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The purpose of The Romantic Ideal is to present a definition of romance, one that actually adheres to our hearts and souls. It is the opinion of this writer that romance actually presents to us our highest calling, not religion. But we need an icon, if you will, to believe in, to hold us together when the times get tough, and to bring out the best within us. This icon is the Romantic Ideal. "The light of love, isn't that what romanticism is about? The heart beats full; there is a sparkle in one's eyes. One is filled with the light, literally. Look at any couple in love. The light of their creative balance shines bright. They are radiant. There is a glow about them. They are being bathed in the healing energy of their own love for each other. They are in love, their lives in the harmony of perfect balance." The Romantic Ideal

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Publié par	First Edition Design Publishing
Date de parution	13 novembre 2012
Nombre de lectures	2
EAN13	9781622871971
Langue	English

Informations légales : prix de location à la page 0,0480€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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The Romantic Ideal
Christopher Alan Anderson

First Edition Design Publishing, Inc.
The Romantic Ideal

Christopher Alan Anderson
The Romantic Ideal
Copyright 2012 Christopher Alan Anderson
ISBN 978-1622871-97-1

Published and Distributed by
First Edition Design Publishing, Inc.
September 2012
www.firsteditiondesignpublishing.com

ALL RIGHTS RESERVED. No part of this book publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means ─ electronic, mechanical, photo-copy, recording, or any other ─ except brief quotation in reviews, without the prior permission of the author or publisher.
Foundation of Man and Woman Balance
www.manandwomanbalance.com
Note to the Reader:
The Romantic Ideal was written in 1987. Later it was combined with three other writings into Selected Writings—Volume 2 and published in 1991. The writing is a bit rough in places. I was only in my thirties at the time. But there are some real jewels to be found through out as is often the case in original work. Also, the use of the masculine and feminine could be smoother. Sometimes I use man, mankind, him, his, etc., to mean both the man and woman. In any embodiment of text, that takes time to work out.
The purpose of The Romantic Ideal is to present a definition of romance, one that actually adheres to our hearts and souls. It is the opinion of this writer that romance actually presents to us our highest calling, not religion. But we need an icon, if you will, to believe in, to hold us together when the times get tough, and to bring out the best within us. This icon is the Romantic Ideal.

