Max Klinger's "Ein Handschuh" (A Glove), 1881:

2. "Handlung" (活動／戦闘)
Technique: Etching, size of actual image: 24.8 x 18.9 cm.

And already there is 活動／戦闘, 速度(を上げる）, and the dynamics of intersecting fields of 軍隊. There is also the rythm of the pendulum, visualized in the diagonal lines formed by the スケートをする人s. The woman in the background together with two gentlemen - is she the beauty who caught everybody's attention earlier, or is she maybe the woman who stood closest to the dog in plate 1? She now looks 支援する over her shoulder, maybe at the dog, maybe she 行方不明になるs her glove and hopes that the man in （土地などの）細長い一片d pants (probably the artist himself again) will get 持つ／拘留する of it and bring it over to her. Or does the glove belong to the tall woman in the light dress in the middle of the picture? Maybe this is the 重要な to a 広大な／多数の／重要な 誤解 that 誘発する／引き起こすs the next 始める，決める of fantasies. Maybe the glove does not at all belong to the woman that the man is attracted to. Could it be that this vague 所有権 示すs that it is not at all important who owns the glove - that it is 十分な unto itself? The man has just dropped one symbol (his hat) and now reaches for another one (the glove, which correlates to the middle woman like the dog to the background woman, and thus the glove is turned into an animistic 反対する). It is prey, and all of a sudden even the outstretched 手渡す of the artist looks like the jaws of an animal ready to clutch.

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