Thoughts Out of Season Volume I Part 2

[Footnote * : This alludes to a German student-song.]

Thus cries the Philistine; and if we are not quite so satisfied as he, it is merely owing to the fact that we wanted to know more. Scaliger used to say: "What does it matter to us whether Montaigne drank red or white wine?" But, in this more important case, how greatly ought we to value definite particulars of this sort! If we could but learn how many pipes the Philistine smokes daily, according to the prescriptions of the new faith, and whether it is the Spener or the National Gazette that appeals to him over his coffee! But our curiosity is not satisfied. With regard to one point only do we receive more exhaustive information, and fortunately this point relates to the heaven in heaven--the private little art-rooms which will be consecrated to the use of great poets and musicians, and to which the Philistine will go to edify himself; in which, moreover, according to his own showing, he will even get "all his stains removed and wiped away" (p. 433); so that we are led to regard these private little art-rooms as a kind of bath-rooms. "But this is only effected for some fleeting moments; it happens and counts only in the realms of phantasy; as soon as we return to rude reality, and the cramping confines of actual life, we are again on all sides a.s.sailed by the old cares,"--thus our Master sighs. Let us, however, avail ourselves of the fleeting moments during which we remain in those little rooms; there is just sufficient time to get a glimpse of the apotheosis of the Philistine-- that is to say, the Philistine whose stains have been removed and wiped away, and who is now an absolutely pure sample of his type. In truth, the opportunity we have here may prove instructive: let no one who happens to have fallen a victim to the confession-book lay it aside before having read the two appendices, "Of our Great Poets" and "Of our Great Musicians." Here the rainbow of the new brotherhood is set, and he who can find no pleasure in it "for such an one there is no help," as Strauss says on another occasion; and, as he might well say here, "he is not yet ripe for our point of view." For are we not in the heaven of heavens? The enthusiastic explorer undertakes to lead us about, and begs us to excuse him if, in the excess of his joy at all the beauties to be seen, he should by any chance be tempted to talk too much. "If I should, perhaps, become more garrulous than may seem warranted in this place, let the reader be indulgent to me; for out of the abundance of the heart the mouth speaketh. Let him only be a.s.sured that what he is now about to read does not consist of older materials, which I take the opportunity of inserting here, but that these remarks have been written for their present place and purpose" (pp. 345-46). This confession surprises us somewhat for the moment. What can it matter to us whether or not the little chapters were freshly written? As if it were a matter of writing! Between ourselves, I should have been glad if they had been written a quarter of a century earlier; then, at least, I should have understood why the thoughts seem to be so bleached, and why they are so redolent of resuscitated antiquities.

But that a thing should have been written in 1872 and already smell of decay in 1872 strikes me as suspicious. Let us imagine some one's falling asleep while reading these chapters--what would he most probably dream about? A friend answered this question for me, because he happened to have had the experience himself. He dreamt of a wax-work show. The cla.s.sical writers stood there, elegantly represented in wax and beads. Their arms and eyes moved, and a screw inside them creaked an accompaniment to their movements. He saw something gruesome among them--a misshapen figure, decked with tapes and jaundiced paper, out of whose mouth a ticket hung, on which "Lessing" was written. My friend went close up to it and learned the worst: it was the Homeric Chimera; in front it was Strauss, behind it was Gervinus, and in the middle Chimera. The tout-ensemble was Lessing. This discovery caused him to shriek with terror: he waked, and read no more. In sooth, Great Master, why have you written such fusty little chapters?

We do, indeed, learn something new from them; for instance, that Gervinus made it known to the world how and why Goethe was no dramatic genius; that, in the second part of Faust, he had only produced a world of phantoms and of symbols; that Wallenstein is a Macbeth as well as a Hamlet; that the Straussian reader extracts the short stories out of the Wanderjahre "much as naughty children pick the raisins and almonds out of a tough plum-cake"; that no complete effect can be produced on the stage without the forcible element, and that Schiller emerged from Kant as from a cold-water cure. All this is certainly new and striking; but, even so, it does not strike us with wonder, and so sure as it is new, it will never grow old, for it never was young; it was senile at birth. What extraordinary ideas seem to occur to these Blessed Ones, after the New Style, in their aesthetic heaven! And why can they not manage to forget a few of them, more particularly when they are of that unaesthetic, earthly, and ephemeral order to which the scholarly thoughts of Gervinus belong, and when they so obviously bear the stamp of puerility? But it almost seems as though the modest greatness of a Strauss and the vain insignificance of a Gervinus were only too well able to harmonise: then long live all those Blessed Ones! may we, the rejected, also live long, if this unchallenged judge of art continues any longer to teach his borrowed enthusiasm, and the gallop of that hired steed of which the honest Grillparzer speaks with such delightful clearness, until the whole of heaven rings beneath the hoof of that galumphing enthusiasm. Then, at least, things will be livelier and noisier than they are at the present moment, in which the carpet-slippered rapture of our heavenly leader and the lukewarm eloquence of his lips only succeed in the end in making us sick and tired. I should like to know how a Hallelujah sung by Strauss would sound: I believe one would have to listen very carefully, lest it should seem no more than a courteous apology or a lisped compliment. Apropos of this, I might adduce an instructive and somewhat forbidding example. Strauss strongly resented the action of one of his opponents who happened to refer to his reverence for Lessing. The unfortunate man had misunderstood;--true, Strauss did declare that one must be of a very obtuse mind not to recognise that the simple words of paragraph 86 come from the writer's heart. Now, I do not question this warmth in the very least; on the contrary, the fact that Strauss fosters these feelings towards Lessing has always excited my suspicion; I find the same warmth for Lessing raised almost to heat in Gervinus--yea, on the whole, no great German writer is so popular among little German writers as Lessing is; but for all that, they deserve no thanks for their predilection; for what is it, in sooth, that they praise in Lessing? At one moment it is his catholicity-- the fact that he was critic and poet, archaeologist and philosopher, dramatist and theologian. Anon, "it is the unity in him of the writer and the man, of the head and the heart." The last quality, as a rule, is just as characteristic of the great writer as of the little one; as a rule, a narrow head agrees only too fatally with a narrow heart. And as to the catholicity; this is no distinction, more especially when, as in Lessing's case, it was a dire necessity. What astonishes one in regard to Lessing-enthusiasts is rather that they have no conception of the devouring necessity which drove him on through life and to this catholicity; no feeling for the fact that such a man is too p.r.o.ne to consume himself rapidly, like a flame; nor any indignation at the thought that the vulgar narrowness and pusillanimity of his whole environment, especially of his learned contemporaries, so saddened, tormented, and stifled the tender and ardent creature that he was, that the very universality for which he is praised should give rise to feelings of the deepest compa.s.sion.

