\"ratherthannot。\"\"Ratheruglythannot，anduglyinalittlewaythatweneedsayfewwordsabout——thefewerthebetter；\"nay，thisparaphrasecannotachievethehomelyItalianqualitywherebytheprintedandcondemnatorycriticismismadeafamilyaffairthatshallgonofurther。Afterthesoundofit，theEuropeanconcertseemstobecomposedofbrassinstruments。
HowunlikeisthehouseofEnglishlanguageandtheenclosureintowhichatravellerhitherhastoenter！Dowepossessanythingheremoreessentiallyours（thoughweshareitwithoursisterGermany）
thanourparticle\"un\"？Poorarethoselivinglanguagesthathavenotouruseofsorichanegative。TheFrenchequivalentinadjectivesreachesnofurtherthantheadjectiveitself——orhardly；
itdoesnotattaintheparticiple；sothatnoFrenchorItalianpoethasthewords\"unloved\"，\"unforgiven。\"Nonesuch，therefore，hastheopportunityofthegravestandthemostmajesticofallironies。
InourEnglish，thewordsthataredeniedarestillthere——\"loved，\"
\"forgiven\"：excludedangels，whostanderect，attestingwhatisnotdone，whatisundone，whatshallnotbedone。
Nomerelyoppositewordscouldhavesomuchdenial，orsomuchpainofloss，orsomuchouterdarkness，orsomuchbarredbeatitudeinsight。All-present，all-significant，all-remembering，all-
foretellingistheword，andithasaplenitudeofknowledge。
Wehavemanymoreconspicuouspossessionsthatare，likethis，propertocharacterandthought，andbynomeansonlyanaccidentofuntransferablespeech。Anditisimpossibleforareader，whoisaloveroflanguagesfortheirspirit，topassthewordsofuntravelledexcellence，propertotheirowngardenenclosed，withoutrecognition。Nevermaytheybedisregardedorconfoundedwiththeuniversalstock。IfIwouldnotsoneglectPIUTTOSTOBRUTTINI，howmuchlessaworddominatingliterature！AndofsuchwordsofascendancyandracethereisnogreatEnglishauthorbuthasabundantpossession。Noneedtorecallthem。Butevenwriterswhoarenotgreathave，hereandthere，provedtheirfullconsciousnessoftheirbirthright。Thusdoesamanwhowashardlyanauthor，Haydonthepainter，putouthishandtotakehisrights。Hehasincomparablelanguagewhenheisatacertainpageofhislife；atthattimehesatedowntosketchhischild，dyinginitsbabyhood，andtheheadhestudiedwas，hesays，fullof\"powerandgrief。\"
Thisisaphraseofdifferentdiscoveryfromthatwhichrevealsalocalrhyme-balancedepigram，agraciousantithesis，takinganintellectualplace——Felicechivimira——ortheart-critic’sphrase——
piuttostobruttini——ofeasy，companionable，andequalcontempt。
AsforFrench，ifithadnoothersacredwords——andithasmany——whowouldnottreasurethelanguagethathasgivenus——no，notthathasgivenus，butthathaskeptforitsown——ensoleille？Nowhereelseisthesunservedwithsuchaword。Itisnottobesaidorwrittenwithoutaconvincingsenseofsunshine，andfromtheverywordcomelightandradiation。Theunaccustomednorthcouldnothavemadeit，northeaccustomedsouth，butonlyanationpart-northandpart-
south；thereforeneitherEnglandnorItalycanrivalit。ButthereneededalsothesensesoftheFrench——thosesensesofwhichtheysayfartoomuchineverysecond-classbookoftheirenormous，theirgeneralsecond-class，butwhichtheyhavematchedintheirtimewithsomeinimitablewords。Perhapsthatmatchingwasdoneatthemomentofthefullliteraryconsciousnessofthesenses，somewhereaboutthefamous1830。ForIdonotthinkensoleilletobeamucholderword——Imakenoassertion。Whateveritsorigin，mayithavenoend！
