第1章

Contents：

Ceres’RunawayAVanquishedManANorthernFancyLaughterHarlequinMercutioTheLittleLanguageAnimaPellegrina!

TheSeaWallTheDaffodilAddressesTheAudienceTithonusTheTowPathTheTetheredConstellationsPopularBurlesqueDryAutumnThePlaidTwoBurdensTheUnreadyTheChildofTumultTheChildofSubsidingTumultCERES’RUNAWAY

OnecanhardlybedullpossessingthepleasantimaginarypictureofaMunicipalityhotinchaseofawildcrop——atleastwhilethecharmingquarryescapes，asitdoesinRome。TheMunicipalitydoesnotexistthatwouldbenimbleenoughtoovertaketheRomangrowthofgreeninthehighplacesofthecity。Itistruethattherehavebeenthefamouscaptures——thoseintheColosseum，andintheBathsofCaracalla；moreoveralessconspicuousrunningtoearthtakesplaceontheAppianWay，insomemilesofthesolitudeoftheCampagna，wheremenareemployedinweedingtheroadside。Theyslowlyuprootthegrassandlayitontheancientstones——rowsoflittlecorpses——forsweepingup，asatUpperTooting；onewonderswhy。ThegovernorsofthecitywillnotsucceedinmakingtheViaAppialookbusy，oritsstrippedstonessuggestiveofathrivingcommerce。Again，atthecemeterywithinthenowtornandshatteredAurelianwallbythePortaSanPaolo，theyareoftenmowingofbuttercups。"Alightoflaughingflowersalongthegrassisspread，"saysShelley，whosechildliesbetweenKeatsandthepyramid。Butacoupleofactivescythesarekeptatworktheresummerandspring——notthatthegrassislong，foritismuchovertoppedbythebee—orchis，butbecauseflowersarenottolaughwithinreachofthecivicvigilance。

Yet，exceptthatitisovertakenandputtodeathintheseaccessibleplaces，thewildsummergrowthofRomehasaprevailingsuccessandvictory。Itbreaksallbounds，fliestothesummits，lodgesinthesun，swingsinthewind，takeswingtofindtheremotestledges，andbloomsaloft。Itmakeslightofthesixteenthcentury，oftheseventeenth，andoftheeighteenth。Asthehistoricagesgrowcolditbantersthemalike。Theflagrantflourishingstatue，thehaughtyfacade，thebrokenpediment（andRomeischieflythecityofthebrokenpediment）aretheopportunitiesofthisvagrantgardenintheair。Onecertainchurch，thatisfullofattitude，canhardlybeawarethatacrimsonsnapdragonofgreatstatureandmanystalksandblossomsisstandingonitsfurthestsummittiptoeagainstitssky。ThecorniceofanotherchurchinthefairmiddleofRomeliftsoutoftheshadowsofthestreetsarowofaccidentalmarigolds。Impartialtotheantique，themediaeval，theRenaissanceearlyandlate，thenewermodern，thiswildsummerfindsitsaccountintravertineandtufa，reticulatedwork，brick，stuccoandstone。"Abirdoftheaircarriesthematter，"orthelastsea—

wind，sombreandsoft，orthelatesttramontana，goldandblue，haslodgedinalittlefertiledustthewildgrass，wildwheat，wildoats!

IfVenushadherrunaway，afterwhomtheElizabethansraisedhueandcry，thisisCeres’。Themunicipalauthorities，hot—foot，cannotcatchit。And，worsethanall，iftheypause，dismayed，tomarktheflightoftheagilefugitivesafeonthearcofaflyingbuttress，ortakingtheplaceofthefallenmosaicsandcolouredtilesofatwelfth—centurytower，andinanycaseinaccessible，thegrassgrowsundertheirdiscomfitedfeet。Itactuallycastsaflushofgreenovertheircitypiazza——thewidelight—greypavementssovastthattokeepthemweededwouldneedanarmyofworkers。Thatarmyhasnotbeenemployed；andgrassgrowsinasmallway，butstillbeautifully，inthewidespacearoundwhichthetramwaycircles。

PerhapsahatredofitsdelightfulpresenceiswhatchieflypromptsthecivicgovernmentinRometotheefforttoturnthepiazzaintoasquare。Theshrubistotaketheplacenotsomuchofthepavementasoftheimportunategrass。Foritishardtobebeaten——andtheweeddoessoprevail，issosmall，andsodominant!Thesuntakesitspart，andonemightalmostimagineasensitiveMunicipalityintears，toseegrassrunning，overheadandunderfoot，throughthe"third"（whichisintruththefourth）Rome。

WhenIsaygrassIusethewordwidely。Italiangrassisnotturf；

itisfullofthings，andtheyarechieflyaromatic。Noricherscentsthrongeachother，closeandwarm，thanthesefromalittlehand—spaceofthegrassonerestson，withinthewallsorontheplain，orintheSabineortheAlbanhills。Moreover，underthenameIwilltakeleavetoincludelettuceasitgrowswithamostwelcomesurpriseoncertainledgesoftheVatican。Thatgreatandbeautifulpalaceispiled，atvariousangles，asitwerehouseuponhouse，heremagnificent，herecareless，butwithnothingpretentiousandnothingfurtive。Andoutsideonelateralwindowonaledgetothesun，prospersthislittlegardenofrandomsalad。BuckinghamPalacehasnothingwhateveroftheVaticandignity，butonecannotwellthinkoflittlecheerfulcabbagessunningthemselvesonanyparapetitmayhaveroundacorner。

