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cushion-cover. But in Sardon’s drawing there are more
of such silhouettes formed by the lines of the
building. Has the master’s hand been guided
by another hand, so that he produced more than
he knew?)
Where has Swedenborg seen his heaven and
hell? Are they visions, intuitions, inspirations?
I hardly know, but the correspondence of his
hell to that of Dante, and of the Greek, Roman,
and German mythologies, leads to the idea that
the powers have generally used similar means
to realise their purposes. And what are these
purposes? The completion of the human type;
the production of the higher Man—the Superman,
as Nietzsche, that rod of chastisement
prematurely used and cast into the fire, has
announced him. So the problem of good and evil
is again set up for us to solve, and Taine’s
moral indifference seems insipid before these
new demands.
The belief in spirits follows as a natural
consequence. What are spirits? As soon as we
admit the immortality of the soul, we see that
the dead are still alive and continue their
relationships with the living. “Evil spirits,” then,
are not evil, for their object is good, and it
would be better to call them, with Swedenborg,
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