The work of art is the exaggeration of anidea, says Gide in the epilogue of the“Prometheus Illbound.” This is really theexplanation of the whole book and of manyother books of Gide.

His world is a world of abstract ideas,under the action of which most of hischaracters move as marionettes. “Timeand space are the boards, which, with thehelp of our minds, have been set up by theinnumerable truths of the universe as a stagefor their own performances. And there weplay our parts like determined, convinced,devoted and voluptuous marionettes.”

That is the reason why there is a deterministatmosphere in his books and that eventhe disinterested act appears as the reaction[6]of the mind on its own concept. Zeus, thebanker, poses this disinterested act becausehis thought refuses or hesitates to admitit; the same thing happens with Lafcadio inthe “Caves du Vatican” when he is on thepoint of murdering Amédée Fleurissoire.

The tyranny of ideas is the dominatingforce of his characters. Even his firstwritings—where one finds some of his bestpages, which appear to be purely lyricalexplosion—such as “Les Nourritures Terrestres”and “Le Voyage d’Urien,” arereally the songs of a mind which leads its lifeby the concept of eternal desire and detachment—amind very near that of Nietzsche.

It is because of that tyranny of ideas thatGide is attracted by religious psychology.After all, Alissa of “La Porte Étroite”sacrifices her life and her happiness to herideas. It is because of that also that one ofthe most daring books of the time, “L’Immoraliste,”is written in the most moral way:[7]the feelings are only described by theirreaction on the brain. And this applies tonearly the whole work of Gide.

Even his concept of heroism is ruled by it.His heroes are monomaniacs of a thoughtwhich they believe or create ideal. His“Roi Candaule” is a man stupefied bythe idea of his possessions.

That which does not nourish his brain isa reason for depression, and as love orpassion absorbs the brain without nourishingit, he resents it. Every attempt of a purelyamorous adventure is a failure, as well in“L’Immoraliste” as in the “TentativeAmoureuse.”

On the contrary, when it becomes bystruggle a problem for the brain it exciteshim. Alissa was really his only love, and hecould not love Isabelle when she had lost herpower of attraction through the revelation ofthe unknown she represented to his mind.

[8]The exaltation of Gide is a Nietzscheanexaltation—it is an exaltation caused by thepower of mind.

The definition of genius he gives in“Prétextes” is very characteristic fromthat point of view. He calls it: “Lesentiment de la ressource.”

His sensitiveness is the sensitiveness of thebrain, which is so acute that it vibratesthrough his whole personality. From therecomes the clear, logical form of his tales....