Chapter II: Introduction: I (2)

When Kierkegaard finally published "The Preparation for a Christian Life," the bishop was, indeed, incensed; but he did nothing. Nor did any one else venture forth. Still worse affront! Kierkegaard had said his last word, had stated his ultimatum--and it was received with indifference, it seemed. Nevertheless he decided to wait and see what effect his books would have for he hesitated to draw the last conclusions and mortally wound the old man tottering on the brink of his grave by thus attacking the Church. There followed a three years' period of silence on the part of Kierkegaard--again certainly a proof of his utter sincerity. It must be remembered, in this connection, that the very last thing Kierkegaard desired was an external reorganization, a "reform," of the Church--indeed, he firmly refused to be identified with any movement of secession, differing in this respect vitally from his contemporaries Vinet and Grundtvig who otherwise had so much in common with him. His only wish was to infuse life and inwardness into the existing forms. And far from being inferior to them in this he was here at one with the Founder and the Early Church in that he states the aim of the Christian Life to be, not to transform the existing social order, but to transcend it. For the very same reason, coupled to be sure with a pronounced aristocratic individualism, he is utterly and unreasonably indifferent, and even antagonistic, to the great social movements of his time, to the political upheavals of 1848, to the revolutionary advances of science.

As Kierkegaard now considered his career virtually concluded, he wrote (1851) a brief account "About my Activity as an Author" in which he furnishes his readers a key to its unfolding--from an æsthetic view to the religious view--which he considers his own education by Providence; and indicates it to be his special task to call attention, without authority, to the religious, the Christian life. His "Viewpoint for my Activity as an Author," published by his brother only long after his death, likewise defines the purpose of the whole "authorship," besides containing important biographical material.

At length (January, 1854) Mynster died. Even then Kierkegaard, though still on his guard, might not have felt called upon to have recourse to stronger measures if it had not been for an unfortunate sentence in the funeral sermon preached by the now famous Martensen--generally pointed out as the successor to the primacy--with whom Kierkegaard had already broken a lance or two. Martensen had declared Mynster to have been "one of the holy chain of witnesses for the truth (_sandhedsvidner_) which extends through the centuries down from the time of the Apostles." This is the provocation for which Kierkegaard had waited. "Bishop Mynster a witness for the truth"! he bursts out, "You who read this, you know well what in a Christian sense is a witness for the truth. Still, let me remind you that to be one, it is absolutely essential to suffer for the teaching of Christianity"; whereas "the truth is that Mynster was wordily-wise to a degree--was weak, pleasure-loving, and great only as a declaimer." But once more--striking proof of his circumspection and single-mindedness--he kept this harsh letter in his desk for nine months, lest its publication should interfere in the least with Martensen's appointment, or seem the outcome of personal resentment.

Martensen's reply, which forcefully enough brings out all that could be said for a milder interpretation of the Christian categories and for his predecessor, was not as respectful to the sensitive author as it ought to have been. In a number of newspaper letters of increasing violence and acerbity Kierkegaard now tried to force his obstinately silent opponent to his knees; but in vain. Filled with holy wrath at what he conceived to be a conspiracy by silence, and evasions to bring to naught the whole infinitely important matter for which he had striven, Kierkegaard finally turned agitator. He addressed himself directly to the people with the celebrated pamphlet series Öieblikket "The Present Moment" in which he opens an absolutely withering fire of invective on anything and everything connected with "the existing order" in Christendom--an agitation the like of which for revolutionary vehemence has rarely, if ever, been seen. All rites of the Church--marriage, baptism, confirmation, communion, burial--and most of all the clergy, high and low, draw the fiery bolts of his wrath and a perfect hail of fierce, cruel invective. The dominant note, though varied infinitely, is ever the same: "Whoever you may be, and whatever the life you live, my friend: by omitting to attend the public divine service--if indeed it be your habit to attend it--by omitting, to attend public divine service as now constituted (claiming as it does to represent the Christianity of the New Testament) you will escape at least one, and a great, sin in not attempting to fool God by calling that the Christianity of the New Testament which is not the Christianity of the New Testament." And he does not hesitate to use strong, even coarse, language; he even courts the reproach of blasphemy in order to render ridiculous in "Official Christianity" what to most may seem inherently, though mistakenly, a matter of highest reverence.

The swiftness and mercilessness of his attack seem to have left his contemporaries without a weapon: all they could do was to shrug their shoulders about the "fanatic," or to duck and wait dumbly until the storm had passed.

Nor did it last long. On the second of October, 1855, Kierkegaard fell unconscious in the street. He was brought to the hospital where he died on the eleventh of November, aged 42. The immense exertions of the last months had shattered his frail body. And strange: the last of his money had been used up. He had said what he thought Providence had to communicate through him. His strength was gone. His death at this moment would put the crown on his work. As he said on his death-bed: "The bomb explodes, and the conflagration will follow."

