401:274;00@@@@@| 401:274;00[' ]| 401:274;00[' ]| <1775-1834> 401:274;00[' ]| 401:274;01[' ]| EVERY man hath two birthdays: two days at least, in$4$ 401:274;02[' ]| every year, which$6#1$ set him upon$4$ revolving the lapse of 401:274;03[' ]| time, as it affects his mortal duration. The one is that$6#2$ 401:274;04[' ]| which$6#1$ in$4$ an especial manner he termeth \his\. In$4$ the 401:274;05[' ]| gradual desuetude of old observances, this custom of 401:274;06[' ]| solemnising our proper birthday hath nearly passed 401:274;07[' ]| away, or is left to$4$ children, who$6#1$ reflect nothing at all 401:274;08[' ]| about the matter, nor understand anything in$4$ it beyond 401:274;09[' ]| cake and orange. But the birth of a New*Year is of 401:274;10[' ]| an interest too wide to$9$ be pretermitted by$4$ king or 401:274;11[' ]| cobbler. No*one ever regarded the First of January 401:274;12[' ]| with indifference. It is that$6#2$ from which$6#1$ all date their 401:274;13[' ]| time, and count upon$4$ what is left. It is the nativity of 401:274;14[' ]| our common Adam. 401:274;15[' ]| Of all sounds of all bells ~~ (bells, the music nighest 401:274;16[' ]| bordering upon$4$ heaven) ~~ most solemn and touching is 401:274;17[' ]| the peal which$6#1$ rings out the Old*Year. 401:274;17[P ]| I never hear 401:274;18[P ]| it without a gathering-up of my mind to$4$ a concentration 401:274;19[P ]| of all the images that$6#1$ have been diffused over the past 401:274;20[P ]| twelvemonth; all I have done or suffered, performed 401:274;21[P ]| or neglected, in$4$ that$6#2$ regretted time. I begin to$9$ know 401:274;22[P ]| its worth, as when a person dies. It takes a personal 401:274;23[P ]| colour; nor was it a poetical flight in$4$ a contemporary, 401:274;24[P ]| when he exlaimed ~~ 401:275;01[Z ]| It is no$2$ more than what in$4$ sober sadness every one 401:275;02[Z ]| of us seems to$9$ be conscious of, in$4$ that$6#2$ awful leave-taking. 401:275;03[P ]| I am sure I felt it, and all felt it with me, 401:275;04[P ]| last night; though some of my companions affected 401:275;05[P ]| rather to$9$ manifest an exhilaration at the birth of the 401:275;06[P ]| coming year, than any very tender regrets for$4$ the 401:275;07[P ]| decease of its predecessor. But I am none of those 401:275;08[P ]| who$6#1$ ~~ 401:275;09[Z ]| Welcome the coming, speed the parting guest. 401:275;10[P ]| I am naturally, beforehand, shy of novelties; new 401:275;11[P ]| books, new faces new years, ~~ from some mental twist 401:275;12[P ]| which$6#1$ makes it difficult in$4$ me to$9$ face the prospective. 401:275;13[P ]| I have almost ceased to$9$ hope; and am sanguine only 401:275;14[P ]| in$4$ the prospects of other (former) years. I plunge into 401:275;15[P ]| foregone visions and conclusions. I encounter pell-mell 401:275;16[P ]| with past disappointments. I forgive, or overcome 401:275;17[P ]| in$4$ fancy, old adversaries. I play over again \for$4$ love\, 401:275;18[P ]| as the gamesters phrase it, games for$4$ which$6#1$ I once 401:275;19[P ]| paid so$5#1$ dear. I would scarce now have any of those 401:275;20[P ]| untoward incidents and events of my life reversed. I 401:275;21[P ]| would no$2$ more alter them than the incidents of some 401:275;22[P ]| well-contrived novel. Methinks, it is better that$3$ I 401:275;23[P ]| should have pined away seven of my goldenest years, 401:275;24[P ]| when I was thrall to$4$ the fair hair, and fairer eyes, of 401:275;25[P ]| Alice*W***n, than that$3$ so$5#1$ passionate a love adventure 401:275;26[P ]| should be lost. It was better that$3$ our family should 401:275;27[P ]| have missed that$6#2$ legacy, which$6#1$ old Dorrell cheated us 401:275;28[P ]| of, than that$3$ I should have at this moment two thousand 401:275;29[P ]| pounds \8in 8banco\, and be without the idea of that$6#2$ specious 401:275;30[P ]| old rogue. 401:275;31[P ]| In$4$ a degree beneath manhood, it is my infirmity to$9$ 401:275;32[P ]| look back upon$4$ those early days. Do I advance a 401:275;33[P ]| paradox when I say, that$3$, skipping over the intervention 401:275;34[P ]| of forty years, a man may have leave to$9$ love 401:275;35[P ]| \himself\ without the imputation of self-love? 401:275;36[P ]| If I know aught of myself, no*one whose mind is 401:275;37[P ]| introspective ~~ and mine is painfully so$5#2$ ~~ can have a 401:275;38[P ]| less respect for$4$ his present identity than I have for$4$ the 401:276;01[P ]| man Elia. I know him to$9$ be light, and vain, and 401:276;02[P ]| humoursome; a notorious ***; addicted to$4$ ***; 401:276;03[P ]| averse from counsel, neither taking it, nor offering 401:276;04[P ]| it; ~~ *** besides; a stammering buffoon; what you 401:276;05[P ]| will$1$; lay it on$5$, and spare not; I subscribe to$4$ it all, 401:276;06[P ]| and much more, than thou canst be willing to$9$ lay at 401:276;07[P ]| his door ~~ but for$4$ the child Elia ~~ that$6#2$ ""other me,"" 401:276;08[P ]| there, in$4$ the background ~~ I must take leave to$9$ cherish 401:276;09[P ]| the remembrance of that$6#2$ young master ~~ with as little 401:276;10[P ]| reference, I protest, to$4$ his stupid changeling of five-and-forty, 401:276;11[P ]| as if it had been a child of some other house, 401:276;12[P ]| and not of my parents. I can cry over its patient 401:276;13[P ]| small-pox at five, and rougher medicaments. I can 401:276;14[P ]| lay its poor fevered head upon$4$ the sick pillow at 401:276;15[P ]| Christ's, and wake with it in$4$ surprise at the gentle 401:276;16[P ]| posture of maternal tenderness hanging over it, that$6#1$ 401:276;17[P ]| unknown had watched its sleep. I know how it 401:276;18[P ]| shrank from any the least colour of falsehood. ~~ God 401:276;19[P ]| help thee, Elia, how art thou changed! ~~ Thou art 401:276;20[P ]| sophisticated. ~~ I know how honest, how courageous 401:276;21[P ]| (for$4$ a weakling) it was ~~ how religious, how imaginative, 401:276;22[P ]| how hopeful! From what have I not fallen, if 401:276;23[P ]| the child I remember was indeed myself, ~~ and not 401:276;24[P ]| some dissembling guardian, presenting a false indentity, 401:276;25[P ]| to$9$ give the rule to$4$ my unpractised steps, and regulate 401:276;26[P ]| the tone of my moral being! 