Rock 'n' roll, where form follows content, often engages with ideas from Greek drama and mythology, particularly exploring character or Eros . Eros is discovered specifically through three avenues: romance, the political struggle between capitalism and communism, and music as escape. This formulation, of course, has parallels with sex, drugs and rock and roll. Especially in the context of Eros, the line between sex and romance is blurred. Politics and drugs are both systems of existence that create addiction in the people involved; despite any reality of the political situation, the formulation of these societies is often based on their political systems and, as such, they cannot adequately imagine life outside these systems to make substantive changes within them. Rock and roll, as a reclamation of bodily action (tattoos, piercings, "subversive clothing", rejection of posers) acts as an agent of rebellion within oppressive communist and capitalist systems. The tools of sex, drugs, and rock and roll reveal the existence and importance of Eros and place Eros at the center of romantic existence. In classical Greek mythology, Eros is not a concept, but a tangible deity. This personification allows Eros to become an independently powerful figure rather than an internal psychological act seen when a person in control decides to fall in love. Similarly, Stoppard decides to evoke the idea of ​​Eros through the Piper, a dualistic figure from an interpretative point of view. The Piper in the Garden is the first image we see in the show, and he is singing a slightly modified version of a James Joyce poem. She is singing alongside Esme, in many ways the poster child of the flower children movement, with her flowing dress and long hair...... middle of paper......and, desire, jealousy and fear - Christ, it's scary! – so who is that still whole me?…I don't want your “mind” that you can get out of beer cans. Don't bring him to my funeral. I want your grieving soul or nothing. I don't want your amazing biological machine, I want what you love me with. (50-51) Whether in an attempt to satiate Eleanor or as a true revelation, Max ultimately states that love is actually not purely physical, but instead that it is an obsession with a lover's spirit: “[My mind is] what I love you with. That's all. There is nothing else” (51). Max discovers here what Stoppard seems to position as the most accurate definition of Eros. Although Eros may be deceptive, manipulative, difficult to understand and endangered, but essentially it is the understanding that two people are inextricably linked to each other.