Moreover，inItalythevegetables——thetableones——haveawildness，asuggestionofthegrass，fromlandsatlibertyforallthetilling。Wildishpeas，wilderasparagus——thefieldasparaguswhichseemstohavedisappearedfromEngland，butofwhichHerrickboastsinhismanifestationsoffrugality——andstrawberriesmuchlessthanhalf—wayfromthesmallanddarklingonesofthewoodstothepaleandcorpulentofthegardens，andwithnothingofthewildfragrancelost——theseareallItalianthingsofsavagesavourandsimplicity。

Themostcultivatedofallcountries，theItalyoftillage，isyetnotagarden，butsomethingbetter，ashercityisyetnotatownbutsomethingbetter，andherwildernesssomethingbetterthanadesert。Inallthethreethereisatraceofthelittleflyingheelsoftherunaway。

AVANQUISHEDMAN

Haydondiedbyhisownactin1846，anditwasnot，intheevent，until1853thathisjournalwasedited，notbyElizabethBarrettBrowning，ashewished，butbyTomTaylor。Turningoverthesefamiliarandfamousvolumes，oftenread，Iwonderoncemorehowanyeditorwasboldto"takeuponhimselfthemysteryofthings"inthecaseofHaydon，andtoassigntothatvenialmoralfaultorthistheill—fortuneanddefeatthatbesethim，withhardlyapausefortherenewaloftheresistanceofhisadmirablecourage。

Thathemadeamereintellectualmistake，gavethankswithalowlyandloftyheartforageniusdeniedhim，thathepreparedhimselftoanswertoHeavenandearthforthegifthehadnot，tosufferitsreproach，tobearitsburden，andthathelookedforitsreward，isallhishistory。Therewasnofaultoftheintellectinhisapprehensionofthethinghethoughttostandpossessedof。Heconceiveditaright，andhewasjustinhisrebukeofaworldsodullandtrivialbeforetheartforwhichhedied。Heesteemeditaright，exceptwhenhedeemedithis。

Hiseditor，thinkinghimselftobesummonedtojustifythechastisement，thedestruction，thewholeretributionofsuchacareer，lookshereandthereforthesinsofHaydon；thesearchisrewardedwiththediscoveryoffaultssuchaseverymanandwomanentruststothecommongenerosity，thegeneralconsciousness。Itisapitytoseeanymanconningsuchoffencesbyheart，andsettingthemclearinaneditorialjudgementbecausehethinkshimselftoholdatrust，byvirtueofhisbiographicaloffice，toexplainthesufferingsandthefailureofaconqueredman。

What，intheend，arethesinswhicharetoleadthereader，sadbutsatisfied，toconcludewith"Seetheresultof——"，or"Soitevermustbewithhimwhoyieldsto——，"orwhateverelsemaybethemannerofratifyingthesentenceonthecondemnedanddead？Haydon，wehear，omittedtoaskadvice，or，ifheaskedit，didnotshapehiscoursetherebyunlessitpleasedhim。Haydonwasself—willed；

hehadawildvanity，andhehopedhecouldpersuadeallthepowersthatincludethepowersofmantoprospertheworkofwhichhehimselfwassure。Hedidnotwaituponthejudgementoftheworld，butthoughttocompelit。

Shouldhe，then，havewaiteduponthejudgementofsuchaworld？Hewasforemostinthetaskofinstructing，nay，ofcompellingitwhentherewasaquestionofthevalueoftheElginMarbles，andwhenthepossession——whichwasthepreservation——ofthesewasatstake。

Therehewasnotwrong；hisjudgement，thatdealthim，inhisowncause，thefirst，thefatal，thefinalinjury——theinitialsubtleblowthatsenthimonhiscareersowronged，socleftthroughandthrough，thatthemerecourseandactionoflifemustruinhim——thisjudgement，inart，directedhiminthedecisionofthemostmomentousofallpublicquestions。Haydonadmired，wrote，protested，declaimed，andfought；andingreatpart，itseems，weoweourperpetualinstructionbythosejudgesoftheArtswhicharethefragmentsoftheElginsculptures，tothefactthatHaydontrustedhimselfwiththetrustthatworkedhisowndestruction。

Intothepresenceespeciallyofthoseseatedfigures，commonlycalledtheFates，wehabituallybringourartsforsentence。Helentaneffectualhandtothesetting—upofthatTribunalofheadlessstones。

Thethingweshouldlamentisratherthattheworldwhichrefused，neglected，forgothim——andbychance—medleywasright，wasright!——

hadnopossibleauthorityforanythingthatitdidagainsthim，andthathemighthavesentittoschool，forallhisdefectofgenius；

moreover，thathewasmortallywoundedinthelastofhisfortyyearsofbattlebythisironicwound：amongthebadpainterschosentoadorntheHousesofParliamentwithfresco，hewasnotone。Thisaffronthetookatthehandsofmenwhohadnorealdistinctionsintheirgift。Hemightwellhavehad，bymerechance，somegreatcompanionwithwhomtosharethatrejection。Theunfortunatemanhadnosuchfortuitousfellowshipathand。Howstrange，thesolitudeofthebadpainteroutcastbytheworst，andcapableofmakingcommoncauseindomitablywiththegood，hadtherebeenanysuchtotakeheartfromhishighcourage!

