The Evolution of Love Part 17

The human blood has become _celestial blood_; the voluptuousness of man, the voluptuousness of the world, and because the whole world is one body, it needs no duality; s.e.xuality which has become a cosmic law rules over humanity, G.o.d, Christ and the universe. This hymn is the immortalisation of voluptuousness. If the love-death is the immortalisation of love unable to find satisfaction on earth, so its counterpart, cosmic sensuousness is, in the last sense, orientalism.

Only a genius could invent a new, symbolic language to express feelings so alien to the European. Earthly sensuality did not satisfy Novalis, voluptuousness detached from man, voluptuousness in itself, was his dream and his religion--the supremest creation ever achieved by s.e.xuality intensified into a cosmic emotion.

I think that I have now made clear the fact that the emotional life of man is rooted in two elements, completely distinct from the beginning: the s.e.xual impulse and personal love. It is in studying the love of the transcendental, that culminating point of so many feelings springing from various sources, that the inherent contrast between the two fundamental principles becomes most apparent; and that we realise why they have always been intermingled both in theory and in reality.

We have last examined the attempt of s.e.xuality to possess itself of the whole universe; we will now turn our attention to the true union of both erotic elements. This union occurred at the time when Goethe and Novalis were bringing spiritual love and cosmic sensuousness to their highest summit.

THE THIRD STAGE

(The Unity of s.e.xual Impulse and Love)

CHAPTER I.

THE LONGING FOR THE SYNTHESIS.

Humanity inherited the pairing-instinct from the animal-world; but as differentiation progressed, this instinct tended to restrict itself to a few individuals--sometimes even to a single representative only--of the other s.e.x. In the beginning of the twelfth century a new and unprecedented emotion--spiritual love of man for woman based on personality--made its appearance, and until modern times the two fundamental erotic principles existed side by side without inner relationship. s.e.xuality with its various manifestations has existed from the beginning; the ultimate object of s.e.xual intercourse is pleasure; but here and there, and parallel with s.e.xual pleasure, there have been, in varying degrees of intensity, instances of spiritual love. In the second half of the eighteenth century there appeared--timidly at first, but gradually gaining in strength and determination--a tendency to find the sole course of every erotic emotion in the personality of the beloved, a longing no longer to dissociate s.e.xual impulse and spiritual love, but to blend them in a harmonious whole. Personality should knit body and soul together in a higher synthesis. The first signs of this longing became apparent in the period of the French revolution; (we find traces of it in the works of Rousseau and in Goethe's _Werther_); it was developed by the romanticists and represents the typical form of modern love with all its incompleteness and inexhausted possibilities. The achievement of this eagerly desired unity, which would be synonymous with the victory of personality over the limitations of body and soul, is the great problem of modern time in the domain of eroticism. The characteristic of this third stage of eroticism is the complete triumph of love over pleasure, the neutralisation of the s.e.xual and the generative by the spiritual and the personal. The physical and spiritual unity of the lovers has become so much supreme erotic reality, that the line of demarcation between soul and senses is completely obliterated.

In extreme cases--which are not at all rare--the bodily union is not realised as anything distinct, specifically pleasurable; it does not occupy a prominent position in the complex of love; sensuous pleasure, the universal inheritance from the animal world, has been vanquished by personality, the supreme treasure of man. The characteristic of the first stage was the unquestioned sway of one of the elements of erotic life, sensual gratification (this stage has, of course, never ceased to exist), as well as the aesthetic pleasure in the beauty of the human form. The second stage gave prominence to all those spiritual qualities which were most appreciated, virtue, purity, kindness, wisdom, etc., because love rouses and embraces everything in the human soul which is perfect. In the third stage, sensuous pleasure and spiritual love no longer exist as separate elements; the personality of the beloved in its individuality is the only essential, regardless as to whether she be the bringer of weal or woe, whether she be good or evil, beautiful or plain, wise or foolish. Personality has--in principle--become the sole, supreme source of eroticism. In this stage there is no tyranny of man over woman--as in the s.e.xual stage--no submission of man to woman--as in the stage of woman-worship; it is the stage of the complete equality of the s.e.xes, a mutual giving and taking. If s.e.xuality is infinite as matter, spiritual love eternal as the metaphysical ideal, the synthesis is human and personal.

