“My heart yearned to be there, in the boiling caldron of war, to be baptized in its fire and scorched in its lava” – Maria Bochkareva, commander of the Russian Women’s death battalion in her 1919 autobiography Yashka, My Life as Peasant, Officer and Exile. Color can bring the past to the present, giving … Continue reading "Captivating Colorized Portraits of Russian Fighters In World War 1"

I've put together 10 paintings from the medieval times that I feel are weird, funny and just plain creepy! How these were the subjects is beyond me.

Greetings, One of the great joys that I take as a trained historian is debunking myths. One of the reasons for this is that there is nothing like a good historical argument, backed by evidence. The other real reason is that I like seeing the correct information going out into the public sphere for people to access. This would be the reason why I wrote one of the recent posts about curatorial elements of the sword. It also irritates me a little when people continue to spread myths around because they are just too lazy to get off their butts and do the research. When we see ladies in reenactment we often see them dressed in dresses playing the part of the lady, as the public expects. Less often we see them in armour, but it is spectacular when they are dressed in armour and are fighting. Something which I support completely. There is a modern myth that ladies in the medieval period did not engage in combat and were not trained to do so. Yes, it is a myth. The question of the shield maiden is something which has been brought up again ever since the series "Vikings" has become popular and there are arguments for and against their existence. There is some archaeological evidence for their existence and quite a bit of folklore to go along with it. For your convenience, if you click on "shield maiden" (above) you will find the Wikipedia site for it and I would use this as a launch-pad for future research. The Elizabethan Era is one of the most well-known for swordplay due to the duel occurring and of course the plays of Shakespeare and the London Masters of Defense. What has also been documented is that Elizabeth watched the playing of several Prizes of the London Masters of Defense. A candidate would play a "Prize" to gain his next rank in the organization. A list of prizes which were played can be found here. If nothing else this shows Elizabeth's interest in swordplay. What's more, it is rumoured that she also encouraged her ladies to be trained with the sword as a sort of "last defence" bodyguard and also for their own virtue. We live in a pictorial age and many people are driven by what they can see. So often we hear "Pictures or it didn't happen." Well, supporting this particular contention which is being presented is pictorial evidence from some French manuscripts. The first is from Bibliothèque Sainte-Geneviève MS.1126 "Roman de la Rose" This image clearly depicts two women crossing swords while dressed in civilian outfits. This would mean that it is most likely that they are in training rather than actually fighting. It is, however, a clear demonstration of a training scene of females being trained in combat. An image which points more toward them being engaged in actual combat follows below. The women in this image on the left seem to be defending themselves from the group on the right. While these individuals are wearing civilian clothes, it looks less like a training scene and more like that they are defending themselves from a group of bandits. This image is also from a French manuscript of the fourteenth-century. While this image could be mistaken form some sort of training or game, the following image is less likely to. The original manuscript in this case is from another fourteenth-century French manuscript, but can be found along with several other images of women in armour on the page Babes in Armor, which is a celebration of women in armour. That this image shows the individual in armour leaves no doubt that the individual is in a situation where she may come to harm. This would seem to break the myth that women did not put on armour and did not use weapons. The final image which I have will give those who do not think that the medieval female had training some real pause for thought. This image is from "De Mulieribus Claris" (BNF Français 598), and clearly depicts a woman in armour and involved in the combat. That she is present on the field of combat should give one pause for thought. That she is using the weapon she is armed with and doing harm means that she is at least trained with the weapon. We should all be careful about making large sweeping statements about things which did or did not happen in the past. It goes especially much where there is evidence for both sides of the argument present. We must all ask ourselves what influences would be making us take either side of an argument and why this is. Is the answer we are giving going to benefit or detract? Just from the evidence presented here, I would think that some would at least consider re-evaluating their positions with regards to women in history and their positions. The female in the medieval period was obviously not barred from training in weapons, but may not have chosen to do so. Thus we must consider what position the individual was in to make this choice, if they had one at all. We should all do our best not to perpetrate, and perpetuate myths from any period of time as they muddy the history and give misdirection to our future researchers. Cheers, Henry. You can view the Second Part of this discussion, with more detail and research here. Update: 15 January 2023There are comments below claiming that the above images are allegorical or of mythological content and that because of this possibility that this means that the women in these images were not trained in combat, and did not see combat, or were not