In appraising Kierkegaard's life and works it will be found true, as Hotfding says, that he can mean much even to those who do not subscribe to the beliefs so unquestioningly entertained by him. And however much they may regret that he poured his noble wine into the old bottles, they cannot fail to recognize the yeoman's service he did, both for sincere Christians in compelling them to rehearse inwardly what ever tends to become a matter of form: what it means to be a Christian; and for others, in deepening their sense of individual responsibility. In fact, every one who has once come under his influence and has wrestled with this mighty spirit will bear away some blessing. In a time when, as in our own, the crowd, society, the millions, the nation, had depressed the individual to an insignificant atom--and what is worse, in the individual's own estimation; when shallow altruistic, socializing effort thought naively that the millenium was at hand, he drove the truth home that, on the contrary, the individual is the measure of all things; that we do not live en masse; that both the terrible responsibility and the great satisfactions of life inhere in the individual. Again, more forcibly than any one else in modern times, certainly more cogently than Pascal, he demonstrated that the possibility of proof in religion is an illusion; that doubt cannot be combatted by reason, that it ever will be _credo quia impossibile._ In religion, he showed the utter incompatibility of the æsthetic and the religious life; and in Christianity, he re-stated and re-pointed the principle of ideal perfection by his unremitting insistence on contemporaneousness with Christ. It is another matter whether by so doing Kierkegaard was about to pull the pillars from underneath the great edifice of Christianity which housed both him and his enemies: seeing that he himself finally doubted whether it had ever existed apart from the Founder and, possibly, the Apostles.

Kierkegaard is not easy reading. One's first impression of crabbedness, whimsicality, abstruseness will, however, soon give way to admiration of the marvelous instrument of precision language has become in his hands. To be sure, he did not write for people who are in a hurry, nor for dullards. His closely reasoned paragraphs and, at times huge, though rhetorically faultless, periods require concentrated attention, his involutions and repetitions, handled with such incomparable virtuosity, demand an everlasting readiness of comprehension on the part of the reader. On the other hand his philosophic work is delightfully "Socratic," unconventional, and altogether "un-textbook-like." Kierkegaard himself wished that his devotional works should be read aloud. And, from a purely æsthetic point of view, it ought to be a delight for any orator to practice on the wonderful periods of e. g., "The Preparation," or of, say, the parable of the coach-horses in "Acts of the Apostles." They alone would be sufficient to place Kierkegaard in the front rank of prose writers of the nineteenth century where, both by the power of his utterance and the originality of his thought, he rightfully belongs.

In laying before an English speaking public selections from Kierkegaard's works, the translator has endeavored to give an adequate idea of the various aspects of his highly disparate works. For this purpose he has chosen a few large pieces, rather than given tidbits. He hopes to be pardoned for not having a slavish regard for Kierkegaard's very inconsequential paragraphing[8] and for breaking, with no detriment, he believes, to the thought, some excessively long paragraphs into smaller units; which will prove more restful to the eye and more encouraging to the reader. As to occasional omissions--always indicated by dots--the possessor of the complete works will readily identify them. In consonance with Kierkegaard's views on "contemporaneousness," no capitals are used in "The Preparation" when referring to Christ by pronouns.

When Kierkegaard died, his influence, like that of Socrates, was just beginning to make itself felt. The complete translation into German of all his works[9] and of many into other languages; the magnificent new edition of his works[10] and of his extraordinarily voluminous diaries,[11] now nearing completion; and the steadily increasing number of books, pamphlets, and articles from the most diverse quarters testify to his reaching a growing number of _individuals._ Below is given a list of the more important books and articles on Kierkegaard. It does not aim at completeness.

Bärthold, A. S. K., _Eine Verfassetexistenz eigner Art._ Halberstadt, 1873.

Same: _Noten zu S. K.'s Lebensgeschichte._ Halle, 1876.

Same: _Die Bedeutung der aesthetischen Schriften S. K.'s._ Halle, 1879.

Barfod, H. P. (Introduction to the first edition of the Diary.) Copenhagen, 1869.

Bohlin, Th. _S. K.'s Etiska Åskadning._ Uppsala, 1918.

Brandes, G. _S. K., En kritisk Fremstilling i Grundrids._ Copenhagen, 1877.

Same: German ed. Leipzig, 1879.

Deleuran, V. _Esquisse d'une étude sur S. K._ Thèse, University of Paris, 1897.

Höffding, H. _S. K._ Copenhagen, 1892.

Same: German edition (2nd). Stuttgart, 1902.

Hoffmann, R. _K. und die religiöse Gewissheit._ Göttingen, 1910.

Jensen, Ch. _S. K.'s religiöse Udvikling._ Aarhus, 1898.

Monrad, O. P. _S. K. Sein Leben und seine Werke._ Jena, 1909.

Münch, Ph. _Haupt und Grundgedanken der Philosophie S. K.'s._ Leipzig, 1902.

Rosenberg, P. A. _S. K., hans Liv, hans Personlighed og hans Forfatterskab._ Copenhagen, 1898.

Rudin, W. S. _K.'s Person och Författerskap. Förste Afdelningen._ Stockholm, 1880.

Schrempf, Ch. _S. K.'s Stellung zu Bibel und Dogma._ Zeitschrift für Theologie und Kirche, 1891, p. 179.

Same: _S. K. Ein unfreier Pionier der Freiheit._ (With a foreword by Höffding) Frankfurt, 1909.

Swenson, D. _The Anti-Intellectualism of K._ Philosophic Review, 1916, p. 567.