401:276;27[P ]| That$3$ I am fond of indulging, beyond a hope of 401:276;28[P ]| sympathy, in$4$ such retrospection, may be the symptom 401:276;29[P ]| of some sickly idiosyncarsy. Or is it owing to$4$ another 401:276;30[P ]| cause: simply, that$3$ being without wife or family, I 401:276;31[P ]| have not learned to$9$ project myself enough out of 401:276;32[P ]| myself; and having no$2$ offspring of my own to$9$ dally 401:276;33[P ]| with, I turn back upon$4$ memory, and adopt my own 401:276;34[P ]| early idea, as my heir and favourite? If these speculations 401:276;35[P ]| seem fantastical to$4$ thee, Reader (a busy man, 401:276;36[P ]| perchance), if I tread out of the way of thy sympathy, 401:276;37[P ]| and am singularly conceited only, I retire, impenetrable 401:276;38[P ]| to$4$ ridicule, under the phantom cloud of Elia. 401:276;39[P ]| The elders, with whom I was brought up$5$, were of a 401:276;40[P ]| character not likely to$9$ let slip the sacred observance of 401:277;01[P ]| any old institution; and the ringing out of the Old 401:277;02[P ]| Year was kept by$4$ them with circumstances of peculiar 401:277;03[P ]| ceremony. ~~ In$4$ those days the sound of those midnight 401:277;04[P ]| chimes, though it seemed to$9$ raise hilarity in$4$ all around 401:277;05[P ]| me, never failed to$9$ bring a train of pensive imagery 401:277;06[P ]| into my fancy. Yet I then scarce conceived what it 401:277;07[P ]| meant, or thought of it as a reckoning that$6#1$ concerned 401:277;08[P ]| me. Not childhood alone, but the young man till 401:277;09[P ]| thirty, never feels practically that$3$ he is mortal. He 401:277;10[P ]| knows it indeed, and, if need were, he could preach a 401:277;11[P ]| homily on$4$ the fragility of life; but he brings it not 401:277;12[P ]| home to$4$ himself, any more than in$4$ a hot June we can 401:277;13[P ]| appropriate to$4$ our imagination the freezing days of 401:277;14[P ]| December. But now, shall I confess a truth? ~~ I feel 401:277;15[P ]| these audits but too powerfully. I begin to$9$ count the 401:277;16[P ]| probabilities of my duration, and to$9$ grudge at the 401:277;17[P ]| expenditure of moments and shortest periods, like$4$ 401:277;18[P ]| misers' farthings. In$4$ proportion as the years both 401:277;19[P ]| lessen and shorten, I set more count upon$4$ their periods, 401:277;20[P ]| and would fain lay my ineffectual finger upon$4$ the 401:277;21[P ]| spoke of the great wheel. I am not content to$9$ pass 401:277;22[P ]| away ""like$4$ a weaver's shuttle."" Those metaphors solace 401:277;23[P ]| me not, nor sweeten the unpalatable draught of mortality. 401:277;24[P ]| I care not to$9$ be carried with the tide, that$6#1$ 401:277;25[P ]| smoothly bears human life to$4$ eternity; and reluct at 401:277;26[P ]| the inevitable course of destiny. I am in$4$ love with 401:277;27[P ]| this green earth; the face of town and country; the 401:277;28[P ]| unspeakable rural solitudes, and the sweet security of 401:277;29[P ]| streets. I would set up$5$ my tabernacle here. I am 401:277;30[P ]| content to$9$ stand still at the age to$4$ which$6#1$ I am arrived; 401:277;31[P ]| I, and my friends: to$9$ be no$2$ younger, no$2$ richer, no$2$ 401:277;32[P ]| handsomer. I do not want to$9$ be weaned by$4$ age; or 401:277;33[P ]| drop, like$4$ mellow fruit, as they say, into the grave. ~~ 401:277;34[P ]| Any alteration, on$4$ this earth of mine, in$4$ diet or in$4$ 401:277;35[P ]| lodging, puzzles and discomposes me. My household-gods 401:277;36[P ]| plant a terrible fixed foot, and are not rooted up$5$ 401:277;37[P ]| without blood. They do not willingly seek Lavinian 401:277;38[P ]| shores. A new state of being staggers me. 401:277;39[P ]| Sun, and sky, and breeze, and solitary walks, and 401:277;40[P ]| summer holidays, and the greenness of fields, and the 401:278;01[P ]| delicious juices of meats and fishes, and society, and 401:278;02[P ]| the cheerful glass, and candle-light, and fireside conversations, 401:278;03[P ]| and innocent vanities, and jests, and \irony\ 401:278;04[P ]| \itself\ ~~ do these things go out with life? 401:278;05[P ]| Can a ghost laugh, or shake his gaunt sides, when 401:278;06[P ]| you are pleasant with him? 401:278;07[P ]| And you, my midnight darlings, my Folios; must I 401:278;08[P ]| part with the intense delight of having you (huge armfuls) 401:278;09[P ]| in$4$ my embraces? Must knowledge come to$4$ me, 401:278;10[P ]| if it come at all, by$4$ some awkward experiment of 401:278;11[P ]| intuition, and no$2$ longer by$4$ this familiar process of 401:278;12[P ]| reading? 401:278;13[P ]| Shall I enjoy friendships there, wanting the smiling 401:278;14[P ]| indications which$6#1$ point me to$4$ them here, ~~ the recognisable 401:278;15[P ]| face ~~ the ""sweet assurance of a look""? 401:278;16[P ]| In$4$ winter this intolerable disinclination to$4$ dying ~~ to$9$ 401:278;17[P ]| give it its mildest name ~~ does more especially haunt 401:278;18[P ]| and beset me. In$4$ a genial August moon, beneath a 401:278;19[P ]| sweltering sky, death is almost problematic. At those 401:278;20[P ]| times do such poor snakes as myself enjoy an immortality. 401:278;21[P ]| Then we expand and burgeon. Then we are 401:278;22[P ]| as strong again, as valiant again, as wise again, and a 401:278;23[P ]| great deal taller. The blast that$6#1$ nips and shrinks me, 401:278;24[P ]| puts me in$4$ thoughts of death. All things allied to$4$ the 401:278;25[P ]| insubstantial, wait upon$4$ that$6#2$ master feeling; cold, 401:278;26[P ]| numbness, dreams, perplexity; moonlight itself, with 401:278;27[P ]| its shadowy and spectral appearances, ~~ that$6#2$ cold ghost 401:278;28[P ]| of the sun, or Pho*ebus' sickly sister, like$4$ that$6#2$ innutritious 401:278;29[P ]| one denounced in$4$ the Canticles: ~~ I am none 401:278;30[P ]| of her minions ~~ I hold with the Persian. 