Before the eighteenth century, this new erotic union did not exist as a phenomenon of civilisation, but occasionally we find it antic.i.p.ated or vaguely alluded to. Some of the early German minnesingers (such as Dietmar von Aist and Kurnberg) sometimes betray, especially when speaking through the medium of a woman, sentiments prophetic of our modern sentimental ballads. The following verses by Albrecht of Johansdorf, express the reciprocity characteristic of modern love:

When two hearts are so united That their love can never wane, Then I ween no man should blight it, Death alone should part the twain.

Even more modern in sentiment are the following stanzas:

This is love's measure: Two hearts and one pleasure, Two loves one love, nor more nor less, And both right full of happiness.

In woe one woe, And neither from the other go.

Though Walter von der Vogelweide adopted the contemporaneous conception of love as the source of everything good and n.o.ble ("Tell me what is Love?") he never quite accepted it:

Love is the ecstasy of two fond hearts, If both share equally, then love is there.

More ancient evidence even is the definition of marriage by the scholastic Hugo of St. Victor, who had leanings towards mysticism: "Marriage is the friendship between man and woman," he says.

My knowledge of the subject cannot, of course, be unexceptional, but I do not believe that personal love of the third stage, that is, the blending of both erotic elements, was quite definitely expressed before the second half of the eighteenth century. We may be justified in maintaining that the tension between s.e.xuality and spiritual love had been slackening in the course of the centuries, that s.e.xuality was conceived as less diabolical, and love as less celestial than heretofore; but the principle had remained unchanged. Only the female portraits of Leonardo da Vinci are deserving of special mention; the great artist was possibly the first who artistically divined, if he did not achieve, the synthesis. The exceptional position always granted to his women--particularly to his Mona Lisa--must doubtless be ascribed to this premonition. We may be certain that Leonardo not only as artist, but as lover also, was ahead of his time; but he must be regarded as an isolated instance. The three stages apply to the eroticism of man only.

His emotion soared from brutality to divinity, and then gradually became human; his feeling alone has a history. The force which seized, moulded and transformed him, had no influence over woman. Compared to man, she is to-day what she was at the beginning, pure nature. Her lover has always been everything to her; never merely a means for the gratification of the senses, nor, on the other hand, a higher being to whom she looked up and whom she worshipped with a purely spiritual love; but at all times he possessed her undivided love, unable in its nave simplicity to differentiate between body and soul. The higher intuition, the object of the supreme erotic yearning of man, for the possession of which he has struggled for centuries, and even to-day does not fully possess, has always been a matter of course to her. She whose truest vocation is love, received from nature that which the greatest of men have striven hard to win and only half succeeded in winning. Man's profound dualism is alien to her; her greatness--but also her limitation--lies in the simplicity and infallibility of her instinct, which has had no evolution and is consequently not liable to produce atavisms and aberrations. She is hardly conscious of the chasm between s.e.xual instinct and personal love. Wherever this is not so, we _may_ find intellectual greatness (as for instance in the case of the Empress Catherine of Russia), but as a rule we find only morbidness, despondency and callousness. To the normal woman the phenomena of dualistic eroticism appear unintelligible, even unwholesome. The unity of love is a matter of course to her, so that the third stage is practically male acquiescence to female intuition.

Even in our time, when so much is said and written about modern woman and her claims, her feeling is still perfect in itself; compared to the discord and heterogeneity of man, she represents simplicity and harmony.

Both purely spiritual worship and undifferentiated s.e.xual desire are exceptions as far as she is concerned and must still be regarded as abnormal.

This unbroken, determinative female eroticism may possibly be explained (as Weininger explains it) by woman's s.e.xuality, which is absolute, and does not rise above the horizon of distinct consciousness, but Weininger's dualism is in this direction attempting to value and standardise something which in its essence is alien to his standard.

Psycho-physical unity, then, is the basic characteristic of female eroticism, but the state of affairs in the case of male eroticism is a very different one. A study of the gradual origin of the erotic elements will facilitate a better understanding of the relevant phenomena.

In the case of woman, the primary s.e.xual instinct pervades the whole being; it has been refined and purified without any great fluctuations or changes; in the case of man it has always been restricted to certain regions of his physical and psychical life, and an entirely novel experience was required before it could win to the final form of personal love. This prize, in his case, is therefore enhanced by the fact of being the outcome of a long conflict; the reward of a task still showing the traces of the struggle and pain of centuries. The truth of the words "Pleasure is degrading" had been established by experience.