To my friends and colleagues, Percy M. Dawson and Howard M. Jones, I wish also in this place to express my thanks for help and criticism "in divers spirits."

[Footnote 1: Pronounced _Kerkegor._]

[Footnote 2: An interesting parallel is the story of Peter Williams, as told by George Borrow, _Lavengro_, chap. 75 ff.]

[Footnote 3: Corresponding, approximately, to our doctoral thesis.]

[Footnote 4: Not "Discourses for Edification," _cf._ the Foreword to _Atten Opbyggelige Taler_, S. V. vol. IV.]

[Footnote 5: _De Carne Christi_, chap. V, as my friend, Professor A. E. Haydon, kindly points out.]

[Footnote 6: _Cf._ Brandes, S. K. p. 157.]

[Footnote 7: Mrs. Thomasine Gyllembourg-Ehrensvärd.]

[Footnote 8: With signal exception of "The Present Moment."]

[Footnote 9: In process of publication. Jena.]

[Footnote 10: Samlede Værker. Copenhagen, 1901-1906 (14 vols). In the notes abbreviated S. V. Still another edition is preparing.]

[Footnote 11: Copenhagen, 1909 ff.]

DIAPSALMATA[1]

What is a poet? An unhappy man who conceals profound anguish in his heart, but whose lips are so fashioned that when sighs and groans pass over them they sound like beautiful music. His fate resembles that of the unhappy men who were slowly roasted by a gentle fire in the tyrant Phalaris' bull--their shrieks could not reach his ear to terrify him, to him they sounded like sweet music. And people flock about the poet and say to him: do sing again; which means, would that new sufferings tormented your soul, and: would that your lips stayed fashioned as before, for your cries would only terrify us, but your music is delightful. And the critics join them, saying: well done, thus must it be according to the laws of æsthetics. Why, to be sure, a critic resembles a poet as one pea another, the only difference being that he has no anguish in his heart and no music on his lips. Behold, therefore would I rather be a swineherd on Amager,[2] and be understood by the swine than a poet, and misunderstood by men.

In addition to my numerous other acquaintances I have still one more intimate friend--my melancholy. In the midst of pleasure, in the midst of work, he beckons to me, calls me aside, even though I remain present bodily. My melancholy is the most faithful sweetheart I have had--no wonder that I return the love!

Of all ridiculous things the most ridiculous seems to me, to be busy--to be a man who is brisk about his food and his work. Therefore, whenever I see a fly settling, in the decisive moment, on the nose of such a person of affairs; or if he is spattered with mud from a carriage which drives past him in still greater haste; or the drawbridge opens up before him; or a tile falls down and knocks him dead, then I laugh heartily. And who, indeed, could help laughing? What, I wonder, do these busy folks get done? Are they not to be classed with the woman who in her confusion about the house being on fire carried out the fire-tongs? What things of greater account, do you suppose, will they rescue from life's great conflagration?

Let others complain that the times are wicked. I complain that they are paltry; for they are without passion. The thoughts of men are thin and frail like lace, and they themselves are feeble like girl lace-makers. The thoughts of their hearts are too puny to be sinful. For a worm it might conceivably be regarded a sin to harbor thoughts such as theirs, not for a man who is formed in the image of God. Their lusts are staid and sluggish, their passions sleepy; they do their duty, these sordid minds, but permit themselves, as did the Jews, to trim the coins just the least little bit, thinking that if our Lord keep tab of them ever so carefully one might yet safely venture to fool him a bit. Fye upon them! It is therefore my soul ever returns to the Old Testament and to Shakespeare. There at least one feels that one is dealing with men and women; there one hates and loves, there one murders one's enemy and curses his issue through all generations--there one sins.

Just as, according to the legend,[3] Parmeniscus in the Trophonian cave lost his ability to laugh, but recovered it again on the island of Delos at the sight of a shapeless block which was exhibited as the image of the goddess Leto: likewise did it happen to me. When I was very young I forgot in the Trophonian cave how to laugh; but when I grew older and opened my eyes and contemplated the real world, I had to laugh, and have not ceased laughing, ever since. I beheld that the meaning of life was to make a living; its goal, to become Chief Justice; that the delights of love consisted in marrying a woman with ample means; that it was the blessedness of friendship to help one another in financial difficulties; that wisdom was what most people supposed it to be; that it showed enthusiasm to make a speech, and courage, to risk being fined 10 dollars; that it was cordiality to say "may it agree with you" after a repast; that it showed piety to partake of the communion once a year. I saw that and laughed.

A strange thing happened to me in my dream. I was rapt into the Seventh Heaven. There sat all the gods assembled. As a special dispensation I was granted the favor to have one wish. "Do you wish for youth," said Mercury, "or for beauty, or power, or a long life; or do you wish for the most beautiful woman, or any other of the many fine things we have in our treasure trove? Choose, but only one thing!" For a moment I was at a loss. Then I addressed the gods in this wise: "Most honorable contemporaries, I choose one thing--that I may always have the laughs on my side." Not one god made answer, but all began to laugh. From this I concluded that my wish had been granted and thought that the gods knew how to express themselves with good taste; for it would surely have been inappropriate to answer gravely: your wish has been granted.

[Footnote 1: Interlude (of aphorisms). Selection.]

