I shall, in the first place, protect myself by saying that it is by no means my intention to adduce the following terminology as exhaustive or final; my attempt is, rather not so much to add a new contrast to those already familiar, as to point out that it is included in them. These contrasts are: Antique Modern Naive Sentimental Pagan Christian Heroic Romantic Real Idealistic Necessity Freedom _Sollen_ (Duty; shall; must; should). _Wollen_ (Desire; inclination; would). The greatest torments, as well as the most frequent, that beset man spring from the discordances in us all between duty and desire, between duty and performance (_Vollbringen_); and it is these discordances that so often embarrass man during his earthly course. The slightest confusion, arising from a trivial error which may be cleared up unexpectedly and without injury, gives rise to ridiculous situations. The greatest confusion, on the contrary, insoluble or unsolved, offers us the tragic elements. Predominant in the ancient dramas is the discordance between duty and desire; in the modern, that between desire and performance. Let us, for the present, consider this decisive difference among the other contrasts, and see what can be done with it in both cases. Now this, now that side predominates, as I have remarked; but since duty and desire cannot be radically separated in man, both motives must be found simultaneously, even though the one should be predominant and the other subordinate. Duty is imposed upon man; "must" is a hard taskmaster; desire (_das Wollen_) man imposes upon himself; man's own will is his heaven. A persistent "should" is irksome; inability to perform is terrible; a persistent "would" is gratifying; and the possession of a firm will may yield solace even in case of incapacity to perform. We may look at games of cards as a sort of poetic creation; they, too, consist of these two elements. The form of the game, combined with chance, takes the place of the "should" as the ancients recognized it under the name of fate; the "would," combined with the ability of the player, opposes it. Looked at in this way, I should call the game of whist ancient. The form of this game restricts chance, nay, the will itself; provided with partners and opponents, I must, with the cards dealt out to me, guide a long series of chances which there is no way of controlling. In the case of ombre and other like games, the contrary takes place. Here a great many doors are left open to will and daring; I can revoke the cards that fall to my share, can make them count in various ways, can discard half or all of them, can appeal from the decree of chance, nay, by an inverted course can reap the greatest advantage from the worst hand; and thus this class of games exactly resembles the modern method in thought and in poetic art.