Lucky’s Reviews > Eros the Bittersweet > Status Update

This attitude toward love is grounded for the Greeks in oldest mythical tradition: Hesiod describes in his Theogony how castration gave birth to the goddess Aphrodite, born from the foam around Ouranos’ severed genitals (189-200). Love does not happen without loss of vital self. The lover is the loser. Or so he reckons.

“When I desire you a part of me is gone: your lack is my lack. I would not be in want of you unless you had partaken of me, the lover reasons. Eros is expropriation. He robs the body of limbs, substance, integrity and leaves the lover, essentially, less.”

“When I desire you a part of me is gone: my want of you partakes of me. So reasons the lover at the edge of eros. The presence of want awakens in him nostalgia for wholeness. His thoughts turn toward questions of personal identity: he must recover and reincorporate what is gone if he is to be a complete person.”

“Pleasure and pain at once register upon the lover, inasmuch as the desirability of the love object derives, in part, from its lack. To whom is it lacking? To the lover. It moves out from the lover toward the beloved, then ricochets back to the lover himself and the hole in him, unnoticed before. Who is the real subject of most love poems? Not the beloved. It is that hole.”

“The experience of eros as lack alerts a person to the boundaries of himself, of other people, of things in general. It is the edge separating my tongue from the taste for which it longs that teaches me what an edge is.”

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.

“The reach of desire is defined in action: beautiful (in its object), foiled (in its attempt), endless (in time).”

The verbs pheugein (‘to flee’) and diōkein (‘to pursue’) are a fixed item in the technical erotic vocabulary of the poets, several of whom admit that they prefer pursuit to capture. “There is a certain exquisite pleasure in the wavering of the balance” Theognis says of such erotic tension (1372).

For Simone de Beauvoir the game is torture: “The knight departing for new adventures offends his lady yet she has nothing but contempt for him if he remains at her feet. This is the torture of impossible love …” (1953, 619).

“All our desires are contradictory, like the desire for food. I want the person I love to love me. If he is, however, totally devoted to me he does not exist any longer and I cease to love him. And as long as he is not totally devoted to me he does not love me enough. Hunger and repletion.” (Simone Weil, 1977)