The mission is fulfilled, but meanwhile the Germanic quality in the Frenchman seems pretty nearly to have died out, and the Gallo-Latin in him has quite got the upper hand. Of course there are individuals and groups who are to be excepted; I will allow any number of exceptions you please; and in the mass of the French people, which works and is silent, there may be treasures of resource. But taking the Frenchman who is commonly in view—the usual type of speaking, doing, vocal, visible Frenchman—we may say, and he will probably be not at all displeased at our saying, that the German in him has nearly died out, and the Gallo-Latin has quite got the upper hand. For us, however, this means that the chief source of seriousness and of moral ideas is failing and drying up in him, and that what remains are the sources of Gaulish salt, and quickness, and sentiment, and sociability, and sensuality, and rationality. And, of course, the play and working of these qualities is altered by their being no longer in combination with a dose of German seriousness, but left to work by themselves. Left to work by themselves, they give us what we call the _homme sensuel moyen_, the average sensual man. The highest art, the art which by its height, depth, and gravity possesses religiousness,—such as the Greeks had, the art of Pindar and Phidias; such as the Italians had, the art of Dante and Michael Angelo,—this art, with the training which it gives and the standard which it sets up, the French have never had. On the other hand, they had a dose of German seriousness, a Germanic bent for ideas of moral duty, which neither the Greeks had, nor the Italians. But if this dies out, what is left is the _homme sensuel moyen_. This average sensual man has his very advantageous qualities. He has his gaiety, quickness, sentiment, sociability, rationality. He has his horror of sour strictness, false restraint, hypocrisy, obscurantism, cretinism, and the rest of it. And this is very well; but on the serious, moral side he is almost ludicrously insufficient. Fine sentiments about his dignity and his honour and his heart, about the dignity and the honour and the heart of France, and his adoration of her, do duty for him here; grandiose phrases about the spectacle offered in France and in the French Republic of the ideal for our race, of the _épanouissement de l’élite de l’humanité_, ‘the coming into blow of the choice flower of humanity.’ In M. Victor Hugo we have (his worshippers must forgive me for saying so) the average sensual man impassioned and grandiloquent; in M. Zola we have the average sensual man going near the ground. ‘Happy the son,’ cries M. Victor Hugo, ‘of whom, one can say, “He has consoled his mother!” Happy the poet of whom one can say, “He has consoled his country!”’ The French themselves, even when they are severest, call this kind of thing by only the mild name of emphasis, ‘_emphase_,’—other people call it fustian.