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The psychology of Tristan and Iseult

Tristan and Iseult  (or Isolde) is a medieval romance story, considered "the quintissential courtly romance" ( Love Sick , p. 97). Tristan is raised by his uncle, King Mark of Cornwall, and it falls upon him to escort King Mark's bride-to-be, the beautiful Princess Isolde, from her home in Ireland to the king's castle. While crossing the Irish Sea, they both mistakenly drink a love potion, and subsequently fall in love. The love potion - a potent symbol of love's madness - neatly excuses Tristan's betrayal of his uncle. In Gottfried's version, the bemused Tristan complains: "I do not know what has come over poor Isolde and me, but we have both of us gone mad in the briefest space of time, with unimaginable torment - we are dying of love . . ." Tristan and Isolde (against their better judgement) become clandestine lovers and, in doing so, stir the gods of tragedy. Much of the ensuing drama concerns their attempts to avoid discovery, and eventually...

The Importance of Fantasy

The following is an excerpt from a 1974 book chapter titled "A Little about Love", by Ellen Berscheid & Elaine Hatfield. (See:  doi , scans , pages 358–359, 380.) The chapter is also cited by Dorothy Tennov on page 56 of Love and Limerence  (note: page 282), in her discussion of the Romeo and Juliet effect. A. The Importance of Fantasy Researchers have generally assumed that it is the actual rewards which are exchanged during interpersonal contact which create liking. It seems doubtful, however, that people are so reality-bound. When the lover closes his eyes and daydreams, he can summon up a flawless partner—a partner who instantaneously satisfies all his unspoken, conflicting, and fleeting desires. In fantasy he may receive unlimited reward or he may anticipate that he would receive unlimited reward were he ever to actually meet his ideal. Compared to our grandiose fantasies, the level of reward we receive in our real interactions is severely circumscrib...

How does Dorothy Tennov define limerence?

How does Dorothy Tennov define limerence?  People often misread her. Some common misconceptions are that Dorothy Tennov doesn't clearly define limerence in her material, or that she defines it as a simple synonym for being in love (including crushes, and so on). A careful examination of her material shows that she does clearly define it. The reason for the confusion has to do with the way that Tennov defines limerence through descriptions and comparisons, rather than semantics. She does this because she doesn't want to compare limerence directly to other terms, which she thinks could lead people to misunderstand her. By my definition, limerence is distinct. It is involuntary and its course depends largely on external circumstances (social barriers to a relationship and the behavior of LO). Limerent attraction is always for a potential sexual partner although its primary goal is reciprocation, not the sexual act, which is often more symbolic of mutuality than an end in it...