From 3. The Symbolism of Nature
Death and the wedding
From the symbolism of nature: the nightingale that sings of the rose over graves, and the insect that marries on the day it dies.
The same things we notice in the language of dreams, that tone of irony, that peculiar association of ideas and the spirit of prophecy, we find again, then, in a quite particular way, in the original of the dream world, in nature. In fact, nature seems quite of one mind with our hidden poet, and to mock together with him at our miserable pleasure and our pleasant misery, when now she laughs at us out of graves, now lets her laments of mourning be heard at wedding beds, and in this way strangely pairs lament with pleasure, gladness with mourning, like that voice of nature, the air-music on Ceylon, which sings fearfully merry minuets in the tone of a deeply lamenting, heart-rending voice. It is the time of love and joy when the nightingale lets her lamenting song be heard most, in which, as a poet has put it, she sings of the rose over graves; and all the songs of joy in nature have the lamenting minor key, while conversely an ephemeral winged creature celebrates the day of its wedding directly at the grave, on the day of its death. Death and wedding, wedding and death lie as near each other in the association of ideas of nature as in that of the dream; the one often seems to signify the other, the one to bring on or to presuppose the other; they often appear in the language of nature as two words of the same meaning, of which one is put for the other as occasion offers. The begetting and the last dissolution of bodies are, as has been remarked elsewhere,* throughout nature immediately related and alike, both as to the appearances and as to the substances that come forth in them; Phosphorus is morning star as well as evening star, torch of the wedding and of death, and while the one part of the ever-turning wheel rises up to a new begetting, the other goes downwards in the same proportion. Pain and pleasure, pleasure and pain are made brothers in the same way: the child of joy is born with pains; upon the highest degree of sensual displeasure and torment there follows, even in the state of fainting and of apparent death, the highest pleasure;** conversely, sensual pleasure is a bearer of pain.
* In the second volume of my Ahndungen einer allgemeinen Geschichte des Lebens, section 1.
** See the work just named, at the place cited.
Where this passage continues: 3. The Symbolism of Nature
Translation © 2026 B. C. P. Statema. The Thinking Press, Kenosha, Wisconsin. All rights reserved.