Therewasnone。Therewererangedtheunjustjudgeswiththeirblundersallingoodorder，andtheirignorancenewdressed，andtherewasnoartisttodestroyexceptonlythisone，somewhatbetterthantheirfavoured，theirappointedpaintersinfresco；oneuncompanioned，andamanbesidesthroughwhoseheartthepublicreproachwasabletocutkeenly。

IsthissensibilitytobemadeareproachtoHaydon？Ithasalwaysseemedtomethathewasnotwithoutgreatness——yethewasalwayswithoutdignity——inthosemostcruelpassagesofhislife，suchasthatofhisdefeat，towardsthecloseofhiswar，bytheshowofadwarf，towhichallLondonthronged，ledbyRoyalexample，whiletheexhibitionofhispicturewasdeserted。Hewasnotbetrayedbyangeratthisendofhopesandlaboursinwhichallthatamanlivesforhadbeenpledged。Nay，hesucceededinbearingwhatamoreinwardmanwouldhavetakenmorehardly。Hewasabletosayinhisloudvoice，inreproachtotheworld，whatanotherwouldhavebarredwithin：oneofhisgreatpictureswasinacellar，anotherinanattic，anotheratthepawnbroker’s，anotherinagrocer’sshop，anotherunfinishedinhisstudio；thebillsforframesandcoloursandtherentwereunpaid。Somesolaceheevenfoundinstatingafewofthesefacts，inFrench，toaFrenchofficialordiplomaticvisitortoLondon，interestedintheconditionofthearts。Well，whoshalllivewithoutsupport？Amanfindsitwherehecan。

Aftertheseoffencesofself—willandvanityTomTaylorfindsussomeotherlittlething——Ithinkitisinaccuracy。PoorHaydonsaysinonephrasethathepaidallhisfriendsonsuchaday，andinanothersoonfollowingthatthemoneygivenorlenttohimhadbeeninsufficienttopaythemcompletely；andassuredlytherearemanyrevisions，after—thoughts，orotheraccidentstoaccountforsuchaslip。Hiseditorsaysthediscrepancyis"characteristic，"butI

protestIcannotfindanotherlikeitamongthosemelancholypages。

Ifsomethinggravercouldbutbesiftedoutfromallthesejournalsandlettersoffrankconfession，bytheexplainer!Here，then，isthelastandleast：Haydonwasservileinhisaddressto"menofrank。"Buthisservilityseemstobeverymuchinthefashionofhisday——nothinggrosser；andthemenwhosetthefashionhadnottoshapetheirstyletoHaydon’sperpetualpurpose，whichwastoaskforcommissionsorformoney。

Nottheforsakenmanonlybutalsothefallencityevokesthisexerciseofhistoricalmorality，untilamaninflourishingLondonisnotafraidtoassignthecausesofthedecayofVenice；andthereisnotawateringplaceuponourcoastsbutissecurelyawareofmeritedmisfortuneontheAdriatic。

Haydonwasgrateful，andhehelpedmenintrouble；hehadpupils，andneverashillinginpayforteachingthem。Hepaintedagoodthing——theheadofhisLazarus。Hehadnofaultoftheory：whatfaultoftheorycanamancommitwhostands，ashedid，by"NatureandtheGreeks"？IntheoryhesoonoutgrewtheItaliansthenmostadmired；hehadanhonestmind。

Butnothingwasabletogainforhimthepardonthatisnevertobegained，theimpossiblepardon——pardonforthatfirstandlastmistake——themistakeastohisownpowers。Iftopardonmeanstodispensefromconsequence，howshouldthisbepardoned？Artwouldceasetobeitself，bysuchanamnesty。

ANORTHERNFANCY

"Iremember，"saidDryden，writingtoDennis，"IrememberpoorNatLee，whowasthenuponthevergeofmadness，yetmadeasoberandwittyanswertoabadpoetwhotoldhim，’Itwasaneasythingtowritelikeamadman。’’No，’saidhe，’’tisaverydifficultthingtowritelikeamadman，but’tisaveryeasythingtowritelikeafool。’"Nevertheless，thedifficultsongofdistractionistobeheard，alighthighnote，inEnglishpoetrythroughouttwocenturiesatleast，andoneEnglishpoetlatelysetthatuntetheredlyric，themadmaid’ssong，flyingagain。

Arevoltagainsttheoppressionofthelatesixteenthandearlyseventeenthcenturies——theageofthere—discoveryofdeath；againstthecrimeoftragedies；againstthetyrannyofItalianexamplethathadmadethepoetswalkinonewayoflove，scorn，constancy，inconstancy——mayhavecausedthistrollingofunconsciousness，thistuneofinnocence，andthiscarolofliberty，tobeheldsodear。

"IheardamaidinBedlam，"runstheoldsong。Highandlowthepoetstriedforthatnote，andthesingerwasnearlyalwaystobeamaidandcrazedforlove。ExceptforthetemporaryinsanitysoindifferentlywornbythesopranoofthenowdeceasedkindofItalianopera，andexceptthatarecentFrenchstoryplayswiththeflittingfigureofavillagegirlrobbedofherwitsbywoe（andthis，too，isaRussianvillager，andtheSouthernauthormayhavefoundhisstoryonthespot，asheseemstoaver）IhavenotmetelsewherethaninEnglandthissolitaryanddetachedpoetryofthetreblenoteastray。

Atleast，itisprincipallyanorthernfancy。WouldthesteadfastCordelia，ifshehadnotdied，haveliftedthelowvoicetothathighnote，sodelicatelyuntuned？Shewhowouldnotbeprodigalofwordsmightyet，indeed，havesunginthecage，andtoldoldtales，andlaughedatgildedbutterfliesofthecourtofcrimes，andlivedsolonginthestrangehealthofanemancipatedbrainastowearoutPacksandsectsofgreatonesThatebbandflowbythemoon。

She，ifKingLearhadhadhislastdesire，mighthavesungthemerryandstrangetuneofBedlam，liketheslighterOpheliaandthemaidcalledBarbara。

Itwassurelythenameofthemaidwhodiedsinging，asDesdemonaremembers，thatlingeredintheearofWordsworth。Ofallthesongsofthedistracted，writteninthesanityofhighimagination，thereisnothingmorepassionatethanthatbeginning"’Tissaidthatsomehavediedforlove。"ToonewhohasalwaysrecognizedthegreatnessofthispoemandwhopossiblyhadknownandforgottenhowmuchRuskinprizedit，itwasapleasuretofindthejudgementafreshinModernPainters，wherethisgravelyriciscitedforanexampleofgreatimagination。Itisthemourningandrestlesssongofthelover（"theprettyBarbaradied"）whohasnotyetbrokenfreefrommemoryintothealienworldoftheinsane。

