Merlin is born, combining the supernatural creative powers of his father with the tenderness and sympathy of his mother. His purpose is to reconcile the true principles of primitive Christianity with the natural impulses of life. Merlin thus is opposed to his father as well as to Titurel and his dull and narrow "guild" who keep the true spirit of humanity captive. He is both anti-Satan and antiChrist.
He next comes into conflict with the third fundamental force, Klingsor. The latter is really only a variant of Satan and, while interesting, is somewhat less fundamental, being more a philosophic and literary, than an active, antagonist. His symbol is the circled serpent, the embodiment of permanence within the changing world of actuality. He represents the nature-philosophy of Romanticism and especially of Schelling, a philosophy so vast and unsubstantial that all values of conduct and all incentives to action disappeared in its featureless abyss. Immermann intensely disliked it. He was, as he said, a lover of men; the worship of nature drained and exhausted the sympathies, the wills and the spirits of men. The passages in which Klingsor himself, in his moments of despair, and Merlin expose the emptiness of this philosophy, are among the best philosophic statements of the play. They are, however, too exhaustive. But they are good philosophy, if they are bad drama and poetry. Klingsor says of the "nature book":
"It asserts: all is vain; nought but stale mediocrity — while we are shaken from shell to core by the breath of the times." He is worshipped by the dwarfs because he has opened the mysteries of inanimate nature, and he commands the spirits of classical life represented by Antinous, and the pagan gods and demi-gods, the personifications of the naive impulses of nature. But he realizes that his wisdom, while it makes dwarfs happy, is inadequate for human beings.
The teaching of Merlin is essentially the humanism of
