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——