PAYING ATTENTION TO MOVEMENT.—The movement of the sentences shows whether the author be tired. Individual expressions may nevertheless be still strong and good, because they were invented earlier and for their own sake, when the thought first flashed across the author’s mind. This is frequently the case with Goethe, who too often dictated when he was tired. 90. “ALREADY” AND “STILL.”—_A._ German prose is still very young. Goethe declares that Wieland is its father. _B._ So young and already so ugly! _C._ But, so far as I am aware, Bishop Ulfilas already wrote German prose, which must therefore be fifteen hundred years old. _B._ So old and still so ugly! 91. ORIGINAL GERMAN.—German prose, which is really not fashioned on any pattern and must be considered an original creation of German taste, should give the eager advocate of a future original German culture an indication of how real German dress, German society, German furniture, German meals would look without the imitation of models.—Some one who had long reflected on these vistas finally cried in great horror, “But, Heaven help us, perhaps we already have that original culture—only we don’t like to talk about it!” 92. FORBIDDEN BOOKS.—One should never read anything written by those arrogant wiseacres and puzzle-brains who have the detestable vice of logical paradox. They apply _logical_ formulæ just where everything is really improvised at random and built in the air. (“Therefore” with them means, “You idiot of a reader, this ‘therefore’ does not exist for you, but only for me.” The answer to this is: “You idiot of a writer, then why do you write?”) 93. DISPLAYING ONE’S WIT.—Every one who wishes to display his wit thereby proclaims that he has also a plentiful lack of wit. That vice which clever Frenchmen have of adding a touch of _dédain_ to their best ideas arises from a desire to be considered richer than they really are. They wish to be carelessly generous, as if weary of continual spending from overfull treasuries. 94. FRENCH AND GERMAN LITERATURE.—The misfortune of the French and German literature of the last hundred years is that the Germans ran away too early from the French school, and the French, later on, went too early to the German school. 95.