The Evolution of Love Part 20

_Borkman_ (impatiently): Stop your high falutin' nonsense!

_Foldal_ (hurt): High falutin' nonsense? You call my most sacred belief high falutin' nonsense?

In conclusion I should like to mention here that I look upon Otto Weininger as a tragic victim of the second stage of love which--in our days--is sick with an almost insurmountable inner insufficiency.

There is no need to elaborate my subject further and point out that--the first stage pa.s.sed--the prime of life brings with it the fusion of s.e.xuality and love. This union is the inner meaning of marriage in the modern sense--whether it is rarely or frequently realised is beside the point.

In previous chapters I have ill.u.s.trated various phenomena of the emotional life by showing their reflections on the lives of two or three distinguished men. In conclusion I will endeavour to point out the reproduction of all the erotic stages through which the race has pa.s.sed, in the psychical evolution of Richard Wagner, and their immortalisation in his works. We shall recognise in him the erotic representative of modern man, a personality in whom all that which as a rule is vague and only half expressed, has become great and typical. Love has been the _leitmotif_ of his life. The concluding phrase of the crude fairy tale _Die Feen_ ("The Fairies"), composed by the youth of nineteen, is: _the infinite power of love_, and the last words written down two days before his death, were: _love--tragedy_.

The opera _Das Liebesverbot_ ("The Prohibition to Love"), written in 1834, is eminently symptomatic of the first stage. It is a coa.r.s.er rendering of that bluntest of all Shakespearean plays, _Measure for Measure_; its sole subject is the pursuit of sensual pleasure, in which all indulge, and the ridiculing of those who appear to yearn for something higher. To detail the contents of the text--it cannot be called a poem--would serve no purpose; biographically, but not artistically interesting, it exhibits with amazing candour the first, purely s.e.xual, stage of the young man of twenty-one. It was the period when "young Germany's" device was the emanc.i.p.ation of sensuality. Wagner himself says that his "conception was mainly directed against Puritan cant, and led to the bold glorification of unrestrained sensuality. I was determined to understand the grave Shakespearean subject only in this sense." And in his "Autobiographical Sketch" he says: "I learned to love matter." In addition to this Wagner gives us the following synopsis of a (lost) libretto, "_Die Hochzeit_" ("The Wedding"), written at an earlier period: "A youth, madly in love with his friend's fiancee, climbs through the window into her bedroom, where the latter is awaiting the arrival of her lover; the fiancee struggles with the frenzied youth and throws him down into the yard, where he expires."

The second, discordant, stage of love is embodied in _Tannhauser_, composed when Wagner was twenty-nine years of age. There is probably no modern work of art in which the mediaeval feeling of dualism in the scheme of the universe has been expressed with greater pathos. We see man tossed between heaven and h.e.l.l, between the wors.h.i.+pped saint and seductive sensuality, impersonated by a she-devil. A man of the Middle Ages would have recognised in this work the tragedy of his soul. Wagner had planned the opera before he had really reached the second period, under the t.i.tle of _Der Venusberg_ ("The Mountain of Venus"), and in this earlier version the purely s.e.xual occupied a far more prominent place, probably in closer conformity with the old legend. For here Tannhauser returns to Venus unsaved and defying the eternal values, determined to renounce a higher life and give himself up to the pleasure of the senses for all eternity. This idea was retained in a later version up to the decisive final turn; the purely spiritual love for Elizabeth eventually overcomes the unrestrained instinct.

As the despairing monk of mediaeval times, apparently abandoned by the love of G.o.d, turned to Satan and wors.h.i.+pped him, so Tannhauser, cast out of the Kingdom of Heaven by the words of the Pope, and renounced by Elizabeth, again gives himself up to sensuality, which is here contrasted with spiritual love, and represented as demoniacal.

Tannhauser is not vacillating between the love of two women--a spiritualised and a sensual love; he is wavering between the purely spiritual love of Elizabeth and promiscuous s.e.xuality represented by Venus, not centring on her as an individual, but diffused, as it were, through her whole kingdom. The dualism which rends the whole universe is strongly and uncompromisingly emphasised in text and music, and Wagner himself explained to the opera singer, Schnorr von Carolsfeld, that the main characteristic of the princ.i.p.al part was "the intensest expression of delight and remorse without any intermediate stage of feeling, changing abruptly and decisively." The closing words of the first scene: "My salvation lies in Mary!" are the real turning point of the drama. As abrupt as his desertion of Venus for Mary, is his return to her in the third act. By the side of Mary is placed the more human, the more earthly but yet idealised form of Elizabeth, a figure closely resembling Beatrice and Margaret.