C.A.A.— September 6, 2009
Santa Rosa, California
Table of Contents
The Romantic Ideal
Sexual Creation
Passion and Creativity
The Metaphysics of Romanticism
Religion and Romance
Health and Romance
Freedom and Romance
Universal Thinking
The Marriage Vow
The Sanctity of the Family
Destiny
The Birthing Process
The Romantic Ideal
Romance is a state of being, or experience, that most of us revere. Romance is mostly always spoken about favorably. This is true even today where we find romance fragmented, with no clear center or consensus as to its meaning or position in our lives. Nevertheless, we still seem to long for it or, if fortunate to have it, to hold on to it. Probably our only complaint about romance is the difficulty in capturing and holding it. This may be the reason why some of us turn our backs on romance. But let us not give up so easily. Let’s see if we can look at this idea of romance more deeply to develop a more complete understanding that we can hold on to. If we could just better grasp the meaning of romance in our lives, we then might be better able to follow our romantic longings and, instead of turning away when times get tough, embrace the pain as well.
The history of romance is as long as the history of man and woman. In terms of developing a definition of romance, I need not begin that far back. Instead, I will begin at that period of the late eighteenth and early nineteenth centuries in Europe and America that his since been given the name Romanticism. It was at this time that an inward sense was developing--a subjective, imaginative, “unconscious” searching was occurring in many people. There was a breaking away from the metaphysics of the past that held man restrained by definition to a certain presence and purpose in life. It could be seen as a revolt against the narrow, static, and confining dogmas of theological determinism as well as philosophical rationalism. It was as if some people were beginning to say, “Let me be. Let me breathe, feel, and think.”
One thinker that comes to mind as representing this era is the philosopher Kierkegaard. Others in philosophy, literature, and the arts are: Nietzsche, Rousseau, Schopenhauer, Goethe, Byron, Keats, Shelley, Wordsworth, Carlyle, Coleridge, Hugo, Ibsen, Strindberg, Hawthorne, Poe, Thoreau, Whitman, Beethoven, Brahms, Schubert, Schumann, Chopin, Monet, and van Gogh.
So in this period of romanticism we begin to see a change in man’s metaphysics from that of a static determinism or mechanism to a dynamic organism of growth, individuality, creativity, and imagination. (See The Triumph of Romanticism by Morse Peckham.) We may ask ourselves how or why does changing from a static metaphysic to a dynamic metaphysic bring forth romantic bearing? This is a crucial question we want to keep in mind as we proceed. We must delve more deeply into the metaphysics of this period called romanticism.
In the romantic period what essentially happened was that the experience became the metaphysic. The experience itself that many people were undergoing became the framework for a new metaphysics, metaphysics being that field of study that concerns itself with the order of things. The experience that many were having was exactly this shifting from a static, external, deterministic metaphysic to a dynamic, internal, creative metaphysic. In other words, man was losing his reliance on that which was outside of himself to create his order of the world and identity and value in the world. When Nietzsche said, “God is dead,” this meant that there no longer was (and never really had been) something outside of ourselves to provide for ourselves a sense of meaning and purpose to ourselves.
It is not hard to imagine the immensity of such an experience where one loses his external sense of bearing and measure. Remember, for thousands of years mankind had been creating metaphysical systems that postulated some deity or force as being in control of man. Man was unconscious of the fact that he was the creator of the metaphysical system. Yet suddenly, for some, this external metaphysic was collapsing and one was left--with what? With nothing? That which one had been basing his sense of self on, his identity, was now gone. What does one now base himself on; how does he structure and order his world? Some saw that the answer did indeed lie within themselves, that they must be the creator of their own meaning and value, not an easy task.
So the romantic experience was first of all a death, a loss of the order and meaning of one’s life, lost precisely because it really wasn’t one’s own to begin with. The experience was one of mental chaos and spiritual death. Many, literally, do not survive this. But some keep pushing ahead and do break out of the impasse into a renewed life, a rebirth of oneself. They are able to restore an order and meaning to life, this time taking on the role of creator of the order and the meaning for themselves. And if that order and meaning again breaks down, so be it; it’s time to create again.
Thus the romantic experience is one of death-rebirth, not necessarily one time but something that may occur again and again. This experience itself then becomes the basis for a new metaphysical order—a continuous process of destruction-recreation with man himself at the center. A good argument can be made for the similarity of the romantic experience and true spiritual experiences where one also loses himself to then find himself.
In speaking of a dynamic creative metaphysic, we are speaking of an immediate and intense (at times overwhelming) experience of continuously losing oneself (death) to then again find oneself (life). Now we have some ground to return to the question asked earlier as to what relation a dynamic creative metaphysic has to do with romance.
Romance is the state of being, i.e., experience where one continually loses oneself (dies) in that sexual other and then finds oneself out of that sexual other. Romance is the interaction between sexual opposites where they divide from and unite with each other over and over again. It is a birth-life-death-rebirth sexual process. Throughout the remainder of this work we will be focusing on and expanding upon this sexual process to better understand that the creative and romantic are one and the same. For now, the point to ascertain is that the dynamic, creative metaphysic that was dawning in consciousness in the eighteenth and nineteenth centuries (Romanticism) is exactly the sexually creative process between a male and a female that has always been, that brings forth life itself. We will expand in detail on this process in the next section entitled “Sexual Creation.” For now, I think we have enough information to define the romantic ideal and what it means to our lives.
The Romantic Ideal is a metaphysical conception one holds concerning the nature of existence or essence of reality that states that existence or reality is a sexually creative one, that male and female are the component driving parts, and that through their dividing-uniting interaction, creation (birth-life-death-rebirth) continues to be brought forth. It is an existential bearing one holds where one existently stands in a sexual relationship with a sexual opposite in a dividing-uniting interaction together throughout eternity. In short, it is a universal faith held in everlasting love between oneself and one’s sexual opposite, also known as one’s other half, sexual other, existent other, or soul mate. Let us then know the Romantic Ideal as the state of being where one is in everlasting love with his or her other half.
Why is it important to have this romantic ideal defined within ourselves? Well, for one thing, it serves as a metaphysical guide as to the order of the universe, that there is male and there is female and the two interact with each other—forming-deforming-reforming their lives. Specifically, it says that each one of us is either a male or a female in interaction with that sexual other throughout eternity. This order actually is of our consciousness; it is the order or vision that holds our consciousness together. We have vision, purpose, connection, and faith all through the Romantic Ideal.
The vision of the Romantic Ideal is the everlasting lov