THE ASSERTION AND DENIAL OF THE WILL. 515
in this, that the joys of life are shunned, not its sorrows. The suicide wills life, and is only dissatisfied with the conditions under which it has presented itself to him. He therefore by no means surrenders the will to live, but only life, in that he destroys the individual manifestation. He wills life — wills the unrestricted existence and assertion of the body; but the complication of circumstances does not allow this, and there results for him great suffering. The very will to live finds itself so much hampered in this particular manifestation that it cannot put forth its energies. It therefore comes to such a determination as is in conformity with its own nature, which lies outside the conditions of the principle of sufficient reason, and to which, therefore, all particular manifestations are alike indifferent, inasmuch as it itself remains unaffected by all appearing and passing away, and is the inner life of all things; for that firm inward assurance by reason of which we all live free from the constant dread of death, the assurance that a phenomenal existence can never be wanting to the will, supports our action even in the case of suicide. Thus the will to live appears just as much in suicide (Siva) as in the satisfaction of self-preservation (Vishnu) and in the sensual pleasure of procreation (Brahma). This is the inner meaning of the unity of the Trimurtis, which is embodied in its entirety in every human being, though in time it raises now one, now another, of its three heads. Suicide stands in the same relation to the denial of the will as the individual thing does to the Idea. The suicide denies only the individual, not the species. We have already seen that as life is always assured to the will to live, and as sorrow is inseparable from life, suicide, the wilful destruction of the single phenomenal existence, is a vain and foolish act; for the thing-in-itself remains unaffected by it, even as the rainbow endures however fast the drops which support it for the moment may change. But, more than this, it is also the masterpiece of Mâyâ, as the most