401:278;31[P ]| Whatsoever thwarts, or puts me out of my way, 401:278;32[P ]| brings death unto my mind. All partial evils, like$4$ 401:278;33[P ]| humours, run into that$6#2$ capital plague-sore. ~~ I have 401:278;34[P ]| heard some profess an indifferance to$4$ life. Such hail 401:278;35[P ]| the end of their existence as a port of refuge; and 401:278;36[P ]| speak of the grave as of some soft arms, in$4$ which$6#1$ they 401:278;37[P ]| may slumber as on$4$ a pillow. Some have wooed death 401:278;38[P ]| ~~ but out upon$4$ thee, I say, thou foul, ugly phantom! 401:278;39[P ]| I detest, abhor, execrate, and (with Friar*John) give 401:278;40[P ]| thee to$4$ six score thousand devils, as in$4$ no$2$ instance to$9$ 401:279;01[P ]| be excused or tolerated, but shunned as an universal 401:279;02[P ]| viper; to$9$ be branded, proscribed, and spoken evil of! 401:279;03[P ]| In$4$ no$2$ way can I be brought to$9$ digest thee, thou thin, 401:279;04[P ]| melancholy \Privation\, or more frightful and confounding 401:279;05[P ]| \Positive\! 401:279;06[P ]| Those antidotes, prescribed against the fear of thee, 401:279;07[P ]| are altogether frigid and insulting, like$4$ thyself. For$3$ 401:279;08[P ]| what satisfaction hath a man, that$3$ he shall ""lie down 401:279;09[P ]| with kings and emperors in$4$ death,"" who$6#2$ in$4$ his lifetime 401:279;10[P ]| never greatly coveted the society of such bed-fellows? 401:279;11[P ]| ~~ or, forsooth, that$3$ ""so$5#2$ shall the fairest face appear""? 401:279;12[P ]| ~~ why, to$9$ comfort me, must Alice*W***n be a goblin? 401:279;13[P ]| More than all, I conceive disgust at those impertinent 401:279;14[P ]| and misbecoming familiarities, inscribed upon$4$ your 401:279;15[P ]| ordinary tombstones. Every dead man must take 401:279;16[P ]| upon$4$ himself to$9$ be lecturing me with his odious truism, 401:279;17[P ]| that$3$ ""Such as he now is I must shortly be."" Not so$5#1$ 401:279;18[P ]| shortly, friend, perhaps, as thou imaginest. In$4$ the 401:279;19[P ]| meantime I am alive. I move about. I am worth 401:279;20[P ]| twenty of thee. Know thy betters! Thy New*Years' 401:279;21[P ]| days are past. I survive, a jolly candidate for$4$ 1821. 401:279;22[P ]| Another cup of wine ~~ and while that$6#2$ turncoat bell, 401:279;23[P ]| that$6#1$ just now mournfully chanted the obsequies of 401:279;24[P ]| 1820 departed, with changed notes lustily rings in$4$ a 401:279;25[P ]| successor, let us attune to$4$ its peal the song made on$4$ a 401:279;26[P ]| like$2$ occasion, by$4$ hearty, cheerful Mr%*Cotton. ~~ <\Essays*of*Elia\.> 401:279;27[' ]| 402:280;00[' ]| 402:280;00[' ]| 402:280;01[' ]| HOGARTH excepted, can we produce any one painter within 402:280;02[' ]| the last fifty years, or since the humour of exhibiting began, 402:280;03[' ]| that$6#1$ has treated a story \imaginatively\? By$4$ this we mean, upon$4$ 402:280;04[' ]| whom his subject has so$5#1$ acted, that$3$ it has seemed to$9$ direct 402:280;05[' ]| \him\ ~~ not to$9$ be arranged by$4$ him? Any upon$4$ whom its leading 402:280;06[' ]| or collateral points have impressed themselves so$5#1$ tyrannically, 402:280;07[' ]| that$3$ he dared not treat it otherwise, lest he should falsify a 402:280;08[' ]| revelation? Any that$6#1$ has imparted to$4$ his compositions, not 402:280;09[' ]| merely so$5#1$ much truth as is enough to$9$ convey a story with 402:280;10[' ]| clearness, but that$6#2$ individualising property, which$6#1$ should 402:280;11[' ]| keep the subject so$5#2$ treated distinct in$4$ feature from every 402:280;12[' ]| other subject, however similar, and to$4$ common apprehensions 402:280;13[' ]| almost identical; so$3$ as that$3$ we might say, this and this part 402:280;14[' ]| could have found an appropriate place in$4$ no$2$ other picture 402:280;15[' ]| in$4$ the world but this? Is there anything in$4$ modern art ~~ we 402:280;16[' ]| will$1$ not demand that$3$ it should be equal ~~ but in$4$ any way 402:280;17[' ]| analogous to$4$ what Titian has effected, in$4$ that$6#2$ wonderful 402:280;18[' ]| bringing together of two times in$4$ the Ariadne, in$4$ the National*Gallery? 402:280;19[' ]| Precipitous, with his reeling satyr rout about him, 402:280;20[' ]| re-peopling and re-illuming suddenly the waste places, drunk 402:280;21[' ]| with a new fury beyond the grape, Bacchus, born in$4$ fire, 402:280;22[' ]| fire-like flings himself at the Cretan. This is the time present. 402:280;23[' ]| With this telling of the story ~~ an artist, and no$2$ ordinary one, 402:280;24[' ]| might remain richly proud. Guido, in$4$ his harmonious version 402:280;25[' ]| of it, saw no$2$ further. But from the depths of the imaginative 402:280;26[' ]| spirit Titian has recalled past time, and laid it contributory 402:280;27[' ]| with the present to$4$ one simultaneous effect. With the desert 402:280;28[' ]| all ringing with the mad cymbals of his followers, made lucid 402:280;29[' ]| with the presence and new offers of a god, ~~ as if unconscious 402:281;01[' ]| of Bacchus, or but idly casting her eyes as upon$4$ some 402:281;02[' ]| unconcerning pageant ~~ her soul undistracted from Theseus 402:281;03[' ]| ~~ Ariadne is still pacing the solitary shore in$4$ as much heart-silence, 402:281;04[' ]| and in$4$ almost the same local solitude, with which$6#1$ 402:281;05[' ]| she awoke at daybreak to$9$ catch the forlorn last glances of 402:281;06[' ]| the sail that$6#1$ bore away the Athenian. 