I think that Heyse’s way of expressing it is not at all idealistic or unreal. How many of love’s suicides has he not verified! How many of love’s suicides, of whom we read in the papers, have not afforded ample proof to the psychologists of that which Heyse’s more sceptical critics have accused as being a trick of the imagination. We read in hundreds of clever and stupid books of how Hans and Grete fight each other, but we never read of how Hans and Grete live the secrets of a happy love; we never read of life’s happy ones. Why? Because it requires a far subtler and more delicate psychological touch to describe it. Even Heyse has not described it; even he has not given us a modern picture filled with the rich tones of life’s fleeting moments, with the magic of the varying lights upon it, such as an artist catches when he paints a landscape. He has always been content to make quite a plain little pencil drawing, in which the distinguishing features are only faintly outlined. The great service which he rendered was that he called attention to their existence. In these little drawings we discern the psychological, fundamental law which has been almost forgotten amid the little world that surrounds us with its secondary laws; it is namely this: That in every particular individual there is a central point which, when set in motion, towers high above its surroundings, while as a natural consequence everything assumes a new aspect. The result of this aspect is that everything becomes of secondary importance if it has no connection with the one central point. This central point is the finer need of love, which no longer knows anything but itself when once a sympathetic presence has awakened it to its full strength.