Theycannotwearyuswithit；foritseemsasnewasthesun，asremoteasoldProvence；village，hill-side，vineyard，andchestnutwoodshineinthesplendouroftheword，theairislight，andwhitethingspassingblindtheeyes——awoman’slinen，whitecattle，shiningonthewayfromshadowtoshadow。Awordofthesenseofsight，andasummerword，inshort，comparedwithwhichtheparaphraseisbutapicture。ForensoleilleIwouldclaimtheconsentofallreaders——thattheyshallallacknowledgethespiritofthatFrench。Butperhapsitisamerepersonalpreferencethatmakeslejours’annoncealsosacred。
Ifthehymn，\"StabatMaterdolorosa，\"waswritteninLatin，thiscouldbeonlythatitmightintimefinditstruelanguageandincomparablephraseatlast——thatitmightawaitthedayoflifeinitsproperGerman。Ifounditthere（andknewatoncetheauthenticverse，andknewatonceforwhattongueithadbeenreallydestined）
inthepagesoftheprayer-bookofanapple-womanatanInnsbruckchurch，andintheaccentsofhervoice。
APOINTOFBIOGRAPHY
Thereishardlyawriternow——ofthethirdclassprobablynotone——
whohasnotsomethingsharpandsadtosayaboutthecrueltyofNature；notonewhoisabletoattemptMayinthewoodswithoutamodernreferencetothemanifolddeathanddestructionwithwhichtheair，thebranches，themossesaresaidtobefull。
Butnoonehaspausedinthecourseofthesephrasestotakenoticeofthecuriousandconspicuousfactofthesuppressionofdeathandofthedeadthroughoutthislandscapeofmanifestlife。Wherearethey——allthedying，allthedead，ofthepopulouswoods？Wheredotheyhidetheirlittlelasthours，wherearetheyburied？Whereistheviolenceconcealed？Underwhatgaycustomanddecenthabit？
Youmaysee，itistrue，anearth-worminarobin’sbeak，andmayhearathrushbreakingasnail’sshell；buttheselittlethingsare，asitwere，passedbywithakindoftwinkleforapology，asbyawell-bredmanwhodoesopenlysomelittlesolecismwhichistooslightfordirectmention，andwhichameanermanmighthideoravoid。Unlessyouareverymodernindeed，youtwinklebackatthebird。
Butotherwisethereisnothingvisibleofthehavocandthepreyandplunder。Itiscertainthatmuchofthevisiblelifepassesviolentlyintootherforms，flasheswithoutpauseintoanotherflame；butnotall。Amidallthekillingtheremustbemuchdying。
Thereare，forinstance，fewbirdsofpreyleftinourmoreaccessiblecountiesnow，andmanythousandsofbirdsmustdieuncaughtbyahawkandunpierced。Butiftheirkillingisdonesomodestly，sothenistheirdyingalso。Shortliveshaveallthesewildthings，butthereareinnumerableflocksofthemalwaysalive；
theymustdie，then，ininnumerableflocks。Andyettheykeepthemillionsofthedeadoutofsight。
Nowandthen，indeed，theymaybebetrayed。Ithappenedinacoldwinter。Thelatefrostsweresosudden，andthefaminewassocomplete，thatthebirdsweretakenunawares。TheskyandtheearthconspiredthatFebruarytomakeknownallthesecrets；everythingwaspublished。Deathwasmanifest。Editors，whenagreatmandies，arenotmoreresolutethanwasthefrostof’95。
Thebirdswereobligedtodieinpublic。Theyweresurprisedandforcedtodothus。TheybecamelikeShelleyinthemonumentwhichtheartandimaginationofEnglandcombinedtoraisetohismemoryatOxford。
Frostwassurelyatworkinbothcases，andinbothitwroughtwrong。ThereisasimilarityofunreasoninbetrayingthedeathofabirdandinexhibitingthedeathofShelley。Thedeathofasoldier——passeencore。ButthedeathofShelleywasnothisgoal。
