By means of our semi-barbarity in body and in desire, we have secret access everywhere, such as a noble age never had; we have access above all to the labyrinth of imperfect civilizations, and to every form of semi-barbarity that has at any time existed on earth; and in so far as the most considerable part of human civilization hitherto has just been semi-barbarity, the "historical sense" implies almost the sense and instinct for everything, the taste and tongue for everything: whereby it immediately proves itself to be an IGNOBLE sense.

For instance, we enjoy Homer once more: it is perhaps our happiest acquisition that we know how to appreciate Homer, whom men of distinguished culture (as the French of the seventeenth century, like Saint-Evremond, who reproached him for his ESPRIT VASTE, and even Voltaire, the last echo of the century) cannot and could not so easily appropriate--whom they scarcely permitted themselves to enjoy.

The very decided Yea and Nay of their palate, their promptly ready disgust, their hesitating reluctance with regard to everything strange, their horror of the bad taste even of lively curiosity, and in general the averseness of every distinguished and self-sufficing culture to avow a new desire, a dissatisfaction with its own condition, or an admiration of what is strange: all this determines and disposes them unfavourably even towards the best things of the world which are not their property or could not become their prey--and no faculty is more unintelligible to such men than just this historical sense, with its truckling, plebeian curiosity.

The case is not different with Shakespeare, that marvelous Spanish-Moorish-Saxon synthesis of taste, over whom an ancient Athenian of the circle of AEschylus would have half-killed himself with laughter or irritation: but we--accept precisely this wild motleyness, this medley of the most delicate, the most coarse, and the most artificial, with a secret confidence and cordiality; we enjoy it as a refinement of art reserved expressly for us, and allow ourselves to be as little disturbed by the repulsive fumes and the proximity of the English populace in which Shakespeare's art and taste lives, as perhaps on the Chiaja of Naples, where, with all our senses awake, we go our way, enchanted and voluntarily, in spite of the drain-odour of the lower quarters of the town.

That as men of the "historical sense" we have our virtues, is not to be disputed:--we are unpretentious, unselfish, modest, brave, habituated to self-control and self-renunciation, very grateful, very patient, very complaisant--but with all this we are perhaps not very "tasteful." Let us finally confess it, that what is most difficult for us men of the "historical sense" to grasp, feel, taste, and love, what finds us fundamentally prejudiced and almost hostile, is precisely the perfection and ultimate maturity in every culture and art, the essentially noble in works and men, their moment of smooth sea and halcyon self-sufficiency, the goldenness and coldness which all things show that have perfected themselves.