Puritans, the last traces of which have been stamped out by a social discipline utterly un-English. Not for two years, but for ten decades Cobbett has been in prison; and his enemy, the "efficient" foreigner, has walked about in the sunlight, magnificent, and a model for men. I do not think that even the Prussians ever boasted about "Merry Prussia." VI--_Hamlet and the Danes_ In the one classic and perfect literary product that ever came out of Germany--I do not mean "Faust," but Grimm's Fairy Tales--there is a gorgeous story about a boy who went through a number of experiences without learning how to shudder. In one of them, I remember, he was sitting by the fireside and a pair of live legs fell down the chimney and walked about the room by themselves. Afterwards the rest fell down and joined up; but this was almost an anti-climax. Now that is very charming, and full of the best German domesticity. It suggests truly what wild adventures the traveller can find by stopping at home. But it also illustrates in various ways how that great German influence on England, which is the matter of these essays, began in good things and gradually turned to bad. It began as a literary influence, in the lurid tales of Hoffmann, the tale of "Sintram," and so on; the revisualising of the dark background of forest behind our European cities. That old German darkness was immeasurably livelier than the new German light. The devils of Germany were much better than the angels. Look at the Teutonic pictures of "The Three Huntsmen" and observe that while the wicked huntsman is effective in his own way, the good huntsman is weak in every way, a sort of sexless woman with a face like a teaspoon. But there is more in these first forest tales, these homely horrors. In the earlier stages they have exactly this salt of salvation, that the boy does _not_ shudder. They are made fearful that he may be fearless, not that he may fear. As long as that limit is kept, the barbaric dreamland is decent; and though individuals like Coleridge and De Quincey mixed it with worse things (such as opium), they kept that romantic rudiment upon the whole. But the one disadvantage of a forest is that one may lose one's way in it. And the one danger is not that we may meet devils, but that we may worship them. In other words, the danger is one always associated, by the instinct of folk-lore, with forests; it is _enchantment_, or the fixed loss of oneself in some unnatural captivity or spiritual servitude. And in the evolution of Germanism, from Hoffmann to Hauptmann, we do see this growing tendency to take horror seriously, which is diabolism. The German begins to have an eerie abstract sympathy with the force and fear he describes, as distinct from their objective. The German is no longer sympathising with the boy against the goblin, but rather with the goblin against the boy. There goes with it, as always goes with idolatry, a dehumanised seriousness; the men of the