[Footnote 2: A flat island south of the capital, called the "Kitchen Garden of Copenhagen."]

[Footnote 3: Told by Athenaios.]

IN VINO VERITAS (THE BANQUET)

It was on one of the last days in July, at ten o'clock in the evening, when the participants in that banquet assembled together. Date and year I have forgotten; indeed, this would be interesting only to one's memory of details, and not to one's recollection of the contents of what experience. The "spirit of the occasion" and whatever impressions are recorded in one's mind under that heading, concerns only one's recollections; and just as generous wine gains in flavor by passing the Equator, because of the evaporation of its watery particles, likewise does recollection gain by getting rid of the watery particles of memory; and yet recollection becomes as little a mere figment of the imagination by this process as does the generous wine.

The participants were five in number: John, with the epithet of the Seducer, Victor Eremita, Constantin Constantius, and yet two others whose names I have not exactly forgotten--which would be a matter of small importance--but whose names I did not learn. It was as if these two had no proper names, for they were constantly addressed by some epithet. The one was called the Young Person. Nor was he more than twenty and some years, of slender and delicate build, and of a very dark complexion. His face was thoughtful; but more pleasing even was its lovable and engaging expression which betokened a purity of soul harmonizing perfectly with the soft charm, almost feminine, and the transparency of his whole presence. This external beauty of appearance was lost sight of, however, in one's next impression of him; or, one kept it only in mind whilst regarding a youth nurtured or--to use a still tenderer expression--petted into being, by thought, and nourished by the contents of his own soul--a youth who as yet had had nothing to do with the world, had been neither aroused and fired, nor disquieted and disturbed. Like a sleep-walker he bore the law of his actions within himself, and the amiable, kindly expression of his countenance concerned no one, but only mirrored the disposition of his soul.

The other person they called the Dressmaker, and that was his occupation. Of him it was impossible to get a consistent impression. He was dressed according to the very latest fashion, with his hair curled and perfumed, fragrant with eau-de-cologne. One moment his carriage did not lack self-possession, whereas in the next it assumed a certain dancing, festive air, a certain hovering motion, which, however, was kept in rather definite bounds by the robustness of his figure. Even when he was most malicious in his speech his voice ever had a touch of the smoothtonguedness of the shop, the suaveness of the dealer in fancy-goods, which evidently was utterly disgusting to himself and only satisfied his spirit of defiance. As I think of him now I understand him better, to be sure, than when I first saw him step out of his carriage and I involuntarily laughed. At the same time there is some contradiction left still. He had transformed or bewitched himself, had by the magic of his own will assumed the appearance of one almost half-witted, but had not thereby entirely satisfied himself; and this is why his reflectiveness now and then peered forth from beneath his disguise.

As I think of it now it seems rather absurd that five such persons should get a banquet arranged. Nor would anything have come of it, I suppose, if Constantin had not been one of us. In a retired room of a confectioner's shop where they met at times, the matter had been broached once before, but had been dropped immediately when the question arose as to who was to head the undertaking. The Young Person was declared unfit for that task, the Dressmaker affirmed himself to be too busy. Victor Eremita did not beg to be excused because "he had married a wife or bought a yoke of oxen which he needed to prove";[1] but, he said, even if he should make an exception, for once, and come to the banquet, yet he would decline the courtesy offered him to preside at it, and he therewith "entered protest at the proper time.[2]" This, John considered a work spoken in due season; because, as he saw it, there was but one person able to prepare a banquet, and that was the possessor of the wishing-table which set itself with delectable things whenever he said to it "Cover thyself!" He averred that to enjoy the charms of a young girl in haste was not always the wisest course; but as to a banquet, he would not wait for it, and generally was tired of it a long while before it came off. However, if the plan was to be carried into effect he would make one condition, which was, that the banquet should be so arranged as to be served in one course. And that all were agreed on. Also, that the settings for it were to be made altogether new, and that afterwards they were to be destroyed entirely; ay, before rising from table one was to hear the preparation for their destruction. Nothing was to remain; "not even so much," said the Dressmaker, "as there is left of a dress after it has been made over into a hat." "Nothing," said John, "because nothing is more unpleasant than a sentimental scene, and nothing more disgusting than the knowledge that somewhere or other there is an external setting which in a direct and impertinent fashion pretends to be a reality."

When the conversation had thus became animated, Victor Eremita suddenly arose, struck an attitude on the floor, beckoned with his hand in the fashion of one commanding and, holding his arm extended as one lifting a goblet, he said, with the gesture of one waving a welcome: "With this cup whose fragrance already intoxicates my senses, whose cool fire already inflames my blood, I greet you, beloved fellow-banqueters, and bid you welcome; being entirely assured that each one of you is sufficiently satisfied by our merely speaking about the banquet; for our Lord satisfied the stomach before satisfying the eye, but the imagination acts in the reverse fashion." Thereupon he inserted his hand in his pocket, took from it a cigar-case, struck a match, and began to smoke. When Constantin Constantius protested against this sovereign free way of transforming the banquet planned into an illusory fragment of life, Victor declared that he did not believe for one moment that such a banquet could be got up and that, in any case, it had been a mistake to let it become the subject of discussion in advance. "Whatever is to be good must come at once; for 'at once' is the divinest of all categories and deserves to be honored as in the language of the Romans: _ex templo_,[3] because it is the starting point for all that is divine in life, and so much so that what is not done at once is of evil." However, he remarked, he did not care to argue this point. In case the others wished to speak and act differently he would not say a word, but if they wished him to explain the sense of his remarks more fully he must have leave to make a speech, because he did not consider it all desirable to provoke a discussion on the subject.

