In romance the suspension of natural law and the individualizing of the hero's exploits reduce nature largely to the animal and vegetable world. Much of the hero's life is spent with animals, or at any rate the animals that are incurable romantics, such as horses, dogs, and falcons, and the typical setting of romance is the forest. [In romantic tragedy the] hero's death or isolation thus has the effect of a spirit passing out of nature, and evokes a mood best described as elegiac. The elegiac presents a heroism unspoiled by irony. The inevitability in the death of Beowulf, the treachery in the death of Roland, the malignancy that compasses the death of the martyred saint, are of much greater emotional importance than any ironic complications of hybris and hamartia that may be involved. Hence the elegiac is often accompanied by a diffused, resigned, melancholy sense of the passing of time, of the older changing and yielding to a new one […].
It makes you think, doesn't it? About that which we consider natural, genuine, true, honest, good ... eastern vs western ideals .. religious vs secular views ... even differences among purportedly like-minded beings ... age differences ... socio-economic differences ... hopes ... dreams ... preferences ... pet peeves ... with so many factors combined the odds of being compatible with any human being on the planet is incomprehensible ... even our clones would be different from ourselves.
Sometimes we build an altar to our troublesome thoughts in the image of another. To build an altar is to remind ourselves of an existence that we would otherwise ignore, perhaps at our own peril. We avoid the painful side of Thanatos by holding ourselves and others accountable to an ideal few can maintain.
Romantic Love is not about idealism, not about denial, not about our need for compatibility and companionship, it is that innate attraction to that which is separate in order to balance that which is not present within.