Eros (concept)

Eros ( /ˈɪrɒs/ or /ˈɛrɒs/; Ancient Greek: ἔρως érōs) is one of the four words in Ancient Greek which can be rendered into English as “love”. The other three are storge, philia and agape. Eros refers to “intimate love” or romantic love; storge to “affection” or fondness; philia to “brotherly love”, or the love between family members or close friends; and agape refers to “selfless love”, or “charity” as it is translated in the Christian scriptures (from the Latin caritas, dearness).^[1] The term erotic is derived from eros. Eros has also been used in philosophy and psychology in a wider sense, almost as an equivalent to "life energy".

Etymology

In Ancient Greek, eros means "Intimate Love". The Modern Greek word is erotas.

Eros in literature

The classical Greek tradition

In the classical world, the phenomenon of erotic love was generally understood as a kind of madness or, as the Greeks put it, theia mania ("madness from the gods").^[2] This love passion was described through an elaborate metaphoric and mythological schema involving "love's arrows" or "love darts", the source of which was often the personified figure of Eros (or his Latin counterpart, Cupid),^[3] or another deity (such as Rumor^[4]). At times the source of the arrows was said to be the image of the beautiful love object itself. If these arrows were to arrive at the lover's eyes, they would then travel to and 'pierce' or 'wound' his or her heart and overwhelm him/her with desire and longing (love sickness). The image of the "arrow's wound" was sometimes used to create oxymorons and rhetorical antithesis concerning its pleasure and pain.

"Love at first sight" was explained as a sudden and immediate beguiling of the lover through the action of these processes, but this was not the only mode of entering into passionate love in classical texts. At times the passion could occur after the initial meeting, as, for example, in Phraedra's letter to Hippolytus in Ovid's Heroides: "That time I went to Eleusis... it was then most of all (though you had pleased me before) that piercing love lodged in my deepest bones."^[5] At times, the passion could even precede the first glimpse, as in Paris' letter to Helen of Troy in the same work, where Paris says that his love for Helen came upon him before he had set eyes on her: "...you were my heart's desire before you were known to me. I beheld your features with my soul ere I saw them with my eyes; rumour, that told me of you, was the first to deal my wound."^[6]

Whether by "first sight" or by other routes, passionate love often had disastrous results according to the classical authors. In the event that the loved one was cruel or uninterested, this desire was shown to drive the lover into a state of depression, causing lamentation and illness. Occasionally, the loved one was depicted as an unwitting ensnarer of the lover, because of her sublime beauty — a "divine curse" which inspires men to kidnap her or try to rape her.^[7] Stories in which unwitting men catch sight of the naked body of Artemis the huntress (and sometimes Aphrodite) lead to similar ravages (as in the tale of Actaeon).

European literature

The classical conception of love's arrows was developed further by the troubadour poets of Provence during the medieval period, and became part of the European courtly love tradition. The role of a woman's eyes in eliciting erotic desire was particularly emphasized by the Provençal poets, as N.E. Griffin points out:

According to this description, love originates upon the eyes of the lady when encountered by those of her future lover. The love thus generated is conveyed on bright beams of light from her eyes to his, through which it passes to take up its abode in his heart. ^[8]

In some medieval texts, the gaze of a beautiful woman is compared to the sight of a basilisk - a legendary reptile said to have the power to cause death with a single glance.

These images continued to be circulated and elaborated upon in the literature and iconography of the Renaissance and Baroque periods.^[9] Boccaccio for example, in his Il Filostrato, mixes the tradition of Cupid's arrow with the Provençal emphasis on the eyes as the birthplace of love: "Nor did he (Troilus) who was so wise shortly before... perceive that Love with his darts dwelt within the rays of those lovely eyes... nor notice the arrow that sped to his heart."^[10]

The rhetorical antithesis between the pleasure and pain from love's dart continued through the 17th century, as for example, in these classically inspired images from The Fairy-Queen:

If Love's a Sweet Passion, why does it torment?
If a Bitter, oh tell me whence comes my content?
Since I suffer with pleasure, why should I complain,
Or grieve at my Fate, when I know 'tis in vain?
Yet so pleasing the Pain is, so soft is the Dart,
That at once it both wounds me, and Tickles my Heart.^[11]

Eros in philosophy and psychology

Plato

The ancient philosopher Plato developed an idealistic concept of Eros which would prove to be very influential in modern times. In general, Plato did not consider physical attraction to be a necessary part of love. "Platonic love" in this original sense is examined in Plato's dialogue the Symposium, which has as its topic the subject of love or Eros. In this dialogue Plato argues that Eros is initially felt for a person, but that with contemplation it can become an appreciation for the beauty within that person, or even an appreciation for beauty itself in an ideal sense. As Plato expresses it, Eros can help the soul to "remember" Beauty in its pure form. It follows from this, for Plato, that Eros can contribute to an understanding of Truth.

Ultimately, Plato considers Eros to be a longing for wholeness or completeness, a daemon whose aim is to reach wisdom without ever owning her. In that sense Eros is synonymous with philosophy, which literally means the love or desire of wisdom. And since wisdom is the greatest of virtues, Eros is therefore the desire for the greatest of goods.

However, it is important to note that for Plato, the object of love does not necessarily have to be physically beautiful. In fact the greatest of goods will be eternal, and physical beauty is in no way eternal. If he achieves possession of the beloved's inner beauty and goodness, the lover's need for happiness will be fulfilled, because happiness is the experience of knowing that you are participating in the Good.^[12]

Sigmund Freud

In Freudian psychology, Eros, also called libido, libidinal energy or love, is the life instinct innate in all humans. It is the desire to create life and favours productivity and construction. In early psychonalytic writings, instincts from the Eros were opposed by forces from the ego. But in later psychoanalytic theory, Eros is opposed by the destructive death instinct of Thanatos (death instinct or death drive).