involved, and consequently women would not and could not have been trained in combat. This I dispute quite strongly. I am adding this here because most of the readers have not bothered to read the second part as indicated in the link above, but have decided to ignore the historical evidence and focus on the possibility that these images are allegorical or mythological. Such ideas are based in fact, allegorical or mythological as they might be. There is historical evidence, as presented in the second part and this list https://www.rejectedprincesses.com/women-in-combat for women in combat from pre-1st century all the way up to the 20th century. It is evident from the historical record that women were trained in weapons and they did see combat. This is evident from the list presented in the link above and also the list of individuals who are presented in the second part of this discussion. So both aspects of this discussion, and argument are covered. That the images may be allegorical or mythological is beside the point, the fact is that women were trained in combat and did see combat as indicated, as is argued in this and the second part of the discussion. The foundation for such images had to come from somewhere, further, it could be claimed that some who did see combat could be inspired by such images as Oscar Wilde states, "Life imitates Art far more than Art imitates Life". Further, the argument that Jeanne d'Arc did not see combat because she did not fight, is false logic. Or the same logic could be used that none of the generals of 18th century battles, including Napoleon or Wellington to name two, saw combat because they did not fight; or that medics such as Medal of Honour recipient Corporal Desmond Doss did not see combat, because he did not fight, or even carry a weapon. I will not be responding to such false arguments anymore, or those directed against such simplistic ideas, negating the idea of women in combat, due to the presented source material, when there is further evidence presented in another article indicated. That women saw combat in the Medieval and Renaissance period is an historical fact, and one that is evident across many cultures. I see no reason to respond to such false arguments, which grasp desperately at straws, and deny historical truth.

Неизвестные трагедии Первой мировой. Пленные. Дезертиры. Беженцы. М.В. Оськин. Приказ по 2-й армии Северо-Западного фронта, за № 4 от 25 июля 1914 года гласил: В одном из донесений я усмотрел, что несколько нижних чинов без вести пропали. В…

Стрелецкий сотник. 1670-е гг. Современная реконструкция Государев розмысл (первая половина 16 века) Реконструкция А. Паршина для выставке "Южный щит России" (Тула) Костюм московского стрельца 17 века. Костюм кампании "Ратоборец". См. тут Тульский городовой стрелец (1607 г.) Реконструкция А. Паршина для выставке "Южный щит России" (Тула) Казак с Нижнего Дона (1607 г.) Реконструкция А. Паршина для выставке "Южный щит России" (Тула) Рядовой солдатского полка периода Смоленской войны в епанче. Реконструкция: "Ратоборец". Фото - отсюда Рядовой солдатского полка периода Смоленской войны. Реконструкция: "Ратоборец". Фото - отсюда Рядовой солдатского полка периода Смоленской войны. Реконструкция: "Ратоборец". Фото - отсюда Русское мужское платье первой половины 17 века. Реконструкция: "Ратоборец". Фото - отсюда Комплект одежды, вооружения и снаряжения рядового солдатского полка периода Смоленской войны 1632-34 гг. Реконструкция: "Ратоборец". Фото - отсюда 7-й московский стрелецкий приказ (Тула). Кириллов. 2009 г. Фото - отсюда Стрельцы на реконструкции в Коломенском (июль 2012 г.). Фотография - отсюда Полуголова московских стрельцов, XVII век 1 - "Служивый" кафтан. "Государево служилое платье" шили из дорогих материй и украшали золотыми пуговицами. 2 - Протазан. На протазанах стрелецких командиров часто был выгравирован царский двуглавый орел как знак "царской службы". Московский стрелец, XVII век Стрелец. 1670-е гг. Современная реконструкция. Фото - отсюда

*** I was mid write-up on an upcoming post for an outfit inspired by the Dutch folk hero, Kenau Simonsdochter Hasselaer, when I realized this coif needed to be it's own post. (Please excuse the weird, super wide-angle lens of the iPhone's reverse view) Let me back up a bit... As part of my research into my Keanu inspired outfit I hit a stumbling block as to what sort of head covering to make. She is featured in multiple paintings, etching and pamphlets. While the pose and styling remains fairly consistent across most images, there is one significant point of difference: the coifs (caps? veils?). Broadly these fall into two categories: 1) Tails tied over the head... 2) Tails down... I believe both are representative of a Dutch style that really flummoxes me: the tailed veil. What exactly is going on here? Let's consider the second version with the loose tails (assuming the first is the same but with the ends tied over the head). This style of head-covering is fairly typical of mid to late 16th c. Dutch fashion. Pieter Jansz Pourbus, 1550s Although to looks like a close fitting coif, it's more probably a very intricately folded veil which evolved from earlier styles. Now, I'm going to say right out the gate that I have no idea how this was achieved. Zero. None. I've tried folding your standard rectangular veils and couldn't even get close. I'm not sure if I have the shape wrong or if the fabric just isn't fine enough (and probably both) but it's a non-starter. There's no way I can (currently) make a rectangular, tailed veil work. So instead let's take a detour further back in time (just for fun). The version with the ties above the head is not too dissimilar to the "tailed caps" of the mid 15th century. This style is fairly popular with reenactors and there are several suggested patterns for its construction. I'm not sure that I'm totally convinced by any of them, but I decided