I will use two faces as the archetypes.
One is the haggard old face of U.S. Secretary of State John Kerry.
The other is the young, deer in the headlight, face of a youthful teen of the ISIS cult who just shot a family man in the head because he is a Shia or a Christian.
The latter is like a wanna’ be State, a Cupid of popular culture, a small cherub boy with a sheath of arrows slung on his arms as the darts to deliver, not love in this case by his bow, but death. There is some eerie similar undertones to the haggard Cupid Kerry, a sense of theabout the unfortunate side of his work but something shocking about it.
The deer in the head lights Cupid is almost “fair” and “lovely”, the image of youth and mischief, but mental vacuum as well. He only knows how to “play”. He toys with the human heart, mocking his victims with a smile, like the Cupid of old, as he kills. His work is joyous to him because he is “allowed to play”, and those who gaze upon his childlike persona know that if he holds the whim to, will without a second thought make them a victim to his “otherworldly power” which is really just bare metal.
This Cupid contradicts the image of haggard Cupid called Kerry. This Eros is not a face of beauty, he is “battered” with wings “patchy” and “askew”. He is neither playful nor pleased with his power anymore as the “new” Cupid is. His power has made him a “slave” to the longing of “power” that he doesn’t really want to bother with anymore. These two Cupids vary immensely not only in their image but in their attitudes. The Killer Eros has skin as smooth and unblemished, that of a child’s, as well as the attitude to match his skin, and just like a child he uses his power to amuse himself. The Haggard Eros holds the appearance of those you may see living in a post office. He is worn in his looks and his attitude to match. He does not see his power as the Killer Eros does, for his power is a chain that ties him to the desires of mankind.
Humanity’s response to them also differ. In the face of this shocking killer Cupid, humanity does not beckon Cupid, they avoid this creature, while in the Haggard Face, humanity with its many needs call for the Haggard Eros. The difference lies deeper than how they appear to the world because the underlying cause, the connotations of their difference is choice. The Killer Cupid has the choice to just kill any he decides and never even knows he will soon be killed too, and it is humanity who is left a slave to his mischief. The Haggard Eros does not truly have control of his power and is left in servitude, with humanity as his ruler. These Cupids are the same in that they show power as the medium between one who is being plagued with it and one who is bestowing it, but the Haggard is burdened with responsibility, the Killer Child is totally irresponsible. So it is much easier for the child who is nothing more than a Charles Manson of a cult’s own creation.
The Child is a litany to a Cupid that uses a titles with a Greek alphabet due to it being falsely attired in some sort of “traditional form” of Eros, as sick as it is. The old Haggard is a litany to a Cupid that is attired to the modern in its image, yet falsely so, and English spelling therefore used for the “song”. They hint at the differences to be displayed. The Child is used, it is a sick form of songlike couplets to portray a playful Eros. The Old Man features a series of stanzas with the tired A, B, A, B rhyme scheme that almost matches the drum of a tired march. One is young, the other is worn out. One is a vacuum, the other is tired of responsibility and just wants to get back to the golf course.
The outcome doesn’t look good.