"Have pity on the exceptional man!" Goethe cries to us; "for it was his lot to live in such a wretched age that his life was one long polemical effort." How can ye, my worthy Philistines, think of Lessing without shame? He who was ruined precisely on account of your stupidity, while struggling with your ludicrous fetiches and idols, with the defects of your theatres, scholars, and theologists, without once daring to attempt that eternal flight for which he had been born.

And what are your feelings when ye think of Winckelman, who, in order to turn his eyes from your grotesque puerilities, went begging to the Jesuits for help, and whose ignominious conversion dishonours not him, but you? Dare ye mention Schiller's name without blushing? Look at his portrait. See the flashing eyes that glance contemptuously over your heads, the deadly red cheek--do these things mean nothing to you? In him ye had such a magnificent and divine toy that ye shattered it.

Suppose, for a moment, it had been possible to deprive this hara.s.sed and hunted life of Goethe's friendship, ye would then have been reponsible for its still earlier end. Ye have had no finger in any one of the life-works of your great geniuses, and yet ye would make a dogma to the effect that no one is to be helped in the future. But for every one of them, ye were "the resistance of the obtuse world," which Goethe calls by its name in his epilogue to the Bell; for all of them ye were the grumbling imbeciles, or the envious bigots, or the malicious egoists: in spite of you each of them created his works, against you each directed his attacks, and thanks to you each prematurely sank, while his work was still unfinished, broken and bewildered by the stress of the battle. And now ye presume that ye are going to be permitted, tamquam re bene gesta, to praise such men! and with words which leave no one in any doubt as to whom ye have in your minds when ye utter your encomiums, which therefore "spring forth with such hearty warmth" that one must be blind not to see to whom ye are really bowing. Even Goethe in his day had to cry: "Upon my honour, we are in need of a Lessing, and woe unto all vain masters and to the whole aesthetic kingdom of heaven, when the young tiger, whose restless strength will be visible in his every distended muscle and his every glance, shall sally forth to seek his prey!"

V.

How clever it was of my friend to read no further, once he had been enlightened (thanks to that chimerical vision) concerning the Straussian Lessing and Strauss himself. We, however, read on further, and even craved admission of the Doorkeeper of the New Faith to the sanctum of music. The Master threw the door open for us, accompanied us, and began quoting certain names, until, at last, overcome with mistrust, we stood still and looked at him. Was it possible that we were the victims of the same hallucination as that to which our friend had been subjected in his dream? The musicians to whom Strauss referred seemed to us to be wrongly designated as long as he spoke about them, and we began to think that the talk must certainly be about somebody else, even admitting that it did not relate to incongruous phantoms. When, for instance, he mentioned Haydn with that same warmth which made us so suspicious when he praised Lessing, and when he posed as the epopt and priest of a mysterious Haydn cult; when, in a discussion upon quartette-music, if you please, he even likened Haydn to a "good unpretending soup" and Beethoven to "sweetmeats" (p. 432); then, to our minds, one thing, and one thing alone, became certain--namely, that his Sweetmeat-Beethoven is not our Beethoven, and his Soup-Haydn is not our Haydn. The Master was moreover of the opinion that our orchestra is too good to perform Haydn, and that only the most unpretentious amateurs can do justice to that music--a further proof that he was referring to some other artist and some other work, possibly to Riehl's music for the home.

But whoever can this Sweetmeat-Beethoven of Strauss's be? He is said to have composed nine symphonies, of which the Pastoral is "the least remarkable"; we are told that "each time in composing the third, he seemed impelled to exceed his bounds, and depart on an adventurous quest," from which we might infer that we are here concerned with a sort of double monster, half horse and half cavalier. With regard to a certain Eroica, this Centaur is very hard pressed, because he did not succeed in making it clear "whether it is a question of a conflict on the open field or in the deep heart of man." In the Pastoral there is said to be "a furiously raging storm," for which it is "almost too insignificant" to interrupt a dance of country-folk, and which, owing to "its arbitrary connection with a trivial motive," as Strauss so adroitly and correctly puts it, renders this symphony "the least remarkable." A more drastic expression appears to have occurred to the Master; but he prefers to speak here, as he says, "with becoming modesty." But no, for once our Master is wrong; in this case he is really a little too modest. Who, indeed, will enlighten us concerning this Sweetmeat-Beethoven, if not Strauss himself--the only person who seems to know anything about him? But, immediately below, a strong judgment is uttered with becoming non-modesty, and precisely in regard to the Ninth Symphony. It is said, for instance, that this symphony "is naturally the favourite of a prevalent taste, which in art, and music especially, mistakes the grotesque for the genial, and the formless for the sublime" (p. 428). It is true that a critic as severe as Gervinus was gave this work a hearty welcome, because it happened to confirm one of his doctrines; but Strauss is "far from going to these problematic productions" in search of the merits of his Beethoven. "It is a pity," cries our Master, with a convulsive sigh, "that one is compelled, by such reservations, to mar one's enjoyment of Beethoven, as well as the admiration gladly accorded to him." For our Master is a favourite of the Graces, and these have informed him that they only accompanied Beethoven part of the way, and that he then lost sight of them. "This is a defect," he cries, "but can you believe that it may also appear as an advantage?" "He who is painfully and breathlessly rolling the musical idea along will seem to be moving the weightier one, and thus appear to be the stronger" (pp. 423-24). This is a confession, and not necessarily one concerning Beethoven alone, but concerning "the cla.s.sical prose-writer" himself. He, the celebrated author, is not abandoned by the Graces. From the play of airy jests--that is to say, Straussian jests-- to the heights of solemn earnestness--that is to say, Straussian earnestness--they remain stolidly at his elbow. He, the cla.s.sical prose-writer, slides his burden along playfully and with a light heart, whereas Beethoven rolls his painfully and breathlessly. He seems merely to dandle his load; this is indeed an advantage. But would anybody believe that it might equally be a sign of something wanting? In any case, only those could believe this who mistake the grotesque for the genial, and the formless for the sublime--is not that so, you dandling favourite of the Graces? We envy no one the edifying moments he may have, either in the stillness of his little private room or in a new heaven specially fitted out for him; but of all possible pleasures of this order, that of Strauss's is surely one of the most wonderful, for he is even edified by a little holocaust. He calmly throws the sublimest works of the German nation into the flames, in order to cense his idols with their smoke. Suppose, for a moment, that by some accident, the Eroica, the Pastoral, and the Ninth Symphony had fallen into the hands of our priest of the Graces, and that it had been in his power to suppress such problematic productions, in order to keep the image of the Master pure, who doubts but what he would have burned them? And it is precisely in this way that the Strausses of our time demean themselves: they only wish to know so much of an artist as is compatible with the service of their rooms; they know only the extremes-- censing or burning. To all this they are heartily welcome; the one surprising feature of the whole case is that public opinion, in matters artistic, should be so feeble, vacillating, and corruptible as contentedly to allow these exhibitions of indigent Philistinism to go by without raising an objection; yea, that it does not even possess sufficient sense of humour to feel tickled at the sight of an unaesthetic little master's sitting in judgment upon Beethoven. As to Mozart, what Aristotle says of Plato ought really to be applied here: "Insignificant people ought not to be permitted even to praise him."