402:281;07[' ]| Here are two points miraculously co-uniting; fierce 402:281;08[' ]| society, with the feeling of solitude still absolute; noonday 402:281;09[' ]| revelations, with the accidents of the dull grey dawn 402:281;10[' ]| unquenched and lingering; the \present\ Bacchus, with the 402:281;11[' ]| \past\ Ariadne; two stories, with double Time; separate, and 402:281;12[' ]| harmonising. Had the artist made the woman one shade less 402:281;13[' ]| indifferent to$4$ the God; still more, had she expressed a rapture 402:281;14[' ]| at his advent, where would have been the story of the mighty 402:281;15[' ]| desolation of the heart previous? merged in$4$ the insipid 402:281;16[' ]| accident of a flattering offer met with a welcome acceptance. 402:281;17[' ]| The broken heart for$4$ Theseus was not lightly to$9$ be pierced up$5$ 402:281;18[' ]| by$4$ a God. 402:281;19[' ]| We have before us a fine rough print, from a picture by$4$ 402:281;20[' ]| Raphael in$4$ the Vatican. It is the Presentation of the new-born 402:281;21[' ]| Eve to$4$ Adam by$4$ the Almighty. A fairer mother of 402:281;22[' ]| mankind we might imagine, and a goodlier sire perhaps of 402:281;23[' ]| men since born. But these are matters subordinate to$4$ the 402:281;24[' ]| conception of the \situation\, displayed in$4$ this extraordinary 402:281;25[' ]| production. A tolerably modern artist would have been 402:281;26[' ]| satisfied with tempering certain raptures of connubial anticipation, 402:281;27[' ]| with a suitable acknowledgment of the Giver of the 402:281;28[' ]| blessing, in$4$ the countenance of the first bridegroom; something 402:281;29[' ]| like$4$ the divided attention of the child (Adam was 402:281;30[' ]| here a child-man) between the given toy, and the mother 402:281;31[' ]| who$6#1$ had just blest it with the bauble. This is the obvious, 402:281;32[' ]| the first-sight view, the superficial. An artist of a higher 402:281;33[' ]| grade, considering the awful presence they were in$4$, would 402:281;34[' ]| have taken care to$9$ subtract something from the expression 402:281;35[' ]| of the more human passion, and to$9$ heighten the more 402:281;36[' ]| spiritual one. This would be as much as an exhibition-goer, 402:281;37[' ]| from the opening of Somerset*House to$4$ last year's show, has 402:281;38[' ]| been enouraged to$9$ look for$4$. It is obvious to$9$ hint at a lower 402:281;39[' ]| expression yet, in$4$ a picture that$6#1$, for$4$ respects of drawing and 402:281;40[' ]| colouring, might be deemed not wholly inadmissible within 402:281;41[' ]| these art-fostering walls, in$4$ which$6#1$ the raptures should be as 402:281;42[' ]| ninety-nine, the gratitude as one, or perhaps zero! By$4$ neither 402:282;01[' ]| the one passion nor the other has Raphael expounded the 402:282;02[' ]| situation of Adam. Singly upon$4$ his brow sits the absorbing 402:282;03[' ]| sense of wonder at the created miracle. The \moment\ is seized 402:282;04[' ]| by$4$ the intuitive artist, perhaps not self-conscious of his art, 402:282;05[' ]| in$4$ which$6#1$ neither of the conflicting emotions ~~ a moment 402:282;06[' ]| how abstracted! ~~ have had time to$9$ spring up$5$, or to$9$ battle 402:282;07[' ]| for$4$ indecorous mastery. ~~ We have seen a landscape of a 402:282;08[' ]| justly admired neoteric, in$4$ which$6#1$ he aimed at delineating 402:282;09[' ]| a fiction, one of the most severely beautiful in$4$ antiquity ~~ 402:282;10[' ]| the gardens of the Hesperides. To$9$ do Mr%*** justice, he had 402:282;11[' ]| painted a laudable orchard, with fitting seclusion, and a 402:282;12[' ]| veritable dragon (of which$6#1$ a Polypheme, by$4$ Poussin, is 402:282;13[' ]| somehow a fac-simile for$4$ the situation), looking over into 402:282;14[' ]| the world shut out backwards, so$3$ that$3$ none but a ""still-climbing 402:282;15[' ]| Hercules"" could hope to$9$ catch a peep at the 402:282;16[' ]| admired Ternary*of*Recluses. No$2$ conventual porter could 402:282;17[' ]| keep his eyes better than this custos with the ""lidless eyes."" 402:282;18[' ]| He not only sees that$3$ none \do\ intrude from that$6#2$ privacy, 402:282;19[' ]| but, as clear as daylight, that$3$ none but \Hercules 7aut Diabolus\ 402:282;20[' ]| by$4$ any manner of means \can\. So$5#1$ far all is well. We have 402:282;21[' ]| absolute solitude here or nowhere. \7Ab 7extra\ the damsels are 402:282;22[' ]| snug enough. But here the artist's courage seems to$9$ have 402:282;23[' ]| failed him. He began to$9$ pity his pretty charge, and, to$9$ comfort 402:282;24[' ]| the irksomeness, has peopled their solitude with a bevy of 402:282;25[' ]| fair attendants, maids of honour, or ladies of the bed-chamber, 402:282;26[' ]| according to$4$ the approved etiquette at a court of 402:282;27[' ]| the nineteenth century; giving to$4$ the whole scene the air 402:282;28[' ]| of a \9fe^te-champe^tre\, if we will$1$ but excuse the absence of the 402:282;29[' ]| gentlemen. This is well, and Watteauish. But what is become 402:282;30[' ]| of the solitary mystery ~~ the 402:282;31[' ]| Daughters three 402:282;32[' ]| That$6#1$ sing around the golden tree? 402:282;33[' ]| This is not the way in$4$ which$6#1$ Poussin would have treated this 402:282;34[' ]| subject. 402:282;35[' ]| The paintings, or rather the stupendous architectural 402:282;36[' ]| designs, of a modern artist, have been urged as objections 402:282;37[' ]| to$4$ the theory of our motto. They are of a character, we confess, 402:282;38[' ]| to$9$ stagger it. His towered structures are of the highest order 402:282;39[' ]| of the material sublime. Whether they were dreams, or 402:282;40[' ]| transcripts of some elder workmanship ~~ Assyrian ruins old 402:282;41[' ]| ~~ restored by$4$ this mighty artist, they satisfy our most 402:283;01[' ]| stretched and craving conceptions of the glories of the 402:283;02[' ]| antique world. It is a pity that$3$ they were ever peopled. On$4$ 402:283;03[' ]| that$6#2$ side, the imagination of the artist halts, and appears 402:283;04[' ]| defective. Let us examine the point of the story in$4$ the 402:283;05[' ]| Belshazzar's*Feast. We will$1$ introduce it by$4$ an apposite 402:283;06[' ]| anecdote. 