Всего за 480 руб. Купить полную версию
These how?
These philosophical love poems. I remind you, that vlyublyonnost is not wide-awake reality, that the markings are not the same (for example, a ceiling striped by the moon, a lunar ceiling, is a reality of a different sense than the daytime ceiling), and that, may be, the hereafter stands slightly ajar in the dark. Voilà.
Looking into himself, the young poet discovers that being in love is not only our fantasies about the merits of our beloved, but first of all, it is a special state of our Self and, in addition, a reality of a different kind, which is terribly unreliable, but attractive for its infinity and mystery.
The fear of the young poet and his unwillingness to look into the opening crack of the future is quite shared, but not obvious. What can a lover really be afraid of? Not infernal darkness at all, as one might think, but the collision of the Self transformed by love with the bounding carnal reality, the premonition of which brings gloomy tones to the vivid picture of being in love. The poetic metaphors of Vladimir Nabokovs Vljublennost accurately expressed the main directions of a deep comprehension of love.
At almost the same time, Ortega y Gasset published his studies On Love, in which the philosopher presented, based on keen reflections on the nature of love, his understanding of the core content of love as going beyond ones own Self.
In the studies, he sets out to define and understand what is love between a man and a woman in itself as such. What filled the theme of love at the beginning of the 20th century, he considered unsatisfactory. On the one hand, these were numerous love stories where the essence of love was blurred by various circumstances. On the other hand, there were obvious mistakes in the theories of heart feelings created by the great philosophers. The settled reduction of love to desire, attraction, striving for something (Thomas Aquinas) cannot act as the main content of love, since desire dies, and love is eternal dissatisfaction. Also, for love itself, one cannot take its positive emotional manifestations, such as the joy of knowing the object of love (Benedict Spinoza), since love happens to be sad, hopeless, causing torment and suffering.
Ortega y Gasset sees a completely different core in love and concludes: In an outburst of love, a person breaks out of his Self; maybe this is the best thing that Nature has come up with so that we all have the opportunity to overcome ourselves to move towards something another.
Having defined the primary content of love, he emphasizes its essential qualities. The feeling of love in its innermost intimacy as a manifestation of inner life is:
active emotional practice, caring;
continuous spiritual radiation emanating from the lover and directed to the beloved, enveloping him with warmth, tenderness, and contentment;
invisible connection, where hearts beat nearby at any distance;
life-affirmation, creation and nurturing the object of love in the soul.
Ortega y Gasset insists that by following this theory of love, one can separate true love from pseudo-love. At the same time, the emotional composition of true love does not change despite a long separation and a change in the physical condition or social status of the object of love.
Lets try to summarize our reasoning about this frantic stage of love. In the state of being in love, our Self discovers a different reality, acquires mental strength that overcomes any burdens, feels the opportunity to get closer, and somewhere it draws closer to the Self-ideal and in this new quality enjoys meeting with an equally ephemeral ideal image of a partner.
Before the main test of the Self transformed by love a collision with reality there is a fairly long period of time, which psychologists estimate from six months to a year. In the meantime, under the influence of these unusual spiritual transformations, an amazing disclosure and filling of such facets of love as passion and intimacy occur.
Transformation of the Self in love: new intense internal processes, a new perception of the external world, going beyond of the Self, being in the image of the Self-ideal, interaction with the ideal image of a partner.
Passion
Passion or an irresistible desire to get closer to the object of love has a sexual and romantic component. In psychology, sexuality is associated with erotic arousal, attraction, and behavior towards people of the opposite sex. These physiological and behavioral reactions are well studied, and the center of their attraction is the so-called human sexual response cycle.
The characteristic stages of the cycle of sexual pleasure are the arousal phase for certain erotic stimuli, plateau phase, orgasm, and relief. Average cycle times are 3 to 7 minutes. After reading these medical details of sexual intercourse, anyone who has experienced love will feel that something most important has been missed, perhaps because it is difficult to express in words, much less to measure. But what certainly raises suspicion is the adequacy of the scale of psychological stopwatches. The fact is that erotic caresses and the plateau phase in sexual intercourse can be felt as endless pleasure, and physiological cycles can stretch immensely in time or immediately resume. Lovers can involuntarily plunge into a state of subtle vibrations, an analog of which is purposefully achieved in tantric practices. We will return to the discussion of these and other features of the sexual element of passion in the section Sexual Activity, but now we will turn our attention to the romantic component of passion.
The romantic ingredient in passionate attraction is associated with an increased intensity of emotional reactions and a stormy activation of the imagination of partners, inspired by love.
The content of fantasies embracing lovers is filled with the idealization of everything that surrounds them, with heroic images, adventure plots, and sometimes with mystical insights. It is no coincidence that lovers are so susceptible to fortune-telling, omens, and other mysterious rituals. The underlying basis of these processes can be described in terms of the concept of archetypes proposed by the founder of analytical psychology, Carl Gustav Jung.
Hidden layers of our psyche, which are formed by the collective unconscious, open before the inspired Self of the lover. These experiences are reflected in consciousness by certain archetypal images and symbols (seeker, warrior, magician, sage, jester, creator, ruler, Don Juan, etc.), which push its usual boundaries and stimulate the expansion of the lovers personality. Hence follows the various romantic obsessions of lovers: creative inspiration, ardent affection, willingness to eliminate any rival or offender, actions involving unjustified risks, wanderings, and other unusual states and deeds. Stormy mental processes in a state of romantic attraction in the recent past were mistaken for mania, insanity, mental disorder. This terminology, albeit in a somewhat simplified sense, is still used today to describe falling in love in both fiction and scientific literature.
In psychology, the romance of being in love is traditionally viewed within the framework of attachment theory, which relies on patterns of mother-child relationships. In 1979, psychologist Dorothy Tennov expanded attachment theory with the concept of limerence to characterize a special romantic state that suddenly fills the minds of lovers and is experienced by them, as a rule, prior to the implementation of sexual intercourse. In the process of forming attachment to a limerent object, emotions of adoration and admiration involuntarily arise, accompanied by uninvited obsessive thoughts, feelings and behaviors from euphoria to despair contingent on perceived emotional reciprocation. The state of limerence can be quite long, but it is unstable and turns into a caringly tender relationship of partners or spouses. However, its irreversible sad extinction is also possible.