The Evolution of Love Part 11

Thou art a potion sweet of love, Sweetly pervading heaven above, To sailors rough Sang syrens sweeter never.

Thou enterest through eye and ear, Senses and soul pervading, Thou givest to the heart great cheer, A guerdon dear, A glory never fading.

The poet who wrote of Isolde's love potion here calls the Queen of Heaven a _potion sweet of love_, a strange metaphor to use in connection with the Mary of dogma. Another characteristic frequently alluded to is her _sweet perfume_, an attribute which we to-day do not look upon as exclusively celestial.

Quaintly delicate and tender are the love-songs of Brother Hans, an otherwise unknown monk of the fourteenth century. He himself tells us that he deserted his earthly mistress for the Queen of Heaven. Perhaps the dualism between earthly and transcendent love has never been expressed more clearly than by him; for in his case the wors.h.i.+pping love did not gradually lead up to Mary, the essence of womanhood, but an earthly love had to be killed so that the pure heavenly love could live.

Mary! Gentle mistress mine!

I humbly kneel before you; All my heart and soul are thine.

And:

Oh, Mary! Secret fountain, Closed garden of delight, The Prince of Heaven mirrors Him in thy beauty bright.

But after describing all the joys of heaven, Brother Hans comes to the conclusion that a man knows about as much of celestial matters as an ox knows of discant singing.

His relations.h.i.+p to Mary is tender, intimate and familiar:

Within my heart concealed There is a secret cell; At nightfall and at daybreak My lady there does dwell.

The mistress of the house is she, I feel her love and care about.

If she denies herself to me, Methinks the mistress has gone out.

In another poem he prays to Mary to allow him to tear off a small piece of her robe, so that he may keep himself warm with it in the winter.

Like Cino da Pistoia, who commended his dying soul not to G.o.d but to his loved one, Brother Hans commends himself to Mary:

Thus I commend my soul into thy hands, When it must journey to those unknown lands, Where roads and paths are new and strange to it.

And:

Oh, come to me, thou Bride of G.o.d, When my faint soul departs from me!

There remains one more motif to consider, a motif which in a way completes the picture of the celestial lady: As men love and desire the women of the earth, so G.o.d loves the Lady of Heaven. St. Bernard first expressed this nave idea, which makes G.o.d the Father resemble a little the ancient Jupiter. "She attracted the eyes of the heavenly hosts, even the heart of the King went out to her." "He Himself, the supreme King and Ruler, so much desires thy beauty, that He is awaiting thy consent, upon which He has decided to save the world. And Him Whom thou delightest in thy silence, thou wilt delight even more by thy speech, for He called to thee from Heaven: 'Oh! fairest among women! Let me hear thy voice!'" etc. Here we have St. Bernard, the rock of orthodoxy, representing G.o.d as Mary's languis.h.i.+ng admirer! Suso is irreproachable in this respect, but Conrad says that the colour of Mary's face was so bright and made it so lovely,

That even the Eternal Sire Was filled with sacred fire, And all the heavenly princes....

Thus, at the turn of the fourteenth century the great celestial change was complete: By the side of G.o.d, nay, even in the place of G.o.d, a woman was enthroned. "The Virgin became the G.o.d of the Universe," says Michelet, a thorough, though rather imaginative expert on the Middle Ages. The people primitively wors.h.i.+pped idols. The clergy, headed by the Dominican and Franciscan monks, introduced Lady Days into the calendar and invented the rosary to facilitate the recital of the _Aves_; secular orders of knighthood placed themselves under the Virgin's protection (La Chevalerie de Sainte Marie), but the rarest minds, sublimating the beloved, raised her into Heaven and wors.h.i.+pped her as divine. The established religion was compelled to enter into partners.h.i.+p with the great emotion of the time, metaphysical love, lest it ran the risk of losing its sway over humanity.