402:283;07[' ]| The court historians of the day record, that$3$ at the first 402:283;08[' ]| dinner given by$4$ the late King (then Prince*Regent) at the 402:283;09[' ]| Pavilion, the following characteristic frolic was played off. 402:283;10[' ]| The guests were select and admiring; the banquet profuse 402:283;11[' ]| and admirable; the lights lustrous and oriental; the eye was 402:283;12[' ]| perfectly dazzled with the display of plate, among which$6#1$ 402:283;13[' ]| the great gold salt-cellar, brought from the regalia in$4$ the 402:283;14[' ]| Tower for$4$ this especial purpose, itself a tower! stood conspicuous 402:283;15[' ]| for$4$ its magnitude. And now the Rev%***, the 402:283;16[' ]| then admired court Chaplain, was proceeding with the grace, 402:283;17[' ]| when, at a signal given, the lights were suddenly overcast, 402:283;18[' ]| and a huge transparency was discovered, in$4$ which$6#1$ glittered 402:283;19[' ]| in$4$ gold letters ~~ 402:283;20@z | ""BRIGHTON ~~ EARTHQUAKE ~~ SWALLOW-UP-ALIVE!"" 402:283;21[' ]| Imagine the confusion of the guests; the Georges and garters, 402:283;22[' ]| jewels, bracelets, moulted upon$4$ the occasion! The fans 402:283;23[' ]| dropped, and picked up$5$ the next morning by$4$ the sly court-pages! 402:283;24[' ]| Mrs%*Fitz-what's-her-name fainting, and the Countess*of*** 402:283;25[' ]| holding the smelling-bottle, till the good-humoured 402:283;26[' ]| Prince caused harmony to$9$ be restored, by$4$ calling in$5$ fresh 402:283;27[' ]| candles, and declaring that$3$ the whole was nothing but a 402:283;28[' ]| pantomime \hoax\, got up$5$ by$4$ the ingenious Mr%*Farley, of 402:283;29[' ]| Covent*Garden, from hints which$6#1$ his Royal*Highness himself 402:283;30[' ]| had furnished! Then imagine the infinite applause that$6#1$ 402:283;31[' ]| followed, the mutual rallyings, the declarations that$3$ 402:283;31[Y ]| ""they 402:283;32[Y ]| were not much frightened,"" 402:283;32[' ]| of the assembled galaxy. 402:283;33[' ]| The point of time in$4$ the picture exactly answers to$4$ the 402:283;34[' ]| appearance of the transparency in$4$ the anecdote. The huddle, 402:283;35[' ]| the flutter, the bustle, the escape, the alarm, and the mock 402:283;36[' ]| alarm; the prettinesses heightened by$4$ consternation; the 402:283;37[' ]| courtier's fear which$6#1$ was flattery; and the lady's which$6#1$ was 402:283;38[' ]| affectation; all that$6#1$ we may conceive to$9$ have taken place 402:283;39[' ]| in$4$ a mob of Brighton courtiers, sympathising with the well-acted 402:283;40[' ]| surprise of their sovereign; all this, and no$2$ more, is 402:283;41[' ]| exhibited by$4$ the well-dressed lords and ladies in$4$ the Hall*of*Belus. 402:284;01[' ]| Just this sort of consternation we have seen among 402:284;02[' ]| a flock of disquieted wild geese at the report only of a gun 402:284;03[' ]| having gone off! 402:284;04[' ]| But is this vulgar fright, this mere animal anxiety for$4$ the 402:284;05[' ]| preservation of their persons, ~~ such as we have witnessed 402:284;06[' ]| at a theatre, when a slight alarm of fire has been given ~~ an 402:284;07[' ]| adequate exponent of a supernatural terror? The way in$4$ which$6#1$ 402:284;08[' ]| the finger of God, writing judgments, would have been met 402:284;09[' ]| by$4$ the withered conscience? There is a human fear, and a 402:284;10[' ]| divine fear. The one is disturbed, restless, and bent upon$4$ 402:284;11[' ]| escape. The other is bowed down, effortless, passive. When 402:284;12[' ]| the spirit appeared before Eliphaz in$4$ the visons of the night, 402:284;13[' ]| and the hair of his flesh stood up$5$, was it in$4$ the thoughts of 402:284;14[' ]| the Temanite to$9$ ring the bell of his chamber, or to$9$ call up$5$ 402:284;15[' ]| the servants? But let us see in$4$ the text what there is to$9$ justify 402:284;16[' ]| all this huddle of vulgar consternation. 402:284;17[' ]| From the words of Daniel it appears that$3$ Belshazzar had 402:284;18[' ]| made a great feast to$4$ a thousand of his lords, and drank 402:284;19[' ]| wine before the thousand. The golden and silver vessels are 402:284;20[' ]| gorgeously enumerated, with the princes, the king's concubines, 402:284;21[' ]| and his wives. Then follows ~~ 402:284;22@z | ""In$4$ the same hour came forth fingers of a man's hand, and 402:284;23@z | wrote over against the candlestick upon$4$ the plaster of the 402:284;24@z | wall of the king's palace; and the \king\ saw the part of the 402:284;25@z | hand that$6#1$ wrote. Then the \king's\ countenance was changed 402:284;26@z | and his thoughts troubled him, so$3$ that$3$ the joints of his loins 402:284;27@z | were loosened, and his knees smote one against another."" 402:284;28[' ]| This is the plain text. By$4$ no$2$ hint can it be otherwise 402:284;29[' ]| inferred, but that$3$ the appearance was solely confined to$4$ the 402:284;30[' ]| fancy of Belshazzar, that$3$ his single brain was troubled. Not 402:284;31[' ]| a word is spoken of its being seen by$4$ any*one else there present, 402:284;32[' ]| not even by$4$ the queen herself, who$6#1$ merely undertakes for$4$ 402:284;33[' ]| the interpretation of the phenomenon, as related to$4$ her, 402:284;34[' ]| doubtless, by$4$ her husband. The lords are simply said to$9$ be 402:284;35[' ]| astonished; \i%*e%\, at the trouble and the change of countenance 402:284;36[' ]| in$4$ their sovereign. Even the prophet does not appear to$9$ 402:284;37[' ]| have seen the scroll, which$6#1$ the king saw. He recalls it only, 402:284;38[' ]| as Joseph did the Dream to$4$ the King*of*Egypt. 402:284;38@z | ""Then was 402:284;39@z | the part of the hand sent from him (the Lord), and this 402:284;40@z | writing was written."" 402:284;40[' ]| He speaks of the phantasm as past. 402:284;41[' ]| Then what becomes of this needless multiplication of the 402:284;42[' ]| miracle? this message to$4$ a royal conscience, singly expressed 402:285;01[' ]| ~~ for$3$ it was said, 402:285;01@z | ""Thy kingdom is divided,"" ~~ 402:285;01[' ]| simultaneously 402:285;02[' ]| impressed upon$4$ the fancies of a thousand courtiers, who$6#1$ were 402:285;03[' ]| implied in$4$ it neither directly nor grammatically? 