Kitsch Cupid: Rococo and Romance
There are numerous historical sources attached to St Valentine — the Catholic.
Church recognizes at least three different saints named Valentine or Valentinus, all of whom were martyred. The most apt source is the consideration that St Valentine was a priest in third century Rome. When Emperor Claudius ll (better known as Claudius Gothicus) decreed that single men make better warriors and outlawed marriage, Valentine defied his Emperor and performed secret marriages for young lovers. When he was caught, Claudius promptly ordered for his beheading. I’d like to keep that story in mind while considering the tone of this article.
All over the internet, second-rate content delivery sites are proposing a return to the ancient Greek values of love — particularly, the seven words for love the Greek had, ranging from eros for erotic love, philia for friendship love, storge for familial love, and so on. If we attempt to extract the modern notion of ‘romance’ from our knowledge of the Greek and Roman world, we’re kidding ourselves. If you’ve ever opened a single page of Robert Graves’s Mythology you’ll know the absolute opposite is true. Graves’s compendium of mythology doesn’t sugar-coat the narratives like other authors; relationships between Gods and mortals, or gods and gods, or mortals and mortals, are seldom positive or consensual. Consider one of the most famous love stories — Cupid and Psyche, sculpted so beautifully by Canova, a story which for Psyche begins with her being sacrificed to an unknown creature, and features the death of all her sisters and torture-trials from the goddess Venus. Or Hyacinthus, lover of Apollo, murdered by the momentarily jealous god Zephyrus. Helen and Paris’s affair hardly needs explaining, nor does the heart-rending story Orpheus and Eurydice. The list goes on. The historical reference of Greek mythology seems hardly an apt source of Valentine iconography — and yet of course, it is ubiquitous. I blame the 18th century kitsch-ification of antique mythology. Tracing reception, while the renaissance had a hand in the transformation of mythological love from moral warning to saccharine kitsch, the eighteenth-century neoclassical movement firmly shoved it over the edge. Consider such works as Coypel’s ‘The Rape of Europa’.