In his 1925 paper "The Resistances to Psycho-Analysis",^[13] Freud explains that the psychoanalytic concept of sexual energy is more in line with the Platonic view of Eros, as expressed in the Symposium, than with the common use of the word "sex" as related primarily to genital activity. He also mentions the philosopher Schopenhauer as an influence. He then goes on to confront his adversaries for ignoring such great precursors and for tainting his whole theory of Eros with a pansexual tendency. He finally writes that his theory naturally explains this collective misunderstanding as a predictable resistance to the acknowledgement of sexual activity in childhood.

However, F.M. Cornford finds the standpoints of Plato and of Freud to be "diametrically opposed" with regard to Eros. In Plato, Eros is a spiritual energy initially, which then "falls" downward; whereas in Freud Eros is a physical energy which is "sublimated" upward.^[14]

The philosopher and sociologist Herbert Marcuse appropriated the Freudian concept of Eros for his highly influential 1955 work Eros and Civilization.

Carl Jung

In Carl Jung's analytical psychology, the counterpart to Eros is Logos, a Greek term for the principle of rationality. Jung considers Logos to be a masculine principle, while Eros is a feminine principle. According to Jung:

Woman’s psychology is founded on the principle of Eros, the great binder and loosener, whereas from ancient times the ruling principle ascribed to man is Logos. The concept of Eros could be expressed in modern terms as psychic relatedness, and that of Logos as objective interest.^[15]

This gendering of Eros and Logos is a consequence of Jung's theory of the anima/animus syzygy of the human psyche. Syzygy refers to the split between male and female. According to Jung, this split is recapitulated in the unconscious mind by means of "contrasexual" (opposite-gendered) elements called the anima (in men) and the animus (in women). Thus men have an unconscious feminine principle, the "anima", which is characterized by feminine Eros. The work of individuation for men involves becoming conscious of the anima and learning to accept it as one's own, which entails accepting Eros. This is necessary in order to see beyond the projections that initially blind the conscious ego. "Taking back the projections" is a major task in the work of individuation, which involves owning and subjectivizing unconscious forces which are initially regarded as alien.^[16]

In essence, Jung's concept of Eros is not dissimilar to the Platonic one. Eros is ultimately the desire for wholeness, and although it may initially take the form of passionate love, it is more truly a desire for "psychic relatedness", a desire for interconnection and interaction with other sentient beings. However, Jung was inconsistent, and he did sometimes use the word "Eros" as a shorthand to designate sexuality.^[17]

See also

• The Greek god Eros
• Love styles
• The Four Loves
• Greek words for love
• Limerence, a modern term describing the infatuation and romantic desires commonly associated with eros.
• Eroticism
• Greek love

References and notes

1. ^ C.S. Lewis, The Four Loves
2. ^ Tallis, Frank (February 2005). "Crazy for You". The Psychologist 18 (2). http://www.thepsychologist.org.uk/archive/archive_home.cfm?volumeID=18&editionID=115&ArticleID=809. 
3. ^ See, for example, the Amores and the Heroides of Ovid which frequently refer to the overwhelming passion caused by Cupid's darts.
4. ^ See Paris's letter to Helen of Troy, in Ovid, Heroides and Amores, XVI, 36-38.
5. ^ Ovid, Heroides and Amores, translated by Grant Showerman. Second edition revised by G.P. Goold. Loeb Calssical Library (Cambridge: Harvard University Press, 1986), IV, 67-70, p 49. ISBN 0-674-99045-5
6. ^ Ovid, Heroides and Amores, translated by Grant Showerman, second edition revised by G.P. Goold (Cambridge: Harvard University Press, 1986), XVI, 36-38, pp. 199-201.
7. ^ For more on these tropes in the Ancient Greek novel, see Françoise Létoublon, Les Lieux communs du roman: Stéréotypes grecs d'aventure et d'amour, Leiden: E.J.Brill, 1993. ISBN 90-04-09724-4.
8. ^ See the introduction by Nathaniel Edward Griffin to The Filostrato of Giovanni Boccaccio (New York: Bilbo and Tannen, no date. ISBN 0-8196-0817-X), p.76, note 2.
9. ^ For a full discussion of the scene of "love at first sight" in fiction, see Jean Rousset, "Leurs yeux se rencontrèrent" : la scène de première vue dans le roman, Paris: José Corti, 1981.
10. ^ Giovanni Boccaccio, Il Filostrato, canto 1, strophe 29; translation by Nathaniel Edward Griffin and Arthur Beckwith Myrick, p. 147. According to Griffin: "In the desription of the enamorment of Troilus is a singular blending of the Provençal conception of the eyes as the birthplace of love with the classical idea of the God of Love with his bows and quiver..." (ibid., p.77, note 2).
11. ^ Anonymous, "If Love's a Sweet Passion", from the libretto of Henry Purcell's The Fairy-Queen, act 3.
12. ^ Plato. Symposium. 199c5-212c
13. ^ Freud, S. (1925). "The Resistances to Psycho-Analysis", in The Collected Papers of Sigmund Freud, Vol. 5, p.163-74. (Tr. James Strachey.)
14. ^ Cornford, F.M. (1950), "The Doctrine of Eros in Plato's Symposium", in The Unwritten Philosophy.
15. ^ Carl Jung, Aspects of the Feminine, Princeton University Press, 1982, p. 65, ISBN 0-7100-9522-8.
16. ^ For a critical perspective on this viewpoint, which also summarizes the Jungian position well, see James Hillman, The Dream and The Underworld (1979), p.100.
17. ^ Robert H. Hopcke, A Guided Tour of the Collected Works of C.G. Jung, Shambhala Books, 1999, p.45ff.