the coverlet at the girl’s bruised throat. His frown deepened. It looked as if she’d been strangled. “M’lord has put her in my charge until she awakens. He wishes to speak to her then.” “Methinks that m’lord is more frightened of her being here because she is a woman and a woman of his class.” “Yea, methought it also. He didn’t think much of me saying she was a beauty.” In truth, Ulric only saw the line of the lady’s slender body outlined by the coverlet and the fullness of her lips, but he’d mainly called her beautiful just to aggravate his lordship. He let go of the coverlet, letting the old material fall once more to cover the noblewoman’s neck. He moved his fingers to stroke the wiry hairs of his mustache. “Wouldn’t it be nice if she was sent here to melt the curse from his lordship’s heart?” Haldana sighed, wistful. “Yea, even the curse from this castle. Then the Monster of Lakeshire would leave us be once and fer all.” “You are a romantic dreamer, dear girl.” Ulric kissed Haldana briefly on her forehead and turned to leave. “Let me know at once when she awakens.” “Yea, Ulric, I will.” Haldana let her girlish giggle echo in the chamber as he shut the door. From outside the chamber, he heard her say, “Poor child. You don’t know what you have gotten yerself into coming here.

But I believe that the Industrial Revolution, including developments leading to this revolution, barely capture what was unique about Western culture. While other cultures were unique in their own customs, languages, beliefs, and historical experiences, the West was uniquely exceptional in exhibiting in a continuous way the greatest degree of creativity, novelty, and expansionary dynamics. I trace the uniqueness of the West back to the aristocratic warlike culture of Indo-European speakers as early as the 4th millennium BC. Their aristocratic libertarian culture was already unique and quite innovative in initiating the most mobile way of life in prehistoric times, starting with the domestication and riding of horses and the invention of chariot warfare. So were the ancient Greeks in their discovery of logos and its link with the order of the world, dialectical reason, the invention of prose, tragedy, citizen politics, and face-to-face infantry battle. The Roman creation of a secular system of republican governance anchored on autonomous principles of judicial reasoning was in and of itself unique. The incessant wars and conquests of the Roman legions, together with their many military innovations and engineering skills, were one of the most vital illustrations of spatial expansionism in history. The fusion of Christianity and the Greco-Roman intellectual and administrative heritage, coupled with the cultivation of Catholicism (the first rational theology in history), was a unique phenomenon. The medieval invention of universities — in which a secular education could flourish and even articles of faith were open to criticism and rational analysis, in an effort to arrive at the truth — was exceptional. The list of epoch-making transformation in Europe is endless: the Renaissance, the Age of Discovery, the Scientific Revolution(s), the Military Revolution(s), the Cartographic Revolution, the Spanish Golden Age, the Printing Revolution, the Enlightenment, the Romantic Era, the German Philosophical Revolutions from Kant to Hegel to Nietzsche to Heidegger.

The concentrated structure of musical form, based on dramatic climaxes, gradually breaks up in romanticism and gives way again to the cumulative composition of the older music. Sonata form falls to pieces and is replaced more and more often by other, less severe and less schematically moulded forms—by small-scale lyrical and descriptive genres, such as the Fantasy and the Rhapsody, the Arabesque and the Étude, the Intermezzo and the Impromptu, the Improvisation and the Variation. Even extensive works are often made up of such miniature forms, which no longer constitute, from the structural point of view, the acts of a drama, but the scenes of a revue. A classical sonata or symphony was the world in parvo: a microcosm. A succession of musical pictures, such as Schumann’s Carnaval or Liszt’s Années de Pèlerinage, is like a painter’s sketch-book; it may contain magnificent lyrical-impressionistic details, but it abandons the attempt to create a total impression and an organic unity from the very beginning. [...] This change of form is accompanied by the literary inclinations of the composers and their bias towards programme music. The intermingling of forms also makes itself felt in music and is expressed most conspicuously in the fact that the romantic composers are often very gifted and important writers. In the painting and poetry of the period the disintegration of form does not proceed anything like so quickly, nor is it so far-reaching as in music. The explanation of the difference is partly that the cyclical ‘medieval’ structure had long since been overcome in the other arts, whereas it remained predominant in music until the middle of the eighteenth century, and only began to yield to formal unity after the death of Bach. In music it was therefore much easier to revert to it than, for example, in painting where it was completely out of date. The romantics’ historical interest in old music and the revival of Bach’s prestige had, however, only a subordinate part in the dissolution of strict sonata form, the real reason is to be sought in a change of taste which was in essentials sociologically conditioned.

William (Marshal n.n.) gained great credit and patronage by his determined defense of Queen Eleanor of Aquitaine… He was largely supported by royal patronage… serving the Young King (Henry, son of Henry II) on the field of tournament and at court. The latter role may have been the more dangerous: his biographer claims that enemies falsely accused him of adultery with the wife of the Young King; some think it was a romantic invention… If an accusation was in fact made, Marshal solved it as he did later when charges were brought against him at the court of King John: by challenging his accusers to fight, a challenge that they prudently avoided. It is fascinating to note that Lancelot, with a roughly contemporary beginning to a career in imaginative literature, would respond in just this fashion to charges against him. And the Young King, needing William`s martial skills (as Arthur needed those of Lancelot in romance), soon retained the great warrior in his service again.