Permission was given him; and as the others called on him to do so at once, he spoke as follows: "A banquet is in itself a difficult matter, because even if it be arranged with ever so much taste and talent there is something else essential to its success, to wit, good luck. And by this I mean not such matters as most likely would give concern to an anxious hostess, but something different, a something which no one can make absolutely sure of: a fortunate harmonizing of the spirit and the minutiæ of the banquet, that fine ethereal vibration of chords, that soul-stirring music which cannot be ordered in advance from the town-musicians. Look you, therefore is it a hazardous thing to undertake, because if things do go wrong, perhaps from the very start, one may suffer such a depression and loss of spirits that recovery from it might involve a very long time.

"Sheer habit and thoughtlessness are father and godfather to most banquets, and it is only due to the lack of critical sense among people that one fails to notice the utter absence of any idea in them. In the first place, women ought never to be present at a banquet. Women may be used to advantage only in the Greek style, as a chorus of dancers. As it is the main thing at a banquet that there be eating and drinking, woman ought not to be present; for she cannot do justice to what is offered; or, if she can, it is most unbeautiful. Whenever a woman is present the matter of eating and drinking ought to be reduced to the very slightest proportions. At most, it ought to be no more than some trifling feminine occupation, to have something to busy one's hands with. Especially in the country a little repast of this kind--which, by the way, should be put at other times than the principal meals--may be extremely delightful; and if so, always owing to the presence of the other sex. To do like the English, who let the fair sex retire as soon as the real drinking is to start, is to fall between two stools, for every plan ought to be a whole, and the very manner with which I take a seat at the table and seize hold of knife and fork bears a definite relation to this whole. In the same sense a political banquet presents an unbeautiful ambiguity inasmuch as one does not[4] want to cut down to a very minimum the essentials of a banquet, and yet does not wish to have the speeches thought of as having been made over the cups.

"So far, we are agreed, I suppose; and our number--in case anything should come of the banquet--is correctly chosen, according to that beautiful rule: neither more than the Muses nor fewer than the Graces. Now I demand the greatest superabundance of everything thinkable. That is, even though everything be not actually there, yet the possibility of having it must be at one's immediate beck and call, aye, hover temptingly over the table, more seductive even than the actual sight of it. I beg to be excused, however, from banqueting on sulphur-matches or on a piece of sugar which all are to suck in turn. My demands for such a banquet will, on the contrary, be difficult to satisfy; for the feast itself must be calculated to arouse and incite that unmentionable longing which each worthy participant is to bring with him. I require that the earth's fertility be at our service, as though everything sprouted forth at the very moment the desire for it was born. I desire a more luxurious abundance of wine than when Mephistopheles needed but to drill holes into the table to obtain it. I demand an illumination more splendid than have the gnomes when they lift up the mountain on pillars and dance in a sea of blazing light. I demand what most excites the senses, I demand their gratification by deliciously sweet perfumes, more superb than any in the Arabian Nights. I demand a coolness which voluptuously provokes desire and breathes relaxation on desire satisfied. I demand a fountain's unceasing enlivenment. If Mæcenas could not sleep without hearing the splashing of a fountain, I cannot eat without it. Do not misunderstand me, I can eat stockfish without it, but I cannot eat at a banquet without it; I can drink water without it, but I cannot drink wine at a banquet without it. I demand a host of servants, chosen and comely, as if I sate at table with the gods; I demand that there shall be music at the feast, both strong and subdued; and I demand that it shall be an accompaniment to my thoughts; and what concerns you, my friends, my demands regarding you are altogether incredible. Do you see, by reason of all these demands--which are as many reasons against it--I hold a banquet to be a _pium desideratum_,[5] and am so far from desiring a repetition of it that I presume it is not feasible even a first time."

The only one who had not actually participated in this conversation, nor in the frustration of the banquet, was Constantin. Without him, nothing would have been done save the talking. He had come to a different conclusion and was of the opinion that the idea might well be realized, if one but carried the matter with a high hand.

Then some time passed, and both the banquet and the discussion about it were forgotten, when suddenly, one day, the participants received a card of invitation from Constantius for a banquet the very same evening. The motto of the party had been given by him as: _In Vino Veritas_, because there was to be speaking, to be sure, and not only conversation; but the speeches were not to be made except _in vino_, and no truth was to be uttered there excepting that which is _in vino_--when the wine is a defense of the truth and the truth a defense of the wine.