to try a couple and compare the results...just to see if they sparked any ideas. The first is basically a large trapezoid. (Which didn't quite fit on my cutting board, but the bottom edge is straight across). It's a single layer of fine 2.8oz linen. The on-grain edges are turned with a narrow folded hem. The bias edges have a rolled hem. The narrow side frames the face and the longer points are twisted and tied around the head. The front is also lightly starched (about 4-6" along the narrow edge). The result is fun, but the angle around the face doesn't quite match the period images (and in fact seems to fall in the opposite direction) But it's an attractive shape and can be worn in multiple different ways. Next is a long rectangle with a large 'V' cut out of one end. Again, the tails are twisted and tied on top of the head. The front section is also starched (a bit more heavily this time) as well as being folded down the middle. This helps create the heart shape that frames the face. It still doesn't quite mach the mid 15th c. silhouette above, but it is a closer match for the later 16th c. styles (and so more in the ballpark for what I'm ultimately aiming for). This can also be pinned to the under coif to create different silhouettes. And of course it can also we worn down as a long, split-tailed veil. While both patterns (and all the variants) are super fun to wear I'm still not 100% convinced by either version, if only for the inefficient use of fabric (and resulting wastage). So I'm back to square one. Really, I'm in a position where I'm fairly certain that anything I do will be wrong (historically) so now it's just a matter of picking something that works aesthetically and/or theatrically. So I start thinking about abandoning the veil and making a coif. Conveniently, this is also when I discover this image: Motivated reasoning aside, the image does seem to suggest gathers at the nape of the neck and the tails coming off the front brim (rather than from behind). It's not a total leap. There are early 17th c. coifs that feature long tails, though they don't particularly lend themselves to be twisted in this style. Still, perhaps it's not totally unreasonable to think there may be a hybrid style, especially when looking at the late 16th to early 17th c. images that seem to indicate gathers around the side of the face...which might suggest something other than a folded veil. (Hello again, motivated reasoning! I missed you! Come, pull up a chair. Stay a while...) So with that in mind I decided to adapt the late 16th/early 17th c. coif pattern I've made up previously. My plan was keep the most of the current shape, but then extend the front side sections into tapering tails. (NOTE: This pattern is given in centimeters, the previous patterns are in inches) The linen pattern is cut in light weight linen. Wherever possible a tread is pulled so that the all edges are cut exactly on the grain (basically everything except the tapered, diagonal edge) All edges are then finished with a narrow turned hem (except the diagonal egde, for which I found it easier to to do a rolled hem) Then back edges are whipstitched together (right sides facing) The the bottom. back edge is folded over and stitched down to create a lacing channel. Next, the "hole" formed by the cutout on the top of the head needs to be closed. The is done by running a series of tiny cartridge pleats along the longer edge and then whipstitching them to the narrow front edge. The coif is now complete! Now it's time to shape it... First, the front section is starched, folded down the middle and pressed to create a heart shape to frame the face. (The coif is pressed inside out, so that when flipped the top springs outwards from the central fold) Next, the tails are twisted to form tight "barbels" (as they are lovingly referred to on the Elizabethan Costuming FB Page). It's a tad difficult to see, but the brim is also folded back over itself (just where the ties wrap around the head) in order to encourage it to spring out and upwards. The cap can then be pinned to create subtly different shapes. Flat across the top: Heart shaped: Or even that baffling style where the tails form a ring. And....I think that's about it! Phew! For what was meant to brief side post ended up pretty packed. I should also note that all of the above styles are worn over a close fitting coif... ...but for the most part I didn't use my ear irons (or 'oorijzers'). (Oooh...look at her, she's a baby! Back when you still took photos with cameras.) Usually I use oorijzers to help stabilize my starched caps and veils, but found that most styles worked well enough just pinned to the under coif. I did however use ear irons for these two images. (While I found they did help anchor the coif they were not strictly necessary to achieve a similar look. Having said that, I will probably still opt for them when wear this style out of doors) Final thoughts: After all that I still don't think I've gotten much closer to figuring out what's really behind these styles, but it was fun and informative to compare the various shapes and silhouettes. At the very least I've got a couple of good options for my Keanu outfit...which after all was the whole point. Hopefully I can get the full post up soon! (EDIT: And HERE it is!) *** Resources & Materials Pattern: -Veils: self drafted/draped -Coif: The Marquess of Winchester Coif #4 (with significant edits) Fabric: -White linen (2.8oz) from WM Booth Draper Trim and Notions: -Linen tape (1/4") for lacing from WM Booth Draper Thread: -White cotton thread (silk finish)

Очередные редкие снимки, сделанные в разных странах мира, ждут вас далее. Поврежденный в бою броненосец “Галена”, 1862 г. Очередные редкие снимки, сделанные в разных странах мира, ждут вас

У войны не женское лицо Эта тихая скромная девушка -лётчица совершила 1004 боевых вылета Ука... Смотрите полностью ВКонтакте.

