immortal fame. Yet, when Rochefoucauld imagines that it is the same with passionate love as with ghosts, of which every one speaks, but which no one has seen; and Lichtenberg also in his essay, "Ueber die Macht der Liebe," disputes and denies the reality and naturalness of that passion, they are greatly in error. For it is impossible that something which is foreign and contrary to human nature, thus a mere imaginary caricature, could be unweariedly represented by poetic genius in all ages, and received by mankind with unaltered interest; for nothing that is artistically beautiful can be without truth: –
"Rien n'est beau que le vrai; le vrai seul est aimable."
– Boil.
Certainly, however, it is also confirmed by experience, although not by the experience of every day, that that which as a rule only appears as a strong yet still controllable inclination may rise under certain circumstances to a passion which exceeds all others in vehemence, and which then sets aside all considerations, overcomes all obstacles with incredible strength and perseverance, so that for its satisfaction life is risked without hesitation, nay, if that satisfaction is still withheld, is given as the price of it. Werthers and Jacopo Ortis exist not only in romance, but every year can show at least half a dozen of them in Europe: Sed ignotis perierunt mortibus illi; for their sorrows find no other chroniclers than the writers of official registers or the reporters of the newspapers. Yet the readers of the police news in English and French journals will attest the correctness of my assertion. Still greater, however, is the number of those whom the same passion brings to the madhouse. Finally, every year can show cases of the double suicide of a pair of lovers who are opposed by outward circumstances. In such cases, however, it is inexplicable to me how those who, certain of mutual love, expect to find the supremest bliss in the enjoyment of this, do not withdraw themselves from all con-
