In modern love also, the Weltschmerz continues to live. The only difference is that by means of the pessimistic philosophy it has to some extent obtained a logical foundation. And Nietzsche has shown us the =force= which lies hidden in this ecstasy of sorrow. Precisely on account of the pains of the world, he affirms joyfully life and love. Anyone who wishes to write the history of Weltschmerz, from a psychological point of view so profoundly interesting, must not overlook Nietzsche as a most important turning-point in that history. The passion inspired by genius, the excess of vital energy in the “Sturm und Drang” epoch of German literature, was admirably consistent with that genuine, primitive Weltschmerz. Rousseau’s more indeterminate sensibility had, on the other hand, a more powerful influence upon the mode of feeling of =romanticism=, and this movement appears more closely related to him than to Goethe. =Romantic love= combines the elements of feeling of the previous epochs in an increased subjectivism. Not nature alone, but history also, folk-tales, legends, poetry, and the wonderful secrets of the primeval age--all these are reflected in romantic love, and awaken singular dreams and emotions. The “mondbeglänzte Zaubernacht” (“moon-illumined magic night”) is much more than a mere feeling of nature; it is the recognition of a connexion with the past and with its secret, sweet, half-forgotten stories. Fonqué’s “Undine” is the classical type of all this. Romantic love delights in this wonder-mood of the heart; reality becomes, as it were, a dream. The obscure, the problematical--these attract the romanticist. It is for this reason that he loves the night and the night-mood of nature, rather than the clear daylight. =Moonshine reverie= is a characteristic trait of romantic love. Everything flows away into the indeterminate, the cloudy, the boundless. This love knows no limitation or narrowing, no fetters. It is the sworn enemy of the conventional, narrow-hearted, philistine morality, and of all limitations of personality. In Friedrich Schlegel’s “Lucinde” this most celebrated monument of romantic love, the campaign against philistinism, as the greatest enemy of a free, noble amatory life, is most energetically carried on. It is utterly untrue to describe “Lucinde” as a romance in which there is a cult of suggestive nudity--as the poetry of the flesh. It certainly preaches the free natural conception and perception of the nude and the sexual, and is a glorious protest against the artificial and hypocritical separation of body and soul in love; but, on the other side, it unlocks in love the entire kingdom of the emotional and spiritual life, and discloses its significance for the individual man as a free personality.