The place had been chosen in the woods, some ten miles distant from Copenhagen. The hall in which they were to feast had been newly decorated and in every way made unrecognizable; a smaller room, separated from the hall by a corridor, was arranged for an orchestra. Shutters and curtains were let down before all windows, which were left open. The arrangement that the participants were to drive to the banquet in the evening hour was to intimate to them--and that was Constantin's idea--what was to follow. Even if one knows that one is driving to a banquet, and the imagination therefore indulges for a moment in thoughts of luxury, yet the impression of the natural surroundings is too powerful to be resisted. That this might possibly not be the case was the only contingency he apprehended; for just as there is no power like the imagination to render beautiful all it touches, neither is there any power which can to such a degree disturb all--misfortune conspiring--if confronted with reality. But driving on a summer evening does not lure the imagination to luxurious thoughts, but rather to the opposite. Even if one does not see it or hear it, the imagination will unconsciously create a picture of the longing for home which one is apt to feel in the evening hours--one sees the reapers, man and maid, returning from their work in the fields, one hears the hurried rattling of the hay wagon, one interprets even the far-away lowing from the meadows as a longing. Thus does a summer evening suggest idyllic thoughts, soothing even a restless mind with its assuagement, inducing even the soaring imagination to abide on earth with an indwelling yearning for home as the place from whence it came, and thus teaching the insatiable mind to be satisfied with little, by rendering one content; for in the evening hour time stands still and eternity lingers.

Thus they arrived in the evening hour: those invited; for Constantin had come out somewhat earlier. Victor Eremita who resided in the country not far away came on horseback, the others in a carriage. And just as they had discharged it, a light open vehicle rolled in through the gate carrying a merry company of four journeymen who were entertained to be ready at the decisive moment to function as a corps of destruction: just as firemen are stationed in a theatre, for the opposite reason at once to extinguish a fire.

So long as one is a child one possesses sufficient imagination to maintain one's soul at the very top-notch of expectation--for a whole hour in the dark room, if need be; but when one has grown older one's imagination may easily cause one to tire of the Christmas tree before seeing it.

The folding doors were opened. The effect of the radiant illumination, the coolness wafting toward them, the beguiling fragrance of sweet perfumes, the excellent taste of the arrangements, for a moment overwhelmed the feelings of those entering; and when, at the same time, strains from the ballet of "Don Juan" sounded from the orchestra, their persons seemed transfigured and, as if out of reverence for an unseen spirit about them, they stopped short for a moment like men who have been roused by admiration and who have risen to admire.

Whoever knows that happy moment, whoever has appreciated its delight, and has not also felt the apprehension lest suddenly something might happen, some trifle perhaps, which yet might be sufficient to disturb all! Whoever has held the lamp of Aladdin in his hand and has not also felt the swooning of pleasure, because one needs but to wish? Whoever has held what is inviting in his hand and has not also learned to keep his wrist limber to let go at once, if need be?

Thus they stood side by side. Only Victor stood alone, absorbed in thought; a shudder seemed to pass through his soul, he almost trembled; he collected himself and saluted the omen with these words: "Ye mysterious, festive, and seductive strains which drew me out of the cloistered seclusion of a quiet youth and beguiled me with a longing as mighty as a recollection, and terrible, as though Elvira had not even been seduced but had only desired to be! Immortal Mozart, thou to whom I owe all; but no! as yet I do not owe thee all. But when I shall have become an old man--if ever I do become an old man; or when I shall have become ten years older--if ever I do; or when I am become old--if ever I shall become old; or when I shall die--for that, indeed, I know I shall: then shall I say: immortal Mozart, thou to whom I owe all--and then I shall let my admiration, which is my soul's first and only admiration, burst forth in all its might and let it make away with me, as it often has been on the point of doing. Then have I set my house in order,[6] then have I remembered my beloved one, then have I confessed my love, then have I fully established that I owe thee all, then am I occupied no longer with thee, with the world, but only with the grave thought of death."

Now there came from the orchestra that invitation in which joy triumphs most exultantly, and heaven-storming soars aloft above Elvira's sorrowful thanks; and gracefully apostrophizing, John repeated: "_Viva la liberta_"--"_et veritas_," said the Young Person; "but above all, _in vino_," Constantin interrupted them, seating himself at the table and inviting the others to do likewise.

How easy to prepare a banquet; yet Constantin declared that he never would risk preparing another. How easy to admire; yet Victor declared that he never again would lend words to his admiration; for to suffer a discomfiture is more dreadful than to become an invalid in war! How easy to express a desire, if one has the magic lamp; yet that is at times more terrible than to perish of want!

They were seated. In the same moment the little company were launched into the very middle of the infinite sea of enjoyment--as if with one single bound. Each one had addressed all his thoughts and all his desires to the banquet, had prepared his soul for the enjoyment which was offered to overflowing and in which their souls overflowed. The experienced driver is known by his ability to start the snorting team with a single bound and to hold them well abreast; the well-trained steed is known by his lifting himself in one absolutely decisive leap: even if one or the other of the guests perhaps fell short in some particular, certainly Constantin was a good host.

