Style, then, the Germans are singularly without, and it is strange that the power of style should show itself so strongly as it does in the Icelandic poetry, if the Scandinavians are such genuine Teutons as is commonly supposed. Fauriel used to talk of the Scandinavian Teutons and the German Teutons, as if they were two divisions of the same people, and the common notion about them, no doubt, is very much this. Since the war in Schleswig-Holstein, however, all one’s German friends are exceedingly anxious to insist on the difference of nature between themselves and the Scandinavians; when one expresses surprise that the German sense of nationality should be so deeply affronted by the rule over Germans, not of Latins or Celts, but of brother Teutons or next door to it, a German will give you I know not how long a catalogue of the radical points of unlikeness, in genius and disposition, between himself and a Dane. This emboldens me to remark that there is a fire, a sense of style, a distinction, in Icelandic poetry, which German poetry has not. Icelandic poetry, too, shows a powerful and developed technic; and I wish to throw out, for examination by those who are competent to sift the matter, the suggestion that this power of style and development of technic in the Norse poetry seems to point towards an early Celtic influence or intermixture. It is curious that Zeuss, in his grammar, quotes a text which gives countenance to this notion; as late as the ninth century, he says, there were Irish Celts in Iceland; and the text he quotes to show this, is as follows:—‘In 870 A.D., when the Norwegians came to Iceland, there were Christians there, who departed, and left behind them Irish books, bells, and other things; from whence it may be inferred that these Christians were Irish.’ I speak, and ought to speak, with the utmost diffidence on all these questions of ethnology; but I must say that when I read this text in Zeuss, I caught eagerly at the clue it seemed to offer; for I had been hearing the _Nibelungen_ read and commented on in German schools (German schools have the good habit of reading and commenting on German poetry, as we read and comment on Homer and Virgil, but do _not_ read and comment on Chaucer and Shakspeare), and it struck me how the fatal humdrum and want of style of the Germans had marred their way of telling this magnificent tradition of the _Nibelungen_, and taken half its grandeur and power out of it; while in the Icelandic poems which deal with this tradition, its grandeur and power are much more fully visible, and everywhere in the poetry of the Edda there is a force of style and a distinction as unlike as possible to the want of both in the German _Nibelungen_. {120} At the same time the Scandinavians have a realism, as it is called, in their genius, which abundantly proves their relationship with the Germans; any one whom Mr. Dasent’s delightful books