‘II. Inquisitive. Parisian clinical collective-phenomenism. Ethics: Nebo; the systematic, sentimental will. Erotics: Paula, passionate with Androgynous Prism. The great horror, the Beast with two backs, in Gynander (IX.), metamorphosing itself into unisexual corruption. Inquisitive, that is the everyday and the everybody of instinct. Gynander, the Goethesque midnight, and the exceptional,’ etc. I have taken pains to reproduce faithfully all M. Péladan’s whimsical methods of expression. That his _Concordance_ can give even the slightest idea of the contents of his novels, I do not for a moment believe. I will, therefore, say a few words about these in non-magian language. They all move in the three following circles of ideas, variously penetrating and intersecting each other: The highest intellectual aim of man is to hear and thoroughly to appreciate Wagnerian music; the highest development of morality consists in renouncing sexuality and in transforming one’s self into a hybrid hermaphrodite (Androgyne and Gynander); the higher man can quit and retake his body at pleasure, soar into space as an ‘astral being,’ and subject to his will the entire supernatural power of the world of spirits, of the good as well as the bad. Accordingly, in every romance a hero appears who unites in himself the distinctive marks of both sexes, and resists with horror the ordinary sexual instincts, who plays or enjoys the music of Wagner, enacts in his own life some scene from the Wagnerian drama, and conjures up spirits or has to repel their attacks.