Thus they banqueted. Soon, conversation had woven its beautiful wreaths about the banqueters, so that they sat garlanded. Now, it was enamored of the food, now of the wine, and now again of itself; now, it seemed to develop into significance, and then again it was altogether slight. Soon, fancy unfolded itself--the splendid one which blows but once, the tender one which straightway closes its petals; now, there came an exclamation from one of the banqueters: "These truffles are superb," and now, an order of the host: "This Chateau Margaux!" Now, the music was drowned in the noise, now it was heard again. Sometimes the servants stood still as if _in pausa_, in that decisive moment when a new dish was being brought out, or a new wine was ordered and mentioned by name, sometimes they were all a bustle. Sometimes there was a silence for a moment, and then the re-animating spirit of the music went forth over the guests. Now, one with some bold thought would take the lead in the conversation and the others followed after, almost forgetting to eat, and the music would sound after them as it sounds after the jubilant shouts of a host storming on; now, only the clinking of glasses and the clattering of plates was heard and the feasting proceeded in silence, accompanied only by the music that joyously advanced and again stimulated conversation. Thus they banqueted.

How poor is language in comparison with that symphony of sounds unmeaning, yet how significant, whether of a battle or of a banquet, which even scenic representation cannot imitate and for which language has but a few words! How rich is language in the expression of the world of ideas, and how poor, when it is to describe reality!

Only once did Constantin abandon his omnipresence in which one actually lost sight of his presence. At the very beginning he got them to sing one of the old drinking songs, "by way of calling to mind that jolly time when men and women feasted together," as he said--a proposal which had the positively burlesque effect he had perhaps calculated it should have. It almost gained the upper hand when the Dressmaker wanted them to sing the ditty: "When I shall mount the bridal bed, hoiho!" After a couple of courses had been served Constantin proposed that the banquet should conclude with each one's making a speech, but that precautions should be taken against the speakers' divagating too much. He was for making two conditions, viz., there were to be no speeches until after the meal; and no one was to speak before having drunk sufficiently to feel the power of the wine--else he was to be in that condition in which one says much which under other circumstances one would leave unsaid--without necessarily having the connection of speech and thought constantly interrupted by hiccoughs.[7] Before speaking, then, each one was to declare solemnly that he was in that condition. No definite quantity of wine was to be required, capacities differed so widely. Against this proposal, John entered protest. He could never become intoxicated, he averred, and when he had come to a certain point he grew the soberer the more he drank. Victor Eremita was of the opinion that any such preparatory premeditations to insure one's becoming drunk would precisely militate against one's becoming so. If one desired to become intoxicated the deliberate wish was only a hindrance. Then there ensued some discussion about the divers influences of wine on consciousness, and especially about the fact that, in the case of a reflective temperament, an excess of wine may manifest itself, not in any particular _impetus_ but, on the contrary, in a noticeably cool self-possession. As to the contents of the speeches, Constantin proposed that they should deal with love, that is, the relation between man and woman. No love stories were to be told though they might furnish the text of one's remarks.

The conditions were accepted. All reasonable and just demands a host may make on his guests were fulfilled: they ate and drank, and "drank and were filled with drink," as the Bible has it;[8] that is, they drank stoutly.

The desert was served. Even if Victor had not, as yet, had his desire gratified to hear the splashing of a fountain--which, for that matter, he had luckily forgotten since that former conversation--now champagne flowed profusely. The clock struck twelve. Thereupon Constantin commanded silence, saluted the Young Person with a goblet and the words _quod felix sit faustumque_[9] and bade him to speak first.

(The Young Person's Speech)

The Young Person arose and declared that he felt the power of the wine, which was indeed apparent to some degree; for the blood pulsed strongly in his temples, and his appearance was not as beautiful as before the meal. He spoke as follows:

If there be truth in the words of the poets, dear fellow-banqueters, then unrequited love is, indeed, the greatest of sorrows. Should you require any proof of this you need but listen to the speech of lovers. They say that it is death, certain death; and the first time they believe it--for the space of two weeks. The next time they say that it is death; and finally they will die sometime--as the result of unrequited love. For that love has killed them, about that there can obtain no doubt. And as to love's having to take hold three times to make away with them, that is not different from the dentist's having to pull three times before he is able to budge that firmly rooted molar. But, if unrequited love thus means certain death, how happy am I who have never loved and, I hope, will only achieve dying some time, and not from unrequited love! But just this may be the greatest misfortune, for all I know, and how unfortunate must I then be!

The essence of love probably (for I speak as does a blind man about colors), probably lies in its bliss; which is, in other words, that the cessation of love brings death to the lover. This I comprehend very well as in the nature of a hypothesis correlating life and death. But, if love is to be merely by way of hypothesis, why, then lovers lay themselves open to ridicule through their actually falling in love. If, however, love is something real, why, then reality must bear out what lovers say about it. But did one in real life ever hear of, or observe, such things having taken place, even if there is hearsay to that effect? Here I perceive already one of the contradictions in which love involves a person; for whether this is different for those initiated, that I have no means of knowing; but love certainly does seem to involve people in the most curious contradictions.

There is no other relation between human beings which makes such demands on one's ideality as does love, and yet love is never seen to have it. For this reason alone I would be afraid of love; for I fear that it might have the power to make me too talk vaguely about a bliss which I did not feel and a sorrow I did not have. I say this here since I am bidden to speak on love, though unacquainted with it--I say this in surroundings which appeal to me like a Greek symposion; for I should otherwise not care to speak on this subject as I do not wish to disturb any one's happiness but, rather, am content with my own thoughts. Who knows but these thoughts are sheer imbecilities and vain imaginings--perhaps my ignorance is explicable from the fact that I never have learned, nor have wished to learn, from any one, how one comes to love; or from the fact that I have never yet challenged a woman with a glance--which is supposed to be smart--but have always lowered my eyes, unwilling to yield to an impression before having fully made sure about the nature of the power into whose sphere I am venturing.

