[p. 498]
|498| but also the nearness of the death of this body that bore it, and that the antitheses which it evoked in general, and which before, even in their more serious and more far-reaching appearance, such as wars, it could rouse and pursue as contingencies and with like levity, it had no longer to take for shadow-images but for a fate growing overpowering.
On another side, however, there is the other comedy, whose entanglements are without fate and without true struggle because the ethical nature is itself caught up in that; the knots are tied here not in playful antitheses but in antitheses serious for this ethical drive, yet comic for the spectator, and the rescue against them is sought in an affectation of character and absoluteness, which constantly finds itself deceived and deposed. The ethical drive (for it is not the conscious absolute ethical nature that plays in this comedy) must, to put it briefly, transform what subsists into the formal and negative absoluteness of right and thereby give to its anxiety the opinion of firmness for its possession, raise its belongings through treaties and contracts and all conceivable hedgings-in of clauses to something secure and certain, deduce the systems concerning them from experience and reason, as from certainty and necessity themselves, and ground them with the most profound ratiocinations, – but, as subterranean spirits in the poet saw the plantations which they laid out in the infernal wastes swept away by the next storm wind, so through the next turning over or even upheaval of the earth-spirit see half and whole sciences, which had been proved from experience and reason, washed away, one system of right displaced by another, here humanity take the place of harshness, there at the same time the will of power take the place of security of contract, and in the scientific as in actuality the best-acquired and most assured possessions of principles and rights

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