By way of concluding, we shall proceed to give our classical prose-writer the promised examples of his style which we have collected. Schopenhauer would probably have classed the whole lot as "new documents serving to swell the trumpery jargon of the present day"; for David Strauss may be comforted to hear (if what follows can be regarded as a comfort at all) that everybody now writes as he does; some, of course, worse, and that among the blind the one-eyed is king. Indeed, we allow him too much when we grant him one eye; but we do this willingly, because Strauss does not write so badly as the most infamous of all corrupters of German--the Hegelians and their crippled offspring. Strauss at least wishes to extricate himself from the mire, and he is already partly out of it; still, he is very far from being on dry land, and he still shows signs of having stammered Hegel's prose in youth. In those days, possibly, something was sprained in him, some muscle must have been overstrained. His ear, perhaps, like that of a boy brought up amid the beating of drums, grew dull, and became incapable of detecting those artistically subtle and yet mighty laws of sound, under the guidance of which every writer is content to remain who has been strictly trained in the study of good models. But in this way, as a stylist, he has lost his most valuable possessions, and stands condemned to remain reclining, his life long, on the dangerous and barren shifting sand of newspaper style--that is, if he do not wish to fall back into the Hegelian mire. Nevertheless, he has succeeded in making himself famous for a couple of hours in our time, and perhaps in another couple of hours people will remember that he was once famous; then, however, night will come, and with her oblivion; and already at this moment, while we are entering his sins against style in the black book, the sable mantle of twilight is falling upon his fame. For he who has sinned against the German language has desecrated the mystery of all our Germanity. Throughout all the confusion and the changes of races and of customs, the German language alone, as though possessed of some supernatural charm, has saved herself; and with her own salvation she has wrought that of the spirit of Germany. She alone holds the warrant for this spirit in future ages, provided she be not destroyed at the sacrilegious hands of the modern world. "But Di meliora! Avaunt, ye pachyderms, avaunt! This is the German language, by means of which men express themselves, and in which great poets have sung and great thinkers have written. Hands off!" [10]* [Footnote * : Translator's note.--Nietzsche here proceeds to quote those passages he has culled from The Old and the New Faith with which he undertakes to substantiate all he has said relative to Strauss's style; as, however, these passages, with his comments upon them, lose most of their point when rendered into English, it was thought best to omit them altogether.]