Varia

The Ambivalency of Love and Hate.— Freud has emphasized the ambivalency of Love and Hate, just as he has pointed out many truths. He should be regarded as a teacher, one who reminds us. We can have no doubt that he has more substantial reasons for many of his opinions than he has yet been able to give us. If we fail to substantiate most of them it is our error. Thus in the Gilgamesh Epic, an ancient Assyrian legend preserved to us in twelve clay tablets in cuneiform characters in the British Muesum, we find an ancient confirmation of this point. On the twelfth tablet we read: “No More Dost Thou Kiss thy Wife Whom Thou Didst Love; No More Dost Thou Smite Thy Wife Whom Thou Didst Hate. no More Dost Thou Kiss thy Daughter Whom Thou Didst Love; no More Dost thou Smite Thy Daughter Whom Thou Didst Hate. The Sorrow of the Underworld Hath Taken Hold Upon Thee.”1

The Gilgamesh Epic dates only from 2100 B. C, a period scarcely remote enough to convince some of Freud's critics that he is not responsible for the fact, so keen is their hatred for the man who points out the truth about themselves, which truth they would so gladly forget.

Quotation from Ruskin, “The Queen of the Air.” Preface, dated May 1, 1869. In the comparison of Luini and his art he says:

“He is a man ten times greater than Leonardo;—a mighty colorist, while Leonardo was only a fine draughtsman in black, staining the chiaroscuro drawing, like a colored print; he perceived and rendered the delicatest types of human beauty that have been painted since the days of the Greeks, while Leonardo depraved his finer instincts by caricature, and remained to the end of his days the slave of an archaic smile: and he is a designer as frank, instinctive, and exhaustless as Tintoret, while Leonardo's design is only an agony of science, admired chiefly because it is painful, and capable of analysis in its best accomplishment.”

The punctuation after print and smile are colons.

The italics are not in the original.

E. W. L.

A Suggestio