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If literature were a criterion of a people's worth, England would stand very high indeed.But such a criterion would be unfair to peoples like the Romans or Americans who have excelledin action rather than expression. As the dream expresses the unconscious wishes and fears of theindividual, so literature with the other arts betrays the unconscious spirit of a people.Literature reveals their hopes and their fears, and it is but natural that its exponents should be of

that type of humanity which is closest to nature and the unconscious. The more a people is

dominated by its conscious, the less will it express itself in literature although by a strange

exception it may do so in music. Thus the Greeks, with their strong Mediterranean admixture,

rank high in the world of letters; Germany also, before the Prussian domination; for both could

give free rein to their unconscious impulse; because she could not, Rome ranks low. But there

are two elements in art and literature; the dynamic and the static, inspiration and control; theformer is a long-headed character, and the latter short-headed. Thus peoples deficient in oneor the other element are deficient in expression. The Irish incline to exhibit too muchexuberance, the Romans too little.England is fortunate in the same way as the Greeks in having the two racial elementspowerfully developed. The Nordic is not a maker of literature, nor does he understand it, but heis nevertheless often a good patron. Our creative writers have been mainly of the Mediterraneantype and Keats was an outstanding example; the architectonics and moral fibre of Shakespeare onthe other hand betray a short-headed strain, which reminds us that the true Nordic makes onegreat contribution to literature in that he at least inspires great poetry; thus Nordic heroes are thegreat figures of the Homeric poems, of the Sagas, whilst Shakespeare presents us with a galaxy.Since a people tends to work off its complexes and obsessions in its poetry, it generallyfollows that the literature of fear is greater than the literature of joy, for in the former the

unconscious has freer play. Thus the Greeks excelled in tragedy while the Romans, practical men

of action, made no mark therein. We are reminded again of the difference between the Protestant

spirit and the Catholic, or between the Alpine and the Mediterranean, the former dominating God

and the second dominated by Him. The Romans had little fear from the outside world,although tradition led them to toy with it; but with the Greeks this fear, together with a dread of incest arising from a pristine uncertainty in marital relations, was a real dread which inspirestheir greatest work