In this respect, however, all shame has vanished--from the public as well as from the Master's mind: he is allowed, not merely to cross himself before the greatest and purest creations of German genius, as though he had perceived something G.o.dless and immoral in them, but people actually rejoice over his candid confessions and admission of sins--more particularly as he makes no mention of his own, but only of those which great men are said to have committed. Oh, if only our Master be in the right! his readers sometimes think, when attacked by a paroxysm of doubt; he himself, however, stands there, smiling and convinced, perorating, condemning, blessing, raising his hat to himself, and is at any minute capable of saying what the d.u.c.h.esse Delaforte said to Madame de Stael, to wit: "My dear, I must confess that I find no one but myself invariably right."

VI.

A corpse is a pleasant thought for a worm, and a worm is a dreadful thought for every living creature. Worms fancy their kingdom of heaven in a fat body; professors of philosophy seek theirs in rummaging among Schopenhauer's entrails, and as long as rodents exist, there will exist a heaven for rodents. In this, we have the answer to our first question: How does the believer in the new faith picture his heaven?

The Straussian Philistine harbours in the works of our great poets and musicians like a parasitic worm whose life is destruction, whose admiration is devouring, and whose worship is digesting.

Now, however, our second question must be answered: How far does the courage lent to its adherents by this new faith extend? Even this question would already have been answered, if courage and pretentiousness had been one; for then Strauss would not be lacking even in the just and veritable courage of a Mameluke. At all events, the "becoming modesty" of which Strauss speaks in the above-mentioned pa.s.sage, where he is referring to Beethoven, can only be a stylistic and not a moral manner of speech. Strauss has his full share of the temerity to which every successful hero a.s.sumes the right: all flowers grow only for him--the conqueror; and he praises the sun because it shines in at his window just at the right time. He does not even spare the venerable old universe in his eulogies--as though it were only now and henceforward sufficiently sanctified by praise to revolve around the central monad David Strauss. The universe, he is happy to inform us, is, it is true, a machine with jagged iron wheels, stamping and hammering ponderously, but: "We do not only find the revolution of pitiless wheels in our world-machine, but also the shedding of soothing oil" (p. 435). The universe, provided it submit to Strauss's encomiums, is not likely to overflow with grat.i.tude towards this master of weird metaphors, who was unable to discover better similes in its praise. But what is the oil called which trickles down upon the hammers and stampers? And how would it console a workman who chanced to get one of his limbs caught in the mechanism to know that this oil was trickling over him? Pa.s.sing over this simile as bad, let us turn our attention to another of Strauss's artifices, whereby he tries to ascertain how he feels disposed towards the universe; this question of Marguerite's, "He loves me--loves me not--loves me?" hanging on his lips the while. Now, although Strauss is not telling flower-petals or the b.u.t.tons on his waistcoat, still what he does is not less harmless, despite the fact that it needs perhaps a little more courage. Strauss wishes to make certain whether his feeling for the "All" is either paralysed or withered, and he p.r.i.c.ks himself; for he knows that one can p.r.i.c.k a limb that is either paralysed or withered without causing any pain. As a matter of fact, he does not really p.r.i.c.k himself, but selects another more violent method, which he describes thus: "We open Schopenhauer, who takes every occasion of slapping our idea in the face" (p. 167). Now, as an idea--even that of Strauss's concerning the universe--has no face, if there be any face in the question at all it must be that of the idealist, and the procedure may be subdivided into the following separate actions:--Strauss, in any case, throws Schopenhauer open, whereupon the latter slaps Strauss in the face.

Strauss then reacts religiously; that is to say, he again begins to belabour Schopenhauer, to abuse him, to speak of absurdities, blasphemies, dissipations, and even to allege that Schopenhauer could not have been in his right senses. Result of the dispute: "We demand the same piety for our Cosmos that the devout of old demanded for his G.o.d"; or, briefly, "He loves me." Our favourite of the Graces makes his life a hard one, but he is as brave as a Mameluke, and fears neither the Devil nor Schopenhauer. How much "soothing oil" must he use if such incidents are of frequent occurrence!

On the other hand, we readily understand Strauss's grat.i.tude to this tickling, p.r.i.c.king, and slapping Schopenhauer; hence we are not so very much surprised when we find him expressing himself in the following kind way about him: "We need only turn over the leaves of Arthur Schopenhauer's works (although we shall on many other accounts do well not only to glance over but to study them), etc." (p. 166).

Now, to whom does this captain of Philistines address these words? To him who has clearly never even studied Schopenhauer, the latter might well have retorted, "This is an author who does not even deserve to be scanned, much less to be studied." Obviously, he gulped Schopenhauer down "the wrong way," and this hoa.r.s.e coughing is merely his attempt to clear his throat. But, in order to fill the measure of his ingenuous encomiums, Strauss even arrogates to himself the right of commending old Kant: he speaks of the latter's General History of the Heavens of the Year 1755 as of "a work which has always appeared to me not less important than his later Critique of Pure Reason. If in the latter we admire the depth of insight, the breadth of observation strikes us in the former. If in the latter we can trace the old man's anxiety to secure even a limited possession of knowledge--so it be but on a firm basis--in the former we encounter the mature man, full of the daring of the discoverer and conqueror in the realm of thought."