402:285;04[' ]| But admitting the artist's own version of the story, and that$3$ 402:285;05[' ]| the sight was seen also by$4$ the thousand courtiers ~~ let it have 402:285;06[' ]| been visible to$4$ all Babylon ~~ as the knees of Belshazzar were 402:285;07[' ]| shaken, and his countenance troubled, even so$5#2$ would the 402:285;08[' ]| knees of every man in$4$ Babylon, and their countenances, as 402:285;09[' ]| of an individual man, have been troubled; bowed, bent 402:285;10[' ]| down, so$3$ would they have remained, stupor-fixed, with no$2$ 402:285;11[' ]| thought of struggling with that$6#2$ inevitable judgment. 402:285;12[' ]| Not all that$6#1$ is optically possible to$9$ be seen, is to$9$ be shown 402:285;13[' ]| in$4$ every picture. The eye delightedly dwells upon$4$ the brilliant 402:285;14[' ]| individualities in$4$ a Marriage*at*Cana, by$4$ Veronese, or Titian, 402:285;15[' ]| to$4$ the very texture and colour of the wedding garments, 402:285;16[' ]| the ring glittering upon$4$ the bride's fingers, the metal and 402:285;17[' ]| fashion of the wine-pots; for$3$ at such seasons there is leisure 402:285;18[' ]| and luxury to$9$ be curious. But in$4$ a ""day of judgment,"" or in$4$ 402:285;19[' ]| a ""day of lesser horrors, yet divine,"" as the impious feast 402:285;20[' ]| of Belshazzar, the eye should see, as the actual eye of an 402:285;21[' ]| agent or patient in$4$ the immediate scene would see, only in$4$ 402:285;22[' ]| masses and indistinction. Not only the female attire and 402:285;23[' ]| Jewelry exposed to$4$ the critical eye of fashion, as minutely as 402:285;24[' ]| the dresses in$4$ a Lady's Magazine, in$4$ the criticised picture, ~~ 402:285;25[' ]| but perhaps the curiosities of anatomical science, and studied 402:285;26[' ]| diversities of posture, in$4$ the falling angels and sinners of 402:285;27[' ]| Michael*Angelo, ~~ have no$2$ business in$4$ their great subjects. 402:285;28[' ]| There was no$2$ leisure for$4$ them. 402:285;29[' ]| By$4$ a wise falsification, the great master of painting got 402:285;30[' ]| at their true conclusions; by$4$ not showing the actual appearances, 402:285;31[' ]| that$6#2$ is, all that$6#1$ was to$9$ be seen at any given moment 402:285;32[' ]| by$4$ an indifferent eye, but only what the eye might be supposed 402:285;33[' ]| to$9$ see in$4$ the doing or suffering of some portentous action. 402:285;34[' ]| Suppose the moment of the swallowing up$5$ of Pompeii. There 402:285;35[' ]| they were to$9$ be seen ~~ houses, coulumns, architectural 402:285;36[' ]| proportions, differences of public and private buildings, 402:285;37[' ]| men and women at their standing occupations, the diversified 402:285;38[' ]| thousand postures, attitudes, dreses, in$4$ some confusion 402:285;39[' ]| truly, but physically they were visible. But what eye saw 402:285;40[' ]| them at that$6#2$ eclipsing moment, which$6#1$ reduces confusion 402:285;41[' ]| to$4$ a kind of unity, and when the senses are upturned from 402:285;42[' ]| their proprieties, when sight and hearing are a feeling only? 402:286;01[' ]| A thousand years have passed, and we are at leisure to$9$ 402:286;02[' ]| contemplate the weaver fixed standing at his shuttle, the 402:286;03[' ]| baker at his oven, and turn over with antiquarian coolness 402:286;04[' ]| the pots and pans of Pompeii. 402:286;05@z | ""Sun, stand thou still upon$4$ Gibeon, and thou, Moon, in$4$ 402:286;06@z | the valley of Ajalon."" 402:286;06[' ]| Who$6#2$, in$4$ reading this magnificent 402:286;07[' ]| Hebraism, in$4$ his conception, sees aught but the heroic son 402:286;08[' ]| of Nun, with the outstretched arm, and the greater and 402:286;09[' ]| lesser light obsequious? Doubtless there were to$9$ be seen hill 402:286;10[' ]| and dale, and chariots and horsemen, on$4$ open plain, or 402:286;11[' ]| winding by$4$ secret defiles, and all the circumstances and 402:286;12[' ]| stratagems of war. But whose eyes would have been conscious 402:286;13[' ]| of this array at the interposition of the synchronic miracle? Yet 402:286;14[' ]| in$4$ the picture of this subject by$4$ the artist of the Belshazzar's 402:286;15[' ]| Feast ~~ no$2$ ignoble work either ~~ the marshalling and landscape 402:286;16[' ]| of the war is everything, the miracle sinks into an 402:286;17[' ]| anecdote of the day; and the eye may ""dart through rank 402:286;18[' ]| and file traverse"" for$4$ some minutes, before it shall discover, 402:286;19[' ]| among his armed followers, \which$6#1$ is Joshua!\ Not modern art 402:286;20[' ]| alone, but ancient, where only it is to$9$ be found if anywhere, 402:286;21[' ]| can be detected erring, from defect of this imaginative faculty. 402:286;22[' ]| The world has nothing to$9$ show of the preternatural in$4$ 402:286;23[' ]| painting, transcending the figure of Lazarus bursting his 402:286;24[' ]| grave-clothes, in$4$ the great picture at Angerstein's. It seems 402:286;25[' ]| a thing between two beings. A ghastly horror at itself struggles 402:286;26[' ]| with newly-apprehending gratitude at second life bestowed. 402:286;27[' ]| It cannot forget that$3$ it was a ghost. It has hardly felt that$3$ it 402:286;28[' ]| is a body. It has to$9$ tell of the world of spirits. ~~ Was it from 402:286;29[' ]| a feeling, that$3$ the crowd of half-impassioned bystanders, 402:286;30[' ]| and the still more irrelevant herd of passers-by at a distance, 402:286;31[' ]| who$6#1$ have not heard, or but faintly have been told of the 402:286;32[' ]| passing miracle, admirable as they are in$4$ design and hue ~~ 402:286;33[' ]| for$3$ it is a glorified work ~~ do not respond adequately to$4$ the 402:286;34[' ]| action ~~ that$3$ the single figure of the Lazarus has been 402:286;35[' ]| attributed to$4$ Michael*Angelo, and the mighty Sebastian 402:286;36[' ]| unfairly robbed of the fame of the greater half of the interest? 