THe Power of Love

The Power of Love in all its forms, this exhibit displays pieces that all share, in some way, the motivating and tempting force that in which love takes its form.

The idea of love can be expressed in a countless number of ways. This piece by Ahn, depicts love in a lustful form, one of temptation and pleasure rather than merely for the biological purposes of sex. One can draw a comparison form this to what Enkidu experienced, being tempted by sex not for reproductive purposes, but for pleasure and lust, a concept that distinguishes the human experience, and in the same capacity, humanized the wild beast that Enkdiu once was. "Enkidu had defiled his body so pure........ but now he had reason, and wide understanding"(Gilgamesh, I-200).
Love, in any capacity, has the ability to, and knack for, taking over ones mind and leading to places far from just their physical location. In Persipolis, Marjane finds love and consonance in talking to God as if he were really there. Though this was assuredly not the case, her love for God allowed for her to escape the cruel realities of the world she was growing up in (The Complete Perseoplis, 43).
It was Eve who tempted Adam to eat the apple from the Garden of Eden, the fatal fruit that subsequently lead to the fall of man and their inclination for sin. He was tempted out of love in the same way Marjane was, to buy hash for Markus which subsequently lead her to become the "official dealer" of her school. As Satrapi reasons, "But it wasn't a big deal. After all, I was doing it for love" (Persepolis, 222).
This piece by Lee is representative of love in one of its simplest forms, being there for one another. As Enkidu breathed his last breath, his dear friend Gilgamesh, "... covered, like a bride, the face of his friend, like an eagle he circled around him. Like a lioness deprived of her cubs, he paced to and fro, this way and that" (Gilgamesh, VIII-60). He was lost without his friend, he stead by his side to the very end.
At a very young age Marji experiences the injustice of her society first-hand. The maid of her house, Mehri, fell in love with the neighbor across the street, but being of a lower social class, she had no knowledge of how to read or write, and so Marji did this for her when it came to their exchanging of love letters. After getting wind of this forbidden romance, Mr. Satrapi goes to the neighbor to reveal that the woman who he had fallen in love with was not his daughter but his maid, and the man decides he cannot continue their relations any longer. Mr. Satrapi explains to a distraught Marji that, "their love was impossible.... because in this country you must stay within your social class" (Persepolis 37). This painting by Lettl depicts a man with a brake rather than a nose, and it is title "13 Attempts to Become a Rooster", in other words something he is not. This theme comes up time and again in Persepolis, and the motivation behind the desire to become someone they are not is often love.
After going to (literally) the ends of the earth to find the secret of immortality that would keep him from falling to the same fate as his friend Enkidu, a snake comes and take it right from under him. "As it turned away it sloughed its skin. Then Gilgamesh sat down and wept, down his cheeks the tears were coursing" (Gilgamesh, XI-320). He his heartbroken, for the life he so wished for, the life he loved was now out of his grasps. He is in pain, a pain he would never have even felt if it weren't for the love that he had experienced with Enkidu.
After failing to gain immortality, Gilgamesh finally comes full circle and realizes that its not he who will live forever, but it is the works and accomplishments of him and of his people that will. Talking to the boatman, he announces, "O Ur-shanabi, climb Uruk's wall and walk back and forth! Survey its foundations, examine the brickwork! Were its bricks not fired in an oven? Did the Seven Stages not lay its foundations?" (Gilagamesh, XI-325). He loves his city and is proud of it. This piece, although its exact origins are unknown, dates back nearly as far as the epic does itself. It depicts people holding hands and dancing, suggesting that it is the whole community, and not just one, that contributes to the wellness of a society. Just as Gilgamesh declared of his city, Uruk, this piece managed to stay in tact and be a symbol of love and a civilization forever.
To me, this piece is one of love and remembrance, never forgetting your family that is with you or who has been lost. Marjane in The Complete Perepolis, consistently is reminded of, or reminds herself of the wishes, aspirations, expectations and love her family, living and dead, has for her. "... where the body of my Uncle Anoosh lay in an unmarked grave, next to thousands of other cadavers. I gave him my word to try to remain as honest as possible" (Persepolis 340).
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