Infatuation is a form of idolatry that cannot last long in a marriage. Marriage cures it. That's an argument for marriage. There was no cure for Don Quixote's romantic fantasies because their object, the fair Dulcinea del Toboso, existed only in his imagination.*
Etymologically, to become infatuated is to become foolish.
But while infatuation lasts, it is blissful. One is made silly, often harmlessly so. One walks on air and can think of nothing but the beloved. The moon hits your eye like a big pizza pie. The world starts to shine like you've had too much wine. So smitten was I in the early days of my relationship to the woman I married that I sat in my carrel at the university one day and just thought about her for eight hours straight when I was supposed to be finishing an article on Gottlob Frege. Life is both love and logic. But sometimes hot love trumps cold logic.
The best marriages begin with the romantic transports of infatuation, but a marriage lasts only if the Rousseauian transports are undergirded by good solid reasons of the big head without interference from the heart or the little head. The love then matures. Real love replaces illusory idealization. The big head ought to be the ruling element in a man.
It takes an Italian to capture the aforementioned romantic transports, and Dean Martin (Dino Crocetti) does the job well in the schmaltzy That's Amore.
Il Mio Mondo is a good expression of the idolatry of infatuation. Cilla Black's 1964 rendition of the Italian song is You're My World.
But what is the source of the idealization, the infatuation, the idolatry? And why the perennial popularity of silly love songs?
What we really want in the deepest depths of the heart no man or woman can provide. That is known to all who know their own hearts and have seen through the idols. What we want is an infinite and eternal beloved. This infinite desire may have no object in reality. Arguments from desire are not rationally compelling, but properly articulated and deployed, they are rationally acceptable in that they render theistic belief reasonable.
But apart from such arguments, and given the fact of the desire, a fact that does not entail the reality of its object, we have what we need to explain the idealization, the infatuation, and the idolatry of the sexual other. When we succumb to infatuation we unconsciously substitute an accessible immanent or this-worldly object for Transcendence inaccessible. The inordinate love that is infatuation is love of God that does not understand itself.
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*The great novel of Miguel Cervantes is a work of fiction. And so both Don Quixote/Quijote and Dulcinea are fictional characters. But the first is posited as real within the fiction while the other is posited as imaginary, as Don Quixote's fiction, even if based upon the posited-in-the-fiction real Aldonza Lorenzo. Herewith a bit of grist for the mill of the philosophy of fiction. The real-imaginary distinction operates within an imaginary construct.