But then why this sketch, since I get no further after all than the tragic hero? Well, because it is at least possible that it might throw light upon the paradox. Everything depends upon how this man stands related to the utterance of the augurs which is in one way or another decisive for his life. Is this utterance publici juris, or is it a privatissimum? The scene is laid in Greece, the utterance of the augur is intelligible to all. I do not mean merely that the ordinary man is able to understand its content lexically, but that the ordinary man can understand that an augur announces to the individual the decision of heaven. So the utterance of the augur is not intelligible only to the hero but to all, and no private relationship to the deity results from it.

Do what he will, that which is foretold will come to pass, and neither by doing nor by leaving undone does he come into closer relationship with the deity, or become either the object of its grace or of its wrath. The result foretold is a thing which any ordinary man will be just as well able as the hero to understand, and there is no secret writing which is legible to the hero only.

Inasmuch as he would speak, he can do so perfectly well, for he is able to make himself intelligible; inasmuch as he would keep silent, it is because by virtue of being the individual he would be higher than the universal, would delude himself with all sorts of fantastic notions about how she will soon forget the sorrow, etc. On the other hand, in case the will of heaven had not been announced to him by an augur, in case it had come to his knowledge in an entirely private way, in case it had put itself into an entirely private relationship with him, then we encounter the paradox (supposing there is such a thing — for my reflection takes the form of a dilemma), then he could not speak, however much he might wish to. Then he did not compel himself to maintain silence but he suffered from the pain of it — but this precisely was the assurance that he was justified. So the reason for his silence is not that he as the individual would place himself in an absolute relation to the universal, but that he as the individual was placed in an absolute relation to the absolute.

In this then he would also be able to find repose (as well as I am able to figure it to myself), whereas his magnanimous silence would constantly have been disquieted by the requirements of the ethical. It is very much to be desired that aesthetics would for once essay to begin at the point where for so many years it has ended, with the illusory magnanimity. Once it were to do this it would work directly in the interest of the religious, for religion is the only power which can deliver the aesthetical out of its conflict with the ethical. Queen Elizabeth sacrificed to the State her love for Essex by signing his death-warrant. This was a heroic act, even if there was involved a little personal grievance for the fact that he had not sent her the ring. He had in fact sent it, as we know, but it was kept back by the malice of a lady of the court. Elizabeth received intelligence of this (so it is related, ni fallor), thereupon she sat for ten days with one finger in her mouth and bit it without saying a word, and thereupon she died. This would be a theme for a poet who knew how to wrench the mouth open — without this condition it is at the most serviceable to a conductor of the ballet, with whom in our time the poet too often confuses himself.