And a feeling was born then which to this day const.i.tutes one of the striking differences between the Eastern and the Western worlds: the respect for womanhood. It is based on the woman-wors.h.i.+p of secular, and the Madonna-wors.h.i.+p of ecclesiastical circles. It is true that Jesus, antic.i.p.ating the intuition of Europe, had taught the divinity of the human soul and recognised woman--in this respect--as on an equality with man, but the instincts of Greece and the Eastern nations had proved to be stronger than his teaching; for twelve hundred years woman was despised, and more than once the question as to whether or no she had a soul--in other words, as to whether or no she was a human being--had come under discussion. The crude and primitively dualistic minds of the period realised in her s.e.x merely an embodiment of their own sensuality, the enemy against whom they fought, and to whom they knew themselves subject. The strongest argument in her favour which the first millenary could adduce, was the fact that the Saviour of the world had been borne by a woman, and that consequently her s.e.x had a share in the work of salvation; the idea that through the "other Eve" a part of the sin of the first Eve was expiated. But genuine appreciation and respect were only possible after base sensuality had been contrasted with spiritual love, whose vehicle again was woman. Now the "eternal-feminine"-- contrasted with the "earthly-feminine"--drew the lovers upwards, and this new emotion threw such a glamour over the whole s.e.x, that it never entirely died away; if to-day women are respected and their efforts at emanc.i.p.ation supported, they are not indebted, as they are sometimes told, to Christian ethics, but rather to the mundane culture which had its origin at the courts of the Provencal lords, whose ideals ultimately became the controlling ideals of Europe, and whose inmost essence still influences the world.

The evolution of love had obviously arrived at a stage when respect was considered due to women--though not perhaps to all women. I will not go to the courts of the great for evidence, but merely relate an episode from the life of the Dominican friar Suso: "In crossing a field, Suso met on a narrow path a poor, respectable woman. When he was close to her, he stepped off the dry path and stood in the mud, waiting for her to pa.s.s. The woman, who knew him, was astonished. 'How is it, Sir,' she said, 'that you, a venerable priest, are humbly standing aside to allow me, a poor woman, to pa.s.s, when it were far more meet that I should stand aside and make room for you?' 'Why, my good woman,' replied Suso, 'I like to honour all women for the sake of the gentle Mother of G.o.d in Heaven.'"

It may seem extraordinary, but this absolutely unphilosophical, and really paradoxical emotion, found an appreciator in the German philosopher Ludwig Feuerbach, the enemy of Christianity. In his _Essence of Christianity_, as well as in his treatise _On the Cult of Mary_, he refers to it more than once. "The holy Virgin," he says, "the Mother of G.o.d, is the only divine and positive, that is to say, the only lovable and poetical figure of Christian mythology, and the only one worthy of wors.h.i.+p; for Mary is the G.o.ddess of beauty, the G.o.ddess of love, the G.o.ddess of humanity, the G.o.ddess of nature, the G.o.ddess of freedom from dogma." Feuerbach is right. The Lady of Heaven stands for the delivery from dogma, because she had her origin in spontaneous emotion, clothed with but a few rags of dogma. "The monks vowed the vow of chast.i.ty," he continues in his great work; "they suppressed the s.e.xual impulse, but in exchange they had the personification of womanhood, of love, in the Virgin in Heaven. The more their ideal, fict.i.tious representative of her s.e.x became an object of spontaneous love, the more easily could they dispense with the women of flesh and blood. The more they emphasised in their lives the complete suppression of s.e.xuality, the more prominent became the part which the Virgin played in their emotions; she usurped in many cases, the place of Christ, and even the place of G.o.d."

Feuerbach then explains the need of man to project his n.o.blest sentiments on Heaven, and lays much stress on the necessity of believing in the Mother of G.o.d, because the love of a child for its mother is the first strong feeling of man. "Where the faith in the Mother of G.o.d declines, the faith in the Son of G.o.d, and in G.o.d the Father, declines also."

I will now leave the region of the historical and examine the emotion whose reality and influence I have substantiated, from a timeless standpoint, for my princ.i.p.al point is the psychical, and more particularly the metaphysical consummation of the emotion of love. The sole object of the abundant evidence I have been compelled to adduce is my desire to prove the existence and significance of all the emotions which stir the soul, and in the later Middle Ages strove so powerfully to express themselves. My thesis that s.e.xuality and love are opposed principles will no doubt be rejected, for, under the strong influence of the theory of evolution, all the world is to-day agreed that love is nothing but the refinement of the s.e.xual impulse. I maintain that (as far as man is concerned) they differ very essentially, and I have attempted to prove their incommensurability by submitting historical facts. That they may, and will, ultimately merge, is my unalterable conviction. My a.s.sertion that something so fundamental as the personal love of man and woman did not exist from the beginning, but came into existence in the course of history, at a not very remote period, may seem even more strange. My only reply is that instead of advancing opinions I have brought forward facts and allowed them to speak for themselves. Moreover, to my mind the realisation of the intimate connection of love and evolving personality is a far more magnificent proof of the soundness of the evolutionary theory than the reflection that we have received all things ready-made from the hands of nature.

