spirits of the departed have a larger knowledge of transactions on earth than they had in life; and that having lost his father at twelve years of age, he felt, after the lapse of half a century, that all his days had been overshadowed by paternal solicitude. These opinions occur in an argument to prove the concern felt by departed spirits for those left behind, and I refer to it because it shows one of the prime truths of this poem reached by another path, the process of strict argumentation.

The study of "In Memoriam" will also show how it vindicates other truths affecting the life and destiny of man-elemental truths which have been assailed by some of the philosophical heresies of the day; and, indeed, there is to my mind something sublime in the poet's strong affection to his friend, passed from mortal sight, having power to sweep these heresies away. The notion, coupled perhaps with pantheism, which would deny individuality of existence in the hereafter, is dissipated by the assurance which affection gives—the feeling that it

"Is faith as vague as all unsweet:
Eternal form shall still divide

The eternal soul from all beside,

And I shall know him when we meet."

Sombre as the poem at first appears, it works its way on to happy hopes the confidence of future recognitions, and a cheerful faith.

The poet's voice is heard, too, against another error of the timesthat which would give intellect supremacy over the higher powers which are in the soul, confounding knowledge with wisdom, or even making wisdom the subordinate. The better truth comes from the memory and imaginative contemplation of the character of his friend, when, speaking of knowledge falsely elevated, he says

"Half grown as yet, a child and vain—

She cannot fight the fear of death:
What is she, cut from love and faith,
But some wild Pallas from the brain

Of demons? fiery-hot to burst

All barriers in her onward race
For power. Let her know her place;
She is the second, not the first.

A higher hand must make her mild,
If all be not in vain; and guide
Her footsteps, moving side by side
With wisdom, like the younger child:

For she is earthly of the mind,

But wisdom heavenly of the soul.
O friend, who camest to thy goal
So early, leaving me behind,

I would the great world grew like thee,

Who grewest not alone in power

And knowledge, but from hour to hour
In reverence and in charity."

The effect of a sorrow not weakly indulged, but at once faithfully cherished and wisely disciplined, is perhaps most comprehensively shown in those stanzas which affirm the need, for the highest purposes of sorrow, of health and strength, in all that makes up our moral being.

In concluding this lecture, let me say that I have made no attempt to make choice among the poems with a view to present effect, but rather, in this desultory way, to illustrate the general purpose and character of the work, and some of the principles involved in it. I have thus passed in silence by many of the most admirable pieces in the volume, and have not stopped to speak of the superior metrical art which pervades the verse. Indeed, I am well aware, that in many respects this is rude handling of a poem which peculiarly demands the meditative study of silent reading. It is then that you may hear and see this stream of song and of sorrow-at first flowing deeply but darkly, contending alike against its own force and against resistance, light from the sky breaking only fitfully through the gloom: you may follow it after a while, gathering its strength into a more placid channel, and you will behold it at the last flowing as deeply as at first, but calmly, and in the light of peaceful memories and tranquil hopes, and bearing in the bosom of its own deep tranquillity the reflection of the deep tranquillity of the heavens.

XI.

Literature of Wit and Humour.

SUBTLETY OF THESE EMOTIONS-SIDNEY SMITH AND LEIGH HUNT-DULLNESS OF JESTBOOKS-HUDIBRAS A TEDIOUS BOOK-SYDNEY SMITH'S IDEA OF THE STUDY OF WIT— CHARLES LAMB-INCAPACITY FOR A JEST-GERMAN NOTE ON KNICKERBOCKERSTOICISM AND PURITANISM-GUESSES AT TRUTH-CHEERFUL LITERATURE NEEDED FOR THOUGHTFUL MINDS-RECREATIVE POWER OF BOOKS-DIFFERENT MODES OF MENTAL RELAXATION-NAPOLEON-SHELLEY-COWPER-SOUTHEY'S MERRINESSDOCTOR ARNOLD-SHAKSPEARE AND SCOTT'S HUMOUR-THE ANTIQUARY-BURKEBARROW'S DEFINITION OF WIT-HOBBES-FORMS OF HUMOUR-DOCTOR JOHNSON'S GROTESQUE DEFINITIONS-COLLINS, THE LANDSCAPE PAINTER-EXAMPLES OF GROTESQUE STYLE-IRISH BULLS-RIP VAN WINKLE-SYDNEY SMITH AND DOCTOR PARS -HUMOUR IN OLD TRAGEDIES-LEAR AND THE FOOL-HAMLET AND THE GRAVEDIGGER-IRONY-MACBETH AND THE DOCTOR-ANNE BOLEYN-BISHOP LATIMERFULLER-DEAN SWIFT AND ARBUTHNOT-GULLIVER-SIR ROGER DE COVERLEYCHARLES LAMB-SWIFT AND BYRON'S HUMOUR-PROSTITUTION OF WIT-SIR ROBERT WALPOLE-LORD MELBOURNE-HOGARTH-DANGER OF POWER OF HUMOUR ILLUSTRATED-RUSKIN'S CRITICISM,

In my last lecture I was engaged in the consideration of some very serious subjects, the gravest that belong to literature. In passing from them at once to the Literature of Wit and Humour, I have less apprehension of the transition being felt as a violent one, than that there will be found in this lecture more of seriousness than the chief title of it might lead one to expect. The movements of the mind which are connected with the faculties styled "Wit" and "Humour," are among the most subtle of which the mind is capable, are, for the most part, difficult of description, and demand an acute and delicate analysis. In contrast with my last lecture, I am anxious at the outset to give you the assurance of a promise that I shall this evening make a more reasonable demand upon your time and thoughts, for the light artillery which I have now to do with, can be more expeditiously maneuvered than the heavy ordnance at which I had to stand on the former

occasion.

