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Old Oct 13th 2017, 10:59 AM
Abishai100 Abishai100 is offline
Join Date: Jul 2014
Posts: 186
Default Forlorn Love(?)

Finally, for my last addendum to this thread (and perhaps my last Internet post anywhere, since I'm retiring from blogging --- after 15 years of it --- I had a blast my friends!), I want to talk about the development/evolution of love stories and how it contributes to the modern-age presentations of 'horrifying shock of love-experiences' (i.e., horror and betrayal themed cinema --- definitively a modern trend) on this great superstition-tradition day of Friday the 13th.

If we look at Biblical stories of great love --- e.g., Abraham and Sarah, David and Queen of Sheba, Samson and Delilah --- and compare them to new age romance-intrigue stories in popular folklore --- e.g., Romeo and Juliet, Tristan and Iseult, Bonnie and Clyde --- we find distinct parallels regarding social norms, political complications, and cultural factors, but we also find divergences regarding anticipation of optimism, the reality of traffic-congestion, and the challenges of modernization.

In particular, the story of Samson and Delilah represents incredible obstacles of an ethical nature, while the story of Tristan and Iseult represents sentimentalism in the face of great social progress.

Therefore, new age love stories (such as that of Tristan and Iseult) signify an appreciation specifically of society-confounded progress-related complications to love.

Tristan and Iseult have to deal with politics and monarchies/kingdoms and are ultimately considered paragons of love sought but always simply/tragically romanticized. Samson and Delilah, on the other hand, represent love yearned and challenged by barbarism/cynicism.

This contrast in stories about forlorn love between the old world and new world reveals the thematic approach of many horror film-makers (such as Jamie Blanks) in composing great and shocking tales of complete psychos 'avenging' themselves for love never obtained (but perhaps once sought).

Valentine, The Phantom of the Opera, and Sleeping with the Enemy obviously stand out in this respect.

It would be interesting to do a study of how horror-cinema symbolizes stances on the ironic undesirability of love-complications (and perhaps then of love itself!).

It can be argued that Hitchcock's Psycho started all this 'heresy.'


TRISTAN: My love is an elegy...
SAMSON: My love is a parable only...
TRISTAN: Maybe I will be remembered as a hunter!
SAMSON: I will be remembered as a prophet.
TRISTAN: It's strange how times have changed.
SAMSON: Love is no longer a story about humanity.
TRISTAN: Yes, it's now (also) a story about politics.
SAMSON: Love-vengeance may be uglier...
TRISTAN: Forlorn love is motivation for anarchy.
SAMSON: Do Christians fear 'betrayal-retribution'?
TRISTAN: Certainly, modernists fear 'dystopian complications'!
SAMSON: Perhaps then horror-films symbolize pure pity.


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