Has it not been proved to us that the religious consciousness of the divinity of the human soul was also evolved in historical time, and has never again disappeared?

Every strong love which finds no response is fraught with the possibility of an infinite unfolding; it may powerfully seize the whole soul and make life a tragedy. But this tragedy is not of the very essence of tragedy, inasmuch as here we have merely love confronted by an unsurmountable obstacle, meeting and overwhelming it; the discord is not inherent. Many a lover suffering from unrequited love, is born with the tendency to become unhappy, with a secret will to the voluptuousness of pain and melancholy; he will enjoy his unhappiness, perhaps become productive through it. Thus, this deliberately unhappy love may be regarded as an a.n.a.logy to genuine metaphysical eroticism. For the wors.h.i.+p of woman is in its essence infinite striving; its object is always unattainable, an illusion. Every earthly love, even if it finds no response at all, may, in principle, be gratified, and is only unhappy if external circ.u.mstances intervene. But the love of the Madonna is in itself fraught with the tragic impossibility of requital; its foundation is the recognition, or divination, of the fact that mortal women are too insignificant for a pa.s.sion which yearns for infinitude. A lover filled with the longing to glorify a woman and wors.h.i.+p her as a divine being, has frequently experienced a certain disappointment. The beloved may have died young--as did Beatrice--without his ever having come into close contact with her; instinctively his soul turns heavenward--and imagination has ample scope to transform and transfigure the dead. Or he may have been disappointed in his mistress; it may have been that he, attuned to pure, spiritual love, has found her all too human. He flees from reality into the world of dreams, and envelops her with the veil of mysteriousness and divinity. Purely spiritual love is an intense emotion, and as men and women of flesh and blood cannot always live at high pressure, hours of dejection and disappointment will necessarily have to be experienced. The soul takes refuge in an illusion which becomes more and more an end in itself, and gradually the lover creates an inaccessibly lofty, celestial woman. For purely spiritual love aspires to absolute transcendency; it cannot bear contact with every-day life. The psychologists of the present day tell us that a feeling, in becoming spiritualised, loses strength,--history teaches us that in the case of great souls the opposite is the rule.

These suggestions purpose to explain the inception of an ecstatic love; but the true metaphysical erotic is born and needs no outside stimulus; his heart yearns for the inaccessible from the very beginning. There are certain elements of feeling which must be present in his soul simultaneously: a religious elementary feeling tending to the metaphysical; the need of a sacred--a divine--being, as the foundation of all existing things; a powerful and purely spiritual craving for love, hurt, perhaps unconsciously, in early youth, and finally an imagination endowed with plastic force--artistic tendencies. In the case of the mystic the soul, too, is filled with the consciousness of the divine; he, too, has the capacity for a great love, but with him it is not the love of woman, but of something universal, not individualised, the world, the cosmos, G.o.d.

While the mystic attempts to embody the inconceivable Deity in his soul, the wors.h.i.+pper of the Madonna, like the artist, imaginatively creates a being which he sets up for contemplation at the greatest possible distance. The mystic is blind, as it were; he is yearning personified, and he would force G.o.d into his soul. The metaphysical lover needs a plastic figure which, in the extremest case, may represent the whole world to him, and this figure must be a woman. It is a historical accident that this woman is frequently connected with a woman of ecclesiastical tradition, an accident strengthened by insufficient creative power on the part of the lover, or lack of courage and self-confidence. He is grateful for the support given to him by tradition. The greatest metaphysical lovers, Dante, Goethe and Michelangelo, freely created the objects of their love; the Protestant Goethe--whom some people even accuse of paganism--clung more closely than either of the others to the Mary of Catholicism (in the final scene of _Faust_). The wors.h.i.+p of the Madonna is the love of great solitary souls, and--as is proved by Goethe--of the great souls in the hours of their last solitude.

