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"Only by means of such discipline can the young man acquire that physical loathing for the beloved and much-admired 'elegance' of style of our newspaper manufacturers and novelists, and for the 'ornate style' of our literary men; by it alone is he irrevocably elevated at a stroke above a whole host of absurd questions and scruples, such, for instance, as whether Auerbach and Gutzkow are really poets, for his disgust at both will be so great that he will be unable to read them any longer, and thus the problem will be solved for him. Let no one imagine that it is an easy matter to develop this feeling to the extent [Pg 59]necessary in order to have this physical loathing; but let no one hope to reach sound sthetic judgments along any other road than the thorny one of language, and by this I do not mean philological research, but self-discipline in one's mother-tongue.

"Everybody who is in earnest in this matter will have the same sort of experience as the recruit in the army who is compelled to learn walking after having walked almost all his life as a dilettante or empiricist. It is a hard time: one almost fears that the tendons are going to snap and one ceases to hope that the artificial and consciously acquired movements and positions of the feet will ever be carried out with ease and comfort. It is painful to see how awkwardly and heavily one foot is set before the other, and one dreads that one may not only be unable to learn the new way of walking, but that one will forget how to walk at all. Then it suddenly become noticeable that a new habit and a second nature have been born of the practised movements, and that the assurance and strength of the old manner of walking returns with a little more grace: at this point one begins to realise how difficult walking is, and one feels in a position to laugh at the untrained empiricist or the elegant dilettante. Our 'elegant' writers, as their style shows, have never learnt 'walking' in this sense, and in our public schools, as our other writers show, no one learns walking either. Culture begins, however, with the correct movement of the language: and once it has properly begun, it begets that physical [Pg 60]sensation in the presence of 'elegant' writers which is known by the name of 'loathing.'

"We recognise the fatal consequences of our present public schools, in that they are unable to inculcate severe and genuine culture, which should consist above all in obedience and habituation; and that, at their best, they much more often achieve a result by stimulating and kindling scientific tendencies, is shown by the hand which is so frequently seen uniting scholarship and barbarous taste, science and journalism. In a very large majority of cases to-day we can observe how sadly our scholars fall short of the standard of culture which the efforts of Goethe, Schiller, Lessing, and Winckelmann established; and this falling short shows itself precisely in the egregious errors which the men we speak of are exposed to, equally among literary historians—whether Gervinus or Julian Schmidt—as in any other company; everywhere, indeed, where men and women converse. It shows itself most frequently and painfully, however, in pedagogic spheres, in the literature of public schools. It can be proved that the only value that these men have in a real educational establishment has not been mentioned, much less generally recognised for half a century: their value as preparatory leaders and mystogogues of classical culture, guided by whose hands alone can the correct road leading to antiquity be found.

"Every so-called classical education can have but one natural starting-point—an artistic, earnest, and exact familiarity with the use of the [Pg 61]mother-tongue: this, together with the secret of form, however, one can seldom attain to of one's own accord, almost everybody requires those great leaders and tutors and must place himself in their hands. There is, however, no such thing as a classical education that could grow without this inferred love of form. Here, where the power of discerning form and barbarity gradually awakens, there appear the pinions which bear one to the only real home of culture—ancient Greece. If with the solitary help of those pinions we sought to reach those far-distant and diamond-studded walls encircling the stronghold of Hellenism, we should certainly not get very far; once more, therefore, we need the same leaders and tutors, our German classical writers, that we may be borne up, too, by the wing-strokes of their past endeavours—to the land of yearning, to Greece.

"Not a suspicion of this possible relationship between our classics and classical education seems to have pierced the antique walls of public schools. Philologists seem much more eagerly engaged in introducing Homer and Sophocles to the young souls of their pupils, in their own style, calling the result simply by the unchallenged euphemism: 'classical education.' Let every one's own experience tell him what he had of Homer and Sophocles at the hands of such eager teachers. It is in this department that the greatest number of deepest deceptions occur, and whence misunderstandings are inadvertently spread. In German public schools I have never yet found a trace of what might really be called 'classical education,' and there is nothing surprising in this when one thinks of the way in [Pg 62]which these institutions have emancipated themselves from German classical writers and the discipline of the German language. Nobody reaches antiquity by means of a leap into the dark, and yet the whole method of treating ancient writers in schools, the plain commentating and paraphrasing of our philological teachers, amounts to nothing more than a leap into the dark.

"The feeling for classical Hellenism is, as a matter of fact, such an exceptional outcome of the most energetic fight for culture and artistic talent that the public school could only have professed to awaken this feeling owing to a very crude misunderstanding. In what age? In an age which is led about blindly by the most sensational desires of the day, and which is not aware of the fact that, once that feeling for Hellenism is roused, it immediately becomes aggressive and must express itself by indulging in an incessant war with the so-called culture of the present. For the public school boy of to-day, the Hellenes as Hellenes are dead: yes, he gets some enjoyment out of Homer, but a novel by Spielhagen interests him much more: yes, he swallows Greek tragedy and comedy with a certain relish, but a thoroughly modern drama, like Freitag's 'Journalists,' moves him in quite another fashion. In regard to all ancient authors he is rather inclined to speak after the manner of the sthete, Hermann Grimm, who, on one occasion, at the end of a tortuous essay on the Venus of Milo, asks himself: 'What does this goddess's form mean to me? Of what use are the thoughts she suggests to me? Orestes and OEdipus, Iphigenia and [Pg 63]Antigone, what have they in common with my heart?'—No, my dear public school boy, the Venus of Milo does not concern you in any way, and concerns your teacher just as little—and that is the misfortune, that is the secret of the modern public school. Who will conduct you to the land of culture, if your leaders are blind and assume the position of seers notwithstanding? Which of you will ever attain to a true feeling for the sacred seriousness of art, if you are systematically spoiled, and taught to stutter independently instead of being taught to speak; to stheticise on your own account, when you ought to be taught to approach works of art almost piously; to philosophise without assistance, while you ought to be compelled to listen to great thinkers. All this with the result that you remain eternally at a distance from antiquity and become the servants of the day.