This ascetic tendency, incidentally part of chastisement and acquired resignation, one can trace in every investigation of the value and meaning of the Drama, though in different forms. The avenging Nemesis, always at the heels of the sinner, may be placated by means of rigid self-control and self-denial. This, too, was Schopenhauer's idea of the Drama. In it, his eye perceived with horror that human relation became disastrously interwoven; that guilt and atonement made light of the human race, which merely served as a target for the principles of good and evil. Guilt and atonement reign because the blind force of life will not resign itself, but, on the contrary, is ever ready to yield itself to the struggle of the passions. Mountains of guilt pile themselves on the top of each other, while purifying fires ever flame up into the heavens. In the idea that Life in itself is a great guilt, Schopenhauer coincides with the teachings of Christ, though otherwise he has little regard for them. With Christ, he recognized in the chastisement of the body a purification of the mind; the inner man, who thus escapes from close physical intimacy, as if from bad company. The spiritual man appears before the physical as a saint and a Pharisee. In reality, he is the intellectual cause of the so-called bad deeds of the human body, its path indicator and teacher. But, once the mischief is accomplished, he puts on a pious air and denies all responsibility for the deed. Wherever the idea of guilt, the fear of sin prevails, the mind becomes traitor to the body: "I know him not and will have nothing to do with him." Whenever man entertains the belief in good and evil, he is bound to pretend the good and do the evil. And yet the understanding of all human occurrences begins, as with the Zarathustra philosopher, beyond good and evil. The modern drama is, in its profoundest depths, an attempt to ignore good and evil in its analysis of human manifestations. It aims to get at a complete whole, out of each strong, healthy emotion, out of each absorbing mood that carries and urges one forward from the beginning to the end. It represents the World as it reflects itself in each passion, in each quivering life; not trying to confine and to judge, to condemn or to praise; not acting merely in the capacity of a cold observer; but striving to grow in oneness with Life; to become color, tone and light; to absorb universal sorrow as one's own; universal joy as one's own; to feel every emotion as it manifests itself in a natural way; to be one's self, yet oblivious of self.