A few historical instances, ill.u.s.trating female eroticism, will uphold my contention. In the remote days of Greek antiquity, we find an example of undivided wifely love in Alcestis, whose devotion to her husband sent her to voluntary death in order to lengthen his life. Wifely devotion accomplished what parental love could not achieve. The _Alcestis_ of Euripides represents a feeling very familiar to us. Penelope, the faithful martyr, is a similar instance.

At the time when spiritual love, accompanied by eccentricities and Latin treatises, gradually, and amidst heavy conflict, struggled into existence, the soul of woman was already glowing with the emotion which we, to-day, realise as love. I have three witnesses to prove this statement. The _Lais_ of the French poetess Marie de France, based on Breton and Celtic motifs, are permeated by a sweet sentimentality, very nearly related to the sentiment of our popular ballads. They tell of simple feelings, of love and longing and the grief of love. One of her _lais_ treats the touching story of Lanval and Guinevere, and another an episode of Tristan and Isolde.

De Tristan et de la reine, De leur amour qui tant fut fine, Dont ils eurent mainte doulour Puis en moururent en un jour.

The nave sentiment of these poems forms a delicious contrast to the contemporaneous mature and subtile art of Provence, and the entire erudite armoury of love.

A great baron declared that only the man who could carry his daughter in his arms to the summit of a certain mountain--an impossible feat--should win her hand in marriage. No man possessed strength to carry her farther than half way. But the knight whom she loved secretly went out into the world, and after years of searching, discovered a magic potion able to endow him who quaffed it with enormous strength.

Full of joy he returned home and, his beloved in his arms, began the laborious ascent. Strong and jubilant, he laughed at the potion. But after a while, feeling his strength ebbing away, the maiden implored him: "Drink, I beseech thee, beloved!" "My heart is strong, to drink were waste of time." And again she pleaded: "Drink now, beloved, thy strength is diminishing fast." But he, eager to win her only by his own effort, staggered on and reached the summit, only to sink to the ground and expire. The maiden, throwing herself on his lifeless body, kissed his eyes and lips and died with him.

We recognise in this simple tale the new form of love, mutual devotion, and the thought of the consummation of this love, the _Love-death_, which was not definitely realised until six hundred years later. It originated in the Celtic soul, as the worship of woman originated in the Romanesque (the Teutonic soul shared in the development of both). It was a dream of the suppressed Celtic race, spending its whole soul in dreams and producing visions of such depth and beauty that even we of to-day cannot read them without being profoundly moved.

Next there are three love-letters written in Latin by a German woman of the twelfth century. In very touching words she tells her lover that the love of him can never be torn out of her heart. "I turn to you whom I hold for ever enclosed in my inmost heart." She promises and claims faithfulness until death: "Among thousands my heart has chosen you, you alone can satisfy my longing, and you will never find my love wanting. I trust myself to you, all my hope is centred in you. I could say a great deal more," she concludes, "but there is no need of it." And then follow the charming German stanzas:

Thou to me and I to thee, Knit for all eternity.

In my heart art thou imprisoned, And I threw away the key.

Nevermore canst thou be free.

In the third letter she drops the formal Latin and addresses him in intimate, simple German. But the man's replies are clumsy and strange, and plainly evidence his uncertainty of himself: "You have put a human head on a horse's neck, and the beautiful female form ends in an ugly fish's tail." It looks as if a parting were inevitable.

But the most touching testimony from the Middle Ages is the famous love story of Abelard and Helose. We probably possess no older doc.u.ment of the pa.s.sionate devotion of a woman, differing in nothing from the sentiment of the present age, than the letters of Helose. Abelard persuaded her to take the veil and repent in a convent the sin of voluptuousness--but she knows nothing of G.o.d--her whole soul is wrapped up in her lover: "I expect no reward from G.o.d, for what I did was not done for love of Him.... I wanted nothing from you but yourself; I desired only you, not that which belonged to you; I did not expect marriage or gifts; I did not seek to gratify my desires and do my will, but yours, and well you know that I am speaking the truth! The name of wife may seem sacred and honourable to you, but I prefer to be called your mistress or even your harlot. The more I degraded myself for your sake, the more I hoped to find grace in your eyes.... I renounced all the pleasures of the world to live only for you; I kept nothing for myself but the desire to belong entirely to you." Abelard's replies are pious sermons and theological treatises; he thinks of the love of the past only as _the cursed desires of the flesh_, the snare in which the devil had caught them, and urges Helose to thank G.o.d that henceforth they are safe. "My love which entangled both of us in sin," he says in one of his letters, "deserves not the name of love, for it was naught but carnal l.u.s.t. I sought in you the gratification of my sinful desires," etc. He blessed the savage crime committed on him because it saved him for ever from the sin of voluptuousness. What Helose loved and treasured as her sweetest memory, was to him h.e.l.l and devil's work.

