that quickened afterwards the Northmen’s blood in France, Germanic England would not have produced a Shakspeare.’ But there Mr. Morley leaves the matter. He indicates this Celtic element and influence, but he does not show us,—it did not come within the scope of his work to show us,—how this influence has declared itself. Unlike the physiological test, or the linguistic test, this literary, spiritual test is one which I may perhaps be allowed to try my hand at applying. I say that there is a Celtic element in the English nature, as well as a Germanic element, and that this element manifests itself in our spirit and literature. But before I try to point out how it manifests itself, it may be as well to get a clear notion of what we mean by a Celtic element, a Germanic element; what characters, that is, determine for us the Celtic genius, the Germanic genius, as we commonly conceive the two. IV. Let me repeat what I have often said of the characteristics which mark the English spirit, the English genius. This spirit, this genius, judged, to be sure, rather from a friend’s than an enemy’s point of view, yet judged on the whole fairly, is characterised, I have repeatedly said, by _energy with honesty_. Take away some of the energy which comes to us, as I believe, in part from Celtic and Roman sources; instead of energy, say rather _steadiness_; and you have the Germanic genius _steadiness with honesty_. It is evident how nearly the two characterisations approach one another; and yet they leave, as we shall see, a great deal of room for difference. Steadiness with honesty; the danger for a national spirit thus composed is the humdrum, the plain and ugly, the ignoble: in a word, _das Gemeine_, _die Gemeinheit_, that curse of Germany, against which Goethe was all his life fighting. The excellence of a national spirit thus composed is freedom from whim, flightiness, perverseness; patient fidelity to Nature, in a word, _science_,—leading it at last, though slowly, and not by the most brilliant road, out of the bondage of the humdrum and common, into the better life. The universal dead-level of plainness and homeliness, the lack of all beauty and distinction in form and feature, the slowness and clumsiness of the language, the eternal beer, sausages, and bad tobacco, the blank commonness everywhere, pressing at last like a weight on the spirits of the traveller in Northern Germany, and making him impatient to be gone, this is the weak side; the industry, the well-doing, the patient steady elaboration of things, the idea of science governing all departments of human activity—this is the strong side; and through this side of her genius, Germany has already obtained excellent results, and is destined, we may depend upon it, however her pedantry, her slowness, her fumbling, her ineffectiveness, her bad government, may at times make us cry out, to an immense development. {82}