I take it that you are now beginning to understand the value I set on Strauss the Writer. You are beginning to realise that I regard him as a mummer who would parade as an artless genius and classical writer. When Lichtenberg said, "A simple manner of writing is to be recommended, if only in view of the fact that no honest man trims and twists his expressions," he was very far from wishing to imply that a simple style is a proof of literary integrity. I, for my part, only wish that Strauss the Writer had been more upright, for then he would have written more becomingly and have been less famous. Or, if he would be a mummer at all costs, how much more would he not have pleased me if he had been a better mummer--one more able to ape the guileless genius and classical author! For it yet remains to be said that Strauss was not only an inferior actor but a very worthless stylist as well. XI. Of course, the blame attaching to Strauss for being a bad writer is greatly mitigated by the fact that it is extremely difficult in Germany to become even a passable or moderately good writer, and that it is more the exception than not, to be a really good one. In this respect the natural soil is wanting, as are also artistic values and the proper method of treating and cultivating oratory. This latter accomplishment, as the various branches of it, _i.e._ drawing-room, ecclesiastical and Parliamentary parlance, show, has not yet reached the level of a national style; indeed, it has not yet shown even a tendency to attain to a style at all, and all forms of language in Germany do not yet seem to have passed a certain experimental stage. In view of these facts, the writer of to-day, to some extent, lacks an authoritative standard, and he is in some measure excused if, in the matter of language, he attempts to go ahead of his own accord. As to the probable result which the present dilapidated condition of the German language will bring about, Schopenhauer, perhaps, has spoken most forcibly. "If the existing state of affairs continues," he says, "in the year 1900 German classics will cease to be understood, for the simple reason that no other language will be known, save the trumpery jargon of the noble present, the chief characteristic of which is impotence." And, in truth, if one turn to the latest periodicals, one will find German philologists and grammarians already giving expression to the view that our classics can no longer serve us as examples of style, owing to the fact that they constantly use words, modes of speech, and syntactic arrangements which are fast dropping out of currency. Hence the need of collecting specimens of the finest prose that has been produced by our best modern writers, and of offering them as examples to be followed, after the style of Sander's pocket dictionary of bad language. In this book, that repulsive monster of style Gutzkow appears as a classic, and, according to its