As long as people lived in the country, in nature, surrounded by domestic animals, in the bosom of regularly recurring seasons, they retained at least a glimmer of that paradisiac idyll. That is why Tereza, when she met the chairman of the collective farm at the spa, conjured up an image of the countryside (a countryside she had never lived in or known) that she found enchanting. It was her way of looking back, back to Paradise.

Why was the word idyll so important for Tereza?

Raised as we are on the mythology of the Old Testament, we might say that an idyll is an image that has remained with us like a memory of Paradise: life in Paradise was not like following a straight line to the unknown; it was not an adventure. It moved in a circle among known objects. Its monotony bred happiness, not boredom.

Adam, leaning over a well, did not yet realize that what he saw was himself. He would not have understood Tereza when she stood before the mirror as a young girl and tried to see her soul through her body. Adam was like Karenin. Tereza made a game of getting him to look at himself in the mirror, but he never recognized his image, gazed at it vacantly, with incredible indifference.

Whenever, as a child, she came across her mother's sanitary napkins soiled with menstrual blood, she felt disgusted, and hated her mother for lacking the shame to hide them. But Karenin, who was after all a female, had his periods, too. They came once every six months and lasted a fortnight. To keep him from soiling their flat, Tereza would put a wad of absorbent cotton between his legs and pull a pair of old panties over it, skillfully tying them to his body with a long ribbon. She would go on laughing at the outfit for the entire two weeks of each period.

Comparing Adam and Karenin leads me to the thought that in Paradise man was not yet man. Or to be more precise, man had not yet been cast out on man's path. Now we are longtime outcasts, Hying through the emptiness of time in a straight line. Yet somewhere deep down a thin thread still ties us to that far-off misty Paradise, where Adam leans over a well and, unlike Narcissus, never even suspects that the pale yellow blotch appearing in it is he himself. The longing for Paradise is man's longing not to be man.

From this jumble of ideas came a sacrilegious thought that Tereza could not shake off: the love that tied her to Karenin was better than the love between her and Tomas. Better, not bigger. Tereza did not wish to fault either Tomas or herself; she did not wish to claim that they could love each other more. Her feeling was rather that, given the nature of the human couple, the love of man and woman is a priori inferior to that which can exist (at least in the best instances) in the love between man and dog, that oddity of human history probably unplanned by the Creator.

Why is it that a dog's menstruation made her lighthearted and gay, while her own menstruation made her squeamish? The answer seems simple to me: dogs were never expelled from Paradise. Karenin knew nothing about the duality of body and soul and had no concept of disgust. That is why Tereza felt so free and easy with him. (And that is why it is so dangerous to turn an animal into a machina animata, a cow into an automaton for the production of milk. By so doing, man cuts the thread binding him to Paradise and has nothing left to hold or comfort him on his flight through the emptiness of time.)

And something else: Tereza accepted Karenin for what he was; she did not try to make him over in her image; she agreed from the outset with his dog's life, did not wish to deprive him of it, did not envy him his secret intrigues. The reason she trained him was not to transform him (as a husband tries to reform his wife and a wife her husband), but to provide him with the elementary language that enabled them to communicate and live together.

It is a completely selfless love: Tereza did not want anything of Karenin; she did not ever ask him to love her back. Nor had she ever asked herself the questions that plague human couples: Does he love me? Does he love anyone more than me? Does he love me more than I love him? Perhaps all the questions we ask of love, to measure, test, probe, and save it, have the additional effect of cutting it short. Perhaps the reason we are unable to love is that we yearn to be loved, that is, we demand something (love) from our partner instead of delivering ourselves up to him demand-free and asking for nothing but his company.

Then too: No one forced her to love Karenin; love for dogs is voluntary. (Tereza was again reminded of her mother, and regretted everything that had happened between them. If her mother had been one of the anonymous women in the village, she might well have found her easygoing coarseness agreeable. Oh, if only her mother had been a stranger! From childhood on, Tereza had been ashamed of the way her mother occupied the features of her face and confiscated her I. What made it even worse was that the age-old imperative Love your father and mother!

forced her to agree with that occupation, to call the aggression love! It was not her mother's fault that Tereza broke with her. Tereza broke with her not because she was the mother she was but because she was a mother.) But most of all: No one can give anyone else the gift of the idyll; only an animal can do so, because only animals were not expelled from Paradise. The love between dog and man is idyllic. It knows no conflicts, no hair-raising scenes; it knows no development. Karenin surrounded Tereza and Tomas with a life based on repetition, and he expected the same from them.

Yes, happiness is the longing for repetition, Tereza said to herself.

If Karenin had been a person instead of a dog, he would surely have long since said to Tereza, Look, I'm sick and tired of carrying that roll in my mouth every day. Can't you come up with something different? And therein lies the whole of man's plight. Human time does not turn in a circle; it runs ahead in a straight line. That is why man cannot be happy: happiness is the longing for repetition.

When the chairman of the collective farm took his Mefisto out for a walk after work and met Tereza, he never failed to say, Why did he come into my life so late, Tereza? We could have gone skirt chasing, he and I! What woman could resist these two little pigs? at which point the pig was trained to grunt and snort. Tereza laughed each time, even though she knew beforehand exactly what he would say. The joke did not lose its charm, through repetition. On the contrary.

In an idyllic setting, even humor is subject to the sweet law of repetition.