At this point he was interrupted by Constantin who expostulated with him because, by his very confession of never having been in love, he had debarred himself from speaking. The Young Person declared that at any other time he would gladly obey an injunction to that effect as he had often enough experienced how tiresome it was to have to make a speech; but that in this case he would insist upon his right. Precisely the fact that one had had no love affair, he said, also constituted an affair of love; and he who could assert this of himself was entitled to speak about Eros just because his thoughts were bound to take issue with the whole sex and not with individuals. He was granted permission to speak and continued.

Inasmuch as my right to speak has been challenged, this may serve to exempt me from your laughter; for I know well that, just as among rustics he is not considered a man who does not call a tobacco pipe his own, likewise among men-folks he is not considered a real man who is not experienced in love. If any one feels like laughing, let him laugh--my thought is, and remains, the essential consideration for me. Or is love, perchance, privileged to be the only event which is to be considered after, rather than before, it happens? If that be the case, what then if I, having fallen in love, should later on think that it was too late to think about it? Look you, this is the reason why I choose to think about love before it happens. To be sure, lovers also maintain that they gave the matter thought, but such is not the case. They assume it to be essential in man to fall in love; but this surely does not mean thinking about love but, rather, assuming it, in order to make sure of getting one's self a sweetheart.

In fact, whenever my reflection endeavors to pin down love, naught but contradiction seems to remain. At times, it is true, I feel as if something had escaped me, but I cannot tell what it is, whereas my reflection is able at once to point out the contradictions in what does occur. Very well, then, in my opinion love is the greatest self-contradiction imaginable, and comical at the same time. Indeed, the one corresponds to the other. The comical is always seen to occur in the category of contradictions--which truth I cannot take the time to demonstrate now; but what I shall demonstrate now is that love is comical. By love I mean the relation between man and woman. I am not thinking of Eros in the Greek sense which has been extolled so beautifully by Plato who, by the way, is so far from considering the love of woman that he mentions it only in passing, holding it to be inferior to the love of youths.[10] I say, love is comical to a third person--more I say not. Whether it is for this reason that lovers always hate a third person I do not know; but I do know that reflection is always in such a relation the third person, and for this reason I cannot love without at the same time having a third person present in the shape of my reflection.

This surely cannot seem strange to any one, every one having doubted everything, whereas I am uttering my doubts only with reference to love. And yet I do think it strange that people have doubted everything and have again reached certainty, without as much as dropping a word concerning the difficulties which have held my thought captive--so much so that I have, now and then, longed to be freed of them--freed by the aid of one, note well, who was aware of these difficulties, and not of one who in his sleep had a notion to doubt, and to have doubted, everything, and again in his sleep had the notion that he is explaining, and has explained, all.[11]

Let me then have your attention, dear fellow banqueters, and if you yourselves be lovers do not therefore interrupt me, nor try to silence me because you do not wish to hear the explanation. Rather turn away and listen with averted faces to what I have to say, and what I insist upon saying, having once begun.

In the first place I consider it comical that every one loves, and every one wishes to love, without any one ever being able to tell one what is the nature of the lovable or that which is the real object of love. As to the word "to love" I shall not discuss it since it means nothing definite; but as soon as the matter is broached at all we are met by the question as to what it is one loves. No other answer is ever vouchsafed us on that point other than that one loves what is lovable. For if one should make answer, with Plato,[12] that one is to love what is good, one has in taking this single step exceeded the bounds of the erotic.

The answer may be offered, perhaps, that one is to love what is beautiful. But if I then should ask whether to love means to love a beautiful landscape or a beautiful painting it would be immediately perceived that the erotic is not, as it were, comprised in the more general term of the love of things beautiful, but is something entirely of its own kind. Were a lover--just to give an example--to speak as follows, in order to express adequately how much love there dwelled in him: "I love beautiful landscapes, and my Lalage, and the beautiful dancer, and a beautiful horse--in short, I love all that is beautiful," his Lalage would not be satisfied with his encomium, however well satisfied she might be with him in all other respects, and even if she be beautiful; and now suppose Lalage is not beautiful and he yet loved her!

Again, if I should refer the erotic element to the bisection of which Aristophanes tells us[13] when he says that the gods severed man into two parts as one cuts flounders, and that these parts thus separated sought one another, then I again encounter a difficulty I cannot get over, which is, in how far I may base my reasoning on Aristophanes who in his speech--just because there is no reason for the thought to stop at this point--goes further in his thought and thinks that the gods might take it into their heads to divide man into three parts, for the sake of still better fun. For the sake of still better fun; for is it not true, as I said, that love renders a person ridiculous, if not in the eyes of others then certainly in the eyes of the gods?

Now, let me assume that the erotic element resides essentially in the relation between man and woman--what is to be inferred from that? If the lover should say to his Lalage: I love you because you are a woman; I might as well love any other woman, as for instance, ugly Zoë: then beautiful Lalage would feel insulted.