He wrote to her almost as if in mockery: "What splendid interest does the talent of your wisdom bear to the Lord day after day! How many spiritual daughters you have borne to Him! What a terrible loss it would have been if you had abandoned yourself to the l.u.s.t of the flesh, had borne, with travail, a few earthly children, while now, with joy, you bear a great number of daughters for the kingdom of Heaven. You would have remained a woman like all the rest, but now you are far exalted even above men." This correspondence plainly reveals the tragedy of the lacerated man of the Middle Ages, as compared to the never-varying woman, emerging perfect from the hands of nature. A long and toilsome road still stretches out before him; she had reached the goal, without a struggle, at the outset. How strange is this cry of a mediaeval nun: "It seems as if the world had grown old, as if all men and all living creatures had lost their freshness, as if love had grown cold not in many, but in all hearts."

What was really the final cause of the hostility to sensuousness displayed by dualistic mediaeval Christianity? Was it not contained in eroticism itself?

This hostility was based on the fact that the world knew as yet only spiritual love and its ant.i.thesis, the s.e.xuality which man shares with the animals; the only salvation, not merely in the Christian sense, but from the point of view of every lofty conception of civilisation, lay in the victory over animalism. The contempt of and the struggle against the lower form of eroticism animating the dualistic period was absolutely consistent; asceticism represents the highest form of culture attainable by that period. (The rejection of spiritual love was an inconsistency on the part of the clergy.) The principle of personality was the fundamental principle of Christianity; this is clearly expressed by the fact that Christianity regarded the soul as the supreme value.

And what is the soul but the consciousness of human personality conceived navely as substance? In the light of this higher intuition sensuousness was bound to appear base and degrading.

It is therefore historically correct, though essentially an error, to regard Christianity as the religion of asceticism, for the asceticism of the Middle Ages was nothing but the immature stage of the principle of personality. Directly spiritual love was no longer in opposition to s.e.xuality, directly a synthesis had been effected, Christianity should have drawn the obvious conclusion from its fundamental principle and acknowledged love, which united the hostile elements. Protestantism did so, half-heartedly. Luther's vacillating att.i.tude towards s.e.xuality is typical of this indecision. At heart he could not justify s.e.xuality; he regarded it, in the same way as did the Fathers of the Church, as an evil with which one had to make terms. His sanction of marriage was nothing but a crooked and ill-founded compromise; and as he remained at the old dualistic standpoint, it could not have been otherwise. But the moment the new sensuous-supersensuous form of love had come into existence, it behoved Christianity, as the religion of personality, to acknowledge it.

After this digression I return to the period of the inception of the third stage of love. If I were writing a history of eroticism, I should now have to describe the rococo period, a period essentially rationalistic and devoted to pleasure, a period which believed in nothing but the obvious and understood love only in the sense of sensual pleasure. If sensuality had hitherto been evil--at least theoretically--it now became obscene. Stripped of every grand and cosmic feature, it degenerated into the princ.i.p.al form of amus.e.m.e.nt. The eighteenth century, though instructive and interesting to the student of eroticism, produced nothing new. Under the undisputed sway of France, a period of sensuality set in, unparalleled by any other epoch in the history of the race, except, perhaps, the early oriental epoch; even the gynecocratic family of remote antiquity was openly revived by the ladies of Paris. Casanova was the s.e.xual hero of the age (as he is to some extent the hero of our present impotent epoch). Indefatigable in the pursuit of woman and successful until old age, he was a well-bred s.e.xualist without subtlety or depth. The Vicomte de Valmont, the hero of Choderlos de Laclos' famous and realistic novel _Les Liaisons Dangereuses_, an absolutely cold and cunning seducer, was its G.o.d. They were seconded by the pleasure-loving Ninon de l'Enclos, who was still desired at the age of eighty.

