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Christianity — and that is its greatest merit — has somewhat mitigated that brutal German love of war, but it could not destroy it. Should that subduing talisman, the cross, be shattered, the frenzied madness of the ancient warriors, that insane Berserk rage of which Nordic bards have spoken and sung so often, will once more burst into flame. This talisman is fragile, and the day will come when it will collapse miserably. Then the ancient stony gods will rise from the forgotten debris and rub the dust of a thousand years from their eyes, and finally Thor with his giant hammer will jump up and smash the Gothic cathedrals. ... Thought precedes action as lightning precedes thunder. German thunder ... comes rolling somewhat slowly, but .. its crash ... will be unlike anything before in the history of the world. [W]hen you hear a crashing such as never before has been heard in the world's history, then you know that the German thunderbolt has fallen at last. At that uproar the eagles of the air will drop dead, and lions in the remotest deserts of Africa will hide in their royal dens. A play will be performed in Germany which will make the French Revolution look like an innocent idyll.

More disturbing than this wilful and self-indulgent use of language was the dismissal of the author as the creator of the work and the denial of objective status to the text. The author gave place to the reader, on the ground that the text has no existence as 'an object exterior to the psyche and history of the man who interprets it'. Since the reader may be any and every reader from now to the end of time, texts were to be regarded as susceptible of an infinite number of meanings, and, since no criteria were proposed by which any meaning could be rejected or accepted, were in fact meaningless. The critic, therefore, regarding it as impossible to fulfill what has always been regarded as his prime duty — to illuminate the author's meaning, now declared to be totally irrecoverable — created meanings within the void (le vide) of the text, or, to put it another way, imported meanings into a text that had no determinate meaning of its own.

Every one who has studied history is familiar with the myths which crowd its pages. I do not mean by this the frankly mythical tales which tell of gods and goddesses, of the divine founders of nations, tribes, and families, or those in which the Middle Ages delighted and which were replete with angels and devils, with witches and sorcerers, with magic and miracles. The myths to which I refer are those which masquerade as history, which are moden as well as ancient, which make no pretence to the supernatural, but which, being either pure invention or a huge growth from some little seed of fact, possess all the characteristics of their great namesakes which have rejoiced the world for centuries, awakened almost every emotion of which the human heart is capable, and from which the historian and the man of science have been able to learn innumerable lessons as to the toughs and beliefs, the hopes and fears, of primitive man. These historical myths grow up silently. Some of them reign for centuries. Modern research has exposed many of ancient lineage and long acceptance, has torn away the mask and revealed them in their true character. Yet the historical myth rarely dies. No exposure seems able to kill it. Expelled from every book of authority, from every dictionary and encyclopedia, it will still live on among the great mass of humanity. The reason for this tenacity of life is not far to seek. The myth, or the tradition, as it is sometimes called, has necessarily a touch of the imagination, and imagination is almost always more fascinating than truth. The historical myth, indeed, would not exist at all if it did not profess to tell something which people for one reason or another, like to believe, and which appeals strongly to some emotion or passion, and so to human nature.