Andthedeathofthebirdsissolittlecharacteristicofthemthat，ashasjustbeensaid，nooneintheworldisawareoftheirdying，exceptonlyinthecaseofbirdsincages，who，again，arecompelledtodiewithobservation。Thewoodlandisguardedandkeptbyarule。Thereisnodisplayofthebattlefieldinthefields。Thereisnotaleofthegame-bag，noboast。Thehuntinggoeson，butwithstrangedecorum。Youmaypassafineseasonunderthetrees，andseenothingdeadexcepthereandtherewhereaboyhasbeenby，oramanwithatrap，oramanwithagun。Thereisnothinglikeabutcher’sshopinthewoods。
Butthebiographershavealwayshadotherwaysthanthoseofthewildworld。Theywillnothaveamantodieoutofsight。Ihaveturnedoverscoresof\"Lives，\"nottoreadthem，buttoseewhethernowandagaintheremightbea\"Life\"whichwasnotmoreemphaticallyadeath。ButthereneverisamodernbiographythathastakenthehintofNature。Oneandall，thesebookshavethedisproportionateillness，thedeathoutofallscale。
Evenmorewantonthanthedisclosureofadeathisthatofamortalillness。Ifthemanhadrecovered，hisillnesswouldhavebeenrightlyhisownsecret。Butbecausehedidnotrecover，itisassumedtobenewsforthefirstcomer。Whichofuswouldsufferthedetailsofanyphysicalsuffering，overanddoneinourownlives，tobedisplayedanddescribed？Thisisnotaconfidencewehaveamindtomake；andnooneisauthorisedtoaskforattentionorpityonourbehalf。Thestoryofpainoughtnottobetoldofus，seeingthatbyusitwouldassuredlynotbetold。
Thereisonlyoneotherthingthatconcernsamanstillmoreexclusively，andthatishisownmentalillness，orthedreamsandillusionsofalongdelirium。Whenheisincommonlanguagenothimself，amendsshouldbemadeforsobitteraparadox；heshouldbeallowedsuchsolitudeasispossibletothealienatedspirit；heshouldbelefttothe\"nothimself，\"andsparedtheintrusionagainstwhichhecansoillguardthathecouldhardlyhaveevenresentedit。
ThedoublehelplessnessofdelusionanddeathshouldkeepthedoorofRossetti’shouse，forexample，andrefusehimtothereader。Hismortalillnesshadnothingtodowithhispoetry。Someratheraffectedobjectionistakeneverynowandthentothepublicationofsomefacts（othersbeingalreadywellknown）inthelifeofShelley。
Nevertheless，theseareall，properlyspeaking，biography。Whatisnotbiographyisthedetailoftheaccidentofthemannerofhisdeath，thedetailofhiscremation。Orifitwastobetold——toldbriefly——itwascertainlynotformarble。Shelley’sdeathhadnosignificance，exceptinasmuchashediedyoung。Itwasadetachableanddisconnectedincident。Ah，thatwasafrostoffancyandoftheheartthatuseditso，dealingwithaninsignificantfact，andconferringafutileimmortality。Thoseareill-namedbiographerswhoseemtothinkthatabetrayalofthewaysofdeathisapartoftheirordinaryduty，andthatifmaterialenoughforalastchapterdoesnotlietotheirhandtheyaretosearchitout。They，ofallsurvivors，arecalledupon，inhonourandreason，tolookuponadeathwithmorecomposure。Tothosewholovedthedeadclosely，thisis，foratime，impossible。Tothemdeathbecomes，forayear，disproportionate。Theirdreamsarefixeduponitnightbynight。
Theyhave，inthosedreams，tofindthedeadinsomelabyrinth；theyhavetomournhisdyingandtowelcomehisrecoveryinsuchaminglingofdistressandofalwaysincreduloushappinessasisnotknowneventodreamssaveinthatfirstyearofseparation。Buttheyarenotbiographers。