402:286;37[' ]| Now that$3$ there were not indifferent passers-by within actual 402:286;38[' ]| scope of the eyes of those present at the miracle, to$4$ whom 402:286;39[' ]| the sound of it had but faintly, or not at all, reached, it would 402:286;40[' ]| be hardihood to$9$ deny; but would they see them? or can the 402:286;41[' ]| mind in$4$ the conception of it admit of such unconcerning 402:286;42[' ]| objects; can it think of them at all? or what associating league 402:287;01[' ]| to$4$ the imagination can there be between the seers, and the 402:287;02[' ]| seers not, of a presential miracle? 402:287;03[' ]| Were an artist to$9$ paint upon$4$ demand a picture of a Dryad, 402:287;04[' ]| we will$1$ ask whether, in$4$ the present low state of expectation, 402:287;05[' ]| the patron would not, or ought not to$9$ be fully satisfied with 402:287;06[' ]| a beautiful naked figure recumbent under wide-stretched 402:287;07[' ]| oaks? Dis-seat those woods, and place the same figure among 402:287;08[' ]| fountains, and fall of pellucid water, and you have a ~~ Naiad! 402:287;09[' ]| Not so$5#2$ in$4$ a rough print we have seen after Julio*Romano, we 402:287;10[' ]| think ~~ for$3$ it is long since ~~ \there\, by$4$ no$2$ process, with mere 402:287;11[' ]| change of scene, could the figure have reciprocated characters. 402:287;12[' ]| Long, grotesque, fantastic, yet with a grace of her own, 402:287;13[' ]| beautiful in$4$ convolution and distortion, linked to$4$ her 402:287;14[' ]| connatural tree, co-twisting with its limbs her own, till both 402:287;15[' ]| seemed either ~~ these, animated branches; those, disanimated 402:287;16[' ]| members ~~ yet the animal and vegetable lives sufficiently 402:287;17[' ]| kept distinct ~~ \his\ Dryad lay ~~ an approximation of two 402:287;18[' ]| natures, which$6#1$ to$9$ conceive, it must be seen; analogous to$4$, 402:287;19[' ]| not the same with, the delicacies of Ovidian transformations. 402:287;20[' ]| To$4$ the lowest subjects, and, to$4$ a superficial comprehension, 402:287;21[' ]| the most barren, the Great*Masters gave loftiness and 402:287;22[' ]| fruitfulness. The large eye of genius saw in$4$ the meanness of 402:287;23[' ]| present objects their capabilities of treatment from their 402:287;24[' ]| relations to$4$ some grand Past or Future. How has Raphael 402:287;25[' ]| ~~ we must still linger about the Vatican ~~ treated the humble 402:287;26[' ]| craft of the shipbuilder, in$4$ \his\ Building of the Ark? It is in$4$ 402:287;27[' ]| that$6#2$ scriptural series, to$4$ which$6#1$ we have referred, and which$6#1$, 402:287;28[' ]| judging from some fine rough old graphic sketches of them 402:287;29[' ]| which$6#1$ we possess, seem to$9$ be of a higher and more poetic 402:287;30[' ]| grade than even the Cartoons. The dim of sight are the timid 402:287;31[' ]| and the shrinking. There is a cowardice in$4$ modern art. As 402:287;32[' ]| the Frenchman, of whom Coleridge's friend made the prophetic 402:287;33[' ]| guess at Rome, from the beard and horns of the Moses 402:287;34[' ]| of Michael*Angelo collected no$2$ inferences beyond that$6#2$ of a 402:287;35[' ]| He*Goat and a Cornuto; so$3$ from this subject, of mere 402:287;36[' ]| mechanic promise, it would instinctively turn away, as from 402:287;37[' ]| one incapable of investiture with any grandeur. The dockyards 402:287;38[' ]| at Woolwich would object derogatory associations. The 402:287;39[' ]| depo^t at Chatham would be the mote and the beam in$4$ its 402:287;40[' ]| intellectual eye. But not to$4$ the nautical preparations in$4$ the 402:287;41[' ]| ship-yards of Civita*Vecchia did Raphael look for$4$ instructions, 402:287;42[' ]| when he imagined the building of the Vessel that$6#1$ was to$9$ be 402:288;01[' ]| conservatory of the wrecks of the species of drowned mankind. 402:288;02[' ]| In$4$ the intensity of the action, he keeps ever out of sight the 402:288;03[' ]| meanness of the operation. There is the Patriarch, in$4$ calm 402:288;04[' ]| forethought, and with holy prescience, giving directions. 402:288;05[' ]| And there are his agents ~~ the solitary but sufficient Three ~~ 402:288;06[' ]| hewing, sawing, every one with the might and earnestness 402:288;07[' ]| of a Demiurgus; under some instinctive rather than technical 402:288;08[' ]| guidance! giant-muscled; every one a Hercules, or liker to$4$ 402:288;09[' ]| those Vulcanian*Three, that$6#1$ in$4$ sounding caverns under 402:288;10[' ]| Mongibello wrought in$4$ fire ~~ Brontes, and black Steropes, 402:288;11[' ]| and Pyracmon. So$5#2$ work the workmen that$6#1$ should repair 402:288;12[' ]| a world! 402:288;13[' ]| Artists again err in$4$ the confounding of \poetic\ with \pictorial\ 402:288;14[' ]| \subjects\. In$4$ the latter, the exterior accidents are nearly everything, 402:288;15[' ]| the unseen qualities as nothing. Othello's colour ~~ the 402:288;16[' ]| infirmities and corpulence of a Sir*John*Falstaff ~~ do they 402:288;17[' ]| haunt us perpetually in$4$ the reading? or are they obtruded 402:288;18[' ]| upon$4$ our conception one time for$4$ ninety-nine that$3$ we are 402:288;19[' ]| lost in$4$ admiration of the respective moral or intellectual 402:288;20[' ]| attributes of the character? But in$4$ a picture Othello is \always\ 402:288;21[' ]| a Blackamoor; and the other only Plump*Jack. Deeply 402:288;22[' ]| corporealised, and enchained hopelessly in$4$ the grovelling 402:288;23[' ]| fetters of externality, must be the mind, to$4$ which$6#1$, in$4$ its 402:288;24[' ]| better moments, the image of the high-souled, high-intelligenced 402:288;25[' ]| Quixote ~~ the errant Star*of*Knighthood, made more 402:288;26[' ]| tender by$4$ eclipse ~~ has never presented itself divested from 402:288;27[' ]| the unhallowed accompaniment of a Sancho, or a rabblement 402:288;28[' ]| at the heels of Rosinante. That$6#2$ man has read his book by$4$ 402:288;29[' ]| halves; he has laughed, mistaking his author's purport, which$6#1$ 402:288;30[' ]| was ~~ tears. The artist that$6#1$ pictures Quixote (and it is in$4$ 402:288;31[' ]| this degrading point that$3$ he is every season held up$5$ at our 402:288;32[' ]| Exhibitions) in$4$ the shallow hope of exciting mirth, would 402:288;33[' ]| have joined the rabble at the heels of his starved steed. We 402:288;34[' ]| wish not to$9$ see \that$6#2$\ counterfeited, which$6#1$ we would not have 402:288;35[' ]| wished to$9$ see in$4$ the reality. Conscious of the heroic inside of 402:288;36[' ]| the noble Quixote, who$6#1$, on$4$ hearing that$3$ his withered person 402:288;37[' ]| was passing, would have stepped over his threshold to$9$ gaze 402:288;38[' ]| upon$4$ his forlorn habiliments, and the 402:288;38@z | ""strange bed-fellows 402:288;39@z | which$6#1$ misery brings a man acquainted with""? 