The music of _Tannhauser_ (more especially the overture) expresses the contrast between the two erotic world-elements with striking abruptness. The harmonious and musically perfect motive of religious yearning (the chorus of the pilgrims) which forms the beginning and the end of the overture, is a.s.sailed by the briefer motives of sensuous seduction and ecstasy of the middle; the quivering, tickling pa.s.sages of the violins play round the sacred music of the chorale like so many seductive elves. The Venusberg music is probably the most perfect expression of pure sensuality which has ever been reached in the world of music; it is the complete translation of sensual craving and sensual rapture into the language of music. In the Venusberg music composed for the performance in Paris, this motive is still more richly elaborated, and the recently published "sketches" for the scene in the Venusberg contain a number of details which were eliminated from the later version. Here b.e.s.t.i.a.l and demoniacal sensuality, not content with human couples, nymphs, maenads, sirens and fauns, calls for beings half-brute, half-human, represented by centaurs and sphinxes, for black goats, cats, tigers, panthers, and so on, finally for obscene representations of antique legends, such as Leda and the Swan, Europa and the Bull, symbols and ill.u.s.trations of the climax of perversion. It is a magnificent, poetico-musical picture of untrammelled s.e.xuality, whose queen is Woman, the priestess of voluptuousness, represented by Venus. Tannhauser's yearning for humanity and divinely pure love gives to this world a tinge of the demoniacal, for the latter is nothing but natural sensuality regarded from a higher standpoint, in this case from the point of view of spiritual love. Whenever it is opposed to the transcendental, the natural is conceived as dangerous and diabolical. At the moment of the abrupt inner change in Tannhauser, Venus and her world must vanish like a phantom of the night. "A consuming, voluptuous excitement kept my blood and nerves tingling while I sketched and composed the music of _Tannhauser_...." says Wagner in one place, and in another he confesses that sensual pleasure, while attracting and seducing him, filled him with repugnance. He speaks of his longing to "satisfy my craving in a higher, n.o.bler element which, unpolluted by the sensuality so characteristic of modern life and art, appears to me as something pure, something chaste and virginal, unapproachable and intangible. What else can this longing for love, the n.o.blest feeling I am capable of, be, than the yearning to leave this world of facts behind me and become absorbed in an element of infinite, transcendental love, to which death would be the gate...."

The dualism in the music of _Tannhauser_ is consistently maintained. The two elements war against each other without ever merging into one. Those parts of the music which characterise Elizabeth are full of n.o.ble pathos and a little sentimental. At the beginning of the second act she is not yet herself; she can still laugh like a light-hearted girl, but when she again succ.u.mbs to Tannhauser's unearthly (and to her fatal) charm, and realises how irrevocably he has surrendered himself to Venus, she rises to true greatness and resolutely faces the swords unsheathed to punish the offender. Before our eyes she is transformed into the saint who realises her mission and is ready to take her burden upon her; more heroic than Beatrice or Margaret, she points to him "who laughingly stabbed her heart," the road to salvation. Like her two predecessors Elizabeth prays to Mary for the salvation of her lover--the prayer for the beloved has ever been woman's truest and most fervent prayer.

The thought of achieving a man's salvation through a great and steadfast love, is the subject of the _Flying Dutchman_, and plays, as is well known, an important part with Wagner. Strange to say he has for this very reason frequently been scoffed at by those who call themselves admirers of Goethe. Dante-Goethe's great problem of salvation is represented in _Tannhauser_ with the utmost lucidity. The essence of it is that love can positively intervene in the life of a man whose soul is turned towards it, but who is confused and beset by temptations. His vacillating heart feels the love which is brooding over him and ultimately abandons itself to it, to be saved by its unswerving loyalty.

Maybe this is as much a miracle as "grace," but it is also a psychical fact, because the love which yearns for the sinner awakens and increases not only his faith in its power to help, but also in his own strength; darkness and evil dismay him and he turns towards the light. In _Tannhauser_ this spiritual condition, which is of such primary importance in the last scene of _Faust_, is clearly expressed; his love for Elizabeth has been strong enough to kill desire kindled in his heart again and again by Venus; yet again he is on the point of succ.u.mbing to his senses. The vision of Venus appears before his eyes, but at Wolfram's exclamation, "Elizabeth!" he realises in a flash that Elizabeth has been praying for him day and night, and has given her life to save him. Before this sudden illumination the power of Venus sinks into nothing; divine love falls into his darkness like a ray of light--"Oh, sacred love's eternal power!"--it quickens his own love which is striving upwards, and with the words: "Saint Elizabeth, pray for me!" he sinks to the ground. His way, like Faust's, although one-sidedly emotional, leads from chaos and sin to pure love and salvation, not through his own strength but by the help vouchsafed to him in the love of his glorified mistress.