Ifdeathistheprivacyofthewoods，itisthemoreconspicuouslysecretbecauseitistheironlyprivacy。Youmaywatchormaysurpriseeverythingelse。Thenestisretired，nothidden。Thechasegoesoneverywhere。Itiswonderfulhowtheperpetualchaseseemstocausenoperpetualfear。Thesongsareallaudible。Lifeisundefended，careless，nimbleandnoisy。
Itisahappythingthatminorartistshaveceased，oralmostceased，topaintdeadbirds。TimewaswhentheydiditcontinuallyinthatBritishSchoolofwater-colourart，stippled，ofwhichsurroundingnations，itwasagreed，wereenvious。Theymusthavekilledtheirbirdtopainthim，forheisnottobecaughtdead。A
birdismoreeasilycaughtalivethandead。
Apoet，onthecontrary，iseasily——tooeasily——caughtdead。Minorartistsnowseldomstipplethebirdonitsback，butagoodsculptorandaUniversitytogethermodelledtheirShelleyonhisback，unessentiallydrowned；andeverybodymayreadaboutthesickmindofDanteRossetti。
THEHONOURSOFMORTALITY
Thebrillianttalentwhichhasquitelatelyandquitesuddenlyarisen，todevoteitselftotheuseofthedayoroftheweek，inillustratedpapers——theenormousproductionofartinblackandwhite——isassuredlyaconfessionthattheHonoursofMortalityareworthworkingfor。Fiftyyearsago，menworkedforthehonoursofimmortality；thesewerethecommonplaceoftheirambition；theydeclinedtoattendtothebeautyofthingsofusethatweredestinedtobebrokenandwornout，andtheylookedforwardtosurvivingthemselvesbypaintingbadpictures；sothatwhattodowiththeirbadpicturesinadditiontoourownhasbecometheproblemofthenationandofthehouseholderalike。To-daymenhavebegantolearnthattheirsonswillbegratefultothemforfewbequests。Artconsentsatlasttoworkuponthetissueandthechinathataredoomedtothenaturalandnecessaryend——destruction；andartshowsamostdignifiedalacritytodoherbest，daily，forthe\"process，\"
andforoblivion。
Doubtlessthisabandonmentofhopessolargeatonceandsocheapcoststheartistsomething；nay，itimpliesanacceptanceoftheinevitablethatisnotlessthanheroic。Andtherewardhasbeeninthesingularandmanifestincreaseofvitalityinthisworkwhichisdoneforsoshortalife。Fittinglyindeeddoesliferewardtheacceptanceofdeath，inasmuchastodieistohavebeenalive。
Thereisarealcirculationofblood-quickuse，briefbeauty，abolition，recreation。Thehonourofthedayisforeverthehonourofthatday。Itgoesintothetreasuryofthingsthatarehonestlyand——completelyendedanddonewith。Andwhencansohappyathingbesaidofalifelessoil-painting？Whoofthewisewouldhesitate？
Tobehonourableforoneday——onenamedanddatedday，separatefromallotherdaysoftheages——ortobeforanunlimitedtimetedious？
COMPOSURE
Tribulation，Immortality，theMultitude：whatremedyofcomposuredothesewordsbringfortheirowngreatdisquiet！WithouttheremotenessoftheLatinitythethoughtwouldcometoocloseandshaketoocruelly。Inordertothesaneenduranceoftheintimatetroubleofthesoulanaloofnessoflanguageisneedful。Johnsonfeareddeath。DidhisnobleEnglishcontrolandpostponetheterror？Diditkeepthefearatsomecourteous，deferentdistancefromthecentreofthathumanheart，intheveryactoftheleapandlapseofmortality？Doubtlessthereisinlanguagesuchaneducativepower。Speechisaschool。Everylanguageisapersuasion，aninducedhabit，aninstrumentwhichreceivesthenoteindeedbutgivesthetone。Everylanguageimposesaquality，teachesatemper，proposesaway，bestowsatradition：thisisthetone——thevoice——oftheinstrument。Everylanguage，bycounter-
