A corpse is a pleasant thought for a worm, and a worm is a dreadful thought for every living creature. Worms fancy their kingdom of heaven in a fat body; professors of philosophy seek theirs in rummaging among Schopenhauer's entrails, and as long as rodents exist, there will exist a heaven for rodents. In this, we have the answer to our first question: How does the believer in the new faith picture his heaven? The Straussian Philistine harbours in the works of our great poets and musicians like a parasitic worm whose life is destruction, whose admiration is devouring, and whose worship is digesting. Now, however, our second question must be answered: How far does the courage lent to its adherents by this new faith extend? Even this question would already have been answered, if courage and pretentiousness had been one; for then Strauss would not be lacking even in the just and veritable courage of a Mameluke. At all events, the "becoming modesty" of which Strauss speaks in the above-mentioned passage, where he is referring to Beethoven, can only be a stylistic and not a moral manner of speech. Strauss has his full share of the temerity to which every successful hero assumes the right: all flowers grow only for him--the conqueror; and he praises the sun because it shines in at his window just at the right time. He does not even spare the venerable old universe in his eulogies--as though it were only now and henceforward sufficiently sanctified by praise to revolve around the central monad David Strauss. The universe, he is happy to inform us, is, it is true, a machine with jagged iron wheels, stamping and hammering ponderously, but: "We do not only find the revolution of pitiless wheels in our world-machine, but also the shedding of soothing oil" (p. 435). The universe, provided it submit to Strauss's encomiums, is not likely to overflow with gratitude towards this master of weird metaphors, who was unable to discover better similes in its praise. But what is the oil called which trickles down upon the hammers and stampers? And how would it console a workman who chanced to get one of his limbs caught in the mechanism to know that this oil was trickling over him? Passing over this simile as bad, let us turn our attention to another of Strauss's artifices, whereby he tries to ascertain how he feels disposed towards the universe; this question of Marguerite's, "He loves me--loves me not--loves me?" hanging on his lips the while. Now, although Strauss is not telling flower-petals or the buttons on his waistcoat, still what he does is not less harmless, despite the fact that it needs perhaps a little more courage. Strauss wishes to make certain whether his feeling for the "All" is either paralysed or withered, and he pricks himself; for he knows that one can prick a limb that is either paralysed or withered without causing any pain. As a matter of fact, he does not really prick himself, but