If, however, real culture takes unity of style for granted (and even an inferior and degenerate culture cannot be imagined in which a certain coalescence of the profusion of forms has not taken place), it is just possible that the confusion underlying the Culture-Philistine's error may arise from the fact that, since he comes into contact everywhere with creatures cast in the same mould as himself, he concludes that this uniformity among all "scholars" must point to a certain uniformity in German education--hence to culture. All round him, he sees only needs and views similar to his own; wherever he goes, he finds himself embraced by a ring of tacit conventions concerning almost everything, but more especially matters of religion and art. This imposing sameness, this tutti unisono which, though it responds to no word of command, is yet ever ready to burst forth, cozens him into the belief that here a culture must be established and flourishing. But Philistinism, despite its systematic organisation and power, does not constitute a culture by virtue of its system alone; it does not even constitute an inferior culture, but invariably the reverse--namely, firmly established barbarity. For the uniformity of character which is so apparent in the German scholars of to-day is only the result of a conscious or unconscious exclusion and negation of all the artistically productive forms and requirements of a genuine style. The mind of the cultured Philistine must have become sadly unhinged; for precisely what culture repudiates he regards as culture itself; and, since he proceeds logically, he succeeds in creating a connected group of these repudiations--a system of non-culture, to which one might at a pinch grant a certain "unity of style," provided of course it were Ot nonsense to attribute style to barbarity. If he have to choose between a stylish act and its opposite, he will invariably adopt the latter, and, since this rule holds good throughout, every one of his acts bears the same negative stamp. Now, it is by means of this stamp that he is able to identify the character of the "German culture," which is his own patent; and all things that do not bear it are so many enemies and obstacles drawn up against him. In the presence of these arrayed forces the Culture-Philistine either does no more than ward off the blows, or else he denies, holds his tongue, stops his ears, and refuses to face facts. He is a negative creature--even in his hatred and animosity. Nobody, however, is more disliked by him than the man who regards him as a Philistine, and tells him what he is--namely, the barrier in the way of all powerful men and creators, the labyrinth for all who doubt and go astray, the swamp for all the weak and the weary, the fetters of those who would run towards lofty goals, the poisonous mist that chokes all germinating hopes, the scorching sand to all those German thinkers who seek for, and thirst after, a new life. For the mind of