By the side of the struggling, suffering Tannhauser, tossed hither and thither between G.o.d and the devil, between Elizabeth and Venus, stands Wolfram, the untempted woman-wors.h.i.+pper. The two extremes clash upon each other in the contest of the minnesingers. Tannhauser, at war with himself, exasperated by the calm, matter-of-fact way in which Wolfram sings the praise of spiritual love, rushes to the other extreme and bursts into rapturous praise of the G.o.ddess of love and the pleasure of the senses. I need not lay stress on the fact that at that time of his life Wagner's own heart was the arena in which the conflict was fought out; a work like _Tannhauser_ is not _made_, it is conceived in the innermost soul of its creator. Every one of Wagner's great works bears the unmistakable stamp of sincerity and intensity, while with Goethe, on the other hand, it is not difficult to distinguish the genuine ones, that is to say, those which were written under the pressure of a compelling impulse, from those which owed their existence to the intellect rather than to the soul.

_Tannhauser_ immortalises the adolescence of the European races of mankind; the third stage is not even antic.i.p.ated.

_Lohengrin_, the princ.i.p.al interest of which is other than erotic, represents a transitional phase between the second and the third stage; body and soul are no longer regarded as warring against each other; a greater harmony beyond either is dimly divined. Lohengrin has set out from a distant, transcendental kingdom to find earthly happiness in Elsa's love--but he is doomed to disappointment. I will not a.n.a.lyse the theme, but rather quote a few pa.s.sages from Wagner: "Lohengrin is seeking the woman who is ready to believe in him; who will not ask him who he is and whence he comes, but love him as he is and because he is so.... Lohengrin's only desire is for love, to be loved, to be understood through love. In spite of the superior development of his senses, in spite of his intense consciousness, he desires nothing more than to live the life of an ordinary citizen of this earth, to love and be loved--to be a perfect specimen of humanity." Wagner further speaks of his longing to find "the woman"; the female principle, quite simply, for ever appearing to him under new forms; the woman for whom the Flying Dutchman longed in his unfathomable distress; the woman who, like a radiant star, guided Tannhauser from the voluptuous caverns of the Venusberg to the pure regions of the spirit, and drew Lohengrin from his dazzling heights to the warm bosom of the earth. We find here the new form of love, not yet fully comprehended but desired and antic.i.p.ated in art.

In _Tristan and Isolde_ it is attained completely and in its highest perfection. We possess in Wagner's letters to Matilda Wesendonk, and in the diary written for her, the doc.u.ments of the personal experience out of which Tristan grew, and which unfold one of the most touching love-stories. As I have already discussed _Tristan and Isolde_ in a previous chapter, I will here only quote a pa.s.sage from a letter written by Wagner and addressed to Liszt at the time of his first meeting with Matilda; it fully expresses the harmony of the third stage. "Give me a heart, a mind, a woman's love in which I can plunge my whole being--who will fully understand me--how little else I should need in this world!"

It is very significant that side by side with _Tristan_ we have _Die Meistersinger_, composed a little later on. Here the third stage of love is realised in its idyllic possibility; the synthesis has been given the shape of middle-cla.s.s matter-of-factness, that is to say, the fulfilment of love in marriage: "I love a maid and claim her hand!" For this reason the work, although the fundamental idea is not erotic, is ent.i.tled to be placed by the side of _Tristan_ with its demand for the absolute metaphysical consummation of love.

It is an amazing fact that the same genius should have experienced and portrayed both stages so perfectly. Doubtless Tannhauser and Tristan are the most personal self-revelations of the great lover, pulsating with pa.s.sion, and far remote from the colossal objective world of the Niebelungs, the lofty serenity of Lohengrin and the wisdom of Parsifal.