Barbara’sloverdweltinthesceneofhislove，asDryden’sAdamentreatstheexpellingangelthathemightdo，protestingthathecouldenduretolose"thebliss，butnottheplace。"（Andalthoughthisdramatic"ParadiseLost"ofDryden’sishardlynamedbycriticsexcepttobescorned，thisisassuredlyafineandimaginativethought。）ItisneverthelessasawandererthatthecrazedcreaturevisitsthefancyofEnglishpoetswithsuchawildrecurrence。TheEnglishmanofthefarpast，barredbyclimate，badroads，ill—

lightedwinters，andtheintricatelifeandcustomsofthelittletown，musthavebeengenerallyahome—keeper。Noadventure，nosettingforth，andsmallliberty，forhim。ButTom—a—Bedlam，thewildmaninpatchesorinribbons，withhiswalletandhishornforalmsoffoodordrink，cameandwentasfitfullyasthestorm，freetosufferallthecold——anunshelteredcreature；andthechillfancyofthevillagerfollowedhimouttotheheathonajourneythathadnolaw。Wasitheinperson，orapoetforhim，thatmadetheswingingsong："Fromthehagandthehungrygoblin"？Ifapoet，itwasonewhowrotelikeamadmanandnotlikeafool。

Notatown，notavillage，notasolitarycottageduringtheEnglishMiddleAgeswasunvisitedbyhimwhofrightenedthechildren；theyhadanameforhimasforthewildbirds——RobinRedbreast，DickySwallow，PhilipSparrow，TomTit，Tom—a—Bedlam。Andafterhimcamethe"Abrammen，"whoweresaneparodiesofthecrazed，andwenttothefairsandwakesinmotley。Evelynsaysofafop："Allhisbodywasdressedlikeamaypole，oraTom—a—Bedlam’scap。"ButaftertheCivilWarstheyvanished，andnomanknewhow。Intimeoldmenrememberedthemonlytorememberthattheyhadnotseenanysuchcompaniesorsolitarywanderersoflateyears。

Themadmaidofthepoetsisavagranttoo，whensheisfree，andnotsingingwithinBedlamearlyinthemorning，"inthespring。"

Wordsworth，whodealtwiththelegendaryfancyinhis"Ruth，"makesthecrazedoneawandererinthehillswhomatravellermightseebychance，rareasanOread，andnearlyaswildasEchoherself：—

ItoohavepassedherinthehillsSettingherlittlewater—mills。

Hisheartmisgiveshimtothinkoftherheumatismthatmustbefallinsuchawayofliving；andhisgravesenseofcivilization，bourgeoisinthehumaneandnoblewaythatishisown，restoresherafterdeathtothecompanyofman，tothe"holybell，"whichShakespeare’sDukerememberedinbanishment，andtothecongregationandtheir"Christianpsalm。"

Theolderpoetswerelessresponsible，lessseriousandmoresad，thanWordsworth，whentheyinturnweretouchedbythefancyofthemaidcrazedbylove。Theylefthertoherlightimmortality；andshemightbedrenchedindews；theywouldnotdesiretoreconcilenorburyher。Shemighthaveherhairtornbythebramble，butherheartwaslightaftertrouble。"Manylightheartsandwings"——shehadatleastthebird’sheart，andthepoetlenttohervoicethewingsofhisverses。

Thereisnothinginourpoetrylessmodernthanshe。ThevagrantwomanoflaterfeelingwasratherthesanecreatureofEbenezerElliott’sfinelinesin"TheExcursion"—

Bone—weary，many—childed，trouble—tried!

Wifeofmybosom，weddedtomysoul!

Troubledidnot"try"theElizabethanwildone，itundidher。Shehadnochild，oriftherehadeverbeenachildofhers，shehadlongforgottenhowitdied。Shehailedthewayfarer，whowasmorewearythanshe，withasong；shehauntedthecheerfuldawn；her"good—morrow"ringsfromHerrick’spoem，freshascock—crow。Sheknowsthatherloveisdead，andherperplexityhasregardrathertothemanykindsofflowersthantotheoldstoryofhisdeath；theydistractherinthesplendidmeadows。

Allthetragicworldpausedtohearthatlightestofsongs，asthetragedyofHamletpausesforthefitfulvoiceofOphelia。Strangewasthecharmofthisperpetualalien，andunknowntousnow。Theworldhasbecomeonceagainasitwasinthemadmaid’sheyday，lessseriousandmoresadthanWordsworth；butithasnotrecovered，andperhapswillneverrecover，thatsweetness。Blake’swasamorestarrymadness。Crabbe，writingofvillagesorrows，thoughthimselfboundtorecurtothelegendofthemadmaid，buthis"crazedmaiden"issaneenough，sorrowfulbutdull，andsingsofherown"burningbrow，"asHerrick’swildoneneversang；noristhereanysmileinherstory，thoughshetalksofflowers，or，rather，"theherbsIlovedtorear"；andperhapssheisthesurestofallsignsthatthestrangeinspirationofthepastcenturieswaslost，vanishedlikeTom—a—Bedlamhimself。IthadbeenwhollyEnglish，whereastheEnglisheighteenthcenturywasnotwhollyEnglish。