Concepción del AMOR medieval. A partir del siglo XII, el amor fue conceptuado como algo tan profundamente sensual a la vez que trascendente; tan intenso hasta la paradoja del gozo en el sufrimiento. Por amor se vive, se enloquece o se muere; cifra los movimientos del ser. Este al amor se conoce, conjuga valores morales y sociales que son ajenos a lo villano. Nada hay, de un trato burdo en la forma como interactúan hombre y mujeres; tampoco se pretende el solo placer. Que lejos se encuentra de otros desarrollos coetáneos igualmente fuera de lo normal oficial, los goliardescos o los que aparecen en la literatura ovidiana. En estos dos movimientos priva un hedonismo naturalista que expone, un profundo individualismo. Los goliardos son clérigos errantes que componen un latín; se trata de jóvenes estudiantes que viven de la mendicidad. Diversos concilios y sínodos de los siglos XII XIII los condenan no sólo por su disipada forma de vida, sino también por la literatura atentaría que crean. Sus obras son sátiras mordaces contra los que consideran los males del mundo. No respetan jerarquía alguna ni valores sociales ni símbolos religiosos o enseñanzas eclesiásticas. Su posición es la de la anarquía que, ante la corrupción del mundo, opta por el de nuestro así como por la libre satisfacción personal. En palabras de Antonio Villena: El goliardo esta fuera de la iglesia oficial, a la que critica duramente; fuera de la familia establecida en gremios, y fuera, por su puesto, de la rígidas esferas militares ,nobiliarias o caballerescas. Forma parte de una nueva clase, marginal, inestable, disponible, aventurera, y que critica desde una postura, a la vez vital e intelectual, los basamentos sólidos de las obras. El ejemplo irreverente de las enseñanzas religiosas. Se hacen devotos, pero de Venus, a quien adoran en el templo: el burdel. Es más, realizan parodias de misas o de oraciones en la que no invocan a Jesús ni a la Virgen, sino a los dioses paganos, se burlan de la castidad, emplean citas bíblicas en contextos eróticos, etc. Los goliardos, que confluyen en la taberna, cantan al vino y al juego; también, y muy especialmente, el amor. Pero éste poco tiene de sublime; es fundamentalmente público y sexual. Se le ve como una experiencia deleitosa, regocijada y lúdica a la que obliga la propia naturaleza de los seres humanos. Los clérigos son mejores amantes que aquellos que se dedican a la guerra. Uno de los más grandes herederos del sentir goliardo es, el Arcipreste de Hita: Los pasajes más característicos de su Libro de buen amor son la sátira del poder del dinero, ene l episodio de la disputa con Don Amor. La Trova caçurra, que es el segundo episodio amoroso, la Cántiga de los clérigos de Talavera en la que se expresa una profunda rebelión contra autoridad, la negativa a la doctrina del celibato y el deseo de gozar de una vida sexual similar a la de cualquier hombre, Parodia de la horas canónicas en el que el comportamiento de un clérigo-amante se adecua al compás de los salmos e himnos que se cantaban o recitaban en los siete oficios de las Horas . En el siglo XIII los goliardos desaparecen. La literatura erótica goliardesca , de carácter vitalista y meramente sexual, acusa cierta influencia de la Ars amatoria y los Amores de Ovidio; sin embargo; carece de lo que es esencial en las creaciones del autor latino: la normativa. Otras obras que, a partir de mediados del siglo XI hasta fines de la Edad Media, se inscriben con claridad bajo la preceptiva ovidiana. Se parte de que toda mujer es asequible sexualmente, pero hay que tener un método para salir triunfador. Lo que las obras muestran, por tanto, son los requisitos para que un hombre posea físicamente a determinada mujer, sin que exista una concepción romántica o trascendente del amor. o trascendente del amor. Es que se vale emplear todos los recursos, por más inmorales que parezcan , a la mujer deseada hay que prometerle mucho y dejarle poco, ocultarle las infidelidades, provocarle celos, fingir que se es rico, aparentar una irresistible pasión, etc, también el interesado debe contratar a una alcahueta y , de ser necesario, hacerse amigo del marido de la amada. De las obras más destacadas cabe mencionar Facetas, Pamphilus y el Libro de buen amor. A las mujeres se las clasifica según su estado civil, y se sugiere alejarse de las casadas, las monjas y las prostitutas. Se recomienda conquistar a las doncellas y a las viudas. Se prescribe la conciencia de la tercería, que la medianera es imprescindible en la literatura ovidiana medieval. Salta a la vista la predilección por una alcahueta vieja, hecho que implica su experiencia en tales menesteres. En el Facetus se instruye discursivamente tentó al galán como ala alcahueta. El propósito de ambos es alcanzar una cita íntima del hombre con la mujer deseada; una vez concedida, este debe acariciar y besar a la amada, incluso con el empleo de un poco de fuerza, para que ella ceda y otorgue lo él pretende. El protagonista, Pamphilus, emplea una vieja alcahueta para alcanzar la cita íntima con Galathea. Lograda ésta, viola a la mujer deseada para obligarla al matrimonio. La utilización de las recomendaciones ovidianas estuvo en función de la obtención por vía de la trampa y el abuso de una esposa rica. En el libro el buen Amor se leen conductas y concepciones ovidianas por todas partes. En lo que respecta a las recomendaciones de Don Amor, nada se dice del tipo de mujer ideal para la conquista, se mencionan otros atributos, como que sea en la cama muy loca, en la casa muy cuerda. En cuanto la cortejo, aparecen ideas similares a las ya vistas; hacerse amigo de las amistades de la mujer, alardear del propio valor, ser discreto, prometer mucho, y como siempre emplear una alcahueta experimentada a quien no hay que seducir. Esta exposición teórica se repite, en los consejos de doña Venus. Con el amante debe fingir miedo y melancolía, hallarse enfermo de amor. La puesta en práctica de los consejos vertidos por Amor y Venus se verifica inmediatamente en el episodio de don Melón y dona Endrina, no significa bobo o soso, pero también tejón, animal rapaz que roba las frutas. Y Endrina es precisamente una fruta, pero que pierde fácilmente el vello, pero si su dignidad y libertad; y que es, por su falta de malicia, es violada por el protagonista en casa de su alcahueta. El amor goliardesco y ovidiano implica la consecución del gozo sexual con base en los propios deseos, sin que exista la sublimación del sentimiento o la profundidad emocional que caracterizan al sistema de pensamiento amoroso de mayor éxito en la literatura de la baja Edad Media; el amor cortés. Este surge en la Provenza de fines del siglo XI y la lírica trovadoresca. Fueron adquiriendo determinados rasgos según la religión, el género, los usos vigente, etc, además debe tenerse en cuenta que cada obra expresa un sentir particular y un modo específico de conceptuar el amor. El amor cortés es una gran suma, y no se explica como un modelo cerrado con elementos fijos. La mujer se concibe como un ser superior a quien ele enamorado sirve para ser correspondido. Es la domna en función de quien giran el pensamiento y las hazañas del caballero. Para él la amada es un ser a tal grado perfecto, que la adora en una suerte de religión de amor: habla de su naturaleza angelical, de reflejar la suma belleza. Otro aspecto religioso también se traslada a contextos eróticos. Sin embargo, a diferencia de los goliardos no cabe pensar que las irreverencias religiosas sean intencionales, para Diego de San Pedro, se es mejor cristiano por amor. Se trata de la aplicación al amor y a la mujer de un material sumamente conocido. Si la dueña que mueve el sentimiento masculino es excelsa y el concepto del amor goza de mucho prestigio, entonces amarla y servirla conllevan bajo influjo neoplatónico, el ennoblecimiento y la superación del enamorado. Se valida el amor a una mujer, para disgusto de los moralistas que se afanan en demostrar lo contrario. Y no etsan muy equivocados en lo que se refiere al deseo sexual, pues generalmente la pretensión del goce erótico con la mujer se halla en la base de este amor, sin que por ello deje de ser sublime. El hombre pretende que su amor sea