had, who found it necessary to diminish his Mephistopheles in order to magnify his "inner Faust." The true German Mephistopheles is much more dangerous, bold, wicked, and cunning, and consequently more open-hearted: remember the nature of Frederick the Great, or of that much greater Frederick, the Hohenstaufen, Frederick II.
The real German Mephistopheles crosses the Alps, and believes that everything there belongs to him. Then he recovers himself, like Winckelmann, like Mozart. He looks upon Faust and Hamlet as caricatures, invented to be laughed at, and upon Luther also. Goethe had his good German moments, when he laughed inwardly at all these things. But then he fell back again into his cloudy moods.
6.
Perhaps the Germans have only grown up in a wrong climate! There is something in them that might be Hellenic!—something that is awakened when they are brought into touch with the South—Winckelmann, Goethe, Mozart. We should not forget, however, that we are still young. Luther is still our last event; our last book is still the Bible. The Germans have never yet "moralised." Also, the very food of the Germans was their doom: its consequence, Philistinism.
7.
The Germans are a dangerous people: they are experts at inventing intoxicants. Gothic, rococo (according to Semper), the historical sense and exoticism, Hegel, Rich-