change，returnstothewriter’stouchorbreathhisownintention，articulate：thisishisnote。Muchhasalwaysbeensaid，manythingstothepurposehavebeenthought，ofthepowerandtheresponsibilityofthenote。OfthelegislationandinfluenceofthetoneIhavebeenledtothinkbycomparingthetranquillityofJohnsonandthecomposureofCanningwiththestimulatedandcloseemotion，theinteriortrouble，ofthosewriterswhohaveenteredasdisciplesintheschoolofthemoreTeutonicEnglish。
Forifeverylanguagebeaschool，moresignificantlyandmoreeducativelyisapartofalanguageaschooltohimwhochoosesthatpart。Fewlanguagesofferthechoice。Thefactthatachoiceismadeimpliestheresultsandfruitsofadecision。TheFrenchauthoriswithoutthese。TheyareofalltheheritagesoftheEnglishwriterthemostimportant。Hereceivesalanguageofdualderivation。HemaysubmithimselftoeitherUniversity，whitherhewilltakehisimpulseandhischaracter，wherehewillleavetheirinfluence，andwhencehewillaccepttheirre-education。TheFrenchmanhascertainlyastyletodevelopwithindefinitelimits；
buthedoesnotsubjecthimselftosuggestionstendingmainlyhitherwardsorthitherwards，tocurrentsofvariousracewithinoneliterature。SuchachoiceofsubjectionisthesingularopportunityoftheEnglishman。Idonotmeantoignorethenecessarymingling。
Happilythatminglinghasbeendoneonceforallforusall。Nay，oneofthemostcharmingthingsthatamasterofEnglishcanachieveistherepaymentoftheunitedteachingbylinkingtheirresultssoexquisitelyinhisownpractice，thatwordsofthetwoschoolsaremadetomeeteachotherwithasurpriseanddelightthatshallprovethematoncegayerstrangers，andsweetercompanions，thantheworldknewtheywere。Neverthelessthereremainsthelibertyofchoiceastowhichschoolofwordsshallhavetheplaceofhonourinthegreatandsensitivemomentsofanauthor’sstyle：whichschoolshallbeusedforconspicuousness，andwhichformultitudinousservice。Andthechoicebeingopen，theperturbationofthepulsesandimpulsesofsomanyheartsquickenedinthoughtandfeelinginthisdaysuggeststomeadeliberatereturntotherecollectednessofthemoretranquillanguage。\"Doubtlessthereisaplaceofpeace。\"
Aplaceofpeace，notofindifference。Itisimpossiblenottochargesomeofthemoralistsoftheeighteenthcenturywithanindifferenceintowhichtheyeducatedtheirplatitudesandintowhichtheirplatitudeseducatedthem。Addisonthusgaveandtook，untilhewasalmostincapableofcomingwithinarm’s-lengthofarealorspiritualemotion。Thereisnoknowingtowhatdistancetheremovalofthe\"appropriatesentiment\"fromthecentralsoulmighthaveattainedbutforthechangeandrenewalinlanguage，whichcamewhenitwasneeded。AddisonhadassuredlyremovedeternityfarfromtheapprehensionofthesoulwhenhisCatohailedthe\"pleasinghope，\"the\"fonddesire\"；andthetouchofwarwasdistantfromhimwhoconceivedhis\"repulsedbattalions\"andhis\"doubtfulbattle。\"
Whatcameafterwards，whensimplicityandnearnesswererestoredoncemore，wasdoubtlessjourneyman’sworkattimes。Menweretooeagertogointotheworkshopoflanguage。Therewereunreasonablerapturesoverthemeremakingofcommonwords。\"Ahand-shoe！afinger-hat！aforeword！Beautiful！\"theycried；andfortheloveofGermantheyoungestdaughterofChrysaleherselfmighthaveconsentedtobekissedbyagrammarian。Itseemedtobeforgottenthatalanguagewithallitsconstructionvisibleisalanguagelittlefittedforthemoreadvancedmentalprocesses；thatitsimagesarematerial；andthat，ontheotherhand，acertainspiritualizingandsubtilizingeffectofalienderivationsisaprivilegeandanadvantageincalculable——thattopossessthathalfofthelanguagewithinwhichLatinhereditieslurkandRomanesqueallusionsareatplayistopossessthestateandsecurityofadeadtongue，withoutthedeath。