This judgment of Strauss's concerning Kant did not strike me as being more modest than the one concerning Schopenhauer. In the one case, we have the little captain, who is above all anxious to express even the most insignificant opinion with certainty, and in the other we have the famous prose-writer, who, with all the courage of ignorance, exudes his eulogistic secretions over Kant. It is almost incredible that Strauss availed himself of nothing in Kant's Critique of Pure Reason while compiling his Testament of modern ideas, and that he knew only how to appeal to the coa.r.s.est realistic taste must also be numbered among the more striking characteristics of this new gospel, the which professes to be but the result of the laborious and continuous study of history and science, and therefore tacitly repudiates all connection with philosophy. For the Philistine captain and his "We," Kantian philosophy does not exist. He does not dream of the fundamental antinomy of idealism and of the highly relative sense of all science and reason. And it is precisely reason that ought to tell him how little it is possible to know of things in themselves. It is true, however, that people of a certain age cannot possibly understand Kant, especially when, in their youth, they understood or fancied they understood that "gigantic mind," Hegel, as Strauss did; and had moreover concerned themselves with Schleiermacher, who, according to Strauss, "was gifted with perhaps too much ac.u.men." It will sound odd to our author when I tell him that, even now, he stands absolutely dependent upon Hegel and Schleiermacher, and that his teaching of the Cosmos, his way of regarding things sub specie biennii, his salaams to the state of affairs now existing in Germany, and, above all, his shameless Philistine optimism, can only be explained by an appeal to certain impressions of youth, early habits, and disorders; for he who has once sickened on Hegel and Schleiermacher never completely recovers.

There is one pa.s.sage in the confession-book where the incurable optimism referred to above bursts forth with the full joyousness of holiday spirits (pp. 166-67). "If the universe is a thing which had better not have existed," says Strauss, "then surely the speculation of the philosopher, as forming part of this universe, is a speculation which had better not have speculated. The pessimist philosopher fails to perceive that he, above all, declares his own thought, which declares the world to be bad, as bad also; but if the thought which declares the world to be bad is a bad thought, then it follows naturally that the world is good. As a rule, optimism may take things too easily. Schopenhauer's references to the colossal part which sorrow and evil play in the world are quite in their right place as a counterpoise; but every true philosophy is necessarily optimistic, as otherwise she hews down the branch on which she herself is sitting."

If this refutation of Schopenhauer is not the same as that to which Strauss refers somewhere else as "the refutation loudly and jubilantly acclaimed in higher spheres," then I quite fail to understand the dramatic phraseology used by him elsewhere to strike an opponent. Here optimism has for once intentionally simplified her task. But the master-stroke lay in thus pretending that the refutation of Schopenhauer was not such a very difficult task after all, and in playfully wielding the burden in such a manner that the three Graces attendant on the dandling optimist might constantly be delighted by his methods. The whole purpose of the deed was to demonstrate this one truth, that it is quite unnecessary to take a pessimist seriously; the most vapid sophisms become justified, provided they show that, in regard to a philosophy as "unhealthy and unprofitable" as Schopenhauer's, not proofs but quips and sallies alone are suitable.

While perusing such pa.s.sages, the reader will grasp the full meaning of Schopenhauer's solemn utterance to the effect that, where optimism is not merely the idle prattle of those beneath whose flat brows words and only words are stored, it seemed to him not merely an absurd but a vicious att.i.tude of mind, and one full of scornful irony towards the indescribable sufferings of humanity. When a philosopher like Strauss is able to frame it into a system, it becomes more than a vicious att.i.tude of mind--it is then an imbecile gospel of comfort for the "I"

or for the "We," and can only provoke indignation.

Who could read the following psychological avowal, for instance, without indignation, seeing that it is obviously but an offshoot from this vicious gospel of comfort?--"Beethoven remarked that he could never have composed a text like Figaro or Don Juan. Life had not been so profuse of its snubs to him that he could treat it so gaily, or deal so lightly with the foibles of men" (p. 430). In order, however, to adduce the most striking instance of this dissolute vulgarity of sentiment, let it suffice, here, to observe that Strauss knows no other means of accounting for the terribly serious negative instinct and the movement of ascetic sanctification which characterised the first century of the Christian era, than by supposing the existence of a previous period of surfeit in the matter of all kinds of s.e.xual indulgence, which of itself brought about a state of revulsion and disgust.

"The Persians call it bidamag buden, The Germans say 'Katzenjammer.'"[9]*

[Footnote * : Remorse for the previous night's excesses.--Translator's note.]

Strauss quotes this himself, and is not ashamed. As for us, we turn aside for a moment, that we may overcome our loathing.

VII.

As a matter of fact, our Philistine captain is brave, even audacious, in words; particularly when he hopes by such bravery to delight his n.o.ble colleagues--the "We," as he calls them. So the asceticism and self-denial of the ancient anchorite and saint was merely a form of Katzenjammer? Jesus may be described as an enthusiast who nowadays would scarcely have escaped the madhouse, and the story of the Resurrection may be termed a "world-wide deception." For once we will allow these views to pa.s.s without raising any objection, seeing that they may help us to gauge the amount of courage which our "cla.s.sical Philistine" Strauss is capable of. Let us first hear his confession: "It is certainly an unpleasant and a thankless task to tell the world those truths which it is least desirous of hearing. It prefers, in fact, to manage its affairs on a profuse scale, receiving and spending after the magnificent fashion of the great, as long as there is anything left; should any person, however, add up the various items of its liabilities, and anxiously call its attention to the sum-total, he is certain to be regarded as an importunate meddler. And yet this has always been the bent of my moral and intellectual nature." A moral and intellectual nature of this sort might possibly be regarded as courageous; but what still remains to be proved is, whether this courage is natural and inborn, or whether it is not rather acquired and artificial. Perhaps Strauss only accustomed himself by degrees to the role of an importunate meddler, until he gradually acquired the courage of his calling. Innate cowardice, which is the Philistine's birthright, would not be incompatible with this mode of development, and it is precisely this cowardice which is perceptible in the want of logic of those sentences of Strauss's which it needed courage to p.r.o.nounce. They sound like thunder, but they do not clear the air. No aggressive action is performed: aggressive words alone are used, and these he selects from among the most insulting he can find. He moreover exhausts all his acc.u.mulated strength and energy in coa.r.s.e and noisy expression, and when once his utterances have died away he is more of a coward even than he who has always held his tongue. The very shadow of his deeds--his morality--shows us that he is a word-hero, and that he avoids everything which might induce him to transfer his energies from mere verbosity to really serious things.