This ultra-refinement was followed by the loathing of civilisation and love of nature expressed by Rousseau, Werther and Holderlin; closely allied to these pa.s.sions was sentimental love, the direct precursor of our modern conception of love. Its peculiarity lay in the fact that although spiritual in its source, it yearned for psycho-physical unity, and was therefore always slightly discordant. Rousseau was the first exponent of this romantic nature cult and sentimental love of woman. He represents the sharp recoil from the frivolity of the _ancien regime_, and the beginning of the third stage of love. His _Nouvelle Helose_ (1759) was probably the first work in which sentimental love found expression. In Goethe's _Werther_ (1774), which is a faithful portrayal of the poet's personal feelings, it was represented more powerfully.

Werther's love was purely spiritual at its inception. "Lotte is sacred to me. All desire is silent in her presence." But in the end he desires her with unconquerable pa.s.sion; a dream undeceives him about the nature of his feelings, and as he clasps her in a pa.s.sionate embrace he is conscious of having reached the summit of his longing. This would seem the goal of modern love, embodying all its previous stages. It is interesting to find embodiments of the extreme poles in two incidental characters; one has been driven mad by his adoring love for a woman and wanders about the fields in November to gather flowers for his queen; the other is a young peasant who kills his rival in jealous rage. But Werther himself, steering a middle-course between these two extremes, walks straight into modern love, which means death to him.

Both the _New Helose_ and _Werther_ are, sentimentally, efforts to reach the synthesis _via_ the soul. Friedrich Schlegel, in his famous _Lucinda_ (1799), tried the opposite way. He has been savagely attacked for it by one side and lauded to the skies by the other, and when "the emanc.i.p.ation of the flesh" became the motto of the day, he was glorified as a martyr. The philosopher and theologian Schleiermacher saw in _Lucinda_ a delivery from the tyranny of centuries. "Love has become whole again and of one piece," he exclaims, joyfully calling the poem "a vision of a future world G.o.d knows how distant." "Love shall come again; a new life shall unite and animate its broken limbs; it shall rule the hearts and works of men in freedom and gladness, and supersede the lifeless phantoms of fict.i.tious virtues." Schleiermacher also voiced the idea of the synthesis: "And why should we be arrested in this struggle (_i.e._, between love as the flower of sensuousness and the intellectual mystical component of love), when in all domains we are striving to bring the ideas, born by the new development of humanity, into harmony with the result of the work of past ages?" His _Confidential Letters on Schlegel's Lucinda_ have made the Protestant pastor Schleiermacher the philosopher of the third stage of eroticism, as the chaplain Andreas was the theorist of the second. The third stage gained its first footing amongst the German romanticists. Women were largely instrumental in achieving its victory. I will not go into detail but will confine myself to mentioning in pa.s.sing the names of Jean Paul, Henrietta Herz, Brentano, Sophy Mereau, Dorothy Vest, Sch.e.l.ling, Friedrich Gentz. W. von Humboldt records a conversation which he had in the year of the Revolution with Schiller. The latter unhesitatingly professed his faith in the unity of love. "It (the blending of love and sensuality) is always possible and always there." But Humboldt was diffident, unable fully to grasp the new conception. "I said that it would sever the most beautiful, most delicate relationships, that it was too heterogeneous to admit of coherence; but my princ.i.p.al argument was that in the majority of cases it was out of the question...."

There is a doc.u.ment from the year 1779 which contains in its entirety the modern conception of harmonious love, together with its ecstatic apotheosis, the love-death, a doc.u.ment which puts the later theorising romanticists and _Lucinda_ completely in the shade. I am referring to the only one of Gottfried August Burger's letters to Molly, which has been preserved. It contains the following pa.s.sages: "I cannot describe to you in words how ardently I embrace you in the spirit. There is in me such a tumult of life that frequently after an outburst my spirit and soul are left in such weariness that I seem to be on the point of death.

Every brief calm begets more violent storms. Often in the black darkness of a stormy, rainy midnight, I long to hasten to you, throw myself into your arms, sink with you into the infinite ocean of delight and--die. Oh Love! oh Love! what a strange and wonderful power art thou to hold body and soul in such unbreakable bonds!... I let my imagination roam through the whole world, yea, through all the heavens and the Heaven of heavens, and examine every delight and compare it to you, but by the Eternal G.o.d!

there is nothing I desire so ardently as to hold you, sweetest and heavenliest of all women, in my arms. If I could win you by walking round the earth, naked and barefoot, through thorns and thistles, over rocks and snow and ice, and, on the point of death, with the last spark of life, sink into your arms and draw new life and happiness from your loving bosom, I should consider that I bought you for a trifle."