ButnowIspokeofwordsencounteringasgaystrangers，variousinorigin，dividedinrace，withinamaster’sphrase。ThemostbeautifulandthemostsuddenofsuchmeetingsareofcourseinShakespeare。\"Superfluouskings，\"\"Alassunparalleled，\"
\"Multitudinousseas\"：weneedednottowaitfortheeighteenthcenturyorforthenineteenthorforthetwentiethtolearnthesplendourofsuchencounters，ofsuchdifferences，ofsuchnuptialunlikenessandunion。Butitiswellthatweshouldlearnthemafresh。Anditiswell，too，thatweshouldnotresisttherhythmicreactionbearingusnowsomewhattothesideoftheLatin。Suchareactionisinsomesortanethicalneedforourday。Wewanttoquelltheexaggerateddecisionofmonosyllables。Wewantthepoiseandthepausethatimplyvitalityattimesbetterthanheadstrongmovementexpressesit。Andnotthephraseonlybuttheformofversemightrenderustimelyservice。Thecontrollingcoupletmightstaywithatouchamoderngrief，asitrangedinorderthesorrowsofCanningforhisson。Butitshouldnotbeattemptedwithoutadistinctintentionofsubmissiononthepartofthewriter。Thecouplettransgressedagainst，trespassedupon，usedloosely，islikealawoutstripped，defied——tothedignityneitheroftherebelnoroftherule。
ToLettersdowelooknowfortheguidanceanddirectionwhichtheveryclosenessoftheemotiontakingusbytheheartmakesnecessary。ShallnottheThingmoreandmore，aswecomposeourselvestoliterature，assumethehonour，thehesitation，theleisure，thereconciliationoftheWord？
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。
ACOUNTERCHANGE
\"Ils’esttrompededefunte。\"ThewriterofthisphrasehadhissenseofthatportlymannerofFrench，andhisburlesqueisfine；
but——theparadoxmustberisked——becausehewasFrenchhewasnotabletopossessallitsgrotesquemediocritytothefull；thatisreservedfortheEnglishreader。Thewordsareinthemouthofawidowerwho，approachinghiswife’stomb，perceivesthereanother\"monsieur。\"\"Monsieur，\"again；theFrenchreaderisdeprivedofthevalueofthisword，too，initsplace；itsayslittleornothingtohim，whereastheEnglishman，whohasnowordoftheprecisebourgeoissignificancethatitsometimesbears，butwhomustuseoneoftwoEnglishwordsofdifferentallusion——manorIgentleman——
knowstheexactvalueofitscommonplace。TheseriousParisian，then，sees\"unautremonsieur；\"asitprovesanon，therehadbeenadivorceinthehistoryofthelady，butthelaterwidowerisnotyetawareofthis，andexplainstohimselfthepresenceof\"unmonsieur\"
inhisownplacebythatweightyphrase，\"Ils’esttrompededefunte。\"
ThestrangeeffectofathingsochargedwithallusionandwithnationalcharacteristocauseanEnglishreadertopitythemockingauthorwhowasdebarredbyhisownlanguagefrompossessingthewholeofhisowncomedy。Itis，infact，bycontrastwithhisEnglishthatanEnglishmandoespossessit。Yourofficial，yourprofessionalParisianhasavocabularyofenormous，unrivalledmediocrity。Whenthenovelistperceivesthishedoesnotperceiveitall，becausesomeofthewordsaretheonlywordsinuse。Takeanauthorathisseriousmoments，whenheisnotatalloccupiedwiththecomedyofphrases，andhenowandthentouchesawordthathasitsburlesquebymerecontrastwithEnglish。\"L’Histoired’unCrime，\"ofVictorHugo，hassomanyofthesetouchesastobe，byakindofreflexaction，averyschoolofEnglish。Thewholeincidentoftheomnibusinthatgraveworkhasunconsciousinternationalcomedy。TheDeputiesseatedintheinterioroftheomnibushadbeen，itwillberemembered，shutoutoftheirChamberbytheperpetratoroftheCoupd’Etat，buteachhadhisofficialscarf。
