e"! How the noblest and the commonest stand there
in juxtaposition! How disorderly and how rich is the whole constitution
of this soul! The German DRAGS at his soul, he drags at everything he
experiences. He digests his events badly; he never gets "done"
with them; and German depth is often only a difficult, hesitating
"digestion." And just as all chronic invalids, all dyspeptics like what
is convenient, so the German loves "frankness" and "honesty"; it is
so CONVENIENT to be frank and honest!--This confidingness, this
complaisance, this showing-the-cards of German HONESTY, is probably the
most dangerous and most successful disguise which the German is up to
nowadays: it is his proper Mephistophelean art; with this he can "still
achieve much"! The German lets himself go, and thereby gazes with
faithful, blue, empty German eyes--and other countries immediately
confound him with his dressing-gown!--I meant to say that, let "German
depth" be what it will--among ourselves alone we perhaps take the
liberty to laugh at it--we shall do well to continue henceforth to
honour its appearance and good name, and not barter away too cheaply our
old reputation as a people of depth for Prussian "smartness," and
Berlin wit and sand. It is wise for a people to pose, and LET itself
be regarded, as profound, clumsy, good-natured, honest, and foolish: it
might even be--profound to do so! Finally, we should do honour to
our name--we are not called the "TIUSCHE VOLK" (deceptive people) for
nothing....

245. The "good old" time is past, it sang itself out in Mozart--how
happy are WE that his ROCOCO still speaks to us, that his "good
company," his tender enthusiasm, his childish delight in the Chinese and
its flourishes, his courtesy of heart, his longing for the elegant, the
amorous, the tripping, the tearful, and his belief in the South, can
still appeal to SOMETHING LEFT in us! Ah, some time or other it will be
over with it!--but who can doubt that it will be over still sooner with
the intelligence and taste for Beethoven! For he was only the last echo
of a break and transition in style, and NOT, like Mozart, the last echo
of a great European taste which had existed for centuries. Beethoven
is the intermediate event between an old mellow soul that is constantly
breaking down, and a future over-young soul that is always COMING;
there is spread over his music the twilight of eternal loss and eternal
extravagant hope,--the same light in which E