recompensado, y la amada es libre de hacerlo o no. El galardón implica, la entrega física de la mujer; pero ella puede otorgar otras gracias, a la vez que probar el sentimiento de su enamorado. Entre los dones que se otorgan, lo más simples desde el punto erótico tienen que ver con permitir caricias y besos: otros, más sofisticados, conllevan la contención masculina como demostración de verdadero amor. Referencia a la competición de la dama despojada de atuendos, que es una ceremonia íntima en la que la mujer permite que el galán, oculto en algún sitio, la vea desnudarse como pago a su fidelidad y para que éste sea feliz. El asag, que implica que el hombre pasa toda la noche vestido en la misma cama que su amada, es una prueba de amor. Quizás el ejemplo más evidente de la sensualidad del amor cortés se halla en las definiciones de amor purus amor mixtus. El amor puro es el que une los corazones de dos amantes con toda la fuerza de la pasión; consiste en la contemplación del espíritu y de los sentimientos del corazón; incluye el beso en la boca, el abrazo y el contacto físico con la amante desnudo, como exclusión del placer último, pues ésta prohibido a los que quieren amar puramente. Se llama amor mixto al que incluye todos los placeres de la carne y llega al último acto de Venus, este también es un amor verdadero y digno de elogio; incluso se dice que es causa de todo tipo de bienes aunque por él amenacen muy graves peligros. No resulta tan fácil el pretendido acercamiento físico del enamorado con su amada, de lo que derivan varias paradojas anímicas, o ella lo rechaza o el encuentro se dificulta porque hay una familia por medio. Y esto tiene que ver con que el amor, en muchas de las construcciones teóricas y artísticas medievales, es ajeno al matrimonio. El hecho, aunado al carácter sensual de este amor, lleva consigo la obligatoriedad masculina de reservarse el nombre de su amada. No siempre se disocia el amor del matrimonio. Cliges, Yvain o algunas composiciones de Jorge Manrique cuyo rasgo fundamental es el amor cortés, el adulterio, lo que tampoco es del todo cierto porque, la amada es aún soltera. Que el amor generalmente no tenga que ver con el matrimonio se explica por el hecho de que, en la elección del conyugue, privan los intereses económicos familiares; no hay, una elección individual libre y voluntaria que es lo que precisamente defienden los expositores del amor cortés, el matrimonio conlleva una carga de obligatoriedad y los amantes se dan todo gratuitamente el uno al otro y sin que una razón lo obligue. Y estos amantes son fieles hasta la muerte. Se trata de un amor monógamo, pero no siempre eterno. Sin embargo, las obras que mayor influjo tuvieron son aquellas que muestran un amor contra cielo y marea, que incluso llega a transcender la muerte, leyenda de Tristán e Iseo. El elemento más ovidiano de este amor, es un arte, pero con un fin sublime: el amo. En cuanto arte, hay que cumplir con una serie de pasos para solicitarlo y para otorgarlos, según sea el caso. Una vez que la pasión innata surge ene le hombre por la percepción de lo hermoso, que es idea que se nutre del pensamiento neoplatónico, el enamorado debe cumplir varias etapas de su acercamiento a al amada. Es un rito de tratamiento mutuo que no se trasgrede, para no ser tachado de inmoral tanto en un lado como del otro. El amor puede enfermar a quien lo sufre si la persona amada no lo corresponde o no le corresponde físicamente o se aleja o lo abandona. Esta conceptuación tiene apoyo médico y el recibe el nombre de héroes. La enfermedad, que deriva fundamentalmente del deseo sexual insatisfecho, es de tipo mental y presenta, además de una profunda melancolía, otros trastornos físicos. Es tal la gravedad que produce el mal que los héroes no son curados: caen en agonía o se mueren. Hay varios métodos para la cura que van desde distraer al enfermo hasta provocarle la repulsión por ella. Si estos remedios no surten efecto se intenta reducir la inflamación del cerebro y la corrupción de la imaginativa del paciente mediante la satisfacción del deseo sexual al menos con otra mujer.