The mature mind regards such impulses questioningly, and looks from the romantic children to the uninspired and uninspiring monuments of 1914 Germany. What sort of a Germany will it be fifty years hence, one asks. Not the old set up again. But if a new Germany, what will it be like and wherein will it excel?
The scenery of these years will no doubt be cleared away. In several ways Germany has excellence and possibilities of great service to humanity. In original research and invention, in applied science and in science itself, in scholarship, and in social and industrial development and organization, the German has shown himself to be a pioneer. In these pacific domains Germany was in happy rivalry for the leadership of the world. In several of them Germany actually was leader. It is very unfortunate that the war should continue to strike at these. And it would be idle to deny that those Germans whose work serves humanity as a whole have in any way escaped the crippling effect of the downfall of the State. In fact, the educated people have been hit most, and are most threatened.
Moreover, the atmosphere of Germany in these days is not creative. A black finger is pointing threateningly from the sky. The enormity of the punishment which Fate threatens is incredibly great, and yet it keeps threatening. It is perpetually:
The Ides of March are come,
Aye Caesar, but not gone.
The first of May has come, the thirteenth of May has come, and so forth. The line trees are arrayed in tender green, and anon blossom along the length of the Unter den Linden, but it is not Germany's new summer, and it has that irrelevance which the murderer remarks when he is being led some beautiful spring morning to the scaffold to be killed. It was a fine morning, but not for him.
It is only too natural for the educated man to look out morbidly from the eye-gate of the soul. Thus R——, whose fine work on Central Asia was published gratis by some learned society in England before the war, says, "I will renounce my German nationality and become English as soon as your Home Office will let me. Germany is going to be no place for men of brains." Thus the famous theologian Harnack, having completed his latest work, speaks of circulating it only in manuscript as he is in no position to have it printed. Thus Z——, the chemist and metallurgist, has taken his laboratory and his assistants to Switzerland to escape the spiritual paralysis which has overtaken his native land.
Doubtless this black will-to-the-nothing is reflected in many lives in Germany, and in many spheres of activity. Nietzsche anticipated it, though of course, he did not ask for Germany the psychology of one who has been beaten, the evil resentful frame of mind. This latter is strongly exemplified on the serious stage, not serenely and universally, but tinged and circumstanced by Germany's downfall—the what-does-it-matter-that-Sophocles-was-great-if-Germany-is-no-more point of view.
"Richard III" at the State Opera House was a strange performance. It was about the time of the Shakespeare Day celebration which Germany keeps once a year. All the newspapers devoted articles to Shakespeare, and one felt truly that a great master of words and of men was more honoured in ex-enemy Germany than in the land of his birth. And that should have been good for Germany; Shakespeare is universal, and it takes the universal to cleanse the national. As a German philosopher has said, it needs an ocean to receive such a muddy stream as man.
"Richard III," however, showed what the war-spirit can make of Shakespeare. It was interpreted in the pedantic historical vein, and was given as a bloody, brutal mediaeval piece without a thought or a smile or a tear. Richard was shown as a "Hun" of the worst kind. His murderous career was facilitated by his characterless victims. Anne was a "characteristic English hypocrite," pretending to mourn her husband, and yet quite ready to marry Gloucester as "the average Englishwoman would do if the proposal were made." Clarence had no poetry in his soul, and was not even allowed to touch you by his dream in the Tower. Richard said his conscience-stricken, soul-torturing speech—"Richard loves Richard, that is I am I." in a matter-of-fact way. It is a great tragic note in Shakespeare, but in Berlin it was quite a playful matter. Just as the murderers played at murdering Clarence, so Richard joked with himself over, "is there a murderer here—Yes, I am."
The only way to explain such a Richard III to the audience was to suggest—That is the sort of people the English are—thank their God for their humility whilst in reality they stick at nothing to gain their private ends, and are not troubled with conscience.