FROM BAHR TO DEHMEL IOI with its acceptance of life, not in spite of suffering but because of it, is chilled by one philosophical shudder: the doctrine of eternal recurrence (die emge Wiederkehr, die Wiederkehr des Gleichen), which Nietzsche substitutes for eternal life after death: the num- ber of possibilities is limited, but time is unlimited; everything, therefore, must repeat itself, and therefore man must inevitably follow superman. Logically applied this doctrine neutralizes the doctrine of the superman: what will be, has been; the superman must come and go as one of the recurrent possibilities of existence. Nietzsche sought to make this conception endurable by teaching that we should live in such a way that we would gladly live again in the same way. Thus we will eternity. 'Vergiss mcht* he cries, 'dass dufur die ILivigkeit handelstT (One might of course argue that voluptuaries, criminals, Christians, and happy fools may wish for a recurrence of their state.) It has often been said of Nietzsche that he was more poet than thinker, and by his own confession ^Man schreibt mr im Angesicbt der Poesie gute Prosa'1) he cadenced his prose to the rhythms of verse. Certain it is that the 'Dionysus-Dithyramben* of Zaratbustra have, as much or more than Walt Whitman's rolling line, gone to the making of the free rhythms of Arno Holz, Casar Flaischlen, Alfred Mombert, and others. His verse in traditional form (Ge- dichte tmd Spruche^ 1898) has been overmuch praised, but that of it which is unrhymed has the suggestiveness and haunting melody of impressionist poetry at its best; e.g.: VENEDIG An der 'Brucke stand jungst ich in brauner Nacht. Fernher kam Gesang: Goldener Tropfen quail's uber die ^Itternde Icldche weg. Gondeln> Lichter, Musik - trunken schwamfffs in die Ddmmerung hinaus ... Meine Seek, ein Saitenspiel^ sang sich^ unsichtbar beruhrt^ heimlich ein Gondellied da%u, ^itternd vor bunter Seligkeit, - Hortejemand ihr %u? - 1 Dlefrohliche Wissenscbaft.