ItisnottobeimaginedthatanyhardSouthernmindcouldeverhaveplayedinpoetrywithsuchafancy；orthatPetrarch，forexample，couldsohaveforegonethemanifestationofintelligenceandintelligiblesentiment。AndastoDante，whoputthetwoeternitiesintothemomentarybalanceofthehumanwill，coldwouldbehisdisregardofthisnortherndreamofinnocence。Ifthemadmaidwasanalienuponearth，whatweresheintheInferno？Whatwordcanexpressherstrangenessthere，hervagrancythere？AndwithwhateyeswouldtheyseethisdewyfaceglancinginatthewindowsofthatCity？

LAUGHTER

Timeshavebeen，itissaid，merrierthanthese；butitiscertainneverthelessthatlaughterneverwassohonouredasnow；wereitnotfortheparadoxonemightsay，itneverwassograve。Everywherethejoke"emerges"——asan"elegant"writermighthaveit——emergestocatchtheattentionofthesenseofhumour；andeverywherethesenseofhumourwanders，watches，andwaitstohonourtheappeal。

Itloiters，vaguelybutperpetuallywilling。Itwears（lettheviolentpersonificationbepardoned）ahanginglip，andawrinkleinabeyance，andaneyeinsuspense。Itismuchattheserviceofthevagrantencounterer，andmaybeaccostedbyanychancedaughtersofthegame。Itstandsinuntowardplaces，orplacesthatwereonceinappropriate，andisearlyatsomeindefiniteappointment，someubiquitoustryst，withthecompliantjest。

Allliteraturebecomesafieldofeasyassignations；thereisaconstantsignalling，anendlessrecognition。Formsofapproachareremitted。Andthejokeandthesenseofhumour，withnosurpriseofmeeting，ornogaietyofstrangeness，socustomaryhasthepromiscuitybecome，goupanddownthepagesofthepaperandthebook。See，again，thetheatre。Asomewhateasysortofcomicactingisbysomuchthebestthinguponourpresentstagethatlittleelsecanclaim——paradoxagainapart——tobetakenseriously。

Thereis，inaword，adetermination，anincreasingtendencyawayfromtheOrientalestimateoflaughterasathingfitterforwomen，fittestforchildren，andunfittedforthebeard。Laughteriseverywhereandateverymomentproclaimedtobethehonourableoccupationofmen，andinsomedegreedistinctiveofmen，andnomeanpartoftheirprerogativeandprivilege。Thesenseofhumourischieflytheirs，andthosewhoarenotmenaretobeadmittedtothejestupontheirexplanation。Theywillnotrefuseexplanation。

Andthereislittleuponwhichamanwillsovaluehimselfasuponthatsense，"inEngland，now。"

Meanwhile，itwouldbeapityiflaughtershouldeverbecome，likerhetoricandthearts，ahabit。Anditisinsomesortahabitwhenitisnotinevitable。Ifweaskourselveswhywelaugh，wemustconfessthatwelaughoftenestbecause——beingamused——weintendtoshowthatweareamused。Wearerighttomakethesign，butasmilewouldbeassureasignalasalaugh，andmoresincere；itwouldbutbechangingtheconvention；andthechangewouldrestorelaughteritselftoitsownplace。Wehavefallenintothewayofusingittoprovesomething——oursenseofthegoodnessofthejest，towit；butlaughtershouldnotthusbeused，itshouldgofree。Itisnotademonstration，whetherinlogic，or——astheworddemonstrationisnowgenerallyused——inemotion；andwedoilltochargeitwiththatoffice。

SomethingoftheOrientalideaofdignitymightnotbeamissamongsuchapeopleasourselvescontainingwideandnumerousclasseswholaughwithoutcause：audiences；crowds；agreatmanyclergymen，whoperhapsfirstfellintothehabitintheintentionofprovingthattheywerenotgloomy；butavastnumberoflaymenalsowhohadnotthatexcuse；andmanywomenwholaughintheiruncertaintyastowhatishumorousandwhatisnot。Thislastisthemostharmlessofallkindsofsuperfluouslaughter。Whenitcarriesanapology，aconfessionofnaturalandgenialignorance，andwhenagentlecreaturelaughsalaughofhazardandexperiment，sheistobemorethanforgiven。Whatshemustnotdoistolaughalaughofinstruction，andasitwereretrievethejestthatwasneverworththetaking。

Thereare，besides，afewwomenwhodonotdisturbthemselvesastoasenseofhumour，butwholaughfromasenseofhappiness。

Childishisthattrick，andsweet。Forchildren，whoalwayslaughbecausetheymust，andneverbywayofprooforsign，laughonlyhalftheirlaughsoutoftheirsenseofhumour；theylaughtherestunderamerestimulation：becauseofaboundingbreathandblood；

becausesomeonerunsbehindthem，forexample，andmovementdoessojogtheirspiritsthattheirlegsfailthem，forlaughter，withoutajest。

Ifeverthedayshouldcomewhenmenandwomenshallbecontenttosignaltheirperceptionofhumourbythenaturalsmile，andshallkeepthelaughforitsownunpremeditatedact，shalllaughseldom，andsimply，andnotthriceatthesamething——onceforfoolishsurprise，andtwicefortardyintelligence，andthricetoletitbeknownthattheyareamused——thenitmaybetimetopersuadethislaughingnationnottolaughsoloudasitiswontinpublic。Thetheatreaudiencesoflouder—speakingnationslaughlowerthanours。

Thelaughthatischieflyasignalofthelaugher’ssenseoftheridiculousisnecessarilyloud；andithasthedisadvantageofcoveringwhatwemayperhapswishtohearfromtheactors。Itisapubliclaugh，andnoordinarycitizeniscalleduponforapubliclaugh。Hemaylaughinpublic，butletitbewithprivatelaughterthere。

