12 September 1870 – 18 September 1870

The old Rhine is murmuring under my window. The wide gray stream rolls its great waves along and breaks against the arches of the bridge, just as it did ten years or twenty years ago; the red cathedral shoots its arrow-like spires toward heaven; the ivy on the terraces which fringe the left bank of the Rhine hangs over the walls like a green mantle; the indefatigable ferry-boat goes and comes as it did of yore; in a word, things seem to be eternal, while man’s hair turns gray and his heart grows old. I came here first as a student, then as a professor. Now I return to it at the downward turn of middle age, and nothing in the landscape has changed except myself. The melancholy of memory may be commonplace and puerile—all the same it is true, it is inexhaustible, and the poets of all times have been open to its attacks. At bottom, what is individual life? A variation of an eternal theme—to be born, to live, to feel, to hope, to love, to suffer, to weep, to die. Some would add to these, to grow rich, to think, to conquer; but in fact, whatever frantic efforts one may make, however one may strain and excite one’s self, one can but cause a greater or slighter undulation in the line of one’s destiny. Supposing a man renders the series of fundamental phenomena a little more evident to others or a little more distinct to himself, what does it matter? The whole is still nothing but a fluttering of the infinitely little, the insignificant repetition of an invariable theme. In truth, whether the individual exists or no, the difference is so absolutely imperceptible in the whole of things that every complaint and every desire is ridiculous. Humanity in its entirety is but a flash in the duration of the planet, and the planet may return to the gaseous state without the sun’s feeling it even for a second. The individual is the infinitesimal of nothing. What, then, is nature? Nature is Maïa—that is to say, an incessant, fugitive, indifferent series of phenomena, the manifestation of all possibilities, the inexhaustible play of all combinations. And is Maïa all the while performing for the amusement of somebody, of some spectator—Brahma? Or is Brahma working out some serious and unselfish end? From the theistic point of view, is it the purpose of God to make souls, to augment the sum of good and wisdom by the multiplication of himself in free beings—facets which may flash back to him his own holiness and beauty? This conception is far more attractive to the heart. But is it more true? The moral consciousness affirms it. If man is capable of conceiving goodness, the general principle of things, which cannot be inferior to man, must be good. The philosophy of labor, of duty, of effort, is surely superior to that of phenomena, chance, and universal indifference. If so, the whimsical Maïa would be subordinate to Brahma, the eternal thought, and Brahma would be in his turn subordinate to a holy God.