Wagner had finished the _Ring_ before he conceived the idea of _Tristan and Isolde_. (It was printed in 1852.) In the former he intentionally raised the value of love and its position in the universe to a problem, embodying his knowledge of the world, and more especially of the modern world, in supernatural, mythical figures. The greatest ambition of man is power and wealth, the symbol of which is a golden ring. Gold in itself is innocent--elementary--a bauble at the bottom of the river, a toy for laughing children; but the insatiable thirst for power and wealth has robbed it of its harmlessness and made it the tool and symbol of tyranny. Only a being completely in the grip of the greed for riches and dominion, a being who looks upon the world and all men as objects to be bent to his will, and who has consequently renounced love, could have thus enslaved the world. Love does not impair the worth of a fellow-creature, but sets him above all things; a lover cannot be entirely selfish; his feeling at least for his mistress, and through her for the rest of the world, must be pure and unselfish. The struggle between these two most powerful instincts, both in the race and in the heart of the individual (Wotan), is the incomparable subject of this tragedy. The whole world-process is represented as a struggle between the apparently great, who are yet the slaves of gold and authority, and the truly free man who serves love, and on whom ambition has no hold.

The representatives of the petty, greedy, toiling human vermin, who readily renounced love for the sake of wealth, because the latter will always buy l.u.s.t and pleasure, are the Niebelungs, the dwellers in the Netherworld who never see the sun. They have but one standard: money; one supreme value: power, the gift of wealth. Mime bewails his people (the small tradesmen as it were), as follows; "Light-hearted smiths we used to fas.h.i.+on gems and trinkets for our wives, gorgeous jewels, the Niebelungs' pretty trifles--we laughed at the labour." But Alberich, the capitalist, through the magic of the ring, has usurped the power and enslaved his fellows. "Now the felon compels us to creep in the heart of the mountains to labour for him. There we must delve and explore and despoil, plunder and smelt and hammer the metal, restlessly toiling to increase his treasure." The really daemonic property of the gold is that everybody succ.u.mbs to its seduction and strives to possess it. The former nave joy of living, embodied in the Rhine-daughters, and their not yet humanised song, which seems to come direct from the heart of nature, is destroyed by the theft of the Rhine-gold. What till then had been a serenely s.h.i.+ning "star of the deep," has been transformed into a means by which to win authority. The programme of the greedy and tyrannous never varies; Alberich proclaims it; "The whole world will I win," and it is his daemonic will to depreciate love and set up power as the only value, so that n.o.body shall doubt his greatness and unique genius. "As I renounce love, so all shall renounce it, with gold have I bought you, for gold shall you crave." Love shall die and l.u.s.t shall take its place; he will force even the wives of the G.o.ds to do his will, for his wealth has made him master of the whole world. Compared to his restless activity, the giant "Fafner" is "stupid"; he is incapable of transforming gold into power; he merely enjoys its possession, content with the consciousness of his wealth.

But the curse of Alberich, the first who trans.m.u.ted the s.h.i.+ning metal into money, rests on gold and power. "It shall not bring gladness--who has it be seared by sorrow, who lacks it devoured by envy...." The curse of the eternal concatenation: tyranny--slavery, the care which accompanies wealth and the envy of the have-nots, can only be lifted from the world by a man who is inwardly free, who is neither master nor slave. Siegfried understands the song of the birds and the elementary beings, the Rhine-daughters; he is a stranger to human desires and pa.s.sions. "I inherited nothing but my body--and living it is consumed."

He is proof against the magic of the ring; the only value he knows is love. Alberich, his opponent, says, in speaking of him: "My curse has no sting for the mettlesome hero, for he knows not the worth of the ring; he squanders his prodigal strength, laughing and glowing with love his body is burning away." Half way between Alberich, the inwardly worthless wielder of power, and Siegfried, the truly free man, the embodiment of all virtue, who is murdered by the powers of darkness, stands Wotan, in whose heart both motives, authority and love, are struggling for supremacy, who will renounce neither love nor power. Artistically and symbolically the salvation of the world from the curse of greed and tyranny is brought about by the rest.i.tution of the ring, and its dissolution in the pure waters of the river from whence it had been taken; the gold is given back to the Rhine-daughters, to fulfil again its original purpose, namely, to delight the heart of man with its dazzling sheen.

Thus Wagner, the greatest and most inspired exponent of love among modern artists, declared that of all values love was the greatest. His intuitive genius left all the doctrines formulated by Schopenhauer and Buddha far behind and definitely rejected pessimism as a creed. There is an interesting letter from him to Matilda Wesendonk, written while he was composing the music of _Tristan_, and containing modifications of Schopenhauer's philosophy which he considered requisite. "It is a question of pointing out the road to salvation which no philosopher, not even Schopenhauer, discovered, the road which leads to the perfect pacification of the will through love; I do not mean abstract love for all humanity, but true love, based on s.e.xual love, that is to say love between man and woman."