With admirable frankness, he announces that he is no longer a Christian, but disclaims all idea of wishing to disturb the contentment of any one: he seems to recognise a contradiction in the notion of abolishing one society by inst.i.tuting another--whereas there is nothing contradictory in it at all. With a certain rude self-satisfaction, he swathes himself in the hirsute garment of our Simian genealogists, and extols Darwin as one of mankind's greatest benefactors; but our perplexity is great when we find him constructing his ethics quite independently of the question, "What is our conception of the universe?" In this department he had an opportunity of exhibiting native pluck; for he ought to have turned his back on his "We," and have established a moral code for life out of bellum omnium contra omnes and the privileges of the strong. But it is to be feared that such a code could only have emanated from a bold spirit like that of Hobbes', and must have taken its root in a love of truth quite different from that which was only able to vent itself in explosive outbursts against parsons, miracles, and the "world-wide humbug" of the Resurrection. For, whereas the Philistine remained on Strauss's side in regard to these explosive outbursts, he would have been against him had he been confronted with a genuine and seriously constructed ethical system, based upon Darwin's teaching.

Says Strauss: "I should say that all moral action arises from the individual's acting in consonance with the idea of kind" (p. 274). Put quite clearly and comprehensively, this means: "Live as a man, and not as an ape or a seal." Unfortunately, this imperative is both useless and feeble; for in the cla.s.s Man what a mult.i.tude of different types are included--to mention only the Patagonian and the Master, Strauss; and no one would ever dare to say with any right, "Live like a Patagonian," and "Live like the Master Strauss"! Should any one, however, make it his rule to live like a genius--that is to say, like the ideal type of the genus Man--and should he perchance at the same time be either a Patagonian or Strauss himself, what should we then not have to suffer from the importunities of genius-mad eccentrics (concerning whose mushroom growth in Germany even Lichtenberg had already spoken), who with savage cries would compel us to listen to the confession of their most recent belief! Strauss has not yet learned that no "idea" can ever make man better or more moral, and that the preaching of a morality is as easy as the establishment of it is difficult. His business ought rather to have been, to take the phenomena of human goodness, such--for instance--as pity, love, and self-abnegation, which are already to hand, and seriously to explain them and show their relation to his Darwinian first principle. But no; he preferred to soar into the imperative, and thus escape the task of explaining. But even in his flight he was irresponsible enough to soar beyond the very first principles of which we speak.

"Ever remember," says Strauss, "that thou art human, not merely a natural production; ever remember that all others are human also, and, with all individual differences, the same as thou, having the same needs and claims as thyself: this is the sum and the substance of morality" (p. 277). But where does this imperative hail from? How can it be intuitive in man, seeing that, according to Darwin, man is indeed a creature of nature, and that his ascent to his present stage of development has been conditioned by quite different laws--by the very fact that be was continually forgetting that others were const.i.tuted like him and shared the same rights with him; by the very fact that he regarded himself as the stronger, and thus brought about the gradual suppression of weaker types. Though Strauss is bound to admit that no two creatures have ever been quite alike, and that the ascent of man from the lowest species of animals to the exalted height of the Culture--Philistine depended upon the law of individual distinctness, he still sees no difficulty in declaring exactly the reverse in his law: "Behave thyself as though there were no such things as individual distinctions." Where is the Strauss-Darwin morality here? Whither, above all, has the courage gone?

In the very next paragraph we find further evidence tending to show us the point at which this courage veers round to its opposite; for Strauss continues: "Ever remember that thou, and all that thou beholdest within and around thee, all that befalls thee and others, is no disjointed fragment, no wild chaos of atoms or casualties, but that, following eternal law, it springs from the one primal source of all life, all reason, and all good: this is the essence of religion"

(pp. 277-78). Out of that "one primal source," however, all ruin and irrationality, all evil flows as well, and its name, according to Strauss, is Cosmos.

Now, how can this Cosmos, with all the contradictions and the self-annihilating characteristics which Strauss gives it, be worthy of religious veneration and be addressed by the name "G.o.d," as Strauss addresses it?--"Our G.o.d does not, indeed, take us into His arms from the outside (here one expects, as an ant.i.thesis, a somewhat miraculous process of being "taken into His arms from the inside"), but He unseals the well-springs of consolation within our own bosoms. He shows us that although Chance would be an unreasonable ruler, yet necessity, or the enchainment of causes in the world, is Reason itself." (A misapprehension of which only the "We" can fail to perceive the folly; because they were brought up in the Hegelian worship of Reality as the Reasonable--that is to say, in the canonisation of success.) "He teaches us to perceive that to demand an exception in the accomplishment of a single natural law would be to demand the destruction of the universe" (pp. 435-36). On the contrary, Great Master: an honest natural scientist believes in the unconditional rule of natural laws in the world, without, however, taking up any position in regard to the ethical or intellectual value of these laws. Wherever neutrality is abandoned in this respect, it is owing to an anthropomorphic att.i.tude of mind which allows reason to exceed its proper bounds. But it is just at the point where the natural scientist resigns that Strauss, to put it in his own words, "reacts religiously," and leaves the scientific and scholarly standpoint in order to proceed along less honest lines of his own.