If any of you medieval monkeys ever try to harm her again, I will wipe your Vatican off the face of Rome!

Sometimes I reworked, with much crossing out and burning of papers; I had to sift through my thoughts for words that gleamed with truth. But other times the words came fast, and then I was an arrow, sprung from a bow in God's service.

The Composition of Death Upon Your Breath" About the Song: The Composition of Death Upon Your Breath delves into the dark and haunting theme of a lover poisoned by a sinister concoction found in the medieval Grand Grimoire. The song narrates the tragic tale of love tainted by the cruel hand of death, where a forbidden potion is meticulously prepared with arcane ingredients. The song's lyrics evoke a gothic atmosphere, intertwining elements of medieval alchemy and romantic tragedy. The potion's ingredients—Red Copper, Nitric Acid, Verdigris, Arsenic, Oak Bark, Rose Water, and Black Soot—are transformed into metaphors for the slow, inevitable demise of the lover. This deadly recipe becomes a symbol of both the destructive power and the twisted beauty of forbidden love. The music captures the essence of gothic black metal with its somber melodies, eerie harmonies, and intense, brooding instrumentals. Each note and lyric serve to illustrate the dark journey of love poisoned by betrayal and malice. The song's atmosphere is thick with melancholy and dread, inviting listeners into a world where passion and death intertwine in a tragic dance. Copyright Notice: The Composition of Death Upon Your Breath © 2024 Umbrae Sortilegium. All rights reserved. Unauthorized copying, reproduction, or distribution of this song or its lyrics is prohibited. The Composition of Death Upon Your Breath. (Verse 1) In an ancient tome of shadowed lore, A secret poison to settle the score, A lover’s whisper, a deadly art, The composition to tear us apart. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Verse 2) A new, glazed pot, the spell's design, A potion brewed, in shadows confined, Your lips, a chalice of cold despair, In each embrace, a whispered prayer. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Bridge) In your gaze, the twilight's fall, A lover's kiss, the end of all, The Grand Grimoire, its secrets told, In every kiss, the poison’s cold. (Breakdown) A potion brewed from darkest sin, Your breath the gateway, let death begin, A recipe of doom, our fates entwined, In your arms, I lose my mind. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Outro) The final breath, a lover's sigh, In your arms, I’m doomed to die, The composition, a lover’s theft, Death upon your breath, my final bequest. Lyrics and ALL Vocals yours truly. Lead Guitar & Symphonics Raz Wolfgang Drums Alexander Novichkov Bass Auron Nightshade Guitarist Kael Thornfield

Having set its mark on the generation before Cocteau’s, symbolism expressed a form of inner dissidence confronting the narrow-minded materialism and utilitarian obsession of the industrial revolution, and hence a reaction to triumphant naturalism, in literature at least. Nourished by medieval, Renaissance, and Romantic art, symbolism, probably the last great backward-looking movement hatched in the West, had given rise to a desire to explore the secrets of the world and the confines of the soul. Beyond its androgynous Mercuries, its pale Narcissuses, and its Orpheuses borne by rosaries of angels, it gave rise to a whole misty alchemy wherein some found their way into esotericism and even into the religious, since the Universe was only the symbol of another world into which entrance was gained not only through poetry, spiritualism, dreams, and the Ideal, but also via the play of analogies and the study of ciphers.

The scene lends itself to a dramatic portrayal. Here was Charles, heir of a long line of Catholic sovereigns--of Maximilian the romantic, of Ferdinand the Catholic, of Isabella the orthodox--scion of the house of Hapsburg, lord of Austria, Burgundy, the Low Countries, Spain, and Naples, Holy Roman Emperor, ruling over a vaster domain than any save Charlemagne, symbol of the medieval unities, incarnation of a glorious if vanishing heritage; and here before him stood a simple monk, a miner's son, with nothing to sustain him save his own faith in the Word of God. Here the past and the future were met. Some would see at this point the beginning of modern times. The contrast is real enough. Luther himself was sensible of it in a measure. He was well aware that he had not been reared as the son of Pharaoh's daughter, but what overpowered him was not as much that he stood in the presence of the emperor as this, that he and the emperor alike were called upon to answer before Almighty God.

Besides, if she was able to get away, Dorothea would obtain the one thing that Avelina had dreamed of, written stories about, and imagined in many a long hour—true romantic love—about which the troubadours sang, the subject of epic poems and tales. No,

He was just what she wanted all those nights she dreamed of romantic love, of her own true love asking her to marry him. Her heart swelled with tender emotion every time she looked at him.

As it turned out, the reality of her love story with Lord Thornbeck was much more satisfying than any of her romantic stories and imaginings. She no longer had to dream about love. God had given her a love all her own, one that the troubadours would sing about for years to come.