While there was only unindividualised s.e.xual instinct, the chast.i.ty of woman was of no account; we have seen that neither the Eastern nations nor the Greeks attached any value to it. The woman who had best fulfilled her vocation as a mother, was the woman most highly respected.

In the East, as well as with Jews and Romans, a woman could be divorced by her husband for sterility. The only women who were, to some extent, appreciated for their own sakes, were the Greek hetaerae. But when asceticism became a moral value, chast.i.ty, too, was regarded as a virtue, and personal love between two individuals invested it with a profound significance. Henceforth woman should no longer be regarded as the vehicle for the gratification of male sensuality; it should be her mission to lead the lover to spiritual perfection. The fusion of the older ideal of womanhood, the mother (acknowledged and sanctioned by religion in the mother of the Saviour), with the newer ideal, the Virgin, created the ideal of the late Middle Ages: the virgin with the Child. Here the natural vocation of woman and the fantastic mission laid upon her by man were united in a paradoxical higher intuition, and it is superfluous to point out that the most irreligious minds of the Renascence, as well as those of all later eras, have to this day wors.h.i.+pped this ideal, and never wearied of representing it under new forms.

But the wors.h.i.+p of the Virginal Mother contains another element, an element of which man in his contact with woman is deeply conscious: the element of mystery. To a man a young girl, untouched by the faintest breath of sensuality, has a quality of strangeness and mysteriousness (this is probably a result of European sentiment), and at all times the woman who has become a mother has been regarded with a slight feeling of superst.i.tious awe. In the Virginal Mother these two vaguely reverential feelings are blended; she is a strange and awe-inspiring being, and man, divining a mystery, bows down before her.

Otto Weininger was the first to give us a psychology of the cult of the Madonna, and he did it in a manner which proved his entire comprehension of this peculiar sentimental disposition. He realised and pointed out the contrast between s.e.xuality and eroticism (his terms for s.e.xual impulse and love), but in accordance with his extreme mental disposition he left these two principles in irreconcilable conflict, while I regard their ant.i.thesis merely in the light of a transient phase which will be followed by a reconciling synthesis. Weininger is, I believe, in conflict with spiritual reality when (guided by ethical, not psychological considerations) he proposes the theory that a man endows the beloved woman with all the lofty values he desires for himself. "He projects his ideal of an absolutely perfect being on another human being, and this and nothing else is the meaning of his love." "To bestow all the qualities one would like to possess, but never can quite possess, on another individual, to make it the representative of all values, that is to love." It is a commonplace experience that genuine love will awaken in the soul new and transcendent emotions, compared to which all previous experience appears petty and insignificant. The waves of this emotion are able to carry the lover to the infinite, or at least his emotion will help him to divine the infinite. He sees, unexpectedly, his inmost soul revealed to him, he has exceeded the limits upon which he has. .h.i.therto looked as a matter of course; the barrier between him and the universe has fallen, the whole world belongs to him; the egoist becomes less selfish, the cruel man gentle, the dullard clairvoyant; every man feels that he has become greater and more human. This is neither illusion nor projection, nor is it a subtle, psychical deception--it is sober reality. Weininger's suspicion of a delusion is nothing but the result of his ascetic solipsism, refusing to accept another being's help in his striving for perfection, a consequence of the one-sided, sterile cult of his individual soul, a n.o.ble but puerile pride refusing to be indebted to the world and to his fellow-men, the fanatical, metaphysical dualism which is so often met with in the second stage of eroticism, and to which stage he belongs.

Weininger shrank from the idea that an individual might be made the means to an end, instead of being an end in itself. In my opinion his justification for the translation of this formula--framed by Kant for pure ethics--to empirical psychology, is doubtful. To use an individual only as a means to an end which is alien to his inmost being, is certainly immoral. But all social life is based on a mutual relations.h.i.+p of means and ends; a man is an end in himself at the same time that he is a means to other individuals and the community. The teacher is a means as far as his pupils are concerned; the poet is a means in respect to all who seek in his writings information or recreation. To carry the stigmatisation of these facts to a logical conclusion, one would have to call it immoral to accept anything from parents or teachers; one would have to reject every good influence--which always comes from outside--and become completely absorbed in the cult of one's own soul.