Scarf——pish！——\"l’echarpe！\"\"Ceindrel’echarpe\"——thereisnorealEnglishequivalent。Civicresponsibilityneverwasotherwiseadequatelyexpressed。Anindignantdeputypassedhisscarfthroughthewindowoftheomnibus，asanappealtothepublic，\"etl’agita。\"
ItisapitythattheFrenchreader，havingnosimplerword，isnotinapositiontounderstandtheslightburlesque。Nay，themereword\"public，\"spokenwiththispeculiarFrenchgoodfaith，hasforusIknownotwhatuntransferablegravity。
Thereis，inshort，ageneralinternationalcounterchange。Itisaltogetherinaccordancewithouractualstateofcivilization，withitsextremely\"specialized\"mannerofindustry，thatonepeopleshouldmakeaphrase，andanothershouldhaveandenjoyit。And，infact，therearecertainFrenchauthorstowhomshouldbesecuredtheuseoftheliteraryGermanwhereofGermans，andGermanwomeninparticular，oughtwithallseveritytobedeprived。ForGermansoftentellyouofwordsintheirowntonguethatareuntranslatable；
andaccordinglytheyshouldnotbetranslated，butgivenoverintheirownconditions，unaltered，intosaferhands。TherewouldbeaclearingoftheoutlinesofGermanideas，abetterorderinthephrase；thepossessorsofanalienword，withthethoughtitsecures，wouldfindalsotheiradvantage。
SowithFrenchhumour。ItisexpresslyandsignallyforEnglishears。Itissoeveninthecommonestfarce。Theunfortunatehouseholder，forexample，whoispersuadedtokeepwalkingintheconservatory\"pourretablirlacirculation，\"andtheotherwhodescribeshimself\"sous-chefdebureaudansl’enregistrement，\"andhewhoproposesto\"fairehommage\"ofadoubtfulturbottotheneighbouring\"employedel’octroi\"——theseandalltheirlikespeakcommonplacessousualastoloseintheirowncountrytheperfectionoftheirdulness。Weonly，whohavethealternativeofplainerandfresherwords，understandit。ItisnottheleastoftheadvantagesofourowndualEnglishthatwebecomesensibleofthemockeryofcertainphrasesthatinFrancehavelosthalftheirridicule，uncontrasted。
TakeagainthecommonrhetoricthathasfixeditselfinconversationinallLatinlanguages——rhetoricthathasceasedtohaveallusions，eithermajesticorcomic。TotheearsomewhatunusedtoFrenchthisproffersafrequentcomedythatthewell-accustomedear，evenofanEnglishman，nolongerdetects。AguardonaFrenchrailway，whoadvisedtwotravellerstotakeacertaintrainforfeartheyshouldbeobligedto\"vegeter\"forawholehourinthewaiting-roomofsuchorsuchastationseemedtothelesspractisedtouristtobeafreshkindofunexpectedhumourist。
OneofthephrasesalwaysusedinthebusinessofcharitiesandsubscriptionsinFrancehasmorethantheintentionalcomedyofthefarce-writer；oneofthemostabsurdofhispersonages，wearyinghisvisitorsinthecountrywithaperpetualgameofbowls，saystothem：\"Nousjouonscinquantecentimes——lesbeneficesserontversesintegralementelasouscriptionquiestouverteelacommunepourlaconstructiondenotremaisond’ecole。\"
