It is thus a matter of the knowledge of our affects, and more generally of our affections, which has as its point of departure the adequate idea of God (which ‘proceeds’ from this idea). This clear and distinct intellection of ourselves and our affects, according to the demonstration of that same proposition, is tied to the type of knowledge that was in question in Proposition 14: that in which ‘the Body's affections, or images of things, are related to the idea of God’. The amor erga Deum, Proposition 15 teaches us, is the feeling that is experienced by ‘he who understands himself and his affects clearly and distinctly’. Allow us to sketch out a different interpretation. It is often said that these two loves stand in relation to one another as the second kind of knowledge does to the third. Musicology Identifiers URN: urn:nbn:se:uu:diva-17718 OAI: oai:DiVA.What follows is a study of the relations between the amor erga Deum invoked by Spinoza in Proposition 15 of Part V of the Ethics and the ‘intellectual love of God’ that he defines in the corollary to Proposition 32. Musikhistoria, 1600-tal, hovmusik, Christian Geist, eros National Category Place, publisher, year, edition, pages2007. His representation of love is instead in line with contemporary secular settings of erotical texts. In these works one do not find the kind of moderation advocated by Kircher. For the motifs of lamenting and crying, and for the illustration of how the soul is sick of love Geist employs conventional musical schemes such as descending musical lines, cromaticism, and the musical imitation of sighs. Some things are difficult, to represent by musical anologies: thus, for motifs such as desire and yeaning he chooses a generally strong and intense musical expression yearning and longing can however also be illustrated by a streching of musical notes. To be able to express the love for God or Jesus, he employs different means and sub-affects. This complexity is seen in Christian Geist’s compositions. Kircher also remarks that love is a complex passion, which can include several sub-passions, such as joy, grief, etc. The latter is described as more moderate in its expression. He made a distinction between the earthly affectus amoris on the one hand, and affectus amoris on the other. In his treatise Musurgia universalis (Rome 1650) Athanasius Kircher discussed the musical representation of the passion of love. They are all characteristic for the imagery of the Song of Songs, and for the concept of eros.
In my article I examine a number of settings to Latin devotional poems by Christian Geist (c1650–1711), composed for royal Communion services at the Swedish court during the 1670s.ğive central motifs can be discerned in the texts of these works: yearning, desire, sickness and death, lamentation and tears, and finally sweetness. Still, it was part of tradition through the Song of Songs, a erotic love poem which was reinterpreted as an allegory of the love between the believing soul and Jesus – a love articulated in a vast repertory of religious poems during medieval and early modern time. Agape (or caritas) was associated with Christian love, whereas eros or amor was more problematic.
Eros signified desire, obsession and yearning and is primarily associated with sexual urge agape instead meant a benevolent and self-sacrifiying love. The early Christian church inherited from the ancient Greeks the dicotomy between eros and agape. 127-141 Article in journal (Other scientific) Published Abstract 2007 (Swedish) In: Barock: historia, litteratur, konst, ISSN 1234-3233, Vol.
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