Unlike Amadeo, their loyalty for Jax was not rooted in greed or ambition. They had known Jax a very long time and knew of his dark upbringing, the cruelty of his father.

How do you know how you are if you wear the same things as before?” she asked. "You have to shake your life until you rid yourself of everything you thought you were. You will shiver during the transition and then replenish with non-identity. After that, you’ll see clearly. What does that mean? Well, you may have to move out of this country. Build your closet from the ground up. Befriend those you despise. Take a left. Trade different things, you see? One must refresh themselves. Stay current with the needs of our soul.” “The adventure isn’t real though... like, people don’t actually do those things. It’s very romantic, but it’s not true. People don’t actually do that.” “What in the world? Do you know your history? We are anything– anything!—we are... in medieval times, kings would behead their brothers. Rulers would commission the most talented artists in the world to paint their bathroom ceilings. People have defeated mammoths with sticks. People have loved. People have killed the innocent to hurt the guilty. Waited until dawn. Mocked death. Staged coup d'états. Go further in your emotions and convictions. Increase your tolerance for extremity. Life can stretch.” “I think you’re mad,” giggled Andrei, shifting his feet. “Like a comet,” she stared with a firm jaw.

The medieval and Renaissance Christians feared her because she was seen as a sexual being and therefore as a different kind of threat from other monsters. (...) The Romantics pitied her and feminists have celebrated her because she was a victim, even a once beautiful victim. (...) Medusa attracts our attention, in short, not only because of her hideous deformities, but also because as a mortal, as a sexual being and as a victim, she was human: one of us.

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All in all, the West has displayed far more territorial movements, cultural novelties, and revolutions in the sciences and arts. For this reason, answering ‘where is the West?’ requires one to ask ‘what is the West?’ with an awareness of the fact that both the ‘what’ and the ‘where’ have changed over time.[40] This civilisation, for example, is not simply ‘Christian’ in the way others are ‘Confucian’ or ‘Hindu’ in a more stable, less varying way. Its Christian character alone has been infused with a theological and institutional dynamic (flowing from its synthesis with Classical reason and Indo-European aristocratic expansionism) stimulating a multiplicity of monastic movements (i.e. Cluniacs, Cistercians, Franciscans, Dominicans etc.) and heterodox movements (Pelagians, Waldensians, Cathars etc.), not to mention Crusades and numerous Protestant denominations lacking elsewhere.[41] The West — depending on locality, time, and groups — has been Platonic, Aristotelian, Epicurean, Stoic, Cynic, Augustinian, Monarchist, Newtonian, Gothic, Anglican, Humanist, Republican, Machiavellian, Hegelian, Fascist, Marxist, Darwinian, Surrealist, Cubist, Romantic, Socialist, Liberal, and much more. By contrast, the intellectual traditions set down in ancient/medieval times in China, the Near East, India, and Japan would persist in their essentials until the impact of the West brought some novelties.

Ultimately, nineteenth-century interest in ‘native faiths’ was not so much a religious as a nation-building project; the ambiguity of the medieval sources on pre-Christian religions made it possible for romantic nationalists to imagine those religions as they chose. For some they were a purer, Indigenous version of Christianity; for others, they were a form of proto-secularism and anti-colonialism. The end result was that nineteenth-century scholars were as often involved in processes of invention as they were in recovery.

When you are limerent, no matter how intensely you desire reciprocation you cannot simply ask for it. You cannot simply inquire as to whether or not it exists. To ask is to risk premature self-disclosure. The interplay is delicate, with the reactions of each person inextricably bound to the behavior of the other. Like a hunter for whom the crackle of a twig in the bush measures the presence of the hunted, you subject LO’s seemingly ordinary postures, movements, words, and glances to incessant analysis in quest of “true” meanings obscured beneath an ambiguous surface. Here, where the path is treacherous and possible consequence profound, face values cannot be trusted. Things may be what they seem or, again, they may in fact be just the opposite of what they seem. Despite ideals and philosophy, you find yourself a player in a process that bears unquestionable similarity to a game. The prize is not trifling; reciprocation produces ecstasy. Whether it will be won, whether it will be shared, and what the final outcome may be, depend on the effectiveness of your moves and those of your LO; indeed on skill. The rocky course of progression toward ecstatic mutuality may involve not externally created difficulties, but the feinting and parrying, the minor deceptions, and the falsehoods of the lovers themselves that are so frequent as often to have been viewed as a “natural” aspect of the romantic love pattern. (They also occur in sexual seduction and in many other forms of human interaction.) The lovers’ fears lead them to proceed with a caution that they hope will protect them from disaster. Rather than commit themselves, they flirt. They send out ambiguous signals more or less as trial balloons. Reason to hope combined with reason to doubt keeps passion at fever pitch. Too-ready limerent availability cools them. Andreas Capellanus, medieval author of The Art of Courtly Love, was neither the first nor the last to advise lovers to. erect artificial barriers and if necessary conceal their true feelings. When Stendhal began to fall in love himself, he feared the failure that certainty could bring and so, for “effect,” he avoided his LO and walked about alone, brooding. You may lose your love through open declaration of your true feelings.