Dual Nature in Dialogue songs and the Hudson River School

Part of what struck me about Marcabru and Ugo Catola's song is the insistence by each singer that love is either pure and virtuous or liable to be corrupted and dangerous.  Marcabru praises a true fin' amor, but he appears much more skeptical and cautious than Catola.  Catola refuses to admit that love carries this danger, trying to categorically exclude it from the story of Sampson and Delilah by arguing that Marcabru's memory of the story's timeline is faulty.  The dual presence of a delightful and wholesome image of love and a dark and destructive one in the poem reminded me very much of tbe American Hudson River school of landscape paintings, which beautifully and sometimes starkly portray the Romantic movement's dual fascination with the light and traditionally beautiful picturesque aesthetic and simultaneously with a powerful and destructive sublimity.  Thomas Cole's View from Mount Holyoke, Massachusetts, after a Thunderstorm (1836) is a particularly good illustration of this dual fascination since the picture is separated along a diagonal line according to its light and dark aesthetics, as the division of the speakers in the dialogue song clearly marks their differing views.  One crucial differnece, of course, is that love's treachery does not contribute to its beauty for Marcabru the way the gathering storm seems to be aesthetically valuable for Cole.  At the same time, I believe the painting captures the way that doubt overtakes the overall tone of the song--once it is introduced, the poem as a whole becomes doubtful of love thorugh its argument, and the dark clouds at the edge of Cole's painting in a similar way make it a picture not of two weather conditions but of a landscape recently or imminently threated by a storm.