How had he believed that nameless, faceless orgasms would ever satisfy him? He’d spent his life worshipping at the altar of a silent, absent god who promised everything but delivered something fleeting that always left him wanting. He’d trafficked in lust masquerading as eros. But nothing had been further from reality. Vanity of vanities. All is vanity.
Sylvain ReynardIt appears that Venus has Beatrice’s face. Once again, I’m not interested in a historical analysis of the models for the painting. I’m simply asking you to note the visible similarities between the figures. They represent two muses, two ideal types, one theological and one secular. Beatrice is the lover of the soul; Venus is the lover of the body. Botticelli’s La Bella has both faces — one of sacrificial love or agape, and one of sexual love or eros.
Sylvain ReynardIn the portrait of Venus, the emphasis is on her physical beauty. Even though she represents sexual love, she maintains a venerable modesty, clutching part of her hair in order to cover herself. Notice the demure expression and the placement of her hand across her breast. Her shyness increases the eroticism of her portrayal — it doesn’t diminish it. Many people fail to see how modesty and sweetness of temper compound erotic appeal.
Sylvain ReynardIf they love one another to the exclusion of everything and everyone else, then their love is pagan. They’ve made idols of one another and their love. And they’re also very foolish, because no human being can ever make another human being completely happy. Human beings are far too imperfect for that.
Sylvain ReynardLillian Hellman wrote a play called The Little Foxes. In it a young girl tells her mother that some people eat the earth, like locusts, and others stand around and watch them do it.
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