402:288;39[' ]| Shade of 402:288;40[' ]| Cervantes! who$6#1$ in$4$ thy Second*Part could put into the mouth 402:288;41[' ]| of thy Quixote those high aspirations of a super-chivalrous 402:288;42[' ]| gallantry, where he replies to$4$ one of the shepherdesses, 402:289;01[' ]| apprehensive that$3$ he would spoil their pretty net-works, and 402:289;02[' ]| inviting him to$9$ be a guest with them, in$4$ accents like$4$ these: 402:289;03[Z ]| ""Truly, fairest Lady, Acta*eon was not more astonished when 402:289;04[Z ]| he saw Diana bathing herself at the fountain, than I have 402:289;05[Z ]| been in$4$ beholding your beauty: I commend the manner of 402:289;06[Z ]| your pastime, and thank you for$4$ your kind offers; and, if 402:289;07[Z ]| I may serve you, so$3$ I may be sure you will$1$ be obeyed, you 402:289;08[Z ]| may command me: for$3$ my profession is this, To$9$ show myself 402:289;09[Z ]| thankful, and a doer of good to$4$ all sorts of people, especially 402:289;10[Z ]| of the rank that$6#1$ your person shows you to$9$ be; and if those 402:289;11[Z ]| nets, as they take up$5$ but a little piece of ground, should take 402:289;12[Z ]| up$5$ the whole world, I would seek out new worlds to$9$ pass 402:289;13[Z ]| through, rather than break them: and 402:289;13[' ]| (he adds) 402:289;13[Z ]| that$3$ you 402:289;14[Z ]| may give credit to$4$ this my exaggeration, behold at least he 402:289;15[Z ]| that$6#1$ promiseth you this, is Don*Quixote*de*la*Mancha, if 402:289;16[Z ]| haply this name hath come to$4$ your hearing."" 402:289;16[' ]| Illustrious 402:289;17[' ]| Romancer! were the ""fine frenzies,"" which$6#1$ possessed the brain 402:289;18[' ]| of thy own Quixote, a fit subject, as in$4$ this Second*Part, to$9$ 402:289;19[' ]| be exposed to$4$ the jeers of Duennas and Serving-men? to$9$ 402:289;20[' ]| be monstered, and shown up$5$ at the heartless banquets of 402:289;21[' ]| great men? Was that$6#2$ pitiable infirmity, which$6#1$ in$4$ thy First*Part 402:289;22[' ]| misleads him, \always from within\, into half-ludicrous, 402:289;23[' ]| but more than half-compassionable and admirable errors, 402:289;24[' ]| not infliction enough from heaven, that$3$ men by$4$ studied 402:289;25[' ]| artifices must devise and practise upon$4$ the humour, to$9$ inflame 402:289;26[' ]| where they should soothe it? Why, Goneril would have 402:289;27[' ]| blushed to$9$ practise upon$4$ the abdicated king at this rate, 402:289;28[' ]| and the she-wolf Regan not have endured to$9$ play the pranks 402:289;29[' ]| upon$4$ his fled wits, which$6#1$ thou hast made thy Quixote suffer 402:289;30[' ]| in$4$ Duchesses' halls, and at the hands of that$6#2$ unworthy 402:289;31[' ]| nobleman. 402:289;32[' ]| In$4$ the First*Adventures, even, it needed all the art of 402:289;33[' ]| the most consummate artist in$4$ the Book way that$6#1$ the world 402:289;34[' ]| hath yet seen, to$9$ keep up$5$ in$4$ the mind of the reader the heroic 402:289;35[' ]| attributes of the character without relaxing; so$3$ as absolutely 402:289;36[' ]| that$3$ they shall suffer no$2$ alloy from the debasing fellowship 402:289;37[' ]| of the clown. If it ever obtrudes itself as a disharmony, are 402:289;38[' ]| we inclined to$9$ laugh; or not, rather, to$9$ indulge a contrary 402:289;39[' ]| emotion? ~~ Cervantes, stung, perchance, by$4$ the relish with 402:289;40[' ]| which$6#1$ \his\ Reading*Public had received the fooleries of the 402:290;01[' ]| man, more to$4$ their palates than the generosities of the master, 402:290;02[' ]| in$4$ the sequel let his pen run riot, lost the harmony and the 402:290;03[' ]| balance, and sacrificed a great idea to$4$ the taste of his contemporaries. 402:290;04[' ]| We know that$3$ in$4$ the present day the Knight 402:290;05[' ]| has fewer admirers than the Squire. Anticipating, what did 402:290;06[' ]| actually happen to$4$ him ~~ as afterwards it did to$4$ his scarce 402:290;07[' ]| inferior follower, the Author of ""Guzman*de*Alfarache"" ~~ 402:290;08[' ]| that$6#1$ some less knowing hand would prevent him by$4$ a spurious 402:290;09[' ]| Second*Part; and judging that$3$ it would be easier for$4$ his 402:290;10[' ]| competitor to$9$ outbid him in$4$ the comicalities, than in$4$ the 402:290;11[' ]| \romance\, of his work, he abandoned his Knight, and has fairly 402:290;12[' ]| set up$5$ the Squire for$4$ his Hero. For$4$ what else has he unsealed 402:290;13[' ]| the eyes of Sancho? and instead of that$6#2$ twilight state of 402:290;14[' ]| semi-insanity ~~ the madness at second-hand ~~ the contagion, 402:290;15[' ]| caught from a stronger mind infected ~~ that$6#2$ war between 402:290;16[' ]| native cunning, and hereditary deference, with which$6#1$ he 402:290;17[' ]| has hitherto accompanied his master ~~ two for$4$ a pair almost 402:290;18[' ]| ~~ does he substitute a downright Knave, with open eyes, 402:290;19[' ]| for$4$ his own ends only following a confessed Madman; and 402:290;20[' ]| offering at one time to$9$ lay, if not actually laying, hands upon$4$ 402:290;21[' ]| him! From the moment that$6#1$ Sancho loses his reverence, Don*Quixote 402:290;22[' ]| is become ~~ a treatable lunatic. Our artists handle 402:290;23[' ]| him accordingly.