Without any further warrant, he a.s.sumes that all that has happened possesses the highest intellectual value; that it was therefore absolutely reasonably and intentionally so arranged, and that it even contained a revelation of eternal goodness. He therefore has to appeal to a complete cosmodicy, and finds himself at a disadvantage in regard to him who is contented with a theodicy, and who, for instance, regards the whole of man's existence as a punishment for sin or a process of purification. At this stage, and in this embarra.s.sing position, Strauss even suggests a metaphysical hypothesis--the driest and most palsied ever conceived--and, in reality, but an unconscious parody of one of Lessing's sayings. We read on page 255: "And that other saying of Lessing's-- 'If G.o.d, holding truth in His right hand, and in His left only the ever-living desire for it, although on condition of perpetual error, left him the choice of the two, he would, considering that truth belongs to G.o.d alone, humbly seize His left hand, and beg its contents for Himself'-- this saying of Lessing's has always been accounted one of the most magnificent which he has left us. It has been found to contain the general expression of his restless love of inquiry and activity. The saying has always made a special impression upon me; because, behind its subjective meaning, I still seemed to hear the faint ring of an objective one of infinite import. For does it not contain the best possible answer to the rude speech of Schopenhauer, respecting the ill-advised G.o.d who had nothing better to do than to transform Himself into this miserable world? if, for example, the Creator Himself had shared Lessing's conviction of the superiority of struggle to tranquil possession?" What!--a G.o.d who would choose perpetual error, together with a striving after truth, and who would, perhaps, fall humbly at Strauss's feet and cry to him,"Take thou all Truth, it is thine!"? If ever a G.o.d and a man were ill-advised, they are this Straussian G.o.d, whose hobby is to err and to fail, and this Straussian man, who must atone for this erring and failing. Here, indeed, one hears "a faint ring of infinite import"; here flows Strauss's cosmic soothing oil; here one has a notion of the rationale of all becoming and all natural laws. Really? Is not our universe rather the work of an inferior being, as Lichtenberg suggests?--of an inferior being who did not quite understand his business; therefore an experiment, an attempt, upon which work is still proceeding? Strauss himself, then, would be compelled to admit that our universe is by no means the theatre of reason, but of error, and that no conformity to law can contain anything consoling, since all laws have been promulgated by an erratic G.o.d who even finds pleasure in blundering. It really is a most amusing spectacle to watch Strauss as a metaphysical architect, building castles in the air. But for whose benefit is this entertainment given? For the smug and n.o.ble "We," that they may not lose conceit with themselves: they may possibly have taken sudden fright, in the midst of the inflexible and pitiless wheel-works of the world-machine, and are tremulously imploring their leader to come to their aid. That is why Strauss pours forth the "soothing oil," that is why he leads forth on a leash a G.o.d whose pa.s.sion it is to err; it is for the same reason, too, that he a.s.sumes for once the utterly unsuitable role of a metaphysical architect. He does all this, because the n.o.ble souls already referred to are frightened, and because he is too. And it is here that we reach the limit of his courage, even in the presence of his "We." He does not dare to be honest, and to tell them, for instance: "I have liberated you from a helping and pitiful G.o.d: the Cosmos is no more than an inflexible machine; beware of its wheels, that they do not crush you." He dare not do this. Consequently, he must enlist the help of a witch, and he turns to metaphysics. To the Philistine, however, even Strauss's metaphysics is preferable to Christianity's, and the notion of an erratic G.o.d more congenial than that of one who works miracles. For the Philistine himself errs, but has never yet performed a miracle. Hence his hatred of the genius; for the latter is justly famous for the working of miracles. It is therefore highly instructive to ascertain why Strauss, in one pa.s.sage alone, suddenly takes up the cudgels for genius and the aristocracy of intellect in general.

Whatever does he do it for? He does it out of fear--fear of the social democrat. He refers to Bismarck and Moltke, "whose greatness is the less open to controversy as it manifests itself in the domain of tangible external facts. No help for it, therefore; even the most stiff-necked and obdurate of these fellows must condescend to look up a little, if only to get a sight, be it no farther than the knees, of those august figures" (p.327). Do you, Master Metaphysician, perhaps intend to instruct the social democrats in the art of getting kicks?

The willingness to bestow them may be met with everywhere, and you are perfectly justified in promising to those who happen to be kicked a sight of those sublime beings as far as the knee. "Also in the domain of art and science," Strauss continues, "there will never be a dearth of kings whose architectural undertakings will find employment for a mult.i.tude of carters." Granted; but what if the carters should begin building? It does happen at times, Great Master, as you know, and then the kings must grin and bear it.

As a matter of fact, this union of impudence and weakness, of daring words and cowardly concessions, this cautious deliberation as to which sentences will or will not impress the Philistine or smooth him down the right way, this lack of character and power masquerading as character and power, this meagre wisdom in the guise of omniscience,--these are the features in this book which I detest. If I could conceive of young men having patience to read it and to value it, I should sorrowfully renounce all hope for their future. And is this confession of wretched, hopeless, and really despicable Philistinism supposed to be the expression of the thousands const.i.tuting the "We" of whom Strauss speaks, and who are to be the fathers of the coming generation? Unto him who would fain help this coming generation to acquire what the present one does not yet possess, namely, a genuine German culture, the prospect is a horrible one. To such a man, the ground seems strewn with ashes, and all stars are obscured; while every withered tree and field laid waste seems to cry to him: Barren! Forsaken! Springtime is no longer possible here!

He must feel as young Goethe felt when he first peered into the melancholy atheistic twilight of the Systeme de la Nature; to him this book seemed so grey, so Cimmerian and deadly, that he could only endure its presence with difficulty, and shuddered at it as one shudders at a spectre.

VIII.

We ought now to be sufficiently informed concerning the heaven and the courage of our new believer to be able to turn to the last question: How does he write his books? and of what order are his religious doc.u.ments?

He who can answer this question uprightly and without prejudice will be confronted by yet another serious problem, and that is: How this Straussian pocket-oracle of the German Philistine was able to pa.s.s through six editions? And he will grow more than ever suspicious when he hears that it was actually welcomed as a pocket-oracle, not only in scholastic circles, but even in German universities as well. Students are said to have greeted it as a canon for strong intellects, and, from all accounts, the professors raised no objections to this view; while here and there people have declared it to be a religions book for scholars. Strauss himself gave out that he did not intend his profession of faith to be merely a reference-book for learned and cultured people; but here let us abide by the fact that it was first and foremost a work appealing to his colleagues, and was ostensibly a mirror in which they were to see their own way of living faithfully reflected. For therein lay the feat. The Master feigned to have presented us with a new ideal conception of the universe, and now adulation is being paid him out of every mouth; because each is in a position to suppose that he too regards the universe and life in the same way. Thus Strauss has seen fulfilled in each of his readers what he only demanded of the future. In this way, the extraordinary success of his book is partly explained: "Thus we live and hold on our way in joy," the scholar cries in his book, and delights to see others rejoicing over the announcement. If the reader happen to think differently from the Master in regard to Darwin or to capital punishment, it is of very little consequence; for he is too conscious throughout of breathing an atmosphere that is familiar to him, and of hearing but the echoes of his own voice and wants. However painfully this unanimity may strike the true friend of German culture, it is his duty to be unrelenting in his explanation of it as a phenomenon, and not to shrink from making this explanation public.

We all know the peculiar methods adopted in our own time of cultivating the sciences: we all know them, because they form a part of our lives. And, for this very reason, scarcely anybody seems to ask himself what the result of such a cultivation of the sciences will mean to culture in general, even supposing that everywhere the highest abilities and the most earnest will be available for the promotion of culture. In the heart of the average scientific type (quite irrespective of the examples thereof with which we meet to-day) there lies a pure paradox: he behaves like the veriest idler of independent means, to whom life is not a dreadful and serious business, but a sound piece of property, settled upon him for all eternity; and it seems to him justifiable to spend his whole life in answering questions which, after all is said and done, can only be of interest to that person who believes in eternal life as an absolute certainty.

