This also is the difference by which “romantic” love is distinguished from “=classical=” love--a difference and a distinction which I find indicated for the first time in Theodor Mundt’s romance “Madelon oder die Romantiker in Paris” (Leipzig, 1832). The relevant passage (pp. 9-12) runs as follows: “I am therefore of opinion that there can be a romantic and a classical poetry; there are also romantic and classical love; and it is only by means of this twofold nature that it is possible to discover and understand this contrast in poetry.... “This wild and yet so sweet disturbance of the heart, in which love subsists, this rejoicing and revelry of the aroused imagination which, originated by the charm of the beloved, lead to an intoxication with all the sensual dreams of a delightful, ethereal happiness; and as in the flower-bud in which a burning ray of sunshine has suddenly awakened the impulse to bloom, give rise to the desire and longing of sensual impulsion--all these tears and sighs of the lovers, pains and joys, this love-happiness and love-misery at the same time, this star-flaming night-side of passion, to which after a vagrant drunken frenzy, an ice-cold, unwelcome morning follows--all this, my friend, is romantic love.... “And shall I now describe also =classical= love?... Believe me, there are faces which at the very first glance seem to us so trustworthy and so near akin, they draw us to them, as if we had spent years with them in sympathy, asking for love and receiving love. By the sight of this girl’s face there was induced in me so suddenly a sense of peace, such as never before in my life had I experienced; and this gentle feeling which drew me towards her, I may call true love and true happiness. In her loving eyes there glowed no seductive fire, no repellent pride like that of our romantic Madelon; in the simple beautiful German girl, all is clear and true; out of her gentle features speaks her gentle soul; and all for which I have longed in passionate, aberrant hours of my life--a definite, unalloyed happiness in existence--seemed to me, as I saw her for the very first time, to shine on me out of her blue true eyes. My friend, is not that classical love?” It is the Apollinian-Platonic element of modern love which Theodor Mundt here describes as “classical” love, and certainly he wrongly places it before romantic love, which is the expression of modern subjectivism and individualism. Such classical love found in Goethe’s “Tasso” its most complete representation. Here love was conceived as “possession, which should give =peace=”; the beloved being influences after the manner of an already understood picture. As Kuno Fischer remarks, in the world of Goethe’s “Tasso” the Platonic Eros is the fashion. Love is here the pure, quiet contemplation of beauty in and with the beloved.