Letus，ifanythinglikeageneralreformbepossibleinthesetimesofdispersionandofscattering，keephenceforthoursenseofhumourinaplacebetterguarded，assomethingworthameasureofseclusion。Itshouldnotloiterinwaitforthealmsofajokeinadventurousplaces。Forthesenseofhumourhasotherthingstodothantomakeitselfconspicuousintheactoflaughter。Ithasnegativetasksofvalidvirtue；forexample，thestandingandwaitingwithincalloftragedyitself，where，excluded，itmaykeepguard。

NoreasonablemanwillaverthattheOrientalmannersarebest。

ThiswouldbetodenyShakespeareashiscomradesknewhim，wherethewit"out—didthemeat，out—didthefrolicwine，"andtodenyBenJonson’s"tartAristophanes，neatTerence，wittyPlautus，"andtherest。DoubtlessGreecedeterminedthecustomforallourOccident；

butnonethelessmightthemodernworldgrowmoresensibleofthevalueofcomposure。

Tononeotheroftheseveralpowersofoursoulsdowesogivereinastothisofhumour，andnoneotherdoweindulgewithsolittlefastidiousness。Itisasthoughtherewerehonouringoverningtheothersenses，andhonourinrefusingtogovernthis。Itisasthoughwewereashamedofreasonhere，andshyofdignity，andsuspiciousoftemperance，anddiffidentofmoderation，andtooeagertothrustforwardthatwhichlosesnothingbyseclusion。

HARLEQUINMERCUTIO

ThefirsttimethatMercutiofellupontheEnglishstage，therefellwithhimagayandhardlyhumanfigure；itfell，perhapsfinally，forEnglishdrama。Thatmannerofman——Arlecchino，orHarlequin——

hadoutlivedhisplaymates，Pantaleone，Brighella，Colombina，andtheClown。AlittleofPantaleonesurvivesinoldCapulet，alittleinthefatheroftheShrew，butthelifeofMercutiointheoneplay，andofthesubordinateTraniointheother，islessquicklyspent，lesseasilyputout，thanthesmoulderingoftheoldman。

ArlecchinofrolicsinandoutofthetragedyandcomedyofShakespeare，untilhethusdiesinhislightest，hisbrightest，hismostvitalshape。

Arlecchino，thetricksyandshiftyspirit，thecontriver，thebusybody，thetrustyrogue，thewonder—worker，themanindisguise，themercurialone，livesonbuoyantlyinFrancetotheageofMoliere。HeisofficiousandefficaciousintheskinofMascarilleandErgasteandScapin；buthetendstobealacquey，withareferencerathertoAntiquityandtheLatincomedythantotheMiddleAges，asontheEnglishstagehismerememorysurvivesdifferentlytoalaterageinthepersonof"Charles，hisfriend。"

WhatconvincesmethathevirtuallydiedwithMercutioischieflythis——thatthiscomradeofRomeo’slivessokeenlyastobefullycapableofthedeaththathetakesatTybalt’ssword—point；helivedindeed，hediesindeed。Anotherthingthatmarksthecloseofacareerofagesishislossofhislongcustomarygoodluck。WhoeverheardofArlecchinounfortunatebefore，atfaultwithhissword—play，overtakenbytragedy？Histimehadsurelycome。Thegaycompanionwastobleed；Tybalt’sswordhadmadeaway。’Twasnotsodeepasawellnorsowideasachurch—door，butitserved。

SomeconfusioncomestopassamongthetypicalfiguresoftheprimitiveItalianplay，becauseHarlequin，onthatconventionallittlestageofthepast，hasahero’splace，whereaswhenheinterferesinhumanaffairsheisonlytheauxiliary。Hemightbeloverandbridegroomontheprimitivestage，inthecomedyofthesefewandunalteredtypes；butwhenPantaloon，Clown，andHarlequinplaywithreallyhumanbeings，thenHarlequincanbenomorethanafriendofthehero，thefriendofthebridegroom。Thefivefiguresoftheoldstagedanceattendance；theyplayaroundthebusinessofthosewhohavethedignityofmortality；they，poorimmortals——aclownwhodoesnotdie，apantaloonneverfarfromdeath，whoyetdoesnotdie，aColumbinewhoneverattainsDesdemona’sdeathofinnocenceorJuliet’sdeathofrectitudeandpassion——flitinthebackwardplacesofthestage。

Arielfulfilshisoffice，andisnotofonekindwiththoseheserves。IsthereamemoryofHarlequininthatdelicatefigure？

Somethingofthesubservientimmortality，ofthelightindignity，propertoPantaleone，Brighella，Arlecchino，Colombina，andtheClown，hoversawayfromthestagewhenArielisreleasedfromthetroubleofhumanthings。

Immortality，didIsay？ItwasimmortalityuntilMercutiofell。

AndifsomeclaimbemadetoitstillbecauseHarlequinhastransformedsomanyscenesforthepleasureofsomanythousandchildren，sinceMercutiodied，ImustreplythatourmodernHarlequinisnomorethanamarionnette；hehasreturnedwhencehecame。Amanmayplayhim，butheis——ashewasfirstofall——adoll。Fromdoll—hoodArlecchinotooklife，and，sopromoted，flittedthroughathousandcomedies，onlytobeagainwhathefirstwas；savethat，asonceadollplayedtheman，sonowamanplaysthedoll。ItisbutamemoryofArlecchinothatourchildrensee，apoorstatueorimageendowedwithmobilityratherthanwithlife。

WithMercutio，vanishedthelightheartthathadgiventotheseriousagesoftheworldanhour’srefugefromtheunforgottenburdenofresponsibleconscience；thelightheartassumed，borrowed，madedramaticallythespectator’sown。Wearenotseriousnow，andnoheartnowisquitelight，evenforanhour。

THELITTLELANGUAGE

Dialectistheelfratherthanthegeniusofplace，andadwarfishmasterofthemagicoflocalthings。