The heir of but a few hours, he sees himself encompa.s.sed by yawning abysses, terrible to behold; and every step he takes should recall the questions, Wherefore? Whither? and Whence? to his mind. But his soul rather warms to his work, and, be this the counting of a floweret's petals or the breaking of stones by the roadside, he spends his whole fund of interest, pleasure, strength, and aspirations upon it. This paradox--the scientific man--has lately dashed ahead at such a frantic speed in Germany, that one would almost think the scientific world were a factory, in which every minute wasted meant a fine. To-day the man of science works as arduously as the fourth or slave caste: his study has ceased to be an occupation, it is a necessity; he looks neither to the right nor to the left, but rushes through all things--even through the serious matters which life bears in its train--with that semi-listlessness and repulsive need of rest so characteristic of the exhausted labourer. This is also his att.i.tude towards culture. He behaves as if life to him were not only otium but sine dignitate: even in his sleep he does not throw off the yoke, but like an emanc.i.p.ated slave still dreams of his misery, his forced haste and his floggings. Our scholars can scarcely be distinguished--and, even then, not to their advantage--from agricultural labourers, who in order to increase a small patrimony, a.s.siduously strive, day and night, to cultivate their fields, drive their ploughs, and urge on their oxen. Now, Pascal suggests that men only endeavour to work hard at their business and sciences with the view of escaping those questions of greatest import which every moment of loneliness or leisure presses upon them--the questions relating to the wherefore, the whence, and the whither of life. Curiously enough, our scholars never think of the most vital question of all--the wherefore of their work, their haste, and their painful ecstasies. Surely their object is not the earning of bread or the acquiring of posts of honour? No, certainly not. But ye take as much pains as the famishing and breadless; and, with that eagerness and lack of discernment which characterises the starving, ye even s.n.a.t.c.h the dishes from the sideboard of science. If, however, as scientific men, ye proceed with science as the labourers with the tasks which the exigencies of life impose upon them, what will become of a culture which must await the hour of its birth and its salvation in the very midst of all this agitated and breathless running to and fro--this sprawling scientifically?

For it no one has time--and yet for what shall science have time if not for culture? Answer us here, then, at least: whence, whither, wherefore all science, if it do not lead to culture? Belike to barbarity? And in this direction we already see the scholar caste ominously advanced, if we are to believe that such superficial books as this one of Strauss's meet the demand of their present degree of culture. For precisely in him do we find that repulsive need of rest and that incidental semi-listless attention to, and coming to terms with, philosophy, culture, and every serious thing on earth. It will be remembered that, at the meetings held by scholars, as soon as each individual has had his say in his own particular department of knowledge, signs of fatigue, of a desire for distraction at any price, of waning memory, and of incoherent experiences of life, begin to be noticeable. While listening to Strauss discussing any worldly question, be it marriage, the war, or capital punishment, we are startled by his complete lack of anything like first-hand experience, or of any original thought on human nature. All his judgments are so redolent of books, yea even of newspapers. Literary reminiscences do duty for genuine ideas and views, and the a.s.sumption of a moderate and grandfatherly tone take the place of wisdom and mature thought. How perfectly in keeping all this is with the fulsome spirit animating the holders of the highest places in German science in large cities! How thoroughly this spirit must appeal to that other! for it is precisely in those quarters that culture is in the saddest plight; it is precisely there that its fresh growth is made impossible--so boisterous are the preparations made by science, so sheepishly are favourite subjects of knowledge allowed to oust questions of much greater import. What kind of lantern would be needed here, in order to find men capable of a complete surrender to genius, and of an intimate knowledge of its depths--men possessed of sufficient courage and strength to exorcise the demons that have forsaken our age? Viewed from the outside, such quarters certainly do appear to possess the whole pomp of culture; with their imposing apparatus they resemble great a.r.s.enals fitted with huge guns and other machinery of war; we see preparations in progress and the most strenuous activity, as though the heavens themselves were to be stormed, and truth were to be drawn out of the deepest of all wells; and yet, in war, the largest machines are the most unwieldy. Genuine culture therefore leaves such places as these religiously alone, for its best instincts warn it that in their midst it has nothing to hope for, and very much to fear. For the only kind of culture with which the inflamed eye and obtuse brain of the scholar working-cla.s.ses concern themselves is of that Philistine order of which Strauss has announced the gospel. If we consider for a moment the fundamental causes underlying the sympathy which binds the learned working-cla.s.ses to Culture-Philistinism, we shall discover the road leading to Strauss the Writer, who has been acknowledged cla.s.sical, and tihence to our last and princ.i.p.al theme.

To begin with, that culture has contentment written in its every feature, and will allow of no important changes being introduced into the present state of German education. It is above all convinced of the originality of all German educational inst.i.tutions, more particularly the public schools and universities; it does not cease recommending these to foreigners, and never doubts that if the Germans have become the most cultivated and discriminating people on earth, it is owing to such inst.i.tutions. Culture-Philistinism believes in itself, consequently it also believes in the methods and means at its disposal. Secondly, however, it leaves the highest judgment concerning all questions of taste and culture to the scholar, and even regards itself as the ever-increasing compendium of scholarly opinions regarding art, literature, and philosophy. Its first care is to urge the scholar to express his opinions; these it proceeds to mix, dilute, and systematise, and then it administers them to the German people in the form of a bottle of medicine. What conies to life outside this circle is either not heard or attended at all, or if heard, is heeded half-heartedly; until, at last, a voice (it does not matter whose, provided it belong to some one who is strictly typical of the scholar tribe) is heard to issue from the temple in which traditional infallibility of taste is said to reside; and from that time forward public opinion has one conviction more, which it echoes and re-echoes hundreds and hundreds of times. As a matter of fact, though, the aesthetic infallibility of any utterance emanating from the temple is the more doubtful, seeing that the lack of taste, thought, and artistic feeling in any scholar can be taken for granted, unless it has previously been proved that, in his particular case, the reverse is true. And only a few can prove this. For how many who have had a share in the breathless and unending scurry of modern science have preserved that quiet and courageous gaze of the struggling man of culture--if they ever possessed it--that gaze which condemns even the scurry we speak of as a barbarous state of affairs? That is why these few are forced to live in an almost perpetual contradiction. What could they do against the uniform belief of the thousands who have enlisted public opinion in their cause, and who mutually defend each other in this belief? What purpose can it serve when one individual openly declares war against Strauss, seeing that a crowd have decided in his favour, and that the ma.s.ses led by this crowd have learned to ask six consecutive times for the Master's Philistine sleeping-mixture?