One would even have to object to being born, and would have to create one's self out of nothing. It has always been regarded as the splendid privilege of great men to exert an enn.o.bling influence on others--why, therefore, should the influence of a beloved woman on her lover be objectionable?

Weininger's error in the sphere of eroticism arises from the fact of his imprisoning love in a formula which is by no means applicable to it. In love the mutual relations.h.i.+p of means and ends does not exist, the lover feels that the beloved is always an end in herself in the highest sense; he would find it impossible inwardly to establish such a relations.h.i.+p between himself and her; very frequently himself, his well-being and his life, are of no account to him if he can serve her. Weininger's a.s.sertion that at the consummation of love every woman is merely the means of gratifying a man's pa.s.sion, is simply not true. On the contrary, it is a characteristic of genuine love that the physical embrace is of no great importance, does not even rise to full consciousness. The personality of the beloved is everything, physical sensation nothing. Weininger identifies love with pa.s.sion and his argument is easily refutable by the experience of many. In love there is neither means nor end; if, however, categoric formulas must be used, one might speak of a reciprocal action. Equally erroneous is his corresponding a.s.sertion that the artist loves a woman spiritually, that is, in the sense of deifying her, for the purpose of drawing from her inspiration for his work. If he loves her, then his love is the alpha and omega of his striving, and if love inspires him to achieve a masterpiece, the effect of love on him must be considered great and good, because it is a creative effect.

The extreme individualistic ideal would lead to an absolutely unproductive view of life. Asceticism stands condemned because it is unproductive. I may regard an Indian fakir who has become so G.o.dlike that he can sustain life on six grains of rice a day, and draw breath once every quarter of an hour--to say nothing of speech or cleanliness--as a very strange individual; but I see nothing positive or important in him. The road which leads from the individual to the universal cannot be the rejection of the world; it must be its perfection, resulting from productivity of mind, or soul, or deed. He who on principle refuses to be productive, condemns himself to annihilation in the higher sense. I admit that he who works at his own perfection does good work, too; but it is the inexplicable secret of all truly creative labour--in the highest as well as in the lowest sense--that it must ultimately affect the world and eternity. The strongest emotions, the inner illumination of the mystic and the love of the great erotic, have been conceived in the _heart of hearts_; and have ultimately grown beyond their creator, from the individual to the universal. The more intimate and powerful the creative impulse has been, the more r.e.t.a.r.ded and abundant may, perhaps, be the effect. But the chain which links the great soul to humanity cannot be broken, the work will make itself manifest--the work of deed, the work of the mind, the work of love--I do not say to "the public," but to life, to the world.

The creative personality alone is the father of the objective values of civilisation.

The great love which led Dante, Goethe and Wagner to the summits of humanity is in the highest sense positive and creative. And he who realises that love is not subject to s.e.xual impulse, who knows it as something purely personal, foreign and even hostile to the genus, must admit that it is one of the very highest of values. A contrary ethic is sterile, Indian, unproductive, not European. I am well aware that Weininger did not explicitly draw this conclusion; but he rejects spiritual love because it endows the lover with new capacities, the capacities of growth and perfection, and he is therefore in the last resort a representative of philosophic nihilism.

_(c) Dante and Goethe_

The wors.h.i.+p of woman found its climax in Dante. Through the work of his youth, the _Vita Nuova_ and his masterpiece, _The Divine Comedy_, we can trace step by step the stages of the road, beginning with a glimpse of a young girl in Florence, and ending with the incorporation of a woman into the world-system. We are face to face with an extraordinary process of evolution. The young girl he had seen a few times, and who died in her youth, goes on growing and developing in his soul, until, at last, in him the will to raise woman above time into eternity, the will to make her a member of the divine system, reaches its full realisation.

What had been begun by the troubadours and fully comprehended by the poets of the _sweet new style_, reached completion in Dante, and, was henceforth an eternal value for all humanity.

We see that the later troubadours were inclined to blend the lady of their heart with the universal Lady of Heaven; the need of deifying the loved woman was at the root of many dubious growths, and possibly these early poets were also to some extent influenced by their dread of the Inquisition (which never gained much importance in Italy). The new poets deepened this feeling, stripped it of all externalities, and appeared before the adored simply as lovers. They did not require the dogmatic support of the Church, their own feeling was sufficient guarantee.