InEnglandwehardlyknowwhataconcentratedhomelinessitnourishes；inasmuchas，withus，thecastesandclassesforwhomGoldoniandGallinaandSignorFogazzarohavewritteninthepatoisoftheVeneto，usenodialectatall。

NeitherGoldoninorGallinahaschargedtheVenetianlanguagewithsomuchliteratureastotakefromthepeopletheshelteroftheiralmostunwrittentongue。SignorFogazzaro，bringingtragedyintothehomesofdialect，doesbutshowushowthelanguagestaggersundersuchastress，howitbreaksdown，andresignsthatoffice。

Oneofthefinestofthecharactersintheranksofhisadmirablefictionisthatoldmanageressofthenarrowthingsofthehousewhosedaughterisdyinginsane。Ihavecalledthedialectashelter。Thisitis；butthepoorladydoesnotcowerwithin；herresignedheaderect，sheisshutoutfromthathomelyrefuge，sufferingandinarticulate。Thetwodramatistsintheirseveralcenturiesalsorecognizedtheinabilityofthedialect。Theylaidnonebutlightloadsuponit。Theycausedittocarrynomoreintheirhomelyplaysthanitcarriesinhomelylife。Theirworkleavesitwhatitwas——thetalkofapeopletalkingmuchaboutfewthings；apeoplelikeourownandanyotherintheirlackofliterature，butlocalandallItalianintheirlackofsilence。

Commonspeechissurelyagreaterpartoflifetosuchapeoplethantoonelesspleasedwithchatterormorepleasedwithbooks。Iamwritingofmen，women，andchildren（andchildrenarenotforgotten，sinceweshareapatoiswithchildrenontermsofmorethancommonequality）whopossess，foralloccasionsofceremonyandopportunitiesofdignity，ageneral，national，liberal，able，andillustrioustongue，chargedwithallitshistoryandallitsachievements；forthespeakersofdialect，ofacertainrank，speakItalian，too。Buttotamperwiththeirdialect，ortotakeitfromthem，wouldbetoleavethemhouselessandexposedintheirdailybusiness。Somuchdoestheirpatoisseemtobetheirrefugefromtheheavyandmultitudinousexperiencesofaliterarytongue，thatthestoppingofafox’searthmightbetakenastheimageofanyactthatshouldspoilorstopthetalkoftheassociatedseclusionoftheirtown，andleavetheminthebleaknessofalargerpatriotism。

TheVenetianpeople，theGenoese，andtheotherspeakersoflanguagesthatmightallhaveprovedright"Italian"hadnotDante，PetrarchandBoccacciowritteninTuscan，canneitherwritenorbetaughthardthingsintheirdialect，althoughtheycanlive，whethereasylivesorhard，andevidentlycandie，therein。Thehandsandfeetthathaveservedthevillagerandthecitizenathomelytaskshaveallthelowlinessofhispatois，tohismind；andwhenhemustperforceyielduptheiremployment，wemaybelievethatitisasimplethingtodieinsosimpleandsonarrowalanguage，onesocomfortable，neighbourly，tolerant，andcompassionate；soconfidential；soincapable，ignorant，unappalling，inapttowinganyweariedthoughtupondifficultflightortospurituponhardtravelling。

Notwithoutwordsismentalpain，orevenphysicalpain，tobeundergone；butthewordsthathavedonenomorethanorderthethingsofthenarrowstreetarenotwordstoputafineedgeorapiercingpointtoanyhumanpang。ItmayevenwellbethattodieindialectiseasierthantodieintheeloquenceofManfred，thoughthatdeclaimedlanguage，too，isdoubtlessadefence，ifoneofadifferentmanner。

ThesewritersinVenetian——theyarenamedbecauseinnootherItaliandialecthasworksopopularasGoldoni’sbeendone，norsoexcellentasSignorFogazzaro’s——havelefttheunletteredlocallanguageinwhichtheylovedtodeal，toitsproperlimitations。

Theyhavenotgivenweightythingsintoitscharge，normadeitheavilyresponsible。Theyhaveaddednothingtoit；nay，bywritingittheymightevenbesaidtohavemadeitduller，haditnotbeenforthereaderandtheactor。Insomuchastheintenseexpressivenessofadialect——ofasmallvocabularyinthemouthofadramaticpeople——liesinthevariousaccentwherewithasoutherncitizenknowshowtoenrichhistalk，itremainsfortheactortorestoreitslifetothewrittenphrase。Indialecttheauthorisforbiddentosearchfortheword，forthereisnonelurkingforhischoice；butoftones，allusions，andofreferencesandinferencesofthevoice，thespeakerofdialectisamaster。Norangeofphrasescanbehis，buthehasthemoreorthelessconfidentialinflection，untilattimestheclosecommunicationofthenarrowstreetbecomesaveryconspiracy。

Letitbeborneinmindthatdialectproperlysocalledissomethingallunlike，forinstance，themerejargonofLondonstreets。ThedifferencemaybemeasuredbythefactthatItaliandialectshaveahighlyorganizedandorderlygrammar。TheLondonercannotkeepthesmallandlooseorderofthegrammarofgoodEnglish；theGenoeseconjugateshispatoisverbs，withsubjunctivesandallthingsofthathandsomekind，lackedbytheEnglishofUniversities。

