the fact that the species, as that in which the root of our being lies, has a closer and earlier right to us than the individual; hence its affairs take precedence. From the feeling of this the ancients personified the genius of the species in Cupid, a malevolent, cruel, and therefore ill-reputed god, in spite of his childish appearance; a capricious, despotic demon, but yet lord of gods and men:
"Συ δ’ω θεων τυραννε κ’ανθρωπων, Ερως"
(Tu, deorum hominumque tyranne, Amor!)
A deadly shot, blindness, and wings are his attributes. The latter signify inconstancy; and this appears, as a rule, only with the disillusion which is the consequence of satisfaction.
Because the passion depended upon an illusion, which represented that which has only value for the species as valuable for the individual, the deception must vanish after the attainment of the end of the species. The spirit of the species which took possession of the individual sets it free again. Forsaken by this spirit, the individual falls back into its original limitation and narrowness, and sees with wonder that after such a high, heroic, and infinite effort nothing has resulted for its pleasure but what every sexual gratification affords. Contrary to expectation, it finds itself no happier than before. It observes that it has been the dupe of the will of the species. Therefore, as a rule, a Theseus who has been made happy will forsake his Ariadne. If Petrarch's passion had been satisfied, his song would have been silenced from that time forth, like that of the bird as soon as the eggs are laid.
Here let me remark in passing that however much my metaphysics of love will displease the very persons who are entangled in this passion, yet if rational considerations in general could avail anything against it, the fundamental truth disclosed by me would necessarily fit one more than anything else to subdue it. But the saying of the old comedian will, no doubt, remain true: "Quæ res in se
