"I think," said Lothair, "you are forgetting one recent story in which this said mingling of the brightly Intellectual (verging sometimes on the comic) with the Terrific is very finely managed, and in which the full effectiveness of the old-world sort of devil-spook-story is carried out in a masterly manner. I mean Fouqué's splendid tale, the 'Galgenmännlein.'[1] The terribly vivacious little creature in the phial--who comes out of it at night, and lays himself down on the breast of that master of his, who has such awful dreams--the fearsome man in the mountain glen, with his great coal-black steed which crawls up the perpendicular cliffs like a fly on a wall--in short, all the uncanny and supernatural elements which are present in the story in such plentiful measure--together rivet and strain the attention to an extent absolutely frightening; it affects one like some powerful drink, which immensely excites the senses and at the same time sheds a beneficent warmth through the heart. It is owing to the tone which pervades it all through, and to the vividness of the separate pictures, that, although at the end one is thoroughly delighted that the poor wretch does get out of the Devil's clutches, still, the element of the Intellectuality of the evil beings, and the scenes which touch upon the realm of comedy (such as the part about the 'Half Heller') stand out with the principal high-lights upon them. I scarcely can think of any tale of _diablerie_ which has produced such an impression upon me." [Footnote 1: Known in English as "The Bottle Imp."] "There can't be much doubt," said Theodore, "that Fouqué got the materials for that story out of some old chronicle." "Even if he did," Lothair said, "I should hope you wouldn't detract from the author's merit on that score, like the more common class of critics, whose peculiar system obliges them always to try and find out the fundamental materials from which a writer has 'taken' his work. They make immense capital out of pointing out said source, and look down with great contempt on the wretched author who merely kneads his characters together out of a pre-existent dough. As if it mattered that the author absorbed into himself germs from without him! The shaping of the material is the important part of the business. We ought to think of our Patron Saint Serapion. His stories were told out of his soul as he had seen them with his eyes, not as he had read about them." "You do me much injustice, Lothair," said Theodore, "if you suppose I am of any other opinion. And there is nobody who has shown more admirably how a subject may be vividly represented than Heinrich Kleist in his tale of Kohlhaas, the horse dealer."