"In spite of it all, he is still a classical writer." Well, let us see! Perhaps we may now be allowed to discuss Strauss the stylist and master of language; but in the first place let us inquire whether, as a literary man, he is equal to the task of building his house, and whether he really understands the architecture of a book. From this inquiry we shall be able to conclude whether he is a respectable, thoughtful, and experienced author; and even should we be forced to answer "No" to these questions, he may still, as a last shift, take refuge in his fame as a classical prose-writer. This last-mentioned talent alone, it is true, would not suffice to class him with the classical authors, but at most with the classical improvisers and virtuosos of style, who, however, in regard to power of expression and the whole planning and framing of the work, reveal the awkward hand and the embarrassed eye of the bungler. We therefore put the question, whether Strauss really possesses the artistic strength necessary for the purpose of presenting us with a thing that is a whole, _totum ponere_? As a rule, it ought to be possible to tell from the first rough sketch of a work whether the author conceived the thing as a whole, and whether, in view of this original conception, he has discovered the correct way of proceeding with his task and of fixing its proportions. Should this most important Part of the problem be solved, and should the framework of the building have been given its most favourable proportions, even then there remains enough to be done: how many smaller faults have to be corrected, how many gaps require filling in! Here and there a temporary partition or floor was found to answer the requirements; everywhere dust and fragments litter the ground, and no matter where we look, we see the signs of work done and work still to be done. The house, as a whole, is still uninhabitable and gloomy, its walls are bare, and the wind blows in through the open windows. Now, whether this remaining, necessary, and very irksome work has been satisfactorily accomplished by Strauss does not concern us at present; our question is, whether the building itself has been conceived as a whole, and whether its proportions are good? The reverse of this, of course, would be a compilation of fragments--a method generally adopted by scholars. They rely upon it that these fragments are related among themselves, and thus confound the logical and the artistic relation between them. Now, the relation between the four questions which provide the chapter-headings of Strauss's book cannot be called a logical one. Are we still Christians? Have we still a religion? What is our conception of the universe? What is our rule of life? And it is by no means contended that the relation is illogical simply because the third question has nothing to do with the second, nor the fourth with the third, nor all three with the first. The