Schopenhauer almost constantly wanders, not with impunity, among symbols of objects rather than among the objects themselves).—On the other hand, what clearness and graceful precision there is in these Frenchmen! The Greeks, whose ears were most refined, could not but have approved of this art, and one quality they would even have admired and reverenced—the French verbal wit: they were extremely fond of this quality, without being particularly strong in it themselves. 215. FASHION AND MODERNITY.—Wherever ignorance, uncleanness, and superstition are still rife, where communication is backward, agriculture poor, and the priesthood powerful, national costumes are still worn. Fashion, on the other hand, rules where the opposite conditions prevail. Fashion is accordingly to be found next to the virtues in modern Europe. Are we to call it their seamy side?—Masculine dress that is fashionable and no longer national proclaims of its wearer: firstly, that he does not wish to appear as an individual or as member of a class or race; that he has made an intentional suppression of these kinds of vanity a law unto himself: secondly, that he is a worker, and has little time for dressing and self-adornment, and moreover regards anything expensive or luxurious in material and cut as out of harmony with his work: lastly, that by his clothes he indicates the more learned and intellectual callings as those to which he stands or would like to stand nearest as a European—whereas such national costumes as still exist would exhibit the occupations of brigand, shepherd, and soldier as the most desirable and distinguished. Within this general character of masculine fashion exist the slight fluctuations demanded by the vanity of young men, the dandies and dawdlers of our great cities—in other words, Europeans who have not yet reached maturity.—European women are as yet far less mature, and for this reason the fluctuations with them are much greater. They also will not have the national costume, and hate to be recognised by their dress as German, French, or Russian. They are, however, very desirous of creating an impression as individuals. Then, too, their dress must leave no one in doubt that they belong to one of the more reputable classes of society (to “good” or “high” or “great” society), and on this score their pretensions are all the greater if they belong scarcely or not at all to that class. Above all, the young woman does not want to wear what an older woman wears, because she thinks she loses her market value if she is suspected of being somewhat advanced in years. The older woman, on the other hand, would like to deceive the world as long as possible by a youthful garb. From this competition must continually arise temporary fashions, in which the youthful element is unmistakably and inimitably apparent. But after the inventive genius of the young female artists has run riot for some time in such indiscreet revelations of youth (or rather, after the