I have already partly explained why man takes this burden on himself. Just as hatred is a projection of our own evil qualities on other persons in order that we may stand apart from them and hate them; just as the devil was invented to serve as a vehicle of all the evil impulses in man; so love has the purpose of helping man in his battle for good, when he feels that he himself is not strong enough. Love and hate are alike forms of cowardice. In hate we picture to ourselves that our own hateful qualities exist in another, and by so doing we feel ourselves partly freed from them. In love we project what is good in us, and so having created a good and an evil image we are more able to compare and value them.
Lovers seek their own souls in the loved ones, and so love is free from the limits I described in the first part of this book, not being bound down by the conditions of merely sexual attraction. In spite of their real opposition, there is an analogy between erotics and sexuality. Sexuality uses the woman as the means to produce pleasure and children of the body; erotics use her as the means to create worth and children of the soul. A little understood conception of Plato is full of the deepest meaning: that love is not directed towards beauty, but towards the procreation of beauty; that it seeks to win immortality for the things of the mind, just as the lower sexual impulse is directed towards the perpetuation of the species.
It is more than a merely formal analogy, a superficial, verbal resemblance, to speak of the fruitfulness of the mind, of its conception and reproduction, or, in the words of Plato, to speak of the children of the soul. As bodily sexuality is the effort of an organic being to perpetuate its own form, so love is the attempt to make permanent one’s own soul or individuality. Sexuality and love are alike the effort to realise oneself, the one by a bodily image, the other by an image of the soul. But it is only the man of genius who can approach this entirely unsensuous love, and it is only he who seeks to produce eternal children in whom his deepest nature shall live for ever.
The parallel may be carried further. Since Novalis first called attention to it, many have insisted on the association between sexual desire and cruelty. All that is born of woman must die. Reproduction, birth, and death are indissolubly associated; the thought of untimely death awakens sexual desire in its fiercest form, as the determination to reproduce oneself. And so sexual union, considered ethically, psychologically, and biologically, is allied to murder; it is the negation of the woman and the man; in its extreme case it robs them of their consciousness to give life to the child. The highest form of eroticism, as much as the lowest form of sexuality, uses the woman not for herself but as means to an end--to preserve the individuality of the artist. The artist has used the woman merely as the screen on which to project his own idea.