Here let me say that it is not my idea to use the following terminology as exhaustive or exclusive; it is an attempt not so much to add another new antithesis to those already recognized, as to indicate that it is already contained in these. These are the antitheses:-- Ancient Modern Natural Sentimental Pagan Christian Classic Romantic Realistic Idealistic Necessity Freedom Duty (_sollen_) Will (_wollen_)[8] The greatest ills to which men are exposed, as well as the most numerous, arise from a certain inner conflict between duty and will, as well as between duty and its accomplishment, and desire and its accomplishment; and it is these conflicts which bring us so often into trouble in the course of our lives. Little difficulties, springing from a slight error which, though taking us by surprise, can be solved easily, give the clue to situations of comedy. The great difficulties, on the other hand, unresolved and unresolvable, give us tragedy. Predominating in the old poems is the conflict between duty and performance, in the new between desire and accomplishment. Let us put this decided divergency among the other antitheses and see if it does not prove suggestive. In both epochs, I have said, there predominates now this side, now that; but since duty and desire are not radically separated in men’s characters, both will be found together, even if one prevails and the other is subordinate. Duty is imposed upon men; “must” is a bitter pill. The Will man imposes upon himself; man’s will is his kingdom of heaven. A long-continued obligation is burdensome, the inability to perform it even terrible; but a constant will is pleasurable, and with a firm will men can console themselves for their inability to accomplish their desire. Let us consider a game of cards as a kind of poem; it consists of both those elements. The form of the game, bound up with chance, plays here the rôle of necessity, just as the ancients knew it under the form of Fate; the will, bound up with the skill of the player, works in the other direction. In this sense I might call whist “classic.” The form of play limits the operation of chance, and even of the will itself. I have to play, in company with definite partners and opponents, with the cards which come into my hand, make the best of a long series of chance plays, without being able to control or parry them. In Ombre and similar games, the contrary is the case. Here are many openings left for skill and daring. I can disavow the cards that fall to my hand, make them count in different ways, half or completely discard them, get help by luck, and in the play get the best advantage out of the worst cards. Thus this kind of game resembles perfectly the modern mode of thought and literature.