To adduce more historical evidence of modern love would serve no purpose; in the next chapter I shall discuss its metaphysical consummation, the love-death. But I will briefly point out the not quite obvious difference between synthetic love and s.e.xuality projected on a specific individual. In several of the higher animals the s.e.xual instinct is to some extent individualised, but nevertheless it is no more than instinct, seeking a suitable mate for its gratification. All the well-known theories of "s.e.xual attraction," from Schopenhauer to Weininger, accounting love as nothing but a mutual supplementing of two individuals for the purpose of the best possible reproduction of the species, do not apply to love in the modern sense, but to the s.e.xual impulse; they completely disregard the individual, and are only aware of the species; they apprehend individualisation as an instrument in the service of the race. But genuine personal love is not kindled by instinct; it is not differentiated s.e.xual impulse; it embraces the psycho-physical unity of the beloved without being conscious of s.e.xual desire. It shares with the purely spiritual love the eagerness of man to raise and glorify the beloved woman, without ulterior motive or desire.

This distinction may be called hair-splitting, and I admit that it is frequently impossible to make it in practice, but it is important in principle because it goes back to origins and finds in the metaphysical climax of the third stage, the love-death, its practical anti-generic proof. But with all this it is of common occurrence that spiritual and sensual love are at different times projected on one and the same woman.

Schopenhauer's instinct of philoprogenitiveness has to-day become an article of faith with the learned and unlearned. Schopenhauer was the first, probably, to conceive the idea that love was the consciousness of the unconscious instincts in the service of the species, and had no other content or purpose than the will of the species to produce the best possible offspring. In a chapter of his princ.i.p.al work, ent.i.tled _The Metaphysics of Love_, he essayed to promulgate and prove his theory in detail. "All love, however ethereal it may pretend to be, is rooted solely in the s.e.xual instinct; it is nothing more nor less than specialised, strictly speaking individualised, s.e.xual desire."

Schopenhauer's conception of love does not rise above this specialised impulse. He calmly ignores all phenomena such as those I have described because they do not fit his theory. With the exception of his cheap observation that contrasts attract each other (which is the pith of all his "truths") he does not adduce the smallest evidence for the truth of his myth of "the genius of the species spreading his wings over the coming generation." However much the results of breeders may be applicable to the human species, they have nothing to do with love, and the believers in the theory of the instinct of philoprogenitiveness are silent on the subject of the best and most suitable subject for the purpose; is it the law-abiding citizen? the restless reformer? or the artist and thinker? Strange to say, the legend of the instinct of philoprogenitiveness, intuitively conscious of the right way, is to-day accepted even by scientists who are in sympathy neither with Schopenhauer's nor with any other metaphysic. It is taken for granted that love can only serve the purpose of the species; the fact that this theory is both metaphysically and scientifically unsound is ignored. For even leaving the genius of the species out of the question, his intelligent comprehension of the "composition of the next generation" is nevertheless devoutly believed in. Even Nietzsche, that arch-individualist, was completely under the spell of this dogma, as is proved by many of his utterances, for instance, by the well-known socialistic definition of marriage as "the will of twain to create that which is higher than its creators," and also by his theory that man is not an end in himself but a bridge to something else. Nietzsche's p.r.o.nouncement that he has not yet found the woman whom he would like to be the mother of his children, echoes the philosophy of Schopenhauer, the superst.i.tion of the genius of philoprogenitiveness. The intrinsic worth of love without any ulterior motive, without a view to pleasure or to offspring, seems to have been unknown to Nietzsche. Schopenhauer's hero puts the purport of love not in the actual individual, but in a conception, and annihilates the value of the individual and the unique.

Every great emotion is an end in itself, and whatever we may read into it of "purposes" and "expediencies," is an invention, and independent of the emotion itself. The aim of the purely spiritual love of the second stage was not propagation, and yet it was an emotion whose loftiness cannot easily be surpa.s.sed. With the deification of woman love reached far beyond the beloved into infinitude, and the phenomenon of the love-death renders all the supposed generic purpose of love impossible.

But even if we ignored love altogether and admitted the existence of the s.e.xual instinct only, its mysterious endeavour in the interest of the species would still remain pure imagination, and a conception far inferior to that of the winged G.o.d of love. The instinct does not possess a trace of "discretion," takes no interest in the weal and woe of humanity, but is utterly selfish, seeking its own gratification and nothing else.