_5 p.m._--Reuter reports the Verdun battle is going satisfactorily. One imagines that the German Kultur Geist must be bilious by this time, according to the numbers they are offering at his shrine. I am wondering how Nietzsche's Zarathusa would speak now if he saw the Verdun shambles. And what his blonde-haired, pink-limbed Über Mensch would say about it too. Somehow I can see old Rudolf Eucken at Jena with outspread hands invoking "Schicksal" (destiny) as once he used to "Die Unendigkeit, Die Ewigkeit." Deep down in the German nature is a connative impulse towards the dramatic, and this is fed by a presentiment coloured with all the hues of harmony sweetest to them. It is not unknown for students at Jena and Heidelberg to extract such exquisite juice out of the word "Unendigkeit" (Immortality) or "Ewigkeit" (Eternity) as to become intoxicated therewith and commit suicide shortly after in the pine forest, or near a ruined "Schloss" (castle) what time the sun sets. He loves the experience of the actor, likes to feel his gamut of emotions considerably twanged. This dramatic tendency showed itself on the occasion of that delicious utterance of the Kaiser on the eve of the Great War: "Now let my ministers put their hands through mine in token of fidelity, and let the nation follow me through Need and Death." Now, the Roman did this sort of thing rather well, but the German makes an ass of himself. One feels the Kaiser said it to see how it felt to say it. The Germans tell us they are doing well, but I believe there is a sight becoming more familiar to their eyes, a phenomenon it is their daily delight and wish to behold, and that is the altar of this "Schicksal"--Fate. The Germans think in battalions. They have yet once again to go mad as a nation, as they did on the outbreak of war--absolutely "verrückt,"--and to bolt with competitive haste towards the national funeral pyre. They are not fanatics. They are temperamentalists--and from the spleen of a German musician it is said that in a successful operation you can cut a piece of temperament nine inches long and twenty-five ounces in weight. Apropos of this general digression one may consider their "New Year's Picture" of "Tod" (Death), of which a copy reached us in the autumn of 1914 in France, and cheered us up considerably. "Tod" (please pronounce "toad"), an awfully unpleasant looking "Death," a snobbish skeleton with a bad seat, rode a heavy horse through a smitten land, a tremendous scythe over his shoulder and his metacarpal bones holding his reins incorrectly. The scythe flung a gigantic shadow, and as for Tod, his shadow reached almost to the horizon over black, burned villages, sacked cities, and many corpses. The horse had reached a double signpost which showed the way to St. Petersburg and the way to Paris. But, more interesting still, the skeleton had the lantern jaws of a Prussian. Fancy turning such a fellow loose! Truly the "God of Want and Rapine and