In _Parsifal_, the last and most mature of all his works, Wagner is breaking new ground. Here love between man and woman is deposed from the exalted position it hitherto held, subordinated to the metaphysical purpose of the world, that is to say, "the purpose of attaining to perfection," and absorbed in a higher a.s.sociation of ideas. s.e.xual love has undergone a change, it is no longer love in the true sense, but the unconditional love of the mystic. The enigmatical figure of Kundry is not the impersonation of one woman, she is woman herself. The incarnation of everything female, she embodies the sensuous, seductive and destructive element together with the contempt of the man who falls under her spell, as well as the motherly, and finally the humbly-administrative principle, which so far had not yet become a part of the erotic ideal. She is both positive and negative, a blind tool of the element of evil which prompts man to forget his higher mission (reminiscent of the second mediaeval period), and pa.s.sionately yearning for salvation. She dies before the Holy Grail, the religious ideal made visible. Beside Kundry there are the flower-maidens, navely sensuous beings, who blossom like the flowers and fade again, unconscious and irresponsible. I refrain from a discussion of this work, which would lead too far, and only maintain that the music, corresponding to the text, is entirely unerotic and unsentimental, absolutely pure and religious. The love of a man for a woman has been superseded by love for the absolute and supernatural. Thus, after Wagner had experienced all the stages of love through which humanity has pa.s.sed, and embodied them in his works, he reached a new point of view, a stage to which we have not yet attained and which, very likely, we are not even able fully to understand. This fourth stage--not unlike Weininger's ideal--is the overthrow of the female and earthly element in man by a voluntary surrender to the metaphysical.

Wagner's last position, taken up quite deliberately, permits of two explanations which I will point out without pressing either of them.

Only a man possessing both the wisdom of the aged Wagner and a knowledge of the evolution of the race, and the road which still stretches out in front of it, would be ent.i.tled to speak a decisive word. The first obviously is that Wagner divined a last stage in the emotional life of man, a period which has outgrown s.e.xual love and replaced it by mysticism. In conjecturing a potential fourth stage, the three previous ones must be regarded as one. The second explanation is that Wagner's feeling in his last work is no longer representative of the feeling of the race, but is, as it were, a personal matter, at least in so far as love is concerned. For although the princ.i.p.al subject in _Parsifal_ is not love, yet it plays a very prominent part in it. I am only touching upon these two alternatives. But if the latter debatable point be omitted, my a.n.a.lysis of Wagner's emotional life must have shown in which sense the inspired man may be rightly regarded as typical of the race.

He leads the broadest and at the same time the most personal life, and yet he manifests in it something which is far greater, far more universal and representative.

My argument proves that the evolution as well as the aberrations of love have affected man alone and, roughly speaking, to this day affect only him. He is the Odysseus, wandering through heaven and h.e.l.l, ultimately to return home, perhaps, to where woman, the unchangeable, is awaiting him. That which has been woman's natural endowment from all beginning, the blending of spiritual and sensual love, man looks upon and desires to-day as his highest erotic ideal. His chaotic s.e.xual impulse, the inheritance of the past, appears to him low and base in the presence of her in whom s.e.xuality has always been blended with love; his wors.h.i.+p, intensified until it reached the metaphysical, seems to him unfounded and eccentric before her who has ever been and ever will be entirely human, and who is perfect in his eyes because she possesses what he is striving after. This and nothing else is the meaning of the vague statement that in all matters pertaining to love woman occupies a higher position than man. She is always the same; he is always new and problematical; never perfect, he falls into error and sin where she cannot err, for her instinct is nature herself, and she knows not the meaning of sin. Whatever burden man has laid upon her, she has borne it patiently and silently; she has allowed him to wors.h.i.+p her as a G.o.ddess and stigmatise her as a fiend, while all the time she remained problemless and natural, inwardly remote from the aberrations in which her intellect believed so readily. The conclusion which we have to draw, and which touches the foundation of the psychology of both s.e.xes, is that only man's emotions have a history, while those of the woman have undergone no change.

If there is a law by which the human race is reproduced in the individual, then the so-called atavism in the shape of abnormality cannot be the sudden, or apparently sudden reappearance of conditions which once were normal and then disappeared; rather must it be the final arrest of an individual on a previous and lower stage, preventing him from reaching our standard in one or the other emotional sphere. The more humanity a man has in him, the more perfectly will he repeat in his life the stages through which the race has pa.s.sed, or, in other words: the oftener that which once quickened the heart of man is repeated and surpa.s.sed, the greater is the possibility that new things may grow out of it. Atavism therefore is not so much the persistence of the earlier as the absence of the later stages. (This agrees with Freud's conception of the neurotic subject.)