\"Fletrir，\"again。Nothingcouldbemorerhetoricalthanthisperfectlycommonwordofcontroversy。Thecomicdramatistiswellawareofthespentviolenceofthisphrase，withwhicheveryseriousFrenchmanwillreplytoopponents，especiallyinpublicmatters。
Butnoteventhecomicdramatistisawareofthelaststateofrefusecommonplacethatawordofthiskindrepresents。Refuserhetoric，bytheway，ratherthanEmerson’s\"fossilpoetry，\"wouldseemtobetherightnameforhumanlanguageassomeoftheprocessesoftheseveralrecentcenturieshaveleftit。
TheFrenchcomedy，then，isfairlystuffedwiththin-SforanEnglishman。Theyarenotall，itistrue，sofinelycomicas\"Ils’esttrompededefunte。\"Inthereportofthatdull，incomparablesentencethereisenoughhumour，andsubtleenough，forboththemakerandthereader；fortheauthorwhoperceivesthecomedyaswellascustomwillpermit，andforthereaderwhotakesitwiththefreshnessofastranger。Butifnotsokeenasthis，thecurrentwordofFrenchcomedyisofthesamequalityoflanguage。Whenofthefourteencouplestobemarriedbythemayor，forinstance，thedeafclerkhasshuffledtwo，alooker-onpronounces：\"Ils’estempetredanslesfuturs。\"ButforareaderwhohasafullsenseoftheseverallanguagesthatexistinEnglishattheserviceoftheseveralwaysofhumanlife，thereis，fromthemereterminologyofofficialFrance，highorlow——dailyFrance——agratuitousanduncovenantedsmiletobehad。WiththisthewitofthereportofFrenchliteraturehasnotlittletodo。Norisitinitself，perhaps，reasonablycomic，buttheslightestironyofcircumstancemakesitso。Averylittleofthemockeryofconditionsbringsoutallthelatentabsurdityofthe\"sixiemeetseptiemearron-
dissements，\"inthetwinklingofaneye。Soisitwiththemere\"domicile；\"withtheaidofbutalittleoftheburlesqueoflife，thesuitatlawto\"reintegrerledomicileconjugal\"becomesasgrotesqueasaphrasecanmakeit。Even\"edomicile\"merely——thewordofeveryshopman——is，intheunconsciousmouthsofthespeakers，alwaysawaitingthelightesttouchoffarce，ifonlyanEnglishmanhearsit；soistheadviceofthepolicethatyoushall\"circuler\"inthestreet；soistherequest，postedup，thatyoushallnot，inthechurches。
Soaretheseriousandordinaryphrases，\"maisonnuptiale，\"\"maisonmortuaire，\"andthestillmoreserious\"reposdominical，\"\"oraisondominicale。\"Thereisnomajestyinsuchwords。Theunsuspiciousgravitywithwhichtheyarespokenbroadcastisnottobewonderedat，thelanguageofferingnoreliefofcontrast；andwhatismuchtothecreditofthecomicsensibilityofliteratureisthefactthat，throughthisgeneralunconsciousness，theridiculeofathousandauthorsofcomedyperceivesthefun，andsinglesoutthefamiliarthing，andcompelsthatmostelaboratedulnesstoamuseus。US，aboveall，byvirtueofthecustomofcounter-changeheresetforth。
Whoshallsaywhether，byoperationofthesameexchange，theEnglishpoetsthatsopersistinFrancemaynotrevealsomethingwithintheEnglishlanguage——onewouldbesomewhatlothtothinkso——
reservedtotheFrenchreaderpeculiarly？Byrontothemultitude，EdgarPoetotheselect？ThenwouldsomeofthemysteriesofFrenchreadingofEnglishbeexplainedotherwisethanbytheplainerexplanationthathashithertosatisfiedourhaughtycuriosity。ThetasteforrhetoricseemedtoaccountforByron，andthedesireoftherhetoriciantoclaimatasteforpoetryseemedtoaccountforPoe。But，afterall，patatras！Whocansay？
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。
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。