I. The Origin of Suffering

Remember how in some tragedy the tragic hero has stood before your eyes. The poet leads the hero again and again through suffering and conflicts full of suffering until he comes to the point where pain reaches its climax and finds relief in the end of the physical body. Then there lives in the soul of the spectator not alone sympathy with the tragic hero and sadness that such sufferings are possible, but it appears that from the sight of suffering man was exalted and built up, that he has seen the suffering submerged in death and that out of death has come the assurance that victory exists over pain. Yes, even over death. Through nothing in art can this highest victory of man, this victory of his highest forces and impulses, victory of the noblest impulses of his nature be brought so sublimely before the eyes as by a tragedy. When the experience of pain and suffering has preceded the consciousness of this victory, and, from the deeds that can again and again take place before the eyes of the spectator in the theatre, we look up to what is still felt by a great part of modern humanity as the highest fact of all historical evolution; when we look up to the Event which divides our chronology into two parts—to the Redemption through Christ Jesus—then it can strike us that one of the greatest upliftings, one of the greatest upbuildings and hopes of victory which has ever taken root in the heart of man has sprung from the world historic sight of suffering. The greatly significant feelings, cutting deep into the human heart, of the Christian world-conception, these feelings which for so many are the hope and strength of life, give the assurance that there is an eternity, a victory over death. All these supporting and uplifting feelings spring from the sight of a universal suffering, a suffering that befalls innocence, a suffering occasioned through no personal sin.