all--absolutely requires a costume: he needs history as a storeroom
of costumes. To be sure, he notices that none of the costumes fit him
properly--he changes and changes. Let us look at the nineteenth century
with respect to these hasty preferences and changes in its masquerades
of style, and also with respect to its moments of desperation on account
of "nothing suiting" us. It is in vain to get ourselves up as romantic,
or classical, or Christian, or Florentine, or barocco, or "national,"
in moribus et artibus: it does not "clothe us"! But the "spirit,"
especially the "historical spirit," profits even by this desperation:
once and again a new sample of the past or of the foreign is tested,
put on, taken off, packed up, and above all studied--we are the first
studious age in puncto of "costumes," I mean as concerns morals,
articles of belief, artistic tastes, and religions; we are prepared as
no other age has ever been for a carnival in the grand style, for the
most spiritual festival--laughter and arrogance, for the transcendental
height of supreme folly and Aristophanic ridicule of the world. Perhaps
we are still discovering the domain of our invention just here, the
domain where even we can still be original, probably as parodists of
the world's history and as God's Merry-Andrews,--perhaps, though nothing
else of the present have a future, our laughter itself may have a
future!