It is well that it should be understood between us that the subject of Wit and Humour does not at all imply that the treatment of it should be identical with the effects of those powers: on the contrary, by raising such expectation and not fulfilling it, the subject may, in reality, prove more serious than even a grave subject, wherewith such anticipations could not be associated. Though I am usually averse to adverting in any way to the difficulty of any subject on which I have

undertaken to lecture, indulge me in saying that the subject of the literature of Wit and Humour is one for which there is peculiarly demanded, not only a genial and cultivated capacity to enjoy such literature, but a skill and tact in the handling of it; the importance of which I am so well aware of, that it is with no small misgiving that I have ventured upon the subject. When the late Sydney Smith, the most distinguished wit of contemporary literature, in a course of lectures on Moral Philosophy, discussed these faculties of Wit and Humour, the subject, though manifestly not an uncongenial one to him, becomes even in his hands, a somewhat sedate disquisition. When Leigh Hunt wrote his volume on "The Poetry of Wit and Humour," vivacious and pleasant and facetious as he has often shown himself in other productions, in this we find less of that sprightliness which once made sunshine for him within prison walls.

But when one comes to reflect upon it, it is not surprising that a subject of this kind should assume what appears to be an unwonted and inapposite seriousness, when it is taken out of its life of activity, and made a matter of speculation. Everybody knows what a dull process it is to explain a piece of wit.

"A jest's prosperity lies in the ear

Of him that hears it, never in the tongue
Of him that makes it;"

and much graver than explanation is the work of analysis. It is a cruel business to anatomize the creatures of wit or humour, to place them on the metaphysical dissecting-table, and there to lay bare the hidden places of their power; and it demands, too, for this serious service the most acute intellectual scalpel which the metaphysician can handle.

This also is to be considered, that not only does a jest's prosperity lie in the ear of him that hears it, but it has its life in an atmosphere of its own; it springs up from a soil of its own; and there are few plants so tender in the transplanting. A happy, well-timed, well-applied piece of wit, which would electrify a House of Commons, becomes tame and vapid when removed by repetition out of its own sustaining atmosphere: one proof of this may be observed in the fact that there are few duller books than what are called "jest-books," whether the collection be made by Ilierocles or by Joe Miller (who is, I believe, not an apocryphal person), or by the capacious intellect of Lord Bacon. They are not only very lifeless reading, but are regarded with a degree of contempt, which almost denies them adion into a nation's literature, even with the authority of the name of the philosophic Lord

N

Chancellor pleading for entrance. The same cause makes it, to a certain degree, a difficult and delicate task to present illustrations of this subject, for even without subjecting them to the torture of analysis, they must, although synthetically considered, be detached from their context, separated from all that was preparatory of their reception, and upon which their welcome is so dependent. The magie of wit and humour will be found very often to be so intimately connected with other intellectual action and other states of feeling, that all effect is destroyed by the attempt to separate it; a dull, heavy residuum is left, and all the delicate, volatile spirit is evaporated away. It will be one of my purposes in this lecture, to show the harmonious connection of the faculties of wit and humour with states of mind and of feeling with which we do not ordinarily associate them.

Assuming, as we are entitled to do, that that alone is genuine literature which contributes in some way to fashion the reader's character, to give both strength and guidance to his thoughts and feelings, books which abound with wit or humour are entitled to take a place in a nation's literature, only so far as they subserve the same ends. As in one of my lectures I spoke of the error of attempting to draw too precise a boundary line around sacred literature, making it too much a thing standing apart, so, in regard to the literature of wit and humour. I shall be sorry if such a title, which I have been obliged to use, led any one to think of it as of a more distinctive existence than is the case, instead of regarding those faculties as pervading the literature in various degrees, and thus forming some of the elements of its life. I shall have occasion to trace these elements in close contact with elements of tragedy, and to show how the processes which we generalize under the names of wit and humour are kindred with the most intense passion and with the deepest feeling. Our English literature shows, I think most conclusively, in ways that are respectively example and warning, that these faculties are strongest and healthiest when they exist and are cultivated in just proportion with other faculties and feelings, without gaining a predominance or pre-eminence, which makes them perilous to him in whom they thus get the mastery, and formidable to others. The best books in the language prove the power and the beauty of this harmony and proportion of the faculties; the literature should serve as an agency of discipline to produce in readers a like well-balanced, wellproportioned condition of the mind, and in the literature of wit and humour we are to find help for the cultivation of those powers.

Sydney Smith said, "It is imagined that wit is a sort of inexplicable visitation, that it comes and goes with the rapidity of lightning, and