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254. Even at present France is still the seat of the most intellectual
and refined culture of Europe, it is still the high school of taste; but
one must know how to find this "France of taste." He who belongs to it
keeps himself well concealed:--they may be a small number in whom it
lives and is embodied, besides perhaps being men who do not stand upon
the strongest legs, in part fatalists, hypochondriacs, invalids, in
part persons over-indulged, over-refined, such as have the AMBITION to
conceal themselves.

They have all something in common: they keep their ears closed in
presence of the delirious folly and noisy spouting of the democratic
BOURGEOIS. In fact, a besotted and brutalized France at present sprawls
in the foreground--it recently celebrated a veritable orgy of bad taste,
and at the same time of self-admiration, at the funeral of Victor Hugo.
There is also something else common to them: a predilection to resist
intellectual Germanizing--and a still greater inability to do so!
In this France of intellect, which is also a France of pessimism,
Schopenhauer has perhaps become more at home, and more indigenous than
he has ever been in Germany; not to speak of Heinrich Heine, who has
long ago been re-incarnated in the more refined and fastidious lyrists
of Paris; or of Hegel, who at present, in the form of Taine--the FIRST
of living historians--exercises an almost tyrannical influence. As
regards Richard Wagner, however, the more French music learns to
adapt itself to the actual needs of the AME MODERNE, the more will it
"Wagnerite"; one can safely predict that beforehand,--it is already
taking place sufficiently! There are, however, three things which the
French can still boast of with pride as their heritage and possession,
and as indelible tokens of their ancient intellectual superiority
in Europe, in spite of all voluntary or involuntary Germanizing and
vulgarizing of taste. FIRSTLY, the capacity for artistic emotion, for
devotion to "form," for which the expression, L'ART POUR L'ART, along
with numerous others, has been invented:--such capacity has not been
lacking in France for three centuries; and owing to its reverence for
the "small number," it has again and again made a sort of chamber
music of literature possible, which is sought for in vain elsewhere
in Europe.--The SECOND thing whereby the French can lay claim to
a superiority over Europe is their ancient, many-sided, MORALISTIC
culture, owing to which one finds on an average, even in the petty
ROMANCIERS of the newspapers and chance BOULEVARDIERS DE PARIS, a
psychological sensitiveness and curiosity, of which, for example, one
has no conception (to say nothing of the thing itself!) in Germany.
The Germans lack a couple of centuries of the moralistic work requisite
thereto, which, as we have said, France has not grudged: those who call
the Germans "naive" on that account give them commendation for a defect.
(As the opposite of the German inexperience and innocence IN VOLUPTATE
PSYCHOLOGICA, which is not too remotely associated with the tediousness
of German intercourse,--and as the most successful expression of
genuine French curiosity and inventive talent in this domain of delicate
thrills, Henri Beyle may be noted; that remarkable anticipatory and
forerunning man, who, with a Napoleonic TEMPO, traversed HIS Europe,
in fact, several centuries of the European soul, as a surveyor and
discoverer thereof:--it has required two generations to OVERTAKE him
one way or other, to divine long afterwards some of the riddles
that perplexed and enraptured him--this strange Epicurean and man of
interrogation, the last great psychologist of France).--There is yet
a THIRD claim to superiority: in the French character there is a
successful half-way synthesis of the North and South, which makes them
comprehend many things, and enjoins upon them other things, which an
Englishman can never comprehend. Their temperament, turned alternately
to and from the South, in which from time to time the Provencal and
Ligurian blood froths over, preserves them from the dreadful, northern
grey-in-grey, from sunless conceptual-spectrism and from poverty of
blood--our GERMAN infirmity of taste, for the excessive prevalence
of which at the present moment, blood and iron, that is to say "high
politics," has with great resolution been prescribed (according to
a dangerous healing art, which bids me wait and wait, but not yet
hope).--There is also still in France a pre-understanding and
ready welcome for those rarer and rarely gratified men, who are too
comprehensive to find satisfaction in any kind of fatherlandism, and
know how to love the South when in the North and the North when in the
South--the born Midlanders, the "good Europeans." For them BIZET
has made music, this latest genius, who has seen a new beauty and
seduction,--who has discovered a piece of the SOUTH IN MUSIC.

255. I hold that many precautions should be taken against German music.
Suppose a person loves the South as I love it--as a great school
of recovery for the most spiritual and the most sensuous ills, as a
boundless solar profusion and effulgence which o'erspreads a sovereign
existence believing in itself--well, such a person will learn to be
somewhat on his guard against German music, because, in injuring his
taste anew, it will also injure his health anew. Such a Southerner, a
Southerner not by origin but by BELIEF, if he should dream of the future
of music, must also dream of it being freed from the influence of the
North; and must have in his ears the prelude to a deeper, mightier, and
perhaps more perverse and mysterious music, a super-German music, which
does not fade, pale, and die away, as all German music does, at the
sight of the blue, wanton sea and the Mediterranean clearness of sky--a
super-European music, which holds its own even in presence of the brown
sunsets of the desert, whose soul is akin to the palm-tree, and can be
at home and can roam with big, beautiful, lonely beasts of prey... I
could imagine a music of which the rarest charm would be that it knew
nothing more of good and evil; only that here and there perhaps some
sailor's home-sickness, some golden shadows and tender weaknesses might
sweep lightly over it; an art which, from the far distance, would see
the colours of a sinking and almost incomprehensible MORAL world fleeing
towards it, and would be hospitable enough and profound enough to
receive such belated fugitives.