V.VIII Love

"'till Lov's approaching near. When the dear object, present is..."


Walter Charleton

"Article 22,

The Motions of the Soul and Spirits in Love, and their Symptoms.

In Love, when it is not accompanied either with Cupidity, or with vehement Joy, or with Sadness, but continues pure and simple; the Soul being incited to conjoyn herself in will to objects that appear good and convenient to her, and instantly dilated; the Animal Spirits are like lightning dispatched from the brain by the nerves instantly into the Heart; and by their influx render the pulse thereof more strong and vigorous than is usual, and consequently the circulation of the blood more nimble and expedite.

(...)

And herein, if I am not much mistaken, doth the passion of Love, principally consist. For, they who are affected therewith, have their pulse equal (the Spirits that cause it, being emitted into the Cardiac nerves with an equal and placid motion) but stronger and more frequent then ordinary; they feel a certain agreeable heat diffused in their breast; they find their brain invigorated by abundance of the Spirits, and thereby grow more ingenious; and in fine they digest their meat quickly, and perform all actions of life readily and with alacrity. All which may be ascribed to the free and expedite, but equal Circulation of the Blood, caused by a copious influx of Animal Spirits into the Heart. Whence we may safely conclude, that this grateful passion is highly beneficial to all parts of the body, and conduceth much to the conservation of Health; provided it continue within the bounds of moderation."3

Aaron Hill

 

"How the Passion of LOVE, is to be express’d, by an Actor.

DEFINITION.

LOVE,is Desire kept temperate by Reverence


It is expanded softness, in the heart ; indulg’d attachment in the fancy ; and an awe (from fear to be distasteful, where we wish to please) upon the spirits : It can never, therefore, rightly be express’d, without a Look of apprehensive tenderness, that softens a high-brac’d and animated air, and casts a modest cloud of diffidence, over too quick a sense of transport. And thus we are come, at last, to a Passion, the true name whereof might be Legion ; for it includes all the other, in all their degrees and varieties.

(…)

It asks for Soul, — in thought, air, movement - - - It exacts such strict confederacy between the heart, the mien, the eye, and tongue, that it disdains to pardona bold, voluble, and lecture-like (however musical and sounding) insignificancy. 


THE idea, then, to be conceived by one, who wou’d express Love, elegantly, is that of Joy, combin’d with Fear.

 

IT is a conscious and triumphant swell of Hope, (…) It is the exhalation of a soft desire, which, to the warmth inspir’d by wishes, joins the modesty of a submissive doubtfulness. — 

 

IT is Complaint, made amiable, by Gracefullness ; Reproach, endear’d by Tenderness ; and Rapture aw’d by Reverence.

 

WITHOUT a previous fix’d idea of the Passion, in this native light, the finest of all human voices wou’d, in vain, attempt to touch it tenderly. 

(…)

HERE, if the nerves are braced, with proper warmth, to the high pitch of Joy, and the inclining Look divided, gracefully, betwixt a tender Fear, and a triumphant Pleasure, — every accent will confess the Passion, in a soft, impressive, touchingness. 

(…)

HE, then, who is not master of a power to represent ‘em ALL, in the distinct propriety of each, must (of necessity) — so far as his defect in any one of them extends — be found an incomplete, and disapprov’d sustainer, of a Lover’s character."2

Charles Le Brun

"Simple Love

The external movements of this passion, when it is alone, are very gentle and simple: the forehead will be smooth, the eyebrows slightly raised on the side to which the eyes are turned, and the head inclined towards the object which causes our Love; the eyes may be moderately open, the white very lively and shining, and the pupil, gently turned towards the object, will appear very spakling and elevated. The nose remains unchanged, as do all the other parts of the face, which is merely filled with spirits which warm and animate it, giving it a livelier and pinker colouring, particularly in the cheeks and lips; the mouth will be just open, the corners slightly raised, and the lips moistened by the vapours which rise from the heart."3

Vandenhoff: 

(Following Vandenhoff's understanding of Love, I will anticipate Joy in my expression.) 


"the expression proper to which, (forming, as does the combination of Love, Joy and Mirth, the most exquisite of all earthly felicity, — that is, the perfect enjoyment of happy love,) must be of the most animated, spiritual, and enthusiastic kind : it must be all soul !"4

A SHORT REFLECTION ON EMBODYING JOY/LOVE


When transferring the embodied Love to song, I found myself wanting to channel a more earnest and profound sense of passion. This was strengthened by Hill's demand of the performer to have an image of the passion in its native light in order to express it. The way I had "charged" the recitation, by channeling the surplus, bubbling energy and Joy, Charleton and Vandenhoff (and it was easy!), was far from what I wanted to express in the song. Le Brun, with his "Simple Love" came to my aid, and allowed for the energy and warmth to stay on the inside, and only manifest in the eyes and the voice. I believe this experience helped me getting closer to the earnestness that Vandenhoff describes.

Footnotes:

1: Charleton 1701, p. 107-8

2: Hill 1753, pp. 388-91

3: LeBrun 1698, translated in:Montagu 1994, pp. 134-5 

4: Vandenhoff 1846, p.203-4, pp. 203-4