Themiddleclass——thepiccolomondo——thatsharesItaliandialectwiththepooraremorestrictlylocalintheirmannersthaneithertheopulentortheindigentofthesamecity。Theyhavemoreoverthebusyintelligence（whichistheintellectofpatois）atitskeenest。TheirspeechkeepsthemasequesteredplacewhichisItalian，Italianbeyondthekenofthetraveller，andbeyondthereachofalteration。And——whatisprettytoobserve——thespeakersarewellconsciousofthecharactersofthisintimatelanguage。AnItaliancountrymanwhohasknownnootherclimatewillvaunt，inferventplatitudes，hisItaliansun；inlikemannerheisconsciousofthelocalcharacterofhislanguage，andtuckshimselfwithinitathome，whateverTuscanhemayspeakabroad。Aproperlyspeltletter，Swiftsaid，wouldseemtoexposehimandMrsDingleyandStellatotheeyesoftheworld；buttheirlittlelanguage，ill—

written，was"snug。"

Lovershavemadealittlelanguageinalltimes；findingthenoblerlanguageinsufficient，dotheyensconcethemselvesinthesmaller？

discardnobleandliteraryspeechasnotnobleenough，andindespairthusprattleandgibberandstammer？RatherperhapsthisdeparturefromEnglishisbutanexcursionaftergaiety。Theideallovers，nodoubt，wouldbesosimpleastobegrave。Thatisatenableopinion。Nevertheless，agebyagetheyhavebeengay；andagebyagetheyhaveexchangedlanguageimitatedfromthechildrentheydoubtlessneverstudied，andperhapsneverloved。Whyso？

TheymighthavechosenbrokenEnglishofothersorts——that，forexample，whichwasoncethoughtamusinginfarce，asspokenbytheFrenchmanconceivedbytheEnglishman——acomplicationofhumourfictitiousenough，onemightthink，topleaseanyone；orelseafragmentofnegrodialect；orthestyleoftelegrams；orthemasterlyadaptationofthesimplesavage’sEnglishdevisedbyMrsPlornishinherintercoursewiththeItalian。Butnoneofthesefoundfavour。Thechoicehasalwaysbeenofthelanguageofchildren。LetussupposethattheflockofwingedLovesworshippingVenusintheTitianpicture，andthenoblechildthatrideshislionerectwithabackgroundofVenetiangloomydusk，maybetheinspirersofthoseprattlings。"Seethenthyselfelikewiseartlyttlemade，"saysSpenser’sVenustoherchild。

Swiftwasthebestprattler。Hehadcaughtthelanguage，surpriseditinStellawhenshewasveritablyachild。Hedidnotpushherclumsilybackintoachildhoodhehadnotknown；hesimplyprolongedinherachildhoodhehadloved。Heis"seepy。""Nite，dealestdea，nitedealestlogue。"Itisarealgood—night。Itbreathestendernessfromthatmoodyanduneasybedofprojects。

ANIMAPELLEGRINA!

Everylanguageintheworldhasitsownphrase，freshforthestranger’sfreshandaliensenseofitssignalsignificance；aphrasethatisitsownessentialpossession，andyetisdearertothespeakerofothertongues。Easily——shallIsaycheaply？——

spiritual，forexample，wasthenationthatdevisedthenameanimapellegrina，wherewithtocrownacreatureadmired。"Pilgrimsoul"

isaphraseforanylanguage，but"pilgrimsoul!"addressed，singlyandsweetlytoonewhocannotbeover—praised，"pilgrim—soul!"isaphraseoffondness，thehighhomageofalover，ofonewatching，ofonewhohasnomoreneedofcommonflatteries，buthasadmiredandgazedwhiletheobjectofhispraisesvisiblysurpassedthem——thisisthefacileItalianecstasy，anditrisesintoanItalianheaven。

Itwasbychance，andinanoldplay，thatIcameuponthisimpetuous，sudden，andsinglesentenceofadmiration，asitwereasentenceoflifepassedupononechargedwithinestimabledeeds；andthemoderneditorhadthoughtitnecessarytoexplaintheexclamationbyanote。Itwas，hesaid，poetical。

AnimapellegrinaseemstobeItalianofnolaterdatethanPergolese’sairs，andsuitsthetimeasthefamiliarphraseofthemoremodernlove—songsuitedthedayofBellini。ButitisonlyItalian，bygoneItalian，andnotapartofthesweetpastofanyotherEuropeannation，butonlyofthis。

Tothesamelocalboundariesandenclosedskiesbelongsthecharmofthosebuoyantwords：—

Felicechivimira，Mapiufelicechipervoisospira!

Anditisnotonlyacharmofelasticsoundorofgrace；thatwouldbebutapropertyoftheturnofspeech。Itisrathertheprofounderadvantagewherebytherhymesarefreightedwithsuchfeelingastheverylanguagekeepsinstore。Inanothertongueyoumaysing，"happywholooks，happierwhosighs"；butinwhatothertongueshallthelittlemeaningbesosufficient，andinwhatothershallyougetfromsoweakanantithesistheillusionofalovelyintellectualepigram？YetitisnotworthyofanEnglishreadertocallitanillusion；heshouldratherbegladtotravelintotheplaceofalanguagewherethephraseisintellectual，impassioned，andanepigram；andshouldthankfullyfortheoccasiontranslatehimself，andnotthepoetry。

IhavebeendelightedtouseapresentcurrentphrasewhereofthecharmmaystillbeunknowntoEnglishmen——"piuttostobruttini。"Seewhatanall—Italianspiritishere，andwhatcontempt，notreluctant，buttolerantandfamiliar。Youmayhearitsaidofpictures，orworksofartofseveralkinds，andyouconfessatoncethatnototherwiseshouldtheybecondemned。Brutto——ugly——isthewordofjustice，thewordforanylanguage，everywheretranslatable，acircularnote，tobeexchangedinternationallywithageneralmeaning，wholesale，inthecourseoftheEuropeanconcert。Butbruttinoisasoothingdiminutive，adiminutivethatforbearstoexpresscontempt，adiminutivethatimpliesinnocence，andis，moreover，guardedbyahesitatingadverb，shruggingintherear——