For the same reason, a man will willingly risk every kind of danger, and even become courageous, although he may otherwise be faint-hearted.  What a delight we take in watching, either in a play or novel, two young lovers fighting for each other—­i.e., for the interest of the species—­and their defeat of the old people, who had only in view the welfare of the individual!  For the struggling of a pair of lovers seems to us so much more important, delightful, and consequently justifiable than any other, as the species is more important than the individual.

Accordingly, we have as the fundamental subject of almost all comedies the genius of the species with its purposes, running counter to the personal interests of the individuals presented, and, in consequence, threatening to undermine their happiness.  As a rule it carries out its ends, which, in keeping with true poetic justice, satisfies the spectator, because the latter feels that the purposes of the species widely surpass those of the individual.  Hence he is quite consoled when he finally takes leave of the victorious lovers, sharing with them the illusion that they have established their own happiness, while, in truth, they have sacrificed it for the welfare of the species, in opposition to the will of the discreet old people.

It has been attempted in a few out-of-the-way comedies to reverse this state of things and to effect the happiness of the individuals at the cost of the ends of the species; but here the spectator is sensible of the pain inflicted on the genius of the species, and does not find consolation in the advantages that are assured to the individuals.

Two very well-known little pieces occur to me as examples of this kind:  La reine de 16 ans, and Le mariage de raison.

In the love-affairs that are treated in tragedies the lovers, as a rule, perish together:  the reason for this is that the purposes of the species, whose tools the lovers were, have been frustrated, as, for instance, in Romeo and Juliet, Tancred, Don Carlos, Wallenstein, The Bride of Messina, and so on.

A man in love frequently furnishes comic as well as tragic aspects; for being in the possession of the spirit of the species and controlled by it, he no longer belongs to himself, and consequently his line of conduct is not in keeping with that of the individual.  It is fundamentally this that in the higher phases of love gives such a poetical and sublime colour, nay, transcendental and hyperphysical turn to a man’s thoughts, whereby he appears to lose sight of his essentially material purpose.  He is inspired by the spirit of the species, whose affairs are infinitely more important than any which concern mere individuals, in order to establish by special mandate of this spirit the existence of an indefinitely long posterity with this particular and precisely determined nature, which it can receive only from him as father and his