Thus, I rejoice with the first gift that is my beloved’s arrival—her existence and time. That she exists, and that she exists in this time, not the past nor the future, but is thrown together, simultaneous, co-incidental with me. The second gift is her second arrival and that is our crossing of paths—that she not only existed and not only existed in this time, but that also she existed and she existed in the exact time and space as I was.
Love and Suffering
It does not out work out the way romantic movies tell us. These movies conclude on an ecstatic but idealistic assumption that love ends happily ever after. Not all are lucky in love. Not all live happily ever after. Or those happily ever afters are not the ones we consistently dreamed of as happy. There are always struggles within. Relationships still break apart. Lovers reveal themselves as all too human, prone to error, temptation, and strife. Love manifests itself not as a matter of luck but a dreadful battlefield—an exhausting war of comings and goings, of sin and forgiveness, of toil and suffering. Stripped off of its eros, magic, and fantasies, what we are left with is a fragile and futile reality of love that hurts, decays, and is finite. Love, as we imagined and desired it to be, remains (reminiscent of Descartes) an elusive dream. It is an elusive dream that torments us.
The Game of Love
Housed in the Galleria Borghese in Rome is the life-sized marble sculpture of Apollo and Daphne made by Gian Lorenzo Bernini. Prominent during his time, Bernini is known to have possessed the unique ability to capture in marble, the essence of a narrative moment with a shocking dramatic realism. A viewer can readily perceive this gifted ability by gazing at Apollo and Daphne, one of his famous works.
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