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This chapter begins by illustrating how love can simultaneously involve sickness and immorality, using examples of jealousy, unrequited love, and sadomasochism. It then outlines a virtue-oriented conception of healthy love, illustrating how moral and therapeutic conceptions of love overlap. The chapter concludes by replying to Robert Bellah's criticisms of the therapeutic trend regarding love.

This chapter revolves around the kind of rejection accompanied by special feelings toward the person who initiated the refusal of an aspiring lover's proposal. Discussed here are the perception differences of the rejected and the rejector, as well as their corresponding implications. Unreciprocated feelings result in self-degradation, despair, and lack of enthusiasm to engage in future relationships. Maintenance of a certain level of friendship or acquaintance can be hindered by the awkward aftermaths of mismatched affections. Recognition of the fact that not all emotions are mutually rewarded all the time will enable people with heartbreaking experiences to move on. Additional tips to soothe the getting-over phase are as follows: understanding the reasons of unrequited love, diverting attention to other aspects (mainly the future), as well as appreciating time alone and the presence of families, friends, and others who care.

Flaubert's Normandy novel is much more than an exploration of those customs and reactionary agrarian mores of society which are suggested by its provincialism. Its international and universal dimensions constantly rise up from its dislocated centre: the couple, Charles and Emma. They embody Normandy and a ‘once upon a time’. The provincial focus is a crystallization, a reworking, of a wider and universal grand theme — the tragedy of unrequited love set in the banality of the everyday. This chapter explores Charles Bovary as a figure of male emotional and private life within marriage and the life of the couple. Abundantly, for Charles, the personal is not the political.

Researchers have found that people in love enjoy many advantages: love is known to improve psychological, emotional, and physical health. When things go badly, however, lovers may suffer the pangs of rejection, jealousy, sadness, and anger. People can learn from both the joy of fulfilling relationships and the pain they suffer from the affairs that go wrong. This chapter discusses the joys of love and the troubles of love, as reflected in studies of the neuroscience of love and loss and of unrequited love. It also reports on the physiological and psychological effects of jealousy and vengeance.

Women play a unique role in Rilke’s work. They are exemplary lovers—usually unrequited—or extraordinarily protective mothers or creative inspirations. The Sonnets to Orpheus feature a number of crucial women both historical and mythical. This essay investigates the significance of women and the feminine more generally in the Sonnets. For Rilke, women embody the nonvisible and capture the realm beyond the merely physical. This feminine principle has the capacity to bring into being that which is potential but not yet realized—just as the poet does in the creation of the poem. Rilke sees the feminine as creatively potent but at the cost of personal fulfillment. The feminine thus embodies for Rilke a philosophy of productive deprivation that presents challenges for a feminist view but also privileges the feminine. Only by participating in that feminine principle can the poet gain access to the most crucial world beyond the tangible.

This chapter traces “Yiddish servant romances” back to the eighteenth century. It examines the formal characteristics of melodies and texts typical of servant romances and shows how its emergence can be correlated with verbal folklore, various musical genres, social history, and non-Jewish folk poetry. It also explains the term “Yiddish folk songs,” which is often used to refer to the entire complex of both folk and popular songs performed by the Yiddish-speaking population. The chapter uses the designation “Yiddish folk songs” in line with Bogatyrev and Jakobson's theory of crystallization processes in the development of folklore. It points out how the servant romances revolves around unrequited love and are characterized by the fusion of archaic traits with the markers of day-to-day life in the late modern period.

This chapter investigates Wilde’s response to classical tragedy by looking at Salome and comparing it with Euripides’ Hippolytus. It examines how Wilde inverts tragedy by hijacking Aristotelian conventions with the theme of suicide owing to unrequited love. It pays attention to Narraboth, the young Syrian captain, who dramatically kills himself in situ as a result of his frustrated desire and suffering. Narraboth pays the ultimate price for the slightest of reasons, infatuation or love that is not even returned. Wilde undermines tragedy from within by favouring character psychology over plot, and elevating frivolity, whim, and trifling jest to what Aristotle calls spoudaion (‘worthy’). Narraboth in his suffering and Salome in her lust share striking similarities with Phaedra, who also commits suicide as a victim of eros in the Hippolytus of Euripides, Wilde’s favourite tragedian. The chapter argues that Salome carries a Euripidean legacy, and also that Hippolytus anticipates Wilde’s decadence.

The statement that best encapsulates the problems of the Song of Songs is the simile attributed to Sa'adiya Gaon, the head of the Babylonian Jewish community in the tenth century: “It is like a lock whose key is lost or a diamond too expensive to purchase”. It is a perfect description of the Song: its magnificence is well recognized, yet it refuses to be unlocked. The Song cannot be attributed to Solomon. The language of the book at several points resembles rabbinic Hebrew, suggesting a late date. Several pieces of evidence suggest that there is no reason to take the Song as Solomonic, while there are good reasons to view it as post-Solomonic, and at least in part, as postexilic. There is also no reason for the Song to be understood as an allegory, as Abraham ibn Ezra suggests. Requited versus unrequited love is a recurring problem for the Song.

The chapter begins on April 18, 1991, during Operation Provide Comfort commander Lieutenant General John Shalikashvili’s first overflight of the Iraqi-Turkish border. It lays out the scope of this post-Gulf War humanitarian crisis—over 500,000 Kurdish refugees trapped within deadly border mountains—and explains how especially fear of Saddam Hussein’s chemical attacks prompted the Kurds to flee Iraq. The chapter’s second half flashes back to Shalikashvili’s first assignment as an officer, in Alaska in 1959–60, to show his exceptional job performance, his struggles with arrogance and ambition, and his incipient development of a leadership style based on the “three pillars of leadership” or “love, character, and professionalism.” It also shows his loneliness and search for belonging—including how, five years since being betrayed by her, Shalikashvili tracks down Blondie and offers a marriage proposal that is rebuffed, further raising the theme of unrequited love.

This chapter deals with events of Harlan’s childhood that may have had an influence on his later films. Because of his small size, the boy in 1899 has to perform daredevil stunts in front of his family, resulting in a head injury that causes lifelong pain. In addition, he becomes the object of a nightly rescue operation on a lake, an experience he will re-create in several of his films, including Jud Süss. He gains some stage experience at Max Reinhardt’s Deutsches Theater, participates in World War I, suffers the pains of unrequited love and a heart attack, becomes a member of Berlin’s small but well-regarded Volksbühne theater, goes on tour, and marries the Jewish actress Dora Gerson.