It is obvious that the three stages of love are merely the expression of a period in one definite direction. The emotions of antiquity were entirely earthly, obvious and impersonal; the Middle Ages, on the other hand, attached value only to the world beyond the grave and matters pertaining to the soul. The beauty of spring was to them but a reflexion of another beauty.

"How glorious is life below!

What greater glories may the heavens hold!"

sings Brother John characteristically. But our period is conscious of the need of realising all our desires, and attaining to the highest possible spiritual perfection in this earthly life, and this not by destroying the transcendent ideals, but by stripping them of their metaphysical character, and bringing them to bear on this life, so that it may become a higher and holier one. The will of our intellectual heroes is not the rejection of the doctrine of the survival of the soul, but the comprehension of past transcendental values, so that they may become a safe guide to us in this earthly life; a more perfect blending of realism and idealism; the glorification of life under the aspect of eternity. This applies to love as well: the thought of the infinite, eternal love must transfigure and enn.o.ble all that which is natural and human.

If my theories are correct, they prove the ontological character of historical evolution and the value of the study of history for the comprehension of the human soul. I have shown in a specific and highly important domain that that which we are fond of regarding as the characteristic quality of man was not present from the beginning, but has gradually been evolved in historical time. In other words: history can and must teach us the origin and evolution of the spirit and soul of man, as anthropology teaches us the construction of the body. In philosophically approaching history, it must not be our object to discover "what has been," but "what has become, how we became and what we are." The science of history which loses sight of its bearing on our time, content with its knowledge of the past, is antiquarian and dead; at the most it has aesthetic value, but it is worthless as far as the history of civilisation is concerned. Only that which has been productive in the past, which has had a quickening influence, producing new values, is historical in the highest sense. It creates a new and close relations.h.i.+p between psychology and history. The princ.i.p.al purpose, or one of the princ.i.p.al purposes of psychology, that is the knowledge of the construction of the normal human being, has received a new possibility of solution: every essential quality which the human race has evolved in the course of history must be present in every normally developed individual of our time. The normal man of to-day is not the normal man of the past; every successive century finds him richer and more complex, but he can always be discovered intuitively in history. In this sense history is an auxiliary science of psychology, or rather, the psychology of the human race, for the evolution of the psychology of the individual--which has been studied very little--is merely an abbreviated history of the evolution of the psychology of the species. A past period of civilisation can be traced in the life of every fully developed man, and _vice versa_ the stages in the life of the individual point the way in history.

If it can be established that the fundamental emotions of the human heart originated in historical time, the widely spread, but unproved, theory that everything great and decisive existed from the beginning will be contradicted. The other complementary a.s.sertion that nothing which once existed ever quite disappears, must be admitted; nothing perishes in the soul of man; its position with regard to the whole is merely s.h.i.+fted by newly intervening motives and values; and even when it does not change its fundamental character, it becomes a different thing in the whole complex of the soul. s.e.xuality, which in the remote past was a matter of course, una.s.sailable by doubt, became problematical and demoniacal as soon as it entered into relations.h.i.+p with the new factors of erotic life. An existence in harmony with nature was possible as long as the human race was still in evolution, and not yet conscious of itself. But as soon as intellect and self-consciousness had been evolved, civilisation became possible. Nature has no history in the sense of the origin of values; in the case of still uncivilised tribes every new generation is a faithful reproduction of the preceding one.

Certainly there is modification caused by adaptation to the environment, but there are no moral values, and consequently there is no history.

I have attempted to explain why tragedy is inseparable from love in its highest intensity, to show the limits which check all deep emotion and the yearning which would overstep them. The emotional life of man, which is capable of infinite evolution, can only find satisfaction on its lower, animal stages. Hunger, thirst, and s.e.xual craving can be satisfied without much difficulty, and therefore no tragic shadow falls on the first stage. But the emotion which overwhelms the soul cannot be appeased. Not only the great thinker's thirst for knowledge, the mystic's religious yearning, the aesthetic will of the rare artist, but also the love and longing of the pa.s.sionate lover must reach beyond the attainable to the infinite. This earth is the kingdom of "mean" actions, "mean" emotions and "mean" men. And the lover, unable to bear its limits, creates for himself a new world--the world of metaphysical love.