century was not wholly English.

It is not to be imagined that any hard Southern mind could ever have played in poetry with such a fancy; or that Petrarch, for example, could so have foregone the manifestation of intelligence and intelligible sentiment.  And as to Dante, who put the two eternities into the momentary balance of the human will, cold would be his disregard of this northern dream of innocence.  If the mad maid was an alien upon earth, what were she in the Inferno?  What word can express her strangeness there, her vagrancy there?  And with what eyes would they see this dewy face glancing in at the windows of that City?

PATHOS

A fugitive writer wrote not long ago on the fugitive page of a magazine: “For our part, the drunken tinker [Christopher Sly] is the most real personage of the piece, and not without some hints of the pathos that is worked out more fully, though by different ways, in Bottom and Malvolio.”  Has it indeed come to this?  Have the Zeitgeist and the Weltschmerz or their yet later equivalents, compared with which “le spleen” of the French Byronic age was gay, done so much for us?  Is there to be no laughter left in literature free from the preoccupation of a sham real-life?  So it would seem.  Even what the great master has not shown us in his work, that your critic convinced of pathos is resolved to see in it.  By the penetration of his intrusive sympathy he will come at it.  It is of little use now to explain Snug the joiner to the audience: why, it is precisely Snug who stirs their emotions so painfully.  Not the lion; they can make shift to see through that: but the Snug within, the human Snug.  And Master Shallow has the Weltschmerz in that latent form which is the more appealing; and discouraging questions arise as to the end of old Double; and Harpagon is the tragic figure of Monomania; and as to Argan, ah, what havoc in “les entrailles de Monsieur” must have been wrought by those prescriptions!  Et patati, et patata.

It may be only too true that the actual world is “with pathos delicately edged.”  For Malvolio living we should have had living sympathies; so much aspiration, so ill-educated a love of refinement; so unarmed a credulity, noblest of weaknesses, betrayed for the laughter of a chambermaid.  By an actual Bottom the weaver our pity might be reached for the sake of his single self-reliance, his fancy and resource condemned to burlesque and ignominy by the niggard doom of circumstance.  But is not life one thing and is not art another?  Is it not the privilege of literature to treat things singly, without the after-thoughts of life, without the troublous completeness of the many-sided world?  Is not Shakespeare, for this reason, our refuge?  Fortunately unreal is his world when he will have it so; and there we may laugh with open heart at a grotesque man: without misgiving, without remorse, without reluctance.  If great creating Nature has not assumed for herself she has assuredly secured to the great creating poet the right of partiality, of limitation, of setting aside and leaving out, of taking one impression and one emotion as sufficient for the day.  Art and Nature are complementary; in relation, not in confusion, with one another.  And all this officious cleverness in seeing round the corner, as it were, of a thing presented by literary art in the flat—(the borrowing of similes from other arts is of evil tendency; but let this pass, as it is apt)—is but another sign of the general lack of a sense of the separation between Nature and her sentient mirror in the mind.  In some of his persons, indeed, Shakespeare is as Nature herself, all-inclusive; but in others—and chiefly in comedy—he is partial, he is impressionary, he refuses to know what is not to his purpose, he is light-heartedly capricious.  And in that gay, wilful world it is that he gives us—or used to give us, for even the word is obsolete—the pleasure of oubliance.

Now this fugitive writer has not been so swift but that I have caught him a clout as he went.  Yet he will do it again; and those like-minded will assuredly also continue to show how much more completely human, how much more sensitive, how much more responsible, is the art of the critic than the world has ever dreamt till now.  And, superior in so much, they will still count their importunate sensibility as the choicest of their gifts.  And Lepidus, who loves to wonder, can have no better subject for his admiration than the pathos of the time.  It is bred now of your mud by the operation of your sun.  ’Tis a strange serpent; and the tears of it are wet.

ANIMA PELLEGRINA!

Every language in the world has its own phrase, fresh for the stranger’s fresh and alien sense of its signal significance; a phrase that is its own essential possession, and yet is dearer to the speaker of other tongues.  Easily—shall I say cheaply?—spiritual, for example, was the nation that devised the name anima pellegrina, wherewith to crown a creature admired.  “Pilgrim soul” is a phrase for any language, but “pilgrim soul!” addressed, singly and sweetly to one who cannot be over-praised, “pilgrim-soul!” is a phrase of fondness, the high homage of a lover, of one watching, of one who has no more need of common flatteries, but has admired and gazed while the object of his praises visibly surpassed them—this is the facile Italian ecstasy, and it rises into an Italian heaven.

It was by chance, and in an old play, that I came upon this impetuous, sudden, and single sentence of admiration, as it were a sentence of life passed upon one charged with inestimable deeds; and the modern editor had thought it necessary to explain the exclamation by a note.  It was, he said, poetical.

Anima pellegrina seems to be Italian of no later date than Pergolese’s airs, and suits the time as the familiar phrase of the more modern love-song suited the day of Bellini.  But it is only Italian, bygone Italian, and not a part of the sweet past of any other European nation, but only of this.

To the same local boundaries and enclosed skies belongs the charm of those buoyant words:-

Felice chi vi mira,
Ma più felice chi per voi sospira!

And it is not only a charm of elastic sound or of grace; that would be but a property of the turn of speech.  It is rather the profounder advantage whereby the rhymes are freighted with such feeling as the very language keeps in store.  In another tongue you may sing, “happy who looks, happier who sighs”; but in what other tongue shall the little meaning be so sufficient, and in what other shall you get from so weak an antithesis the illusion of a lovely intellectual epigram?  Yet it is not worthy of an English reader to call it an illusion; he should rather be glad to travel into the place of a language where the phrase is intellectual, impassioned, and an epigram; and should thankfully for the occasion translate himself, and not the poetry.

I have been delighted to use a present current phrase whereof the charm may still be unknown to Englishmen—“piuttosto bruttini.”  See what an all-Italian spirit is here, and what contempt, not reluctant, but tolerant and familiar.  You may hear it said of pictures, or works of art of several kinds, and you confess at once that not otherwise should they be condemned.  Brutto—ugly—is the word of justice, the word for any language, everywhere translatable, a circular note, to be exchanged internationally with a general meaning, wholesale, in the course of the European concert.  But bruttino is a soothing diminutive, a diminutive that forbears to express contempt, a diminutive that implies innocence, and is, moreover, guarded by a hesitating adverb, shrugging in the rear—“rather than not.”  “Rather ugly than not, and ugly in a little way that we need say few words about—the