If, without further ado, we here a.s.sumed that the Straussian confession-book had triumphed over public opinion and had been acclaimed and welcomed as conqueror, its author might call our attention to the fact that the mult.i.tudinous criticisms of his work in the various public organs are not of an altogether unanimous or even favourable character, and that he therefore felt it inc.u.mbent upon him to defend himself against some of the more malicious, impudent, and provoking of these newspaper pugilists by means of a postscript. How can there be a public opinion concerning my book, he cries to us, if every journalist is to regard me as an outlaw, and to mishandle me as much as he likes? This contradiction is easily explained, as soon as one considers the two aspects of the Straussian book--the theological and the literary, and it is only the latter that has anything to do with German culture. Thanks to its theological colouring, it stands beyond the pale of our German culture, and provokes the animosity of the various theological groups--yea, even of every individual German, in so far as he is a theological sectarian from birth, and only invents his own peculiar private belief in order to be able to dissent from every other form of belief. But when the question arises of talking about Strauss THE WRITER, pray listen to what the theological sectarians have to say about him. As soon as his literary side comes under notice, all theological objections immediately subside, and the dictum comes plain and clear, as if from the lips of one congregation: In spite of it all, he is still a cla.s.sical writer!

Everybody--even the most bigoted, orthodox Churchman--pays the writer the most gratifying compliments, while there is always a word or two thrown in as a tribute to his almost Lessingesque language, his delicacy of touch, or the beauty and accuracy of his aesthetic views.

As a book, therefore, the Straussian performance appears to meet all the demands of an ideal example of its kind. The theological opponents, despite the fact that their voices were the loudest of all, nevertheless const.i.tute but an infinitesimal portion of the great public; and even with regard to them, Strauss still maintains that he is right when he says: "Compared with my thousands of readers, a few dozen public cavillers form but an insignificant minority, and they can hardly prove that they are their faithful interpreters. It was obviously in the nature of things that opposition should be clamorous and a.s.sent tacit." Thus, apart from the angry bitterness which Strauss's profession of faith may have provoked here and there, even the most fanatical of his opponents, to whom his voice seems to rise out of an abyss, like the voice of a beast, are agreed as to his merits as a writer; and that is why the treatment which Strauss has received at the hands of the literary lackeys of the theological groups proves nothing against our contention that Culture-Philistinism celebrated its triumph in this book. It must be admitted that the average educated Philistine is a degree less honest than Strauss, or is at least more reserved in his public utterances. But this fact only tends to increase his admiration for honesty in another. At home, or in the company of his equals, he may applaud with wild enthusiasm, but takes care not to put on paper how entirely Strauss's words are in harmony with his own innermost feelings. For, as we have already maintained, our Culture-Philistine is somewhat of a coward, even in his strongest sympathies; hence Strauss, who can boast of a trifle more courage than he, becomes his leader, notwithstanding the fact that even Straussian pluck has its very definite limits. If he overstepped these limits, as Schopenhauer does in almost every sentence, he would then forfeit his position at the head of the Philistines, and everybody would flee from him as precipitately as they are now following in his wake. He who would regard this artful if not sagacious moderation and this mediocre valour as an Aristotelian virtue, would certainly be wrong; for the valour in question is not the golden mean between two faults, but between a virtue and a fault--and in this mean, between virtue and fault, all Philistine qualities are to be found.

IX.

"In spite of it all, he is still a cla.s.sical writer." Well, let us see! Perhaps we may now be allowed to discuss Strauss the stylist and master of language; but in the first place let us inquire whether, as a literary man, he is equal to the task of building his house, and whether he really understands the architecture of a book. From this inquiry we shall be able to conclude whether he is a respectable, thoughtful, and experienced author; and even should we be forced to answer "No" to these questions, he may still, as a last shift, take refuge in his fame as a cla.s.sical prose-writer. This last-mentioned talent alone, it is true, would not suffice to cla.s.s him with the cla.s.sical authors, but at most with the cla.s.sical improvisers and virtuosos of style, who, however, in regard to power of expression and the whole planning and framing of the work, reveal the awkward hand and the embarra.s.sed eye of the bungler. We therefore put the question, whether Strauss really possesses the artistic strength necessary for the purpose of presenting us with a thing that is a whole, totum ponere?

As a rule, it ought to be possible to tell from the first rough sketch of a work whether the author conceived the thing as a whole, and whether, in view of this original conception, he has discovered the correct way of proceeding with his task and of fixing its proportions.

Should this most important Part of the problem be solved, and should the framework of the building have been given its most favourable proportions, even then there remains enough to be done: how many smaller faults have to be corrected, how many gaps require filling in!

Here and there a temporary part.i.tion or floor was found to answer the requirements; everywhere dust and fragments litter the ground, and no matter where we look, we see the signs of work done and work still to be done. The house, as a whole, is still uninhabitable and gloomy, its walls are bare, and the wind blows in through the open windows. Now, whether this remaining, necessary, and very irksome work has been satisfactorily accomplished by Strauss does not concern us at present; our question is, whether the building itself has been conceived as a whole, and whether its proportions are good? The reverse of this, of course, would be a compilation of fragments--a method generally adopted by scholars. They rely upon it that these fragments are related among themselves, and thus confound the logical and the artistic relation between them. Now, the relation between the four questions which provide the chapter-headings of Strauss's book cannot be called a logical one. Are we still Christians? Have we still a religion? What is our conception of the universe? What is our rule of life? And it is by no means contended that the relation is illogical simply because the third question has nothing to do with the second, nor the fourth with the third, nor all three with the first. The natural scientist who puts the third question, for instance, shows his unsullied love of truth by the simple fact that he tacitly pa.s.ses over the second. And with regard to the subject of the fourth chapter--marriage, republicanism, and capital punishment--Strauss himself seems to have been aware that they could only have been muddled and obscured by being a.s.sociated with the Darwinian theory expounded in the third chapter; for he carefully avoids all reference to this theory when discussing them. But the question, "Are we still Christians?" destroys the freedom of the philosophical standpoint at one stroke, by lending it an unpleasant theological colouring.

Moreover, in this matter, he quite forgot that the majority of men to-day are not Christians at all, but Buddhists. Why should one, without further ceremony, immediately think of Christianity at the sound of the words "old faith"? Is this a sign that Strauss has never ceased to be a Christian theologian, and that he has therefore never learned to be a philosopher? For we find still greater cause for surprise in the fact that he quite fails to distinguish between belief and knowledge, and continua