Кристаллизация любви: от соляных шахт к восприятию совершенства.

The "falling in love" process
Crystallization is a concept, developed in 1822 by the French writer Stendhal, which describes the process, or mental metamorphosis, in which the characteristics of a new love are transformed into perceptual diamonds of shimmering beauty. According to a quotation by Stendhal: What I call 'crystallization' is the operation of the mind that draws from all that presents itself the discovery that the loved object has some new perfections.

In the summer of 1818 Stendhal took a trip to the salt mines of Hallein near Salzburg with his friend and associate Madame Gherardi. Here they discovered the phenomenon of salt “crystallization” and used it as a metaphor for human relationships. "In the salt mines, nearing the end of the winter season, the miners will throw a leafless wintry bough into one of the abandoned workings. Two or three months later, through the effects of the waters saturated with salt which soak the bough and then let it dry as they recede, the miners find it covered with a shining deposit of crystals. The tiniest twigs no bigger than a tom tit’s claw are encrusted with an infinity of little crystals scintillating and dazzling. The original little bough is no longer recognizable; it has become a child’s plaything very pretty to see. When the sun is shining and the air is perfectly dry the miners of Hallein seize the opportunity of offering these diamond studded boughs to travellers preparing to go down to the mine."

Along one particular trip into the 500 ft deep Salzburg mines, Stendhal and Madame Gherardi were introduced to an intelligent Bavarian officer who thereafter joined their company. Soon enough, the officer began to become quite taken by Madame Gherardi. The officer, according to Stendhal, could be seen to be visually "falling in love" with her. What struck Stendhal the most, as an undertone of madness grew moment by moment in the discourse of the officer, was how the officer saw perfections in this woman which were more or less invisible to Stendhal's eyes. For example, he began to praise Madame Gherardi's hand, which had been curiously marked by smallpox in her childhood and had remained very pocked and rather brown. She uses this basis for her description of a "limerent object", related to the concept of limerence.