Dante, moreover, was possessed by a craving for an absolutely perfect and consistent world-system, and had, besides, the power to build it up and people it with sublime intelligences. And in this system, the crown and perfection of the mediaeval-Catholic conception of the universe, he a.s.signed to the love of his youth a high and permanent place by the side of the deities. Dante thus raised his individual feeling to a universal dogma, and enriched the Catholic heaven by his personal love. What for two hundred years had been a dream and a desire, had become a matter of faith and truth. Now, and not until now, love and religion were one; the love of a woman had been included in the system of eternal verities, and had become identical with the love of immortality. "Love which moves the sun and all the stars" was acknowledged as a fundamental feeling. The anchoring of the subjective in the eternal was achieved in this metaphysical setting: the deification of the beloved; and no greater gift was ever vouchsafed to man than the creation of metaphysically true beings and values. All that had been done before had merely prepared the ground for this great deed: the enshrinement of the beloved in the heart of the divine secrets.

The _Vita Nuova_, which is at once a glorified historical record and the greatest testimony of metaphysical love, emphasises from the outset the inspiring, purifying influence emanating from the beloved; Beatrice is "the destroyer of all evil and the queen of all virtue." "When I saw her coming towards me and could hope for her salutation, the world held no enemy for me, yea, I was filled with the fire of brotherly love to such an extent, that I was ready to forgive anybody who had ever offended me.

And whoever had begged me for a gift, I should have replied: Love! and my face would have been full of humility." Even before his love had been translated to the world beyond, he portrayed spiritual love as hardly any other poet before or after him. The women of Florence ask Dante: "Why doest thou love this lady, seeing that thou canst not even bear her presence? Tell us, for the end of such love must be incomprehensible to men." And he replies: "Ladies, the end and aim of my love is but the salutation of that lady; therein I find that beat.i.tude which is the goal of my desire. And now that it has pleased her to deny me her salutation, my whole happiness is contained in that which can never perish." And the women: "Tell us, then, wherein lies such happiness?" "In the words that praise my lady" (that is to say in the emotion which is an end in itself and in its artistic expression). The lover never exchanged a word with her; had he done so, attempting to establish a reciprocal relations.h.i.+p, Beatrice, bereft of his idealising love, would have had to descend from her pedestal and show herself a girl like all the rest. Not until after her deification has become an established fact, does Beatrice (in the beginning of the _Divine Comedy_) remember her lover and come to save him. In one of his poems Dante says that not every woman could inspire such a love, but only a woman of peculiar n.o.bility of character. It is very apparent that Dante, at first, was not sure of himself, and that he only gradually discovered the new consciousness which was stirring his soul; with every chapter the beloved recedes to a greater distance and becomes more sacred to him.

It is quite in keeping with all this that our knowledge of this girl of eighteen is very vague and uncertain. Some of Dante's commentators believe her to have been a figment of his brain, a woman who never lived, or an allegory of wisdom, virtue, the Church, theology, etc. But at the death of her father Beatrice again behaves like any other earthly maiden. There is a grain of truth in every one of these theories, for Dante was a great scholastic as well as a great poet, and in more advanced years he felt a need somehow to connect the love of his youth with the system of the Church; this could be done in an allegorical way without being inwardly untruthful.

Vague forces, which the lover himself realises as mysterious, run high in the _Vita Nuova_ and in the poems; the lover has hallucinations in sleep and sickness. In the third canzone Dante speaks of the impossibility of comprehending what gave him a glimpse of the nature of his mistress. It was a foreboding of new and great things, struggling slowly and gradually to take shape, for the creation of a world-system, one of whose supporting pillars was personal love of an individual, was an unprecedented achievement. "When she speaks a spirit inclines from heaven." The angels implore G.o.d to call this "miracle" into their midst, but G.o.d wills that they shall have patience until the "Hope of the Blessed" appears.

Love says of her can there be mortal thing At once adorned so richly and so pure?

Then looks on her and silently affirms That heaven designed in her a creature new.

(_Transl. by_ C. LYELL.)

Again and again recurs the motif of her beauty before which the world must fall prostrate. In a sonnet not included in the _Vita Nuova_ he says:

In heaven itself that lady had her birth, I think, and is with us for our behoof; Blessed are they who meet her on the earth.

(_Transl. by_ D.G. ROSSETTI.)