The Drama of Love and Death: A Study of Human Evolution and TransfigurationCarpenter, Edward
Philosophy
The Drama of Love and Death: A Study of Human Evolution and Transfiguration
Carpenter, Edward
Death; Love; Personality
One would not, of course, venture on conjectures so speculative as the
above, if it were not that long tradition and history, and even modern
experience, so singularly confirm or favor their general truth. The
conception of a cloud-like ghost—sometimes visible, sometimes
invisible[92]—leaving the body at death, roaming through the fields of
Hades or some hidden world, and from time to time revisiting the
glimpses of the moon and the gaze of wondering mortals—penetrates all
literature and tradition. Among all primitive peoples it seems to be
accepted as a matter of course; it informs the legends and the drama and
the philosophies of the more cultivated; it claims detailed historical
instances and proofs[93] (as in the case of Field-marshal von Grumbkoff,
to whom the wraith of King Frederick Augustus announced his own
death—which had just occurred; or in the case of the poet Petrarch, to
whom Bishop Colonna made a similar announcement); and in modern times it
has met with extraordinary and in many quarters quite unexpected
confirmation at the hands of scientific investigation.
To this evidence of general probability that at death a vital and subtle
yet substantial inner body is withdrawn from every part and portion of
the gross body, we may add the evidence, such as it is, from actual
_sensation_ and _experience_. In the hour of death and in allied
physical changes sensations are experienced corresponding to such a
conclusion. Though necessarily there is little quite direct evidence,
for the actual moment of death, yet in the just preceding stage, of
extreme weakness, the sensation of depletion in every part of the body,
and of withdrawal, as of a hand being drawn out of a glove, is very
noticeable. (And it may be remarked that clairvoyants not unfrequently
observe, at death itself, a luminous cloud of the general outline and
shape of the dying person being slowly distilled, head first, from his
or her head.) Furthermore, in the state of _ecstasy_—which is closely
allied to death—the same sensation of withdrawal is experienced. The
person seems to himself to stand outside and a little beyond his own
body—and doubtless this experience is denoted in the very etymology of
the word. In trance the same: the medium experiences the extreme of
exhaustion while some portion of her vital being is functioning (as it
appears) outside. Under anæsthetics it is a common experience to dream
that one has left the body and is flying through space. (See _The Art of
Creation_, p. 18.) And again, in the case of love—whose close relation
to death we have several times already noted—whether it be in the
strain of emotional desire or the stress of the physical orgasm this
‘hand from the glove’ sensation is often most acute and seems to suggest
that every portion of the body is contributing its part to the process
in hand; which indeed in this case of love may very